Issuu

Art of the American West Tuesday, April 7, 2026 SINCE 1969

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

Art of the American West April 7, 2026 | 10am PDT

Sale 341 145 East Walnut Avenue, Monrovia CA 91016

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

Previews:

Friday, April 3rd: 12-4pm Saturday, April 4th: 12-4pm Monday, April 6th: 12-4pm Tuesday, April 7th: Doors open 9am

Meet the Team Maranda Moran Head of Sale Vice President, Specialist m.moran@johnmoran.com Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

Grant Stevens Cataloguer, Furniture & Decorative Art g.stevens@johnmoran.com

Sally Andrew Cataloguer, Silver, Western and American Indian s.andrew@johnmoran.com

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

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

1001

A pair of Pacific turquoise glazed pottery planters Second quarter 20th century Each marked in the molding: PACIFIC / MADE IN USA 2 pieces Each: 10.625” H x 17” Dia. $500-700

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1002

A Garden City turquoise glazed pottery oil jar Second quarter 20th century; San Jose, CA Unmarked 18.125” H x 13.875” Dia. $400-600

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1003

A Bauer turquoise glazed pottery oil jar Circa 1930s Unmarked 21.25” H x 17” Dia. $700-900

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1004

Two Bauer green glazed pottery oil jars

Circa 1930s One impressed: BAUER POTTERY CO. / LOS ANGELES CAL.; and incised: 16” One set in a wrought-iron scrollwork stand with rings 2 pieces Each jar: 15.375” H x 11.75” Dia. approximately; Stand: 17.75” H x 15.75” W x 16.5” D $700-900

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1005

Conrad Buff

(1886-1975) “Desert Landscape with Saguaro Cacti,” circa 1940 Oil on Masonite Signed lower right: Conrad Buff; titled and dated on a label affixed verso 23.5” H x 36” W $2,000-3,000 Provenance: From the Collection of Robert A. Day

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

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1006

Conrad Buff

(1886-1975) “Mt. Carmel, Utah,” circa 1952 Oil on board Bears signature lower right: C. Buff; titled, dated, and inscribed by the artist’s son, verso 12” H x 16” W $800-1,200 Provenance: Conrad Buff III, the artist’s son David & Sons, Laguna Beach, CA, acquired as a Christmas gift from the above, December 15, 1983

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1007

Conrad Buff

(1886-1975) “Springtime” Oil on panel Signed lower right: C. Buff; titled in pencil verso 23.5” H x 29.5” W $2,000-3,000 Provenance: Sold: Quinn’s Auction Galleries, Falls Church, VA, “Fine & Decorative Arts Auction,” June 11, 2016, Lot 124 Private estate, California

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1008

A large Bauer yellow glazed pottery oil jar Circa 1930s Unmarked 21.375” H x 16.375” Dia. $700-900

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1009

Three Bauer yellow glazed pottery ringware planters Circa 1930s Each incised to underside: 111 3 pieces Each: 13.25” H x 16.375” Dia. $500-700

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1010

A Bauer blue glazed pottery oil jar on stand

Circa 1930s Unmarked Set in a wrought-iron tripod stand Jar: 21.25” H x 17” Dia.; Stand: 21.5” H x 21.25” W x 21.25” D $700-900

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1011

A pair of Bauer blue glazed pottery oil jars Circa 1930s Each unmarked 2 pieces Each: 21.25” H x 17” Dia. $1,000-1,500

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1012

A pair of Bauer blue glazed pottery hanging baskets and an oil jar

Circa 1930s Each unmarked 3 pieces Pair: 8.25” H x 10.5” Dia.; Oil jar: 19.25” H x 13.25” Dia. $600-800 Literature: Similar illustrated Bauer pg. 144

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1013

Four Bauer blue glazed pottery ringware planters

Circa 1930s Each unmarked 4 pieces Three: 13.125” H x 16.375” Dia.; One smaller: 12.25” H x 14.125” Dia. $600-800

1014

A near pair of Bauer blue glazed pottery ringware planters Circa 1930s One marked: 11 2 pieces Taller: 13.75” H x 17” Dia.; Shorter: 13.25” H x 16.5” Dia. $500-700

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1015

Two Bauer orange glazed pottery oil jars

Circa 1930s Each unmarked The larger set in a wrought-iron tripod stand 2 pieces Larger: 21.5” H x 16.75” Dia.; Smaller: 15” H x 11.5” Dia.; Stand: 21.75” H x 23.5” W x 22.5” D $800-1,200

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

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1016

Paolo Soleri (1919-2013)

A large Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher The cast bronze bell with clapper, upper centipede element, and sheet copper fin Overall: 37” H; Bell and upper portion: 26” H x 10.5” W x 7.5” D; Fin: 11.5” H x 7” W $700-900

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1017

Paolo Soleri (1919-2013)

Two Cosanti wind bells, late 20th/early 21st century; Paradise Valley, AZ Each with cast Paolo Soleri cipher The cast bronze bells each with clapper and sheet copper fin 2 pieces Larger bell only: 12.5” H x 8.5” W x 8” D; Smaller bell only: 9.25” H x 7.5” W x 6.75” D $800-1,200

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A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1018

Larry Pirnie

(b. 1940) “Hilltoppers,” 1989 Acrylic and mixed media relief sculpture on panel Signed lower right: Pirnie; signed again, titled, dated “1989,” and inscribed “ACM 89-86,” all verso Overall: 47.75” H x 96” W x 3” D $3,000-5,000 Provenance: Kneeland Gallery, Ketchum, ID

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1019

Larry Pirnie

(b. 1940) “Coming Up the Draw,” 1990 Acrylic and mixed media relief sculpture on panel Signed lower right: Pirnie; signed again, titled, dated “1990,” and inscribed “ACM 90-70,” all verso Overall: 35” H x 42” W x 8.5” D $1,000-2,000

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

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1020

James Lee Colt

(1922-2005) “Roundup” Oil on panel Signed lower left: J. Colt; with an unfinished sketch in oil, verso; titled on a label affixed to the frame’s verso 24” H x 30” W $1,000-1,500 Provenance: Private estate, California

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1021

James Lee Colt

(1922-2005) “Restless Bronco” Oil on panel Signed lower right: J. Colt; titled on a label affixed to the frame’s backing paper 13” H x 15.5” W $500-700 Provenance: Private estate, California

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1022

Paul Sollosy

(1911-2012) “Rep Rider” Watercolor on paper Signed and with the artist’s device lower right: Sollosy; titled from a label affixed to the frame’s backing paper Sight: 12.5” H x 15.5” W $500-700 Notes: The label also notes, in part: “A ‘Rep Rider’ represents a ranch, brand, or trail herd at a ‘Rodear’ (a Spanish gathering, roundup or branding). This particular ‘Rep Rider’ was a famous old friend of Paul Sollosy named Ike Blasingame who regularly worked from Texas to South Dakota.”

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1023

Paul Sollosy

(1911-2012) “Vaquero Country” Watercolor and traces of pencil on paper Signed and with the artist’s device lower left: Sollosy; titled from a label affixed to the frame’s backing paper Sight: 10.75” H x 13.75” W $500-700 Notes: The label also notes, in part: “Three friends riding through the Simi Valley foothills who cowboyed with Paul Sollosy on various ranches in that area between 1927 and 1928.”

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1024

Carolyn Anderson

(b. 1948) Native figures and horses, 2003 Oil on board Signed lower right: Anderson; signed again, and inscribed and dated [possibly]: “NWR-2003,” all verso 8” H x 10” W $700-1,000

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1025

Carolyn Anderson

(b. 1948) “Big Fork Team,” 2002 Oil on Masonite Signed lower right: Anderson; signed again, titled, and dated “2002,” all verso 8” H x 12” W $700-1,000

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1026

David Allen Halbach

(1931-2022) Cowboy and horses in an old west town, 1976 Watercolor on paper Signed and dated lower left: David Halbach 1976 ©; inscribed on the frame’s backing paper “Dear Nancy & Doug / Keep your fuel lines clean. / Love Dave and Jean.” Sight: 7.5” H x 12.75” W $800-1,200

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1027

David Allen Halbach

(1931-2022) “Last Stop” Watercolor on paper Signed and dated lower left: David Halbach 1973 ©; titled and inscribed: “Last Stop / Dear Clark and Jane / Thanks so much. Best / of all to you. / Your good friend, / David A Halbach,” and with the artist’s copyright ink stamp, all on the frame’s backing paper Sight: 11” H x 8” W $700-900

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1028

David Allen Halbach

(1931-2022) Church, 1970 Watercolor on paper Signed and dated lower right: David Halbach 1970; inscribed with artist name and address on the frame’s verso Sheet: 14” H x 10.125” W $500-700

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1029

David Allen Halbach

(1931-2022) “Catchin’ the Scent,” 1973 Watercolor on cold-pressed paper Signed and dated lower right: David Halbach 1973 ©; titled on a frame plaque Image: 9.375” H x 22.375” W (irreg.); Sheet: 15.125” H x 26.625” W $800-1,200

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1030

Robert Hagen

(b. 1947) “Startled” Oil on canvas laid to panel Signed lower left: Hagen; titled by repute 32” H x 55” W $1,000-2,000

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

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Boyd Elder (1944-2018)

Few images in Western Americana are as instan Most Famous Artist You’ve Never Heard Of” by renegade, countercultural spirit that bridged fin

El Paso-born Elder was interested in art from a nights and weekends. He attended the Chouin degree in 1968.

An important 1972 solo show “El Chingadero” including Joni Mitchell, Jackson Browne, Mama performed at the show. Album cover designer skull imagery for an album.

Ultimately, Elder’s iconic skull and lightning-bolt “Their Greatest Hits (1971-1975)” (1976), and “ records carried Elder’s distinctly Western vision 38 million in sales, becoming one of the best-se

Rooted in West Texas and shaped by his 1960s independence, experimentation, and defiant u and aluminum, his art reflects the vastness, grit, subjects in a series of two-dimensional limited-e

ntly recognizable as the painted animal skulls created by Boyd Elder. Dubbed “The y Texas Monthly, the Texas “Artlaw” fused the stark poetry of the Southwest with a ne art and rock history.

young age and took art lessons at the El Paso Museum of Art during high school on nard Art Institute in Los Angeles on scholarship, receiving his Bachelor of Fine Arts

” held at artist John VanHamersveld’s studio in Venice, CA was attended by musicians a Cass Elliot and members of the then newly formed band, the Eagles, who also Gary Burden connected the band to the exhibit as he was interested in using Elder’s

t motifs graced three landmark albums by Eagles: “One of These Nights” (1975), “The Very Best Of” (2003). With more than 65 million copies sold worldwide, these onto turntables across the globe; “Their Greatest Hits (1971-1975)” alone achieved elling albums of all time.

s coming-of-age in Los Angeles, Elder embodied the “Artlaw” ethos of unconventionality. From painted skulls to ambitious mixed media works in resin, foil, , and multicultural spirit of the American Southwest. Elder also explored his iconic edition color lithographic prints.

1031

Boyd Elder

(1944-2018) Untitled, as used for the cover of Eagles’ album “One of These Nights,” 1975 Offset lithograph in colors on Arches paper Edition: A.P. XX, aside from the edition of 100 Signed, dated, numbered, and inscribed “A.P. XX” in pencil in the lower margin: © Boyd Elder 1980; Cirrus Editions Ltd, Los Angeles, CA, prntr., with their blindstamp in the lower left margin corner, and pencil work number “252c-BE79” on the verso of the same margin corner Image: 28.25” H x 24.75” W; Sheet: 31.25” H x 27.25” W $3,000-5,000 Provenance: The Personal Collection of Jean Milant

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

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1032

Boyd Elder

(1944-2018) “Black Horse Running,” 1975 Offset lithograph in colors on Arches paper Edition: 99/100 Signed, titled, and numbered in pencil in the lower margin: © Boyd Elder; Cirrus Editions Ltd, Los Angeles, CA, prntr., with their blindstamp in the lower left margin corner, and pencil work number “255c-BE78” on the verso of the same corner Image: 27.625” H x 24.25” W; Sheet: 31.625” H x 27.5” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1033

Boyd Elder

(1944-2018) “American Dream I,” 1975 Offset lithograph in colors on Arches paper Edition 100/100 Signed, titled, and numbered in pencil in the lower margin: © Boyd Elder; Cirrus Editions Ltd, Los Angeles, CA, prntr., with their blindstamp in the lower left margin corner, and pencil work number “253c-BE78” on the verso of the same margin corner Image: 28.75” H x 24.75” W; Sheet: 31.75” H x 27.25” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant

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1034

Boyd Elder

(1944-2018) “Geronimo,” 1975 Offset lithograph in colors on Arches paper Edition: 100/100 Signed, titled, and numbered in pencil in the lower margin: © Boyd Elder; Cirrus Editions Ltd, Los Angeles, CA, prntr., with their blindstamp in the lower left margin corner, and pencil work number “256c-BE82” on the verso of the same margin corner Image: 23.625” H x 28.25” W; Sheet: 27.125” H x 31.625” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1035

Boyd Elder

(1944-2018) “Sundancer,” 1975 Offset lithograph in colors on Arches paper Edition: 99/100 Signed, titled, and numbered in pencil in the lower margin: © Boyd Elder; Cirrus Editions Ltd, Los Angeles, CA, prntr., with their blindstamp in the lower left margin corner, and pencil work number “254c-BE80” on the verso of the same margin corner Image: 24.125” H x 28.75” W; Sheet: 27.375” H x 31.5” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant Notes: This image is also sometimes called “Sundancer Yellow.” w w w. j o h n m o r a n . c o m

1036

Kevin Red Star

(b. 1943, Crow) “Mr. & Mrs. Medicine Crow” Oil, ink, and metallic pigments on canvas Signed lower right: Kevin Red Star; signed again and titled verso 42” H x 32” W $4,000-6,000

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1037

Kevin Red Star

(b. 1943, Crow) “Shoots to Kill” Oil, ink, and metallic pigments on canvas Signed lower right: Kevin Red Star; signed again and titled verso 42” H x 32” W $4,000-6,000

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Benjamin “Bennie” Bu (1948-1994, Cheyenne)

Bennie Buffalo, born Benjamin Buffalo, wa figures and cultural themes. He studied at he developed a distinctive style combinin

In 1967 he joined the U.S. Army and serve fighting at Battle of Hamburger Hill. After across the United States and Latin Americ

In 1973 he won first place in painting at th (then the Philbrook Art Center), a major re work contributed to the modern Native A personal experiences that shaped his life.

uffalo

as a Cheyenne painter known for modernist depictions of Native American t the Institute of American Indian Arts in Santa Fe beginning in 1963, where ng contemporary design with Indigenous subject matter.

ed with the 101st Airborne Division in Vietnam, surviving the intense r returning to civilian life, Buffalo continued painting and exhibiting his work ca.

he American Indian Artists Exhibition held at the Philbrook Museum of Art ecognition for Native artists. Though his career was relatively short, Buffalo’s American art movement and reflected both cultural identity and the .

1038

Benjamin “Bennie” Buffalo

(1948-1994, Cheyenne) “Nohnicas,” 1977 Oil on canvas Signed and dated lower right: B. Buffalo 77 ©; signed and dated again, titled, and inscribed with a Weatherford, OK address, all verso 54” H x 30” W $6,000-8,000 Notes: This image was reproduced as Poster Art for the 1977 show Via Gambaro Studio/Gallery, Washington, DC, June 5-September 10, 1977.

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1039

Benjamin “Bennie” Buffalo

(1948-1994, Cheyenne) “Hill” Oil on canvas Signed and dated lower left: B. Buffalo 77 ©; signed again, dated “March 1977,” and titled, all faintly in pencil, verso 42” H x 33” W $3,000-5,000

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1040

Rhett Lynch

(b.1960, Diné) “Elk Dance” Acrylic and mixed media including pebbles and thread on canvas Unsigned; titled by repute 66” H x 72.25” W $1,000-1,500

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A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1041

A Navajo wearing blanket variant with spider woman crosses Early 20th century, Diné Woven in non plied wool with rows of red spider woman crosses alternating with natural cream and dark brown bands 63” H x 75” W $5,000-7,000

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Oscar Howe

(1915-1983, Yanktonai Dakota)

In 1958, the Yanktonai Dakota artist Oscar Howe submitted Philbrook Art Center. Bold, abstract, and highly experiment painting within the exhibition. Rather than adhering to the early years at the Santa Fe Indian School, Howe employed cultural expression. The jurors rejected the painting, claimin Native American art, Jeanne Snodgrass, defending both hi much more to Indian Art than pretty, stylized pictures… Are as the Indian always has been, put on reservations, and trea al., 1982, p. 19). His words not only articulated a powerful c governmental treatment of Native people more broadly, m

Born on May 13, 1915, on a reservation in South Dakota, O to art, especially after a severe skin condition forced him in Indian Affairs, where he endured harsh treatment, and his h many hours with his grandmother, Shell Face, who taught h ingrained in Howe, providing a wellspring of inspiration tha

Howe later received formal training at the Santa Fe Indian S characterized by flat, stylized depictions of ceremonial and absorbed modernist currents circulating in the broader Am Dakota culture. This synthesis of tradition and innovation w intersection of two worlds: the presentation of traditional cu transformations of the era.

Howe created casein paintings from 1955 to 1978, and “W angular, faceted compositions, rhythmic movement, and la life of the Sioux people into a dynamic visual vocabulary, w in mid-motion, while angular planes and overlapping geom deep blues and reds juxtaposed with bright yellows and tu of geometric abstraction and cultural symbolism reflects Ho philosophy that continues to influence Native artists today.

Throughout his career, Howe’s contributions were widely re championing the modernist innovation that would come to

Today, Oscar Howe’s work resonates with a powerful testam summon the spirit, rhythm, and strength of Dakota heritage contemporary. “War Dancer,” endures not only as a historic asserting the enduring significance of Native American art

d his painting “Umine Wacipi” (“War and Peace Dance”) to the Annual Indian Art competition at the tal, the work departed drastically from the stylistic conventions that had come to define “traditional Indian” flat colors and illustrative compositions associated with the “Studio Style,” in which he trained during his fractured forms and dynamic movement to create a strikingly modern visual language rooted in Dakota ng it did not conform to their guidelines. In response, Howe wrote a letter to the museum’s curator of is artistic vision and the broader creative autonomy of Indigenous artists. As Howe asserted, “There is e we to be held back forever with one phase of Indian painting, with no right for individualism, dictated to ated like a child, and only the White Man knows what is best for him? Now, even in Art” (Dockstader et challenge to the restrictive expectations placed upon Native artists, but also addressed the political and marking a pivotal moment in the emergence of a modern, self-determined vision of Indigenous art.

Oscar Howe showed an early affinity for art. Often discouraged by his parents, he nonetheless grew closer ndoors for extended periods. Howe later attended the Pierre Indian School, operated by the Bureau of health challenges only intensified. Returning to the reservation to recover physically and mentally, he spent him tribal symbols, designs, cultural traditions, and stories of their ancestors. These lessons became deeply at he would draw upon throughout his life, and which profoundly shaped his artistic sensibility.

School under Dorothy Dunn, gaining technical foundations while encountering the rigid “Studio Style,” d historical subjects. Yet this style proved too limiting for his imaginative ambition. Even as a student, Howe merican art world, integrating principles of abstraction and expressive linework with motifs drawn from would define his artistic trajectory and set him apart from his contemporaries. He found himself at the ultural forms and inspiration from modernist and Romanticist currents, reflecting the social and political

War Dancer,” circa 1960, represents an early yet mature example of his distinct style, characterized by ayered planes of color. Rather than simply illustrating stories, Howe translated the spiritual and ceremonial where forms interlock and vibrate across the surface. A central figure dominates the composition, captured metric forms radiate outward, creating a palpable sense of energy and rhythm. Bold, contrasting colors, urquoises, frame the figure and emphasize both motion and ceremonial significance. This integration owe’s conviction that Indigenous art could be simultaneously modern and deeply rooted in heritage, a .

ecognized. He taught at the University of South Dakota, shaping generations of artists, while relentlessly o define his legacy.

ment to artistic independence and cultural pride. These paintings do more than depict scenes; they e, offering a window into a vision that is at once intensely personal, profoundly cultural, and boldly cal milestone but as an electrifying visual experience. Through these works, Howe’s voice remains vibrant, and the transformative power of creativity untethered by convention.

1042

Oscar Howe

(1915-1983, Yanktonai Dakota) “War Dancer,” circa 1960 Casein on paper Signed lower right: © Oscar Howe; titled on a label once affixed to the verso of what is presumably the original matboard support (now stored within a protective sleeve on the frame’s backing board); this same early artist’s label includes “No. 322” below the title Image: 24” H x 18” W; Sheet: 25.5” H x 19.5” W $150,000-250,000 Provenance: The artist Private collection, acquired from the above, November 6, 1961 Exhibited: Omaha, NE, Joslyn Art Museum, “From Private Collections,” 1962 Notes: The work is listed on the University of South Dakota’s Oscar Howe database.

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1043

Oscar Howe

(1915-1983, Yanktonai Dakota) “The Trapper” Watercolor and ink on paper Signed in pencil lower right: O. Howe; titled on a handwritten note in ink, in another hand, secured to the frame’s backing paper Sight: 11.5” H x 15.25” W $800-1,200 Provenance: Sold: Jim Aplan Auction Daniel Jarger, from the above, circa 1986 Notes: Proceeds to benefit the charitable work of the Western South Dakota Catholic Foundation.

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1044

Michael Horse

(b. 1951, Yaqui, Mescalero Apache, Zuni) Warrior on horseback Watercolor and ink on leger paper Signed and with the artist’s device in ink, lower right: Michael Horse Sheet: 9.625” H x 15.25” W $300-500

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1045

Jim Nelson

(1943-2022) “Top of the Order” Offset lithograph in colors on paper Edition: 1/20 Signed and numbered in blue pencil, and with the printed signature and copyright in the image, all lower left: J. Nelson; titled on a paperboard plaque affixed to the lower portion of the overmat Sight: 20.25” H x 41.5” W $400-600 Provenance: The Schultheis Estate, WA

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1046

Mitch Battese

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1047

Carole LaRoche

(b. 1939) “Blue Horses,” 1995 Pastel on paper Signed and dated lower right: LaRoche 95; titled on a tag taped to the frame’s backing paper Sight: 26” H x 38.5” W $500-700

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1048

Karen Ahlgren

(Active 21st century) Untitled, geometric outfit with tiger Watercolor on paper Signed upper left: © Karen Ahlgren Image/Sheet: 22.5” H x 30.5” W $300-500

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1049

A monumental Apache pictorial basketry olla

Late 19th century; Southwest United States A large coiled olla form storage basket depicting figures with raised hands, horses, dogs, deer with antlers and other small animals and stacked diamond columns and bands of crosses and zigzag motifs, likely worked in ‘Devil’s Claw’ and willow 24.5” H x 21” Dia. $2,000-4,000 Provenance: Triton Museum of Art, Santa Clara, CA

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1050

An Apache pictorial basket

Early 20th century; Southwest United States A coiled bowl with multiple deer or antelope motifs to sides, and interlocking zigzag banding, with checkered band to base 5.25” H x 11.25” Dia. $300-500

1052

A polychrome Yokuts basketry bowl

Mid-20th century; Central California A coiled low bowl with four swirled stepped ‘whirlwind’ motifs 3” H x 7.125” Dia. $300-500 Provenance: Private collection, San Clemente, CA By family descent

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1051

A Western Mono basketry bowl

Early 20th century; Central California A large tapered coiled bowl of bracken fern, saw grass, and willow, with two rows of triangular banding and three columns of stacked diamonds 6.5” H x 13.5” Dia. $1,000-2,000 Provenance: Triton Museum of Art, Santa Clara, CA

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Kathryn Woodman Lei (1875-1952)

In her day, Kathryn Woodman Leighton was con time when the subject was reserved for males.”

Born in Plainfield, New Hampshire in 1875, Leig school in Boston. She married attorney Edward California turned into a permanent relocation. D pursuits and practical home life. Her canvases f and coastal seascapes of Laguna and Morro Ba

A fortuitous meeting in 1924 with Charles Mario change to her popularity as a painter. Russell en the Leightons were invited to stay at Russell’s su landscapes on the curtain dividers between the Leighton became enamored of the glorious lan

Leighton was commissioned by the Great Nort portraits of various Blackfeet elders as part of th augment a national touring lecture series on the the Indian as I see him, the beauty of color, the

At age fifty, Leighton had achieved widespread Chicago, and Boston as well as in Paris and Lon in over 700 works. Her numerous portraits inclu Osage, and more, as well as local Native Ameri Eyes Cody, Florence Collins Porter, and numero

Leighton died in 1952, and her Native America desire to retain and share important cultural de

ighton

onsidered one of the world’s most notable painters of American Indian portraits, “at a ”

ghton was educated locally and taught school for three years before studying at art d L. Leighton in 1900, and they moved west in 1910 when a planned vacation to Dedicated support from Edward enabled her to successfully mix serious artistic featured portraits as well as local landscapes, especially California desert wildflowers ay.

on Russell at a party in Los Angeles led to an important shift in subject matter and a ncouraged Leighton to visit the newly formed Glacier National Park in Montana, and ummer home on Lake McDonald in 1925, where she reportedly painted two e guest beds in the lodge. As a regular visitor to the park for the next few years, ndscape and of the Blackfeet Nation people she met on her many trips to Montana.

thern Railway to paint grand landscapes of the majestic peaks and lakes, as well as he promotion of the park. The Railway bought over twenty of Leighton’s works to he history of the Blackfeet. Leighton felt: “I am trying to put on canvas...the nobility of e dignity of tradition, and the fundamental beliefs of our first American people...”

d success with these portraits. They were included in major exhibitions in Los Angeles, ndon and received critical praise. Over the years, Leighton’s versatility was expressed uded Blackfeet, Sioux, Cherokee, Shoshone, Yakima, Arapaho, Navajo, Hopi, Pawnee, rican actors from Hollywood, notable figures of the time including Pawnee Bill, Iron ous studies of family members and friends.

an portraits continue to be a legacy of a well-intentioned admiration and respectful etails and perspectives of the First Nation people she was privileged to meet.

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1053

Kathryn Woodman Leighton

(1875-1952) “Chief Santiago, President of Santa Clara” (New Mexico) Oil on canvas Signed lower right: Kathryn W. Leighton; titled on the stretcher bar 30” H x 25” W $4,000-6,000 Provenance: Private estate, California

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1054

Kathryn Woodman Leighton

(1875-1952) “Weaving in Her Hogan” Oil on canvas Signed lower right: Kathryn W. Leighton; titled and inscribed on brown paper affixed to the stretcher: “Navajo Indian Rug Weaver / Gallup, New Mexico” 44” H x 36” W $18,000-22,000

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1055

Anna Katharine Skeele

(1896-1963) “In an Indian Village near Santa Fe, New Mexico” Oil on canvasboard Signed lower right: AK Skeele; titled on a typewritten label affixed to the frame’s backing paper 13” H x 15.5” W $700-1,000

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John Mulvany (1844-1906)

Born in County Meath, Ireland and raised in the narrative painters working in post-Civil War Am Munich, absorbing the disciplined draftsmansh combination of American subject matter and Eu

Mulvany first gained national attention through and engraved. His association with photograph shaped by Mathew Brady, reinforced his comm interpreters of American life, Mulvany sought to and identifiable participants.

By the 1870s, Mulvany turned increasingly to su important position in the evolution of Western imagery of Frederic Remington. Where Reming Western themes through the lens of academic moral tension as much as action.

Throughout his career, Mulvany remained comm landscape or portraiture. His works were exhibi walls. Today, his paintings stand as significant d justice, and the complex social realities of Reco

e United States from childhood, John Mulvany emerged as one of the most ambitious merica. He studied at the National Academy of Design and later refined his training in hip and tonal realism associated with the German academic tradition. This European technical rigor would define his career.

h his Civil War paintings, including large-scale battle scenes that were widely exhibited hic documentation of the war, particularly through exposure to the visual culture mitment to historical specificity and observational accuracy. Unlike purely romantic o anchor his compositions in lived experience, often working from firsthand accounts

ubjects drawn from the expanding American frontier. These works occupy an painting, preceding, and in some respects anticipating, the more widely celebrated gton would later emphasize movement and mythic atmosphere, Mulvany approached history painting: carefully constructed, densely populated compositions that explore

mitted to ambitious figure painting at a time when American taste often favored ited in major venues and reproduced in print, expanding their reach beyond gallery documents of nineteenth-century American life, bridging Civil War memory, frontier onstruction-era America.

1056

John Mulvany

(1844-1906) “Preliminary Trial of a Horse Thief, Scene in a Western Justice’s Court,” 1875 Oil on canvas laid to canvas Signed lower right: Jno Mulvany; titled on the frame plaque 48” H x 72” W $20,000-30,000 Provenance: New England barn, 1939 Private estate, California, acquired 1989 Exhibited: New York, NY, Lotos Club, “Place of Honor,” January-February 1876 New York, NY, National Academy of Design, 1876, no. 351 Chicago, IL, Chicago Academy of Design, 1876, no. 55 Philadelphia, PA, Centennial Exposition, 1876 Literature: M. Naylor, National Academy of Design, New York, NY, “Exhibition Record 1861-1900,” price: $5250 Anne Weber-Scobie, “The life and work of Irish-American artist John Mulvany (18391906)” (Binghamton, New York, 1993) Chapter 4a Notes: This painting was reproduced as a chromolithograph circa 1877 by Clay, Cosack & Co., Buffalo, NY and Chicago, IL.

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Notes (continued):

Painted over a period of three years and exhibited to acclaim at exhibitions in New York, Chicago and Philadelphia in 1876, “Preliminary Trial of a Horse Thief, Scene in a Western Justice’s Court” is among Mulvany’s most ambitious and psychologically charged compositions, and his first major work. Drawn from an actual 1873 trial in Eldon, Iowa (erroneously identified as Kansas), the painting transforms a local courtroom proceeding into a broader meditation on law, violence, and the fragility of due process in the post-Civil War West. The artist published an explanatory pamphlet that accompanied sales of prints of his paintings that identified many of the figures in the composition, but research shows that in fact, Mulvany was predominantly using neighbors, relatives and patrons as models, many of whom were immigrants like him from County Meath. Historic records do show, however, that Mulvany attended the trial and made on-site preparatory sketches. Mulvany was in Eldon to visit his brother Thomas who ran a saloon on “Whiskey Row” located near the Rock Island railway tracks. While he was there, he heard about the trial taking place on a neighboring block and decided to attend to explore the trial’s potential subject matter. Mulvany mentioned the trial in a letter to a patron, Samuel Coale of St. Louis, “[he] states he is working on sketches, has plenty of models and is working on several pieces while in Eldon.” (Anne Weber, Chapter 4a) At the compositional center stands Joe Hickman, known as “Guerrilla Joe,” the accused horse thief whose notoriety stemmed not only from theft but from alleged participation in guerrilla warfare and house burnings along the Kansas-Missouri border during the Civil War. Mulvany presents him as a stark frontier type: tall, raw-boned, slovenly in dress, and coarse in feature. Yet the figure is rendered with psychological complexity rather than caricature. Hickman’s expression, poised mid-testimony, suggests a man suspended between defiance and inevitability. The model used for the horse thief has not been identified. The pamphlet and a later gallery key identify the numerous participants: Jimmy Hickman, the prisoner’s son; Frank Kimball, sheriff; Anson Klein, prosecuting attorney; Sandy Wilkins, defense counsel; C.H. Eastman, Justice of the Peace; Colonel Edward Mason, clerk of the court; and a cross-section of townspeople, miners, hunters, and self-appointed vigilantes. While Mulvany painted from models, the specificity of these named figures, while not visually recorded, underscores Mulvany’s journalistic impulse and his commitment to capturing a real social drama. The compositional tension hinges on a powerful spatial contrast. Inside the justice’s court, officers of the law lean forward attentively, absorbed in the prisoner’s statement and ostensibly bound by procedure. Beyond them, visible at the periphery, a waiting mob betrays chilling indifference to legal nuance. Their posture suggests that the outcome is foregone; they await only the conclusion of testimony before carrying out extrajudicial punishment. In this stark division between interior deliberation and exterior impatience, Mulvany captures the uneasy coexistence of institutional authority and vigilantism on the American frontier. The painting’s importance was quickly recognized. Though critical reviews of the New York National Academy of Design show were mixed, Mulvany received praise and cemented his reputation. An early chromolithograph after the composition, now preserved in the collections of the Smithsonian Institution and The Great Irish Hunger Museum in Quinnipiac, Connecticut, circulated the image to a broader public, affirming its cultural resonance. The present canvas is the original and primary version of that widely disseminated scene. Executed during the nation’s Reconstruction years, “Preliminary Trial of a Horse Thief” stands as both historical document and moral allegory. Grand in ambition and meticulous in characterization, it exemplifies Mulvany’s dedication to figure painting as the highest vehicle for narrative art. It demonstrates the artist’s ability to elevate a moment of frontier justice into a timeless examination of law, order, and the human condition. This painting was illustrated in an extensive number of periodicals and newspapers in the late 19th Century. A separate literature listing is available for review by request. Research documentation relating to the artist and this painting accompany the lot.

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1057

John Mulvany

(1844-1906) Portrait of two Plains Indian figures, 1881 Oil on canvas Signed and dated lower right: Jno / Mulvany / 1881 30” H x 25.25” W $1,000-2,000 Provenance: Private estate, California Notes: In this intimate portrait set against the open prairie, Mulvany juxtaposes generational continuity with cultural transition. A seated elder, dressed in traditional Plains regalia, anchors the composition, while a young girl stands beside him, her hand resting gently on his shoulder. The formal, pyramidal arrangement reflects Mulvany’s academic training at the National Academy of Design and lends the scene the gravity of history painting rather than anecdotal genre. The elder’s attire of a feathered ornament, fur-wrapped headpiece with medallion, long braids, and fringed buckskin, suggests a Plains tribal identity, likely Lakota or Cheyenne. The conical tipi with extended smoke flaps reinforces a Northern Plains setting. He appears rooted in inherited tradition and visually aligned with pre-reservation Indigenous life. In contrast, the young girl embodies visible signs of cultural transition. Her red trade-cloth dress reflects the growing circulation of commercially produced textiles, while the straw hat adorned with flowers that she holds, distinctly Euro-American in style, signals the increasing presence of Western material culture. The generational pairing becomes quietly symbolic: the elder grounded in ancestral continuity while the child is poised within a world already reshaped by outside influence. Such tension mirrors the profound transformations Plains tribes experienced between the 1860s and 1900. Military conflict and the eventual confinement of tribes to reservations following campaigns such as the Great Sioux War (1876-77) fundamentally altered patterns of movement and governance. The near extermination of the buffalo in the 1870s dismantled the economic and spiritual foundation of Plains society, forcing dependence on federal provisions. Federal assimilation policies, culminating in the Dawes Act of 1887, further fractured communal landholding and encouraged the adoption of EuroAmerican customs, accelerating cultural disruption across generations. Within this historical context, Mulvany’s painting reads as more than an ethnographic study. It becomes a meditation on endurance amid upheaval: tradition and adaptation coexisting within a single family unit. Unlike the dynamic frontier imagery later popularized by Frederic Remington, Mulvany’s treatment is restrained and psychological. The drama lies not in action, but in the quiet negotiation between heritage and change, captured in the stillness of two figures set against the vast Plains.

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1058

John Mulvany

(1844-1906) Native warriors chasing a rider along a coastal path, 1888 Oil on canvas Signed and dated lower right: Jno Mulvany / 1888 36” H x 29” W $800-1,200 Provenance: Sold: Aspire Auctions, Cleveland, OH, September 1-9, 2017, Lot 27 Private estate, California

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1059

John Mulvany

(1844-1906) Portrait of a gentleman, 1878 Oil on canvas Signed and dated lower left: Jno / Mulvany / 78 30” H x 25” W $800-1,200 Provenance: Private estate, California Notes: While the identity of the present work is unknown, Mulvany regularly painted individual portraits of prominent frontiersmen including Mormon elders.

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1060

Saul Tepper

(1899-1987) “His Strength Made Us Strong” Gouache, pastel, and pencil on paper laid to artist’s board Signed lower right: Tepper; titled and with text within the composition: “His Strength / Made Us Strong / The things that will destroy America are prosperity / at-any-price, and safety-first instead of duty-first. / - Theodore Roosevelt”; a “return to” label with an address for “Mr. Louis Tepper” is affixed verso. Image/Sheet: 22.125” H x 17.75” W $2,000-3,000 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1061

Saul Tepper

(1899-1987) “The Minute Man” Gouache, pastel, and pencil on paper laid to artist’s board Signed lower right: Tepper; titled and with text within the composition: “The Minute Man / is still the man of the hour / to preserve our precious heritage.../ each of us must always be ready / to act at a minute’s notice.” Image/Sheet: 22.125” H x 17.75” W $2,000-3,000 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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Alfred Jacob Miller (1810-1874)

Alfred Jacob Miller is widely recognized as one of from firsthand experience. His work emerged from Sir William Drummond Stewart, during which Mille studies later became the foundation for the studio trade era and the diverse individuals who participa

The watercolor “The Lost Greenhorn” illustrates A The composition depicts the humorous yet caution prairie. Alone on horseback and uncertain of his di the immense western landscape.

Miller later recorded the episode from his firsthand

“On reaching the Buffalo District, one of our young what he would do in hunting Buffalo if permitted. T nation in his stupid conceit and wrong-headed obs John and he started off early alone. The day passe evening without having met him. The next morning brought in the wanderer - crestfallen and nearly sta carrying out that ugly maxim of Rochefoucault’s ‘Th

Miller frequently incorporated such episodes into h entertain eastern audiences fascinated by life on th

the earliest artists to visually document the culture and landscapes of the American West m the pivotal 1837 “Rocky Mountain Rendezvous” he undertook with the Scottish nobleman er sketched the people, wildlife, and dramatic scenery of the American West. These field o paintings and watercolors that established Miller’s reputation as a key chronicler of the fur ated in it.

Alfred Jacob Miller’s ability to translate anecdotal frontier stories into vivid narrative imagery. nary tale of a recklessly brash camp cook who becomes lost while traveling across the open irection, the hapless rider embodies both the vulnerability and folly of a novice confronting

d experience during the expedition, writing:

g men began to be ambitious, and although it was his first journey, boasted continually of This was John (our cook), he was an Englishman and did no discredit to that illustrious stinacy. Our Captain, when any one boasted, put them to the test, so a day was given to ed over, night came, - but so did not John. Another day rolled over, the hunters returning at g men were dispatched in different quarters, and at about two o’clock, one of the parties arved; - he was met by a storm of ridicule and roasted on every side by the Trappers. Thus here is always something in the misfortune of our friends not disagreeable to us.’”

his work, drawing upon the stories and mishaps of trappers and expedition members to he frontier.

1062

Alfred Jacob Miller

(1810-1874) “The Lost Greenhorn” Watercolor, gouache, and pencil on cream wove paper Bears initials in ink lower right: A.J.M. Image/Sheet: 9.875” H x 13” W $40,000-60,000 Notes: This watercolor is likely among the earliest known versions of the composition, which Miller revisited repeatedly over his career. Additionally, it may have served as a preliminary study for the closely related 1851 oil painting now in the collection of the American Museum of Western Art (Anschutz Collection, formerly Jack Warner/ Gulf States Paper Corp.). The enduring appeal of the scene prompted Miller to create several additional versions in both watercolor and oil, each reflecting subtle variations in composition and scale. In the present watercolor, Miller positions the horse and rider prominently toward the left side of the picture plane, rendering them on a larger scale than in most later iterations. The horse’s powerful musculature and the rider’s tense posture create a sense of immediacy and drama, giving the figures an almost sculptural presence within the scene. In subsequent versions, except for the 1851 oil now in the collection of the American Museum of Western Art, Miller reduces the scale of the horse and rider, allowing the surrounding landscape to dominate and emphasizing the isolation and vulnerability of the lost traveler within the vast western wilderness. These variations, across the preliminary watercolor, the 1851 oil, and later iterations, suggest the artist’s reflection on his memory of the 1837 expedition, revealing an evolution in his approach and subtle stylistic shifts in his act of recollection. The differences among these versions indicate that Miller continually revisited and reinterpreted the subject, likely working from memory as he recreated scenes inspired by his experiences in the Rocky Mountains. The present watercolor and its closely related 1851 oil appear to represent an early stage in the composition development, in which the narrative drama of the misplaced rider remains central. Later treatments shift toward a broader evocation of the western landscape itself, underscoring the daunting scale and solitude of the frontier. As such, “The Lost Greenhorn” not only illustrates Miller’s engaging storytelling but also offers valuable insight into the development of one of his most enduring frontier narratives. Combining lively anecdote with keen observation, the work captures the humor, unpredictability, and vastness of life in the nineteenth-century American West, qualities that have secured Miller’s lasting place among the most important visual interpreters of the region.

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1063

John Anthony Conner

(1892-1971) “Headin’ for the Hitchin’ Rail” Oil on canvas laid to waxed canvas Signed lower right: John Anthony Conner; titled in ink, in another hand, on a piece of paper affixed to the frame’s backing board 24” H x 30” W $1,000-1,500

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Edward Borein (1872-1945)

Born in 1872 in San Leandro, California, Edward Bo the cowboy came naturally to Borein, who by age began to sketch. Aged 18 and bored of school, Bo state, all the while capturing the life of the ranchers

After returning to northern California for a month-l classmates Maynord Dixon and James Swinnerton at the Rancho Jesus Maria, and there began to sen labor of Rancho Jesus Maria, Borein’s life became t Spanish, and journeyed from ranchero to ranchero

Making his way north and back to the United State he feverishly documented the life of the people an published. By 1902, he was a successful illustrator enhance his illustration skills, Borein went to New Y under Child Hassam. While early in his career, Bore he perfected his etching technique, this medium a

In New York, Borein brought the West to Manhatta entertaining Western luminaries such as Buffalo Bil Oscar Borg. Around this time Borein also befriende the West.

Longing for the Western life he left behind, Borein began producing etchings and paintings of the co would be home to Borein for the rest of his life. He notable artists and creatives like Leo Carrillo, Walt most authentic artists of the American West.

orein grew up in the final decades of the Old West into a family of ranchers. The work of twelve was driving cattle. While working with the cattle and horses on the ranch, Borein orein left to travel up and down California, working as a cowboy on ranches throughout the s in drawings.

long stint at the Art School of the San Francisco Art Association, Borein was encouraged by n to pursue art as a career. Borein did not last long in formal art school and left to find work nd sketches out to magazine publishers. After leaving the harsh conditions and grueling the epitome of the greatest legends of the Old West. Borein set out for Mexico, learned o through central Mexico.

es, Borein spent time among Native American peoples of the American Southwest where nd communities he visited, continuously sending off drawings and illustrations to be in San Francisco for publications including the San Francisco Call. In 1907, in order to York to learn etching techniques and enrolled at the Art Students’ League, where he studied ein worked primarily in watercolor, ink and graphite, while periodically also in oil, but once and watercolor were his main focus.

an, adorning his studio with artifacts and trappings from California and Mexico and ll Cody, Will Rogers, and Western artists including Maynard Dixon, Olaf Seltzer, and Carl ed then-president Theodore Roosevelt, another figure who found meaning and purpose in

n returned to California in 1921. He set up his own studio in Santa Barbara, California, and olorful characters he lived and worked with. Already a thriving artistic center, Santa Barbara e immersed himself in the city, helping to establish the Fiesta Parade and holding court with Disney, and friend Will Rogers. Borein died in Santa Barbara in 1945, hailed as one of the

1064

Edward Borein

(1872-1945) Stagecoach Watercolor on sturdy paper Signed lower right: Edward Borein Sheet: 7.625” H x 10.125” W $6,000-8,000 Provenance: The artist Private collection, likely acquired from the above By family descent Sold: Bonhams, San Francisco, CA, “California & Western Paintings & Sculpture,” November 23, 2015, Lot 100

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1065

Edward Borein

(1872-1945) “End of the Race,” circa 1915 Etching and drypoint on laid paper From the edition of unknown size and date Signed in pencil in the lower margin, at right: Edward Borein Plate: 7.375” H x 11.875” W; Sheet: 9.25” H x 13.25” W $1,000-1,500 Provenance: Harold G. Davidson, noted Edward Borein dealer, Santa Barbara, CA Literature: Galvin 131 Notes: This lot is accompanied by a sales invoice dated March 4, 1990, and a letter of authenticity, from the dealer mentioned above.

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1066

Edward Borein

(1872-1945) “Ranahans” Etching and drypoint on paper From the edition of unknown size and date Signed in pencil in the lower margin, at right: Edward Borein Plate: 8.75” H x 12.5” W; Sight: 9.25” H x 12.875” W $800-1,200 Literature: Galvin 32

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1067

Edward Borein

(1872-1945) Roper Ink on paper Appears unsigned Sight: 7” H x 4.5” W $400-600 Provenance: Private estate, California

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1068

After Edward Borein

1872-1945 ‘’Edward Borein: Etchings: A Portfolio of Eleven Etchings by Edward Borein Hand-pulled from the original Plates by Master Printer Patrick Merrill’’ The complete set of eleven etchings and drypoints printed in brown on creme Arches paper Edition: 9/25 One work signed in the plate: Edward Borein; the ten others each unsigned; numbered in ink on the colophon page; Patrick Merrill, prntr.; Rancho Deluxe Editions, Santa Ynez, CA, pub.; each sheet is loose, as issued, with the original titled paper wrappers; together with the cover page, forward signed in ink by John Reynolds, colophon page, and plate list all housed within the original brown linen-covered portfolio-box. Sheet of each: 18.5’’ H x 13’’ W; the last sheet: 13.5.” H x 11.75” W tipped to another sheet 18.5” H x 13” W $1,000-1,500 Literature: See Galvin: 55, 61, 69, 74, 305, 166, 111, 187, 233, 200, 256, and 59 Notes: Comprising: ‘’Cinch Binder,’’ ‘’Bronc Breaker,” ‘’Scratchin’ High,’’ ‘’Bronco,’’ together on the same page with ‘’Going to the High Country,’’ ‘’Blackfoot Chiefs, Montana,’’ ‘’Cutting Back the Strays,’’ ‘’Hopi Boys,’’ ‘’The Wooden bridge at Taos,” ‘’The Edge of the Rim Rocks,’’ ‘’Mission San Antonio de Padua,’’ and ‘’A Bad Hoss’’ A pamphlet accompanies this lot.

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1069

James A. Fetherolf

(1925-1994) Monument Valley Oil on canvas Signed lower right: Fetherolf 15” H x 30.125” W $1,500-2,500 Provenance: Private estate, California

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1070

Joseph Fleck

(1892-1977) New Mexican landscape Oil on canvas laid to Masonite Signed lower left: J. Fleck 18” H x 36” W $1,500-2,500 Provenance: Private estate, California

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1071

Dain L. Tasker (1872-1964) Two works:

“Painted Cañon,” 1926 Photograph on paper mounted to paperboard From the edition of unknown size Signed, titled, and dated in pencil on the paperboard mount, just below the photo: Dr. Dain L. Tasker ‘26 Image/Sheet: 11.625” x 9.625”; Mount: 18.125” H x 14.125” W “Yellowstone Falls,” 1928 From the edition of unknown size Photograph on paper mounted to paperboard Signed, titled, and dated in pencil on the paperboard mount, just below the photo: Dr. Dain L. Tasker 1928 Image/Sheet: 7.375” H x 9.375” W; Mount: 18.125” H x 14.125” W $400-600

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Lillian Palmer (1871-1961)

Working in San Francisco, then a national ce artisans including August Tiesselinck and Da workshops underscores the interconnected a

As a woman leading a successful metal stud 1909 to 1917 mark the height of her artistic and a sophisticated use of light and material

enter for handcrafted metalwork, Palmer directed a studio employing skilled arcy Gaw, both later associated with Dirk Van Erp. Their movement between and competitive character of the Bay Area metalworking community.

dio in a male-dominated field, Palmer’s achievements were notable. The years synthesis, combining firsthand Japanese influence, California craftsmanship, l.

1072

Lillian Palmer (1871-1961) A table lamp with copper base and mica shade with kimono stencils

Likely executed 1909-1917; San Francisco Unmarked The trumpet base set with glass cabochons and mounted as a two-light lamp with Leviton fixtures, surmounted by a copper and mica shade designed by Lillian Palmer with a thin layer of Japanese screen printing stencils sandwiched between the layers of mica, electrified Overall: 16.5” H x 15” Dia. $2,000-4,000 Notes: This refined table lamp reflects Lillian Palmer’s important role in the California Arts and Crafts movement. The copper base has been sensitively repurposed into a sculptural lighting form while retaining its original patina and elegant proportions. Above, a conical mica shade encases Japanese kimono stencils between translucent panels. When illuminated, it casts a warm amber glow, and the textile motifs appear in soft silhouettes. The lamp was likely created between Palmer’s return from Japan in 1909 and the closing of her San Francisco shop in 1917, the most productive phase of her career. Her travels to Japan informed her understanding of traditional metalwork and design, and she frequently incorporated authentic bronzes and textiles into her studio production.

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1073

A Gustav Stickley hexagonal library table, no. 625

1907-1912 Numbered to partial applied Craftsman Workshops label Quarter sawn oak, the base joined by an overlapping stretcher with keyed mortise and tenon construction 29.75” H x 54.75” W x 47” D $2,000-3,000 Provenance: The Collection of Gary Diamond, Los Angeles, CA Literature: Stephen Gray, “Collected Works of Gustav Stickley” (New York, NY: Turn of the Century Editions, 1981), p. 135

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1074

A Gustav Stickley oak library table, no. 401

Circa 1902 Unmarked The table raised on trestle supports, joined by a plank stretcher with keyed tenon joinery 28.75” H x 48.25” W x 28” D $1,000-1,500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Literature: Stephen Gray, “The Early Work of Gustav Stickley” (Philmont, NY: Turn of the Century Editions, 1996), p. 89

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1075

A Gustav Stickley oak library table

1905-1912; Fayetteville, NY With partial Craftsman Workshops label and faint red stamped joiner’s compass shop mark to drawer interior With a single drawer to one side, with a plank stretcher 30.5” H x 66” W x 43” D $800-1,200 Provenance: The Collection of Gary Diamond, Los Angeles, CA Literature: Stephen Gray “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p.

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1076

A Gustav Stickley oak library table, no. 652

1905-1912 Underside applied with remnants of original wood bearing red joiner’s Craftsman Workshops mark The single-drawer table with plank H-stretcher 29” H x 36.25” W x 24” D $800-1,200 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1077

A Gustav Stickley oak ‘Morris’ armchair, no. 332

1905-1912 With Craftsman Workshops applied label and joiner’s compass burn mark The flat-arm chair with ladder back and slatted armrest supports, the seatback and seat cushions later upholstered in purple mohair 39.5” H x 28.75” W x 33” D $1,500-2,000 Literature: Stephen Gray, “Collected Works of Gustav Stickley” (New York, NY: Turn of the Century Editions, 1981), p. 62

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1078

A set of ten Gustav Stickley oak dining chairs, nos. 350 & 366

1905-1916 Each side chair with black Craftsman Workshops joiner’s compass burn mark: Stickley; each armchair with faded red Craftsman Workshops joiner’s compass mark Comprising eight side chairs, no. 350, the seats reupholstered in mohair fabric, and two armchairs with leather seat, no. 366 10 pieces Each armchair: 39” H x 26.375” W x 25” D; Each side chair: 39.5” H x 17.5” W x 20.25” D $1,000-2,000 Literature: Side chairs 350: Stephen Gray, “Gustav Stickley after 1909” (New York, NY: Turn of the Century Editions, 1995), p. 36 Armchairs 366: Stephen Gray, “Collected Works of Gustav Stickley” (New York, NY: Turn of the Century Editions, 1981), p. 122 Stephen Gray, “Gustav Stickley after 1909” (New York, NY: Turn of the Century Editions, 1995), p. 24 Notes: This lot is accompanied by four partial paper Craftsman Workshop labels, which were removed from the undersides of the armchair seats as well as two of the side chairs during the time of reupholstering.

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1079

A group of five Gustav Stickley V back side chairs, no. 1305 Circa 1902 Each stamped with red joiner’s compass mark Each with five-slat back above later red leather-wrapped seat 5 pieces Each: 36” H x 19” W x 20” D $1,000-1,500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Literature: Stephen Gray, “The Early Work of Gustav Stickley” (New York, NY: Turn of the Century Editions, 1996), p. 89

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1080

An American oak hossier style cabinet

20th century Carved with stylized Roycroft orb to one side With upper cabinet and shelf above a single drawer and lower cabinet and opening 71.5” H x 42” W x 17.75” D $600-800 Provenance: Private estate, California

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1081

A Juan Lara Western saddle with accessories

Late 20th/21st century; Santa Barbara, CA Embossed to seat back and to front swell tab: Juan Lara / Santa Barbara / 2772 The smooth brown leather saddle with contrast stitching and braided leather lace accents, silver conchos with laces, skirt, fenders and multiple straps and rings, the stirrups and cantle trimmed with rawhide and the seat with sheepskin padding, seat size 16, together with a woven horsehair girth with decorative tassel, a pair of saddlebags, a wide martingale strap, a striped twill weave saddle blanket, a lariat, and two Faulks wooden duck calls, as well as a wooden saddle stand 8 pieces Seat: 16”; Swell width: 14”; Gullet width: 4”; Stand: 40.25” H x 16” - 21.25” W x 24” D $500-700

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1082

A Contemporary horn and wood side table

Mid/late 20th century Constructed from stacked bovine horns, with a hexagonal wood top and undertier 30.375” H x 28” Dia. $500-700

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1083

Two pairs of Western style leather chaps

20th century Comprising a small pair of brown suede hide chaps, with a small centered buckle, silver metal concho ornaments and fringe details including a flap pocket, with stitched applied fabric legs to the reverse (each leg: 34” H x 14” W approximately; fabric leg width: 10”), as well as a pair of light tan sueded hide tapered leg chaps with contrast topstitching, fixed waistband, and shaped yoke and cuffs, with applied fabric legs to reverse, each with full length zipper closure (each leg: 40” H x 9.75” W at ankle approximately; fabric leg width: 11.5” top - 6” ankle) 2 pieces $400-600

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1084

Siri Hollander

(b. 1959, American) “Cosquilla” Patinated bronze Edition: 1/25 Signed, numbered, and titled in the casting: SIRI; with indistinct foundry impression 17.5” H x 19.25” W x 14.75” D $300-500

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1085

Velmalee “Vel” Carol Miler

(1936-2025, American) “Wrangler,” 2005 Cold-painted bronze on rotating wood plinth Edition: 6/30 Signed, dated, titled, and numbered in the casting: By Vel Miller / © Overall: 16.875” H x 21.5” W x 11.5” D $700-900

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1086

A Greater Kudu skull and horn taxidermy mount 20th century The skull of tragelaphus strepsiceros 51.5” H x 36.25” W x 10.75” D $200-400

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1087

John James Audubon

(1785-1851) “The Quadrupeds of North America,” 1870-1871 Hardcover royal octavo in three volumes Audubon, John James and John Bachman. “The Quadrupeds of North America.” New York: George R. Lockwood, n.d. Fourth Edition Illustrated with 155 hand-colored lithographic plates using the original lithography stones from the 1850s first folio edition, each with tissue guard, each volume bound in full brown morocco with blind-stamped spines, gilt page edges, and marbled endpapers 3 pieces Each: 10.875” H x 7.875” W; Overall: 5.5” D $2,000-3,000 Notes: The folio edition containing 150 plates was published between 1845-48. A supplementary volume with only 6 plates came in 1854. These were hastily followed by the octavo in 31 parts (1849-51-54), “A miniature copy of the large edition” as the Audubon’s described it. The bound octavo edition has the same dates and contains 155 plates, being all those from the original folio, plus 5 of the 6 from the supplement. This edition, circa 1870, is published by Lockwood who took possession of the lithographic stones after Audubon’s bankruptcy. The quality of the plates were not diminished in these later printings. “In the 1830s, Audubon began to gather material for his Viviparous Quadrupeds meant to complete his record of animal life in North America. The contributors to the project included John Bachman, a naturalist and Lutheran minister, who wrote all of the descriptions and acted as scientific editor for the work, and Audubon’s two sons, John Woodhouse and Victor. With his sons, Audubon collected and drew specimens in the Eastern woodlands, Missouri, and the Rock Mountains, as well as in coastal regions of Florida and the East coast. Although Audubon’s health and eyesight began to fail, he managed to complete 77 drawings before illness kept him from his work.Together, the three men, along with Bachman, produced an unequaled record of American wildlife. Like the Birds of America, the Quadrupeds are wonderfully animated, superbly rendered, and beautifully printed.” Sabin 2368; Nissen 163; McGill/Wood 208; Bennett 5; Phillips Sporting 27; Meisel II 468.

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1088

Harvey Wallace Caylor

(1867-1932) Trompe l’oeil of a bird dangling from a wooden board, 1896 Oil on canvas Signed and dated lower right: H.W. Caylor / 1896 27.875” H x 19” W $2,000-3,000 Provenance: Private estate, California

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1089

Thomas Quinn

(b. 1938) California Quail, 1977 Watercolor and gouache on paperboard Signed and dated lower left: Thomas Quinn / 1977 Sight: 13” H x 22” W $1,500-2,500

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1090

Joseph Henry Sharp

(1859-1953) “Stag at Bay,” 1891 Oil on canvas Signed and dated lower left: J.H. Sharp. 91; indistinctly inscribed with the artist’s name on the upper stretcher, possibly in another hand; titled on the lower stretcher 24” H x 36” W $3,000-5,000 Provenance: Private estate, California Notes: Taos Society of Artists founding member Joseph Henry Sharp extensively trained in Europe, particularly in Munich, and his early style reflected the influence of the Munich School, which emphasized strong drawing, rich color, and dramatic lighting. After attending the McMicken School in Cincinnati where he studied art, and then the Cincinnati Academy of Art, Sharp first went to Europe at age 22 in 1881 where he studied under Charles Verlat in Antwerp, Belgium. Five years later he returned to Europe, this time enrolling at the Academy in Munich. Sharp applied the techniques learned in Europe to carefully observed portraits, wildlife and landscapes, using detailed brushwork and naturalistic color to capture accurate likenesses and atmosphere. “Stag at Bay” is a copy of a Sir Edwin Landseer (1802-1873) painting of the same name, painted in 1846 and then published as an engraving in 1848. Painted in 1891, the present work reflects in color palette, brushwork and subject, the artist’s Northern European education and influences and his direct replication of Landseer’s wildlife masterwork.

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1092

Hernando Gonzallo Villa

1091

Judith Barnett

(20th Century) “Sparrow Hawks (Kestrel),” 1980 Oil on canvas Signed and dated lower left: © J. Barnett 1980; signed © Judith A. Barnett and dated again, and titled, all verso 24” H x 20” W $300-500 Provenance: Private estate, California

(1881-1952) Wagon train, 1925 Oil on canvas Signed and dated lower right: © H 27” H x 45” W $3,000-5,000 Provenance: John A. Williams, Westmoreland,

Exhibited: Westmoreland, CA, “Hernando G

Notes: Hernando Gonzallo Villa was an A studied at the Los Angeles Schoo iconic illustrations, most notably “ and cultures of the Southwest, he

Beyond his commercial success, V often depicted vaqueros, Native A illustrations and paintings, Villa pr

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Hernando G. Villa / 25

G. Villa Art Exhibit,” n.d.

American artist known for his striking depictions of the American West. Born in 1881 in Los Angeles to Mexican parents, he ol of Art and Design before furthering his education in Europe. He worked for the Santa Fe Railroad for 40 years, creating “The Chief,” which became a well-known emblem of the company. His commercial art captured the landscapes, people, elping to define the visual identity of the region.

Villa was an accomplished fine artist, working in oils and watercolors to portray the rich heritage of the West. His paintings Americans, and California’s missions, blending historical accuracy with a romanticized aesthetic. Through both his reserved the imagery of the Southwest, leaving a lasting impact on American Western art.

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1093

William Weaver Armstrong

(1862-1906) Mount Hood landscape with figure Oil on canvas Signed lower left: W.W Armstrong; inscribed in ink, in another hand, on the stretcher: “William Wallace [sic] Armstrong” 14” H x 24” W $1,000-1,500 Provenance: Private estate, California

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1094

Robert Clifford Rishell

(1917-1976) “Cold Shadows” Oil on canvas Signed lower right: Robt. C. Rishell; titled by repute 28” H x 36” W $2,000-3,000 Provenance: Sold: Bonhams & Butterfields, San Francisco, CA, August 8, 2005, Lot 72 From the Collection of Robert A. Day

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1095

Louis Leo

(20th Century) Lake in a mountain landscape Oil on panel Signed lower right: Louis Leo 18” H x 28” W $700-900 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1096

John William Hilton

(1904-1983) “Benediction” Oil on canvas Signed lower right: John W. Hilton; titled and inscribed “#53-38” in pencil on the stretcher 30.5” H x 40” W $2,000-3,000 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, “California & American Fine Art Auction,” October 20, 2015, lot 226 From the Collection of Robert A. Day

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1097

Millard Owen Sheets

(1907-1989) “Farm, Ojai Valley,” circa 1932 Watercolor on paper Signed in pencil lower right: Millard Sheets; titled and dated on a label affixed to the frame’s backing board Sight: 15.25” H x 19” W $3,000-5,000 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, October 25, 1994, Lot 91 From the Collection of Robert A. Day

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1098

An industrial scissor lift table

Early 20th century Elevated by turning the wheel at side, raised on rubber casters Lowest: 21” H x 38” W x 23.75” D $500-700

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1099

An Edward H Bohlin Hollywood sterling silver mounted headstall bridle & reins 20th century; California Stamped to bit: BohlinMade / Hollywood / Calif / Stainless Steel / Sterling Comprising a dark brown leather fancy parade bridle with ornate chased sterling silver ornamentation to brow band, buckles, and bit, with silver ferrules to the noseband and cheekpiece, and flat reins with chain extensions. Headpiece: 46” L; browband: 16” L; bit: 5.5” W; reins: 82” L $1,000-1,500

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1100

An Edward H Bohlin Hollywood sterling silver mounted headstall bridle & reins

20th century; California Stamped to bit: Bohlinmade / Hollywood / Calif; further stamped to medallions: Hollywood Saddlery Ltd. A tooled brown leather fancy parade bridle with chased sterling silver and 9K gold concho medallions and buckles, including three faceplate conchos, one monogrammed SMD, as well as chased silver ornamentation to the Bohlin bit, and with narrow braided rawhide romal ortega-style reins with multiple buttons and a narrow leather popper end, with chain extensions. Headstall: 46.5” L; browband: 16” L; bit: 6” W; reins: 90” L total $1,000-1,500

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1101

Two leather horse tack martingales including Edward H Bohlin

20th century One stamped to leather: Bohlinmade / Hollywood / Calif. Comprising two brown leather martingales each featuring chased sterling silver medallions and buckles, including an Edward H Bohlin martingale with silver ferrules, and the other martingale with a sterling silver and 9K gold medallion and tooled leather decorated elements, each with smaller strap clipped to end 2 pieces Larger: 56” L x 5.5” W; Smaller: 48” L x 4” W $500-700

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1102

An E.G. Field and California Classics leather and sterling silver headstall bridle & reins

Early 21st century Bit stamped: E.G. Field / 2007; reins stamped: California Classics / Maker / Templeton, CA A 2007 narrow leather bridle with two sterling silver and 10K gold concho-style rosettes featuring bucking broncos, as well as sterling buckles and applied chased sterling ornamentation to the ornate E.G. Field bit, with braided rawhide romal ortega-style reins with multiple woven rawhide buttons and a heavy tooled leather popper end, with chain extensions. Headstall: 40” L; browband: 14.5” L; bit: 6” W; reins: 97” L total $1,000-1,500

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1103

A California Classics & E.G. Field leather and sterling silver headstall bridle & reins

Early 21st century Bridle and reins stamped: California Classics / Maker / Templeton, CA; Bit stamped: E.G. Field / 2007 Comprising a California Classics dark brown tooled leather fancy bridle with two chased sterling silver concho rosettes and multiple sterling buckles, a 2007 E.G. Field mixed metal ‘half breed’ bit with deep striped chasing and applied sterling silver rosettes and buttons, and a set of California Classics braided rawhide romal ortega-style reins with multiple woven rawhide buttons and a heavy tooled leather popper end, with chain extensions Headstall: 38.5” L; browband: 15.5” L; bit: 6” W; reins: 98” L total $800-1,200

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1104

A California Classics tooled leather and sterling silver headstall bridle & reins

Late 20th/21st century Stamped to leather: California Classics / Maker / Templeton, CA; stamped to bit: JWP [within spur icon, for Jeremiah Watt]; reins: Jedlicka’s / Santa Barbara Comprising a Western-style tooled tan brown leather headstall bridle with sterling silver conchostyle rosettes, buckles and applied chased sterling ornamentation to the Jeremiah Watt half breed bit, with braided rawhide romal-style reins with multiple woven leather buttons and heavy tooled leather popper end, with chain extensions. Headstall: 42” L; browband: 15” L; bit: 5.75” W; reins: 94” L total $600-800

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1105

An E.G. Field sterling silver and mixed metal bit & California Classics hide reins

Early 21st century Stamped to bit: E.G. Fields / Stamped to reins: California Classics / Maker / Templeton, CA Comprising a mixed metal and sterling silver bit with chain extensions, and sueded hide reins with multiple woven leather buttons and a heavy tooled leather popper end 2 pieces Bit: 9” H x 6.5” W; reins: 90” L total $600-800

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1106

Two Edwin George E.G. Field mixed metal parade style horse bits

Early 21st century, Santa Barbara, California Each stamped: E.G. Field / [date] Comprising two mixed metal ‘half breed’ bits each with deep striped chasing and applied sterling silver rosettes and buttons, one with copper details (2005; 8.5” H x 6.125” W) and one with purple and blue metallic finish details (2007; 8.75” H x 6.125” W), each with chain extensions 2 pieces $1,000-1,500

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1107

Two Les Vogt mixed metal parade style horse bits

Late 20th/21st century Each stamped: Les Vogt’s / Flat Creek / [Model no] Comprising two ornate bits in mixed metal and sterling silver, one with extensive chased sterling silver overlay, rosettes, and silver button accents (No. 2397-3; 9.5” H x 6.5” W) and one with sterling silver rosettes and bands of sterling overlay to sides and front (No. 2343-3; 9.25” H x 6” W), each with chain extenders, and one with a hide leather nose band 2 pieces $300-500

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1108

A pair of Crockett Western spurs

20th century Each stamped: Crockett / Stainless The stainless steel spurs with small five point star rowels and inset chased brass metal accents, each with two leather straps 2 pieces Each: inner heel band: 3.25” W ; heel depth: 3” D; shank: 1.875” L; rowels: 1.5” Dia. $300-400

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1109

A group of vintage spurs and a branding rod

20th century Comprising two unmatched metal spurs, the smaller spur with faint outlines of floral and banded ornamentation, together with a black metal branding iron rod featuring the letters RWM, with a wooden handle 3 pieces Spurs: inner heel bands: 3.25” to 3” W ; heel depths: 3” to 2.5” D; shanks: 3.75” to 2.5” L; rowels: 5” to 3.75” Dia. Branding iron: 21.5” L x 2.25” Dia. $200-300

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1110

A pair of Les Vogt’s California Classics for Rancho Vistadores spurs

Late 20th/21st century Each stamped: Les Vogt’s / California Classic / 2576-1; straps stamped: Tully Hole Saddlery / Tres Pinos / CA The metal spurs with chased sterling silver overlay, edge striped inlay, and RV monogram to each outer heel band, shank, rowel, and outer strap button, each spur with eight-point rowel, and elaborate tooled leather straps with sterling silver buckles, conchos, and strap tips 2 pieces Each: inner heel band: 3” W; heel depth: 3.125” D; shank: 2” L; rowels: 1.25” Dia. $300-400

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1111

Three pairs of spurs Late 20th century Three works:

A pair of Madole wrought iron spurs Each stamped: Madole / Tully Hole Saddlery Tres Pinos CA Each with sterling silver overlay to outer heel band, shanks, and outer strap button, with pierced metal rowels and Tully Hole Saddlery tooled leather straps with silver metal buckles Each: inner heel band: 3.25” W; heel depth: 3.25” D; shank: 2” L; rowels: 1.25” Dia. A pair of Fleming steel spurs Each stamped: Fleming / Mexico Each with chased sterling silver overlay to outer elements, with curved shanks, ten-point rowels and rubber straps Each: inner heel band: 3.125” W; heel depth: 3.375” D; shank: 2.25” L; rowels: 1” Dia. A pair of unmarked spurs with chased designs to heel bands, and openwork rowels, with tooled leather straps with sterling silver conchos and buckles Each: inner heel band: 3.125” W; heel depth: 2.875” D; shank:1” L; rowels: 1.25” Dia. 6 pieces total $300-500 w w w. j o h n m o r a n . c o m 1 7 9

1112

A pair of silver overlay spurs

20th century The wrought iron spurs with inlaid silver bands and tracery motifs to outer heel band, shanks, outer strap buttons, and rowels, each spur with a circular shank issuing eight-point rowels, and each with a shaped embroidered leather strap 2 pieces Each: inner heel band: 3.5” W ; heel depth: 3.75” D; shank: 1.875” L; rowels: 3” Dia. $300-500

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1113

A pair of California vaquero style spurs

20th century The wrought iron spurs with narrow bands of silver inlaid to outer heel band and shanks, each with a split shank issuing a sixteen-point rowel and two small iron dangles, and with attachment chains 2 pieces Each: inner heel band: 4” & 3.5” W ; heel depth: 4” & 3.75” D; shank: 3” L; rowels: 3.75” Dia. $300-500

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1114

Suzanne Schmaltz (b. 20th century, American)

A beaded American bison skull, early 21st century Unsigned The gold-toned skull mounted with glass and metal beads, hardstone accents, and hammered copper 24” H x 28” W x 9” D $800-1,200

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1115

Bruce R. Greene

(b. 1953, American) “Tack Room Roundup” Patinated bronze on rotating wood plinth Edition: 16/20 Signed and numbered in the casting: Bruce R. Greene / CA; Titled to cast bronze plaque 14.5” H x 8” W x 9” H $2,000-3,000

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1116

Gene Kloss

(1903-1996) “Tranquility of Winter,” 1944 Etching on paper Edition: 50/75 Signed, titled, numbered, and inscribed “Ed 50” in pencil in the lower margin: Gene Kloss imp. Plate: 7.5” H x 14.875” W; Sight: 8” H x 15.375” W $700-1,000 Provenance: Private collection, San Clemente, CA Private collection, acquired from the above by descent Literature: Sanchez 392

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1117

Carl Oscar Borg

(1879-1947) “Taos NM” Pencil on paper Signed and titled in pencil lower right: Carl Oscar Borg / Taos NM; titled again in ink, “‘Taos-’ New Mexico-,” possibly in another hand, along the lower margin edge, at left Image: 8” H x 10” W; Sheet: 9.5” H x 11.375” W $1,000-1,500 Provenance: Private collection, San Clemente, CA Private collection, acquired from the above by descent

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1118

Olaf Wieghorst

(1899-1988) “Plains Indian” Ink on paperboard Signed with initials and with the artist’s device lower center: OW; titled by repute Paperboard: 4.875” H x 4” W $500-700 Provenance: Private collection, San Clemente, CA Private collection, acquired from the above by descent

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1119

Olaf Wieghorst

(1899-1988) “In Trouble” Offset reproduction of the etching on paper Signed in pencil in the lower margin: O. Wieghorst; with printed text in the lower margin directly below the image: “From original etching by” Sight: 6” H x 4.5” W $300-500 Provenance: Private collection, San Clemente, CA Private collection, acquired from the above by descent

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1120

Olaf Wieghorst

(1899-1988) Study with six figures Photomechanical reproduction on card Inscribed by Mrs. Wieghorst: “May 10, 1979 / Dear Lottie: - / Your nice birthday card / was forwarded here to me / in Fla. We usually are / over here for the winter. It / was quite a surprise to hear / from you. Have been here / for 3 months & expect / [to] go to St. Thomas for a / week on a chartered sailboat. / That will kind [?] of wind up / our vacation. We are both / fine & hope the same with you. / Sincerely / Mae & Olaf” 5” H x 4” W $200-300 Provenance: Olaf and Mae Wieghorst Private collection, San Clemente, CA Private collection, acquired from the above by descent

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1121

Bruce A. Aiken

(b. 1950) “Below Deva Temple, Near Wall Creek,” 2010 Pencil on paper Signed and dated lower right: Bruce 2010; signed and dated again, and titled, all verso Sight: 13.5” H x 10.5” W $300-500 Provenance: The Estate of George David Sturges Sold: John Moran Auctioneers, Monrovia, CA, “Art of the American West,” November 16, 2022, Lot 3290 Private collection, Burbank, CA, acquired from the above

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1122

Edwin Willard Deming

(1860-1942) Moose in a winter landscape Oil on board Signed and with the artist’s shield device lower left: EW Deming 10” H x 14” W $700-900 Provenance: Private estate, California

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1123

Louis Paul Jonas

(1894-1971, American) Moose Patinated bronze Signed in the casting: LOUIS JONAS Sc 11.25” H x 13.5” W x 6” D $800-1,200

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1124

A carved wood scale model of a canoe Late 20th century Unmarked Lacquered wood with brass hardware 8” H x 14.5” W x 57.5” D $1,000-1,500

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1125

An L. & J. G. Stickley library table, no. 524

1912-1920; Fayetteville, NY With applied metal tag to drawer interior: THE WORK OF L. & J.G. STICKLEY Comprising three drawers with brass pulls, raised on corbeled supports joined by a planked H-stretcher 29” H x 60” W x 32” D $1,000-1,500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Literature: Stephen Gray, “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p. 146

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1126

An L. & J. G. Stickley Onondaga magazine stand

1906-1912; Fayetteville, NY With partial red label: L. & J.G. STICKLEY / HANDCRAFT With four tiers and slatted sides 40.25” H x 21” W x 12” D $800-1,200 Literature: Stephen Gray, “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p. 31

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1127

An L. & J. G. Stickley drink stand, no. 22 Circa 1910 Unmarked The legs joined by a shaped X-stretcher 28.5” H x 18” Dia. $1,000-1,500 Literature: Stephen Gray, “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p. 141

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1128

An L. & J. G. Stickley Onondaga rocking chair, no. 751

Circa 1902-1904 Appears unmarked With five-slat back and flat arms above a later upholstered drop-in leather seat cushion, raised on rockers 37.25” H x 27.75” W x 33.5” D $700-900 Literature: Stephen Gray, “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p. 17 & 169

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1129

A Stickley Brothers oak lamp table, no. 2508 Early 20th century Unmarked With circular undertier centering an X-stretcher 30” H x 30.25” Dia. $500-800 Literature: Stephen Gray, “Quaint Furniture in Arts & Crafts” (New York, NY: Turn of the Century Editions, 1988), p. 56

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1130

A Tiffany Studios floor lamp

Early 20th century Base impressed to underside: TIFFANY STUDIOS / NEW YORK / 681 The patinated bronze base model 681, with swiveling counter-balance issuing a swiveling, possibly Tiffany Studios twelve-panel dichroic glass shade, electrified 54.75” H x 17” W x 11.5” D $6,000-9,000

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Gustave Baumann (1881-1971)

Gustave Baumann immigrated with his family Chicago and at 15, Baumann apprenticed at a direction of his artistic career. Baumann attend business in Chicago in 1901.

By 1910, Baumann was creating woodcut prin woodcuts at the 1915 Panama Pacific Internat for Color Woodcuts. His woodcuts were part o Federation of the Arts and the National Assoc

Baumann’s practice involved carving designs i to transfer the image. Baumann used multiple required precise planning so that each color a innovation, producing richly colored landscap

Baumann’s woodcut prints often depicted the lifes like the present work, particularly after he shapes that emphasized pattern, color harmo individually, Baumann elevated woodcut print traditional handcraft methods and bold color color woodblock printing.

to the United States from Germany in 1891 at age 10. The family settled in a commercial engraving and printing company, which would greatly influence the ded night classes at the Art Institute of Chicago and established his own engraving

nts in the style for which he is celebrated and best known. He exhibited several tional Exposition, where he won a gold medal for Prints and an honorable mention of nation-wide travelling exhibits as well, through his affiliations with the American ciation of Women’s Clubs.

into wooden blocks, inking the raised surfaces, and pressing paper onto the block e woodblocks, one for each color, to create vibrant, layered prints. This process aligned correctly when printed. His approach blended craftsmanship with artistic pes and scenes of daily life.

e landscapes and cultures of the American Southwest, and periodically floral still e moved to Santa Fe in 1918. He carefully carved flowing lines and simplified ony, and atmosphere. By hand-printing his works on fine paper and signing them ts from simple reproductions to highly valued original artworks. His dedication to design helped establish him as one of the most influential figures in American

1131

Gustave Baumann

(1881-1971) “Marigolds,” 1916 Woodcut in colors on cream wove paper Edition: 8/100 (of which fewer than 100 were printed), printed circa 1919 Signed in India ink and with the artist’s hand in heart brownish-red ink stamp, both in the image at lower right: Gustave Baumann; signed again (very faintly) and numbered, both in pencil in the image at lower center Image: 21.75” H x 17.75” W (oval), 22.375” H x 18.25” W (rectangle); Sheet: 25.5” H x 21.375” W $4,000-6,000 Provenance: Private estate, California Literature: Chamberlain 43 Notes: According to Chamberlain, “’Marigolds’ was originally designed to be trimmed into an oval shape to fit an oval frame, indicated by Baumann’s own notes as well as the thin white line around the outside of the decorative scalloped border, intended as a cutting guide. Some he trimmed, others he left as was [such as the impression offered here] .... For a second edition, printed in 1929, Baumann recut the blocks, trimming the entire image into a square format. Throughout all of the editions, colors vary, yet each style, owing to Baumann’s instinctive sense of design, is strong in its own right.” A family friend of the artist referenced this woodcut as part of a tribute she wrote after Baumann’s death in 1971. “I still cherish a print of marigolds in an oval frame that Gus traded my father for a German shepherd pup in 1924. I often think that Gus looked at New Mexico through a spectrum of marigold colors, set off by earth tones and splashes of green and blue. Even his skies are like marigold petals, yellow and orange and creamy white. Canyon walls and storm clouds vibrate with similar bright tones.” (Chamberlain, p. 189)

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1132

Eva Russell for Grueby Faience Company

Matte green and white Lotus vase, circa 1905 glazed earthenware Impressed manufacturer’s mark ‘GRUEBY / POTTERY / BOSTON / U S A‘ [centered by lotus logo], incised artist’s monogram ‘ER’ and possibly ‘4/38’ 4.625” H x 5.375” Dia. $800-1,200

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1133

A Rookwood faience umbrella stand

1907 Marked for Rookwood and dated; further impressed: 1115 / 48 /.A.Y. The stand with large leaves in relief and a green matte glaze 26.25” H x 14.5” Dia. $1,000-1,500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1134

Edward Timothy Hurley for Rookwood Pottery

Vase with birds in trees, 1928 glazed porcelain Impressed manufacturer’s mark, date and number to underside ‘Flame mark XXVIII 614B’ with incised artist’s initials ‘ETH’. 14.75” H x 7.625” Dia. $1,000-1,500

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1135

Charles Stewart Todd for Rookwood pottery

Modeled mat vase, 1915 glazed earthenware Impressed manufacturer’s mark, date and number to underside ‘mark XV 1126C’ with incised artist’s initials ‘C.S.T.’ 9.25” H x 5.5” Dia. $300-500

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1136

Sarah “Sallie” Elizabeth Coyne for Rookwood pottery

Double Vellum/Decorated Mat vase with magnolias, 1929 Glazed porcelain Impressed manufacturer’s mark, date and number to underside ‘mark XXIX 2786’ with incised artist’s initials ‘SEC,’ additionally later inscribed in ink ‘AHW 559’ 11.75” H x 6.125” Dia. $1,000-1,500 Provenance: Sold: Toomey & Co. Auctions, Chicago, IL, “Keramics & Rookwood: American & European Art Pottery,” November 15, 2024, Lot 337 Collection of Arthur J. Williams

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1137

Louise Abel for Rookwood pottery

Double vellum matte glaze vase with flowering branches,1927 Glazed porcelain Impressed manufacturer’s mark, date and number to underside ‘mark XXVII 2786’ with glazed artist’s cipher A in a circle 11.75” H x 6.25” Dia. $700-900 Provenance: Toomey & Co, Keramics & Rookwood: American & European Art Pottery, November 15, 2024, lot 220

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1138

Wilhelmine Rehm for Rookwood pottery

Decorated mat/double vellum glaze vase,1927 Glazed porcelain Impressed manufacturer’s mark, date and number to underside ‘mark XXVII 2000’ with blue glazed artist’s monogram ‘WR’ 6” H x 6.5” Dia. $300-400

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1139

Kataro Shirayamadani for Rookwood pottery

Two vellum glazed vases with tulip or lily decoration,1942 Glazed porcelain Impressed manufacturer’s mark, date and number to underside ‘mark XLII 6827’ or ‘S’ with incised artist’s initials ‘KS’ 2 pieces Lily vase: 6.625” H x 4.375” Dia.; Tulip vase: 5.75” H x 4.5” Dia. $600-800

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1140

Tim Cherry

(b. 1965) “Night Shadow,” circa 2001 Patinated bronze on wood on painted wood plinth Edition: AP /18 Signed and numbered in the casting: © Tim Cherry Bronze: 23.5” H x 48” W x 8.25” D; Overall: 46.25” H; Plinth: 28.25” H x 32” W x 10” D $2,000-4,000 Provenance: Private collection, Santa Barbara, California Sold: Bonhams, Los Angeles, CA, “California and Western Art,” November 25, 2020, Lot 165 Private collection, Burbank, CA, from the above Notes: Grey plinth fabricated for the sculpture.

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1141

Tim Cherry

(b. 1965) “Fish Hook,” 2008 Patinated and polished bronze on stone plinth Edition: 9/18 Signed and numbered in the casting: © Cherry Modeled and cast in 2008 Bronze: 30.5” H x 27.5” W x 6” D; Overall: 80.5” H; Plinth: 49.25” H x 13.25” W x 13.25” D $2,500-3,500 Provenance: Sold: Autry Museum of the American West, Masters Art Exhibition and Sale, Los Angeles, California, February 2008 Private collection, Santa Barbara, California Sold: Bonhams, Los Angeles, CA, “California and Western Art 40th Anniversary Auction,” October 13, 2020, Lot 149 Private collection, Burbank, CA, from the above

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1142

Barry Lorne Wilson (b. 1952, Haisla)

“Raven Carries the Light,” 1990 A Haisla sterling silver and gemstone necklace Marked verso: BLW [conjoined] With elaborate incised sterling silver Northwest Coast stylized raven and sun pendant with central set opal, suspended from a strand of alternating blue Russian trade beads and silver beads, with a silver cone clasp 18” L x 6” H x 2.25” W 78.4 grams gross $800-1,200 Provenance: The UBC Museum Shop, British Columbia, Canada Art Space Gallery, Toronto, Canada, purchased from the above, 1990 Private collection, Oakland, CA, purchased from the above, July 2001 Notes: This lot accompanied by a purchase receipt from ArtSpace Gallery, Toronto, Ontario, Canada, dated September 2001.

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1143

Kenojuak Ashevak

(1927-2013) “Comparing Braids,” 1993 Stonecut in colors on rice paper Edition 4/50 Signed, titled, dated, numbered, and inscribed in pencil along the lower margin with Inuktitut syllabics: Kenojuak / Dorset 1993; Pee Mikkiga, prntr. Image: 17.5” H x 24” W (irreg.); Sheet: 24.5” H x 30” W $400-600 Literature: Ansgar Walk, “Kenojuak: The life story of an Inuit artist” (Bielefeld, Germany: Penumbra Press, 1999), p.178

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1144

Johnniebo Ashevak

(1923-1972) “Mountain Spirit,” 1969 Stonecut in colors on paper Edition: 6/50 Signed, titled, dated, numbered, and inscribed in pencil along the lower margin edge: Johnniebo / Dorset 1969 Image: 17.5” H x 23.5” W; Sight: 20.625” H x 25.25” W $300-500 Provenance: Lawson Galleries, San Francisco, CA

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1145

Kenojuak Ashevak

1927-2013 “Spirits at Night,” 1989 Lithograph in colors on paper Edition: 5/50 Signed, titled, dated, numbered, and inscribed, all in pencil in lower margin, also with Inuktitut syllabics and two unknown blindstamps in the lower margin: Kanojuak / Dorset 1989 Image: 10” H x 12” W; Sight: 13” H x 14.625” W Together with hardcover book: Walk, Ansgar. “Kenojuak: The life story of an Inuit artist.” Bielefeld, Germany: Penumbra Press, 1999 Book: 8.625” H x 7” W x 0.875” D 2 pieces $300-500 2 2 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1146

Charlie Qittusuk (1927-2003, Inuit; Belcher Islands/Sanikiluaq)

A carved soapstone sculpture of a sleeping couple, 1973 Underside with incised signature in syllabics, date, and disc number: E9-109 Depicting a smiling man on his back along with a sleeping woman on her side, both wrapped in blankets 5” H x 8” W x 15.5” D $300-500

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1147

Elisapee Inukpuk (b. 1938) & Charlie Inukpuk (b. 1941)

An Inuit hunter figure with birds, circa 1962 Inukjuak, Nunavik, Canada Signature on base of doll not visible; Marked in ink to label on stone base: 9. / Woman artist / Inoucojuac [older name for Inukjuak, Nunavik, in the Nord-du-Québec] A hunter with carved stone head and hands, holding two carved stone birds, and dressed in an embroidered parka and boots 12” H x 6” W x 4” D $200-400

1148

A group of Northwest Coast b

Mid-20th century The twined baskets, each woven in round basket, another openwork lid 5 pieces Tallest (spruce): 6.125” H x 9.5” Dia $100-200

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baskets

n various styles, comprising two lidded baskets, one openwork dded rectangular basket, and a tightly woven round spruce basket

a.; Shortest (lidded oval): 3.875” H x 8” W x 5.25” D

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1149

Mary Janice Ortiz (b. 1954, Cochiti Pueblo)

A polychrome pottery double headed figure, late 20th/early 21st century Partial indecipherable marks to underside of feet Decorated in black and orange on a cream slip ground 9.75” H x 5.375” W x 4.25” D $600-800 Notes: This lot is accompanied by a business card from the artist.

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1150

Mary Janice Ortiz (b. 1956, Cochiti Pueblo)

A polychrome pottery standing figure, late 20th/early 21st century Signed to underside: M. J. Ortiz / Cochiti, NM Depicted with canes, decorated with black and orange on a cream slip ground, mounted to an enameled metal stand Figure: 12.25” H x 5” W x 7.75” D; Overall: 12.75” H x 5” W x 9.5” D $300-500

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1151

Two Cochiti Pueblo polychrome pottery figures Two works:

Ivan Lewis (1919-2001, Acoma/Cochiti Pueblo) A mermaid figural group, late 20th century Signed to underside: Ivan L [illegible] / Cochiti Pueblo / N.M. Decorated in black and orange on a cream slip ground 5” H x 7.625” W x 3.25” D Seferina Ortiz (1931-2007, Cochiti Pueblo) A seated woman in bikini, mid/late 20th century Signed to underside: Seferina Ortiz / Cochiti N. Mex. Decorated in black and orange on a cream slip ground 5.625” H x 6.125” W x 4.375” D 2 pieces $400-600 2 3 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1152

Lucy Lewis (1890-1992, Acoma Pueblo)

A polychrome pottery olla and signed book, late 20th century Signed to underside: Lucy M. Lewis. / Acoma The jar depicting heartline deer figures in black and orange on a white slip ground, together with hardcover book: Peterson, Susan. “Lucy M. Lewis, American Indian Potter.” New York: Kodansha International, 1984 First Edition, twice Signed by the Artist 2 pieces Olla: 7” H x 8.625” Dia.; Book: 12” H x 9.25” W x 1” D $800-1,200 Provenance: Lucy Lewis at The Silver Man Private collection, acquired from the above, May 1, 1986 Notes: This lot is accompanied by a purchase receipt from the abovementioned retailer as well as a postcard with a photo of the artist.

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1153

Lucy Lewis (1890-1992, Acoma Pueblo)

A black and white pottery olla, late 20th century Signed to underside: Lucy M. Lewis With black on white slip checkered pattern fine-line geometric panels, alternating with panels of serrations 4.5” H x 5.375” Dia. $500-700

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1154

Four diminutive Acoma Pueblo pottery jars Four works:

Rebecca Lucario (b. 1951) A polychrome seed jar, late 20th century Signed in slip to underside: Acoma / NM / R. Lucario Painted with multicolor lizard, geometric, and fine-line motifs to shoulder over a white slip ground Lilly [Dzaisratyaitsa] Salvador (b. 1944) A polychrome “Parrots” jar, late 20th century Painted in slip to underside: ACOMA, NM / 29105 / Dzaisratyaitsa / Lilly / “Parrots” The four-color jar with red, grey, red, and black parrots and plants on a white slip ground above a terracotta wash 2.875” H x 3” Dia. Laura Vallo (b. 1942) A miniature olla jar, late 20th century Signed in slip to underside: ACOMA / LV / NM With black geometric motifs on a white slip ground 1.5” H x 1.375” Dia. Dorothy Torivio (1946-2011) A black and white seed jar, late 20th century Signed in slip to underside: Dorothy / Torivio / ACOMA, / N.M. With black repeated geometric motifs on a white slip ground 2.125” H x 2.375” Dia. 4 pieces $300-500

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1155

Four Acoma and Zuni Pueblo pottery jars Four works:

Terrance M. Chino Sr. (b. 1965, Acoma Pueblo) A fine-line seed jar, late 20th/early 21st century Signed in slip to underside: TERRANCE M. CHINO SR. / ACOMA, NM. With all-over black geometric repeating pattern on a white slip ground 3.375” H x 3.875” Dia. Brenda L. Cerno Garcia (b.1959, Acoma Pueblo) A polychrome pictorial jar, late 20th/early 21st century Signed in slip to underside: B.L.CERNO / ACOMA / NEW MEXICO With multicolored banded lizard motif to the shoulder and geometric bands on a white slip ground 6” H x 5.375” Dia. Joyce Leno (b. 1952, Acoma Pueblo) A polychrome pottery owl figure, Signed in slip to underside: JOYCE L. ACOMA With brown and orange decoration on white slip ground 3.25” H x 3.25” W x 2.75” D Avelia & Anderson Peynetsa (each b. 1964, Zuni Pueblo) A lizard effigy seed jar, 1996 Signed in slip to underside: AA.PEYNETSA / ©96 / ZUNI N.M. With lizard protrusion in high relief, decorated in brown on a white slip glaze 4.375” H x 3.25” W x 3.125” D 4 pieces $500-700

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1156

Madeline Sahneyah (b. 1954, Hopi-Tewa)

A polychrome yellowware pottery jar, late 20th century Signed to underside: M [indistinct] / Sahneyah The four-color jar with white, red, and black feather and geometric motifs on a cream slip ground 4.125” H x 7.625” Dia. $200-400 Provenance: Purchased from Tribal Crafts San Leandro, CA ,1994

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1157

Two Santa Clara Pueblo blackware pottery jars

Anita Louise Suazo (b. 1937) A melon jar, late 20th/early 21st century Incised to underside: Anita L Suazo / Santa / Clara / Pueblo With nearly flat shoulder, deeply incised with vertical lines 3” H x 6” Dia. Madeline Naranjo & Adrian Garcia (b. 1971 & b. 1973, Tewa Pueblo) A ‘Tawa’ sunface jar, early 21st century Incised to underside: Madeline / Naranjo / Adrian / Garcia / SCP Incised with Hopi Tawa faces, painted in a matte black slip 3.25” H x 4” Dia. 2 pieces $400-600 Provenance: Purchased directly from the artist Anita Suazo at the Los Angeles Natural History Museum’s Annual Indian Arts Festival, 3/22/1990 Notes: This lot is accompanied by two bi-fold gallery pamphlets about the artist Louise Suazo. 2 3 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1158

Two Santa Clara Pueblo blackware pottery vessels Two works:

Nicolasa Naranjo (1907-2002, Santa Clara Pueblo) A blackware pottery jar, mid/late 20th century Incised to underside: Nicolasa / Santa Clara With black on black Avanyu serpent design 4.625” H x 6.625” Dia. Geri Naranjo (b. 1952, Santa Clara Pueblo) A miniature sgraffito blackware vessel, late 20th/early 21st century Incised to underside: GERI / NARANJO / SANTA / CLARA The shoulder carved with banded feather and Avanyu motifs, the body carved with kiva step, feather, and geometric motifs 1.75” H x 3.625” Dia. 2 pieces $200-400 Notes: This lot is accompanied by two pages reproduced titled “Contemporary and Traditional Pottery” by Jose ‘Ray’ Naranjo, highlighting the work of Geraldine Naranjo. w w w. j o h n m o r a n . c o m 2 3 7

1159

Barbara [Sunbeam Tahn-Moo-Whe] Gonzales (b. 1947, San Ildefonso Pueblo) A sgraffito blackware seed jar, late 20th/early 21st century Incised verso: S TAHN-MOO-WHE / [artist’s cloud cipher] Incised with a spider in a web, the head a mounted turquoise cabochon 3.375” H x 3.625” W x 2.25” D $200-400

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1160

Three Jemez Pueblo polychrome pottery owls

Mid/late 20th century Two signed to underside: MRS / P.M.G. / JEMEZ / PUE. / N M.; one signed: M. Romero [Marie Gachupin Romero (1927-2007)] / Jemez Each three-color figure with black and red geometric motifs on a cream slip ground 2 pieces Tallest: 11.5” H x 6.25” W x 5.75” D $200-400

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1161

A large room sized Navajo regional rug

Early/mid-20th century, Diné Woven in red, cream, natural grey, dark brown, and tan, with stacked and floating stepped diamonds 14’ 10” H x 8’ 10” W $2,000-4,000

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1162

A large room sized Navajo regional rug

Early/mid-20th century, Diné Woven in red, cream, natural grey and dark brown wool, with stacked serrated diamonds within a sawtooth border 12’ 10” H x 8’ 3” W $1,000-2,000 Provenance: Sold: Christie’s, New York, “American Indian Art,” June 13, 2005, lot 57 Literature: Bill Harmsen, “Patterns and Sources of Navajo Weaving” (Denver, CO: Harmsen Publishing Company, 1995), p. 44, illustrated 2 4 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1163

A JB Moore style Storm Pattern textile

Mid-20th century, Diné Woven in dark brown, tan, and cream wool, with waterbugs and whirling log motifs, plate XXVIII variation 58.25” H x 41.5” W $700-900 Literature: A similar design illustrated: JB Moore, “The Catalogues of Fine Navajo Blankets, Rugs, Ceremonial Baskets, Silverware, Jewelry & Curios 1903 & 1911” (Albuquerque: Avanyu Publishing, Inc., 1987), Plate XXVIII, Variant 01.

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1164

A Navajo storm pattern rug

Early/mid-20th century, Diné Woven in natural grey, natural dark brown, cream, ochre, and turquoise wool, with feather motifs at center, two waterbugs, and serrated long edges 74” H x 48” W $700-900

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1165

A Navajo storm pattern rug

Mid/late 20th century, Diné Woven in red, cream, grey, and black wool with a central X-form complex storm pattern motif and with waterbug, feather, and serrated diamond motifs, with a serrated border to sides 56.5” H x 37” W $300-500

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1166

A Navajo regional rug

Early 20th century, Diné Woven in red, tan, natural grey, and natural dark brown wool, with stacked serrated diamonds and I-forms within a sawtooth border 65.5” H x 38.5” W $500-700

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1167

A Navajo regional rug

Early 20th century, Diné Woven in red, dark brown, cream, and natural grey/brown wool, with four rows of stacked serrated diamonds 47” H x 32” W $300-500

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1168

A Navajo regional rug

Mid-20th century, Diné Woven in red, dark brown, and cream wool, with rows of stacked serrated diamonds 68” H x 40” W $600-800 Provenance: Triton Museum of Art, Santa Clara, CA

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1169

George Montgomery

(1916-2000) “Sacagawea’s Family Teton Mt. 1805,” 1990 Patinated bronze Signed, dated, and titled in the casting: © G Montgomery / To 9” H x 18.25” W x 14” D $700-900 Provenance: George Montgomery Trust Palm Springs Art Museum, Palm Springs, CA, gift from the above

1170

A large Arts & Crafts style copper table lamp

Late 20th/early 21st century Unmarked The patinated hammered copper spherical lamp base issuing four lights, surmounted by a large four-panel copper and mica shade, electrified Shade: 10” H x 25” Dia.; Overall: 23.5” H $2,000-3,000 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1171

A large Charles Stickley oak dining table

Early 20th century Appears unmarked With a quarter sawn oak tabletop raised on exaggerated cross stretchers with large keyed tenon joinery 30” H x 65” Dia. $2,000-4,000 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1172

A Lifetime Furniture Co. slatted settle

Circa 1910 Unmarked The two-seater with five-slat back, flat corbeled arms supported on slats, and drop-in brown leather bench seat 30.5” H x 57.5” W x 25.5” D $1,000-1,500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1173

An Arts & Crafts extension dining table

Early 20th century Appears unmarked Likely L. & J.G. Stickley no. 718 with 44” diameter top, the circular table with four extension leaves, each housed in original fitted case Circular: 28.5” H x 44.25” Dia.; Each leaf: 13.25” W $1,500-2,000

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1174

A pair of Limbert oak arm chairs

Early 20th century, Grand Rapids, Michigan Burned mark to one: Limbert’s Arts and Crafts Furniture / Made in Grand Rapids and Holland Each with slatted back and corbeled flat armrests on slatted supports, with drop-in seat cushion, one later upholstered in a wool plaid fabric, the other upholstered in black leather 2 pieces Each: 39” H x 29.75” W x 28.25” D $800-1,200 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1175

A Limbert oak rocking chair

Early 20th century Burned mark: Limbert’s Arts and Crafts Furniture / Made in Grand Rapids and Holland With slatted back and corbeled flat armrests on slatted supports, the seat cushion upholstered in a later wool plaid fabric, raised on rockers 35.75” H x 30” W x 31.5” D $500-700 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1176

Joseph Heinrichs (1866-n.d.)

A set of three sterling silver lined copper casseroles/gratins, early 20th century Each impressed: JOS. HEINRICHS / NEW YORK / PURE COPPER / STERLING SILVER; smallest further impressed: ARMSTRONG&CARLTON The cookware vessels, comprising a larger pair and one smaller 3 pieces Pair: 3.5” H x 9.5” W x 5.625” D; Smaller: 3” H x 5.375” W x 4.125” D $300-500

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1177

A Stickley Brothers hammered copper floor vase Circa 1910 Unmarked The patinated floor vase with opposed ring handles and riveted accents 18.25” H x 10.5” Dia. $600-800 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1178

Albert Berry (1878-1949)

A hammered copper vase, early 20th century Impressed to underside: BERRYS’ CRAFTSHOP / THEIR MARK / [cipher] / SEATTLE The shouldered ovoid vase with a shaped flared rim 10.25” H x 4.375” Dia. $600-900 Provenance: The Collection of Gary Diamond, Los Angeles, CA

1179

A Dirk van Erp hammered copper vase

Circa 1915-1977; San Francisco, CA Base impressed: Dirk van Erp / San Francisco [open-box mark] 7.75” H x 5.5” Dia. $500-700 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1180

A Dirk van Erp hammered copper low bowl 1911-1912 Base impressed: Dirk van Erp [closed-box mark] 3.25” H x 11.875” Dia. $700-900 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1181

An Arts & Crafts silvered hammered copper bowl Early 20th century Unmarked The footed bowl with piecrust rim 9.75” H x 12” Dia. $500-700 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1182

A group of Roycroft hammered copper desk articles

Early 20th century Each with impressed Roycroft orb Comprising a letter opener, blotter, calendar, and pen tray, together with an unmarked copper letter opener 5 pieces Blotter: 1.875” H x 6.125” W x 2.625” D; Calendar: 3.75” H x 5.5” W x 1.5” D; Tray: 8.625” L $400-600

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1183

Two Arts & Crafts book stands and a pair of Roycroft bookends

Early 20th century Each bookend with impressed Roycroft orb Comprising a wood stand with opposed handles, a stand with wood base and silver overlay copper ends, and a pair of Roycroft hammered copper bookends 4 pieces Largest: 6.75” H x 18.75” W x 6.25” D; Each bookend: 5.125” H x 3.75” W x 3.25” D $300-500

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1184

A group of Arts & Crafts metalwork items

Late 19th/early 20th century Bookends with impressed Roycroft orb; canoes with English hallmarks for sterling, 1896, and maker: S.I.L.D [Stokes & Ireland; Chester] Comprising two pairs of Roycroft copper bookends and a pair of English sterling models of canoes 6 pieces Taller pair of bookends: 5.25” H x 3.625” W x 3” D; Each canoe: 2.375” H x 7” W x 2” D Total sterling weight: 4.7 oz. troy approximately $300-500

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1185

A pair of Spanish Revival style metal andirons 20th century Each with scrollwork and a ball finial 2 pieces Each: 19.5” H x11” W x 21” D $200-400 Provenance: Private collection, Burbank, CA

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1186

Ace Powell

(1912-1978, American) Head of a Native American man in profile Patinated bronze bas relief Signed and inscribed in the casting: Powell / 20-100 7.25” H x 6” W x 1” D $300-500

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1187

Edward Berge

(1876-1924, American) “On the Trail,” circa 1918 Patinated bronze Signed in the casting: Berge; inscribed in relief: PRESENTED TO GEORGE T. BISHOP 1918 / IN APPRECIATION OF HIS HOSPITALITY ON THE FISHING AND MOTOR TRIP / JULY 4-14 1918 / THE PLEASANT MEMORIES OF WHICH WILL ALWAYS LINGER WITH HIS GRATEFUL GUESTS / B. A. BRENNAN JAMES J. DOYLE CYRUS S. EATON [et al.] 32.25” H x 10” W x 20.5” D $1,000-1,500

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1188

Heinie Hartwig

(b. 1937) “Late in the Day” Oil on Masonite With the incised signature lower left: Heinie Hartwig ©; titled verso 20” H x 30” W $1,500-2,000

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1189

Robert Brokaw Wagoner

(1928-2017) “Where the Mountains Meet the Sky,” 1979 Gouache and watercolor on grey paper Signed and dated lower right and lower left, respectively: Robert B. Wagoner © ‘79; titled and dated “4/27/79” on a typed label affixed to the frame’s backing paper Sight: 10” H x 18.875” W $700-1,000

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1190

Charles Damrow

(1916-1989) Native Americans on horseback Oil on canvas Signed lower left: Charles Damrow; inscribed in another hand on the frame’s verso: “Randoff [sic] Scott” 24” H x 30” W $1,000-1,500 Provenance: Randolph Scott Collection

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1191

Tom Mansanarez

(b. 1963) Native Americans on horseback along a river valley, 1981 Oil on canvas Signed and dated lower left: Tom Mansanarez / ‘81 © 20” H x 24” W $500-700

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1192

Grace Carpenter Hudson

(1865-1937) Sketch of a figure along a stream Oil on board Signed lower right: G. Hudson; inscribed in ink in another hand, verso: “N.21 / Sketched by Grace Hudson / authenticated by her nephew / Mark A Carpenter” Sight: 14” H x 9” W $800-1,200 Provenance: Kerwin Galleries, Burlingame, CA

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1193

Bradley W. Giles

(b. 1967) “The Rain Maker,” 2023 Oil on canvas Signed and dated lower right: Giles 2023; signed and dated again, and titled, all on the stretcher: “’The Rain Maker’ completed July 4, 2023 Bradley W. Giles” 24.875” H x 16” W $800-1,200 w w w. j o h n m o r a n . c o m 2 7 1

1194

Charles Winfield Miller

(1922-1995) “Running Bear,” 1989 Oil on canvas Signed and inscribed lower right: Charles Winfield Miller CXX / ©; signed again and dated “’89,” verso; inscribed partially indistinctly, possibly in another hand on the stretcher: “1792/89 / Running [effaced] Bear / CM99” 32” H x 16.125” W $2,000-3,000 Provenance: The artist Private Collector, New Jersey Sold: Avra Art Auctions, Margate City, NJ, from above Private collection, Cathedral City, CA, from above 2 7 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1195

Rusti Warner

(b. 1974) “Bundle Carrier,” 2007 Oil on canvas laid to board Signed lower left: R. Warner; signed again, titled, and dated “2007,” all verso 8.5” H x 6” W $300-500 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “Art of the American West,” March 15, 2002, Lot 1065 Private collection, Burbank, CA, acquired from the above

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1196

An American painted carved wood cigar store Indian statue

Circa 1960 With carved inscription to arrowhead: Part Of / the / Harvey West / Indian Collection / Largest / In The Nation / 1960 With a commemorative carved wood arrowhead plaque 2 pieces Statue: 75.5” H x 20” W x 23” D; Arrowhead: 21.5” H x 19.5” W x 3.375” D $800-1,200 2 7 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1197

A Folk Art carved wood Indian head Mid-20th century Unmarked 22.625” H x 17.25” H x 8.25” D $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1198

Bill Churchill

(b. 1936, American) “Defiance,” 2014 Painted carved wood Incised signature and date: Bill Churchill; titled to applied metal plaque Overall: 27” H x 10.5” W x 7.5” D $600-800

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1199

Anita Fields (b. 1951, Osage/Muscogee)

A wall mounted pottery doll, late 20th/early 21st century Unsigned With white painted patterns on a black slip ground, the torso bound with ribbon, fabric, and paper 10.125” H x 2.125” W x 1.625” D $500-700 Notes: This lot is accompanied by a business card from the artist.

1200

Cliff Fragua (b. 1955, Jemez Pueblo)

“Rain Spirit”, 2012 Signed and dated verso: C. Fragua / ‘12 / © / SSS [Singing Stone Studio] A Jemez Pueblo carved marble and calcite knife with turquoise and parrot feathers 14” H x 4” W x 0.5” D $200-400

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1201

Neil Randall David Sr. (b. 1944, Hopi-Tewa)

A painted carved cottonwood ‘Crow Mother’ katsina, 1987 Signed with artist’s initials, dated, and titled to underside: © 87 [Hanvantewa], depicted holding a basket with corn 27.5” H x 6.75” W x 5.25” D $400-600 Provenance: Galeria Capistrano Capistrano, CA Private collection, acquired from the above, February 6, 1986

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1202

Jeff Tsalabutie (1974-2009, Zuni Pueblo/Hopi-Tewa)

A painted carved cottonwood Suyuki ogre katsina, circa 1998 With incised signature, other marks obscured: JEFF TSALABUTIE The Mixed Dance rainmaker ogre, housed in a plastic display case with mirrored back Figure: 7.5” H x 3.75” W x 2.75” D; Case: 9.75” H x 5.5” W x 5.5” D $400-600 Notes: This lot is accompanied by a Certificate of Authenticity from Medicine Man Gallery, Inc, dated October 8, 2021.

1203

Brendan Kayquoptewa (b. 1970, Hopi-Tewa)

A painted carved cottonwood Eagle Dancer katsina, early 21st century Incised to base: [deer tracks] / B KAYQUOPTEWA Housed in a plastic display case with mirrored back Figure: 9.75” H x 2.625” W x 2.75” D; Case: 10.375” H x 4.375” W x 4” D $200-400

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1204

Gerry Quotskuyva (b. 1959, Hopi-Tewa)

A painted carved cottonwood ‘Sunface’ katsina, 2012 With incised signature, date, and title to underside: Quotskuyva / ‘12 [Tawa], depicted with feathers centering the face, wrapped in a wearing blanket 12.375” H x 5.75” W x 4.75” D $300-500

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1205

Jonathan Day Sr. (Laguna Pueblo/Hopi-Tewa)

A painted carved cottonwood robed mudhead katsina, 1990 Signed and dated to underside: Jonathan Day / “93” The Toson Koyemsi figure depicted with rattle Overall: 12.5” H x 4.375” W x 4.75” D $400-600 Notes: This lot is accompanied by a purchase receipt from an unknown seller, dated March 29, 1998.

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1206

Jonathan Day Sr. (b. 1951, Laguna Pueblo/Hopi-Tewa) A painted carved cottonwood ‘Tawa’ Sunface katsina, 1993 Signed and dated to underside: Jonathan Day / “93” Depicted with rattles Overall: 13.5” H x 3.875” W x 3.625” D $400-600 Notes: This lot is accompanied by a hand-written letter from the artist, signed and dated August 21,1993.

1208

Nelson Kuwanvana (b. 20th century, Hopi-Tewa)

A painted carved cottonwood ‘Long Hair Girl’ katsina, 1986 Signed, dated, and titled to underside: NELSON KUWANVANA / “86” The Angak’china Mana depicted with pine boughs Overall: 12.5” H x 4.625” W x 4.125” D $300-500 Notes: This lot is accompanied by a Certificate of Authenticity from Galeria Capistrano, signed and dated February 20, 1986.

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1207

Clarence Cleveland (20th century, Hopi-Tewa)

A painted carved cottonwood Koshare clown katsina, 1986 Signed to underside: CLEVELAND; dated, possibly in another hand: 12-31-86 Mounted with hide and fur Overall: 11.5” H x 7” W x 7.75” D $300-500 Provenance: Galeria Capistrano, San Juan Capistrano, CA Private collection, acquired from the above, January 31, 1987 Notes: This lot is accompanied by a purchase receipt from the abovementioned gallery.

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1209

Red Robin

(1912-1991, Zuni) “He’e’e Kachina” or “War Maid,” 1940 Watercolor with traces of pencil on paper Signed and dated in pigment, and titled in pencil, all lower left: Red Robin -40-; inscribed in pencil, possibly in another hand, verso: “Hopi Ceremony - Arizona / Katchina Dance - Legendary - / This Original painting must / not be copied” Sheet: 15.75” H x 22.75” W $1,000-1,500 Provenance: Private estate, California

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Don Oelze (b. 1965)

Don Oelze is a contemporary artist known for h acclaim. His work reflects a deep appreciation f

Born in New Zealand to American missionary p grandparents “collected Native American artifa States.” When he was just eight years old, his fa of Art for a year, exploring various subjects and Hampshire.

In 1992, “while living in Seattle, he met a Nativ Everett, he did his first big native painting.” In 1 refine his artistic skills. His time in Japan reignite moved back to the U.S. They now reside in Mo his work.

Oelze’s art is widely recognized in the Western States. His attention to composition, color, and

his striking and realistic portrayals of the American West, earning him widespread for Native American culture, cowboy history, and Western folklore.

parents, Oelze developed a fascination with the American West at an early age. His acts from their property and surrounding country in the eastern part of the United amily moved back to the states. Oelze went on to study at the Memphis College d mediums before completing his education at Franklin Pierce College in New

ve American named Everett who produced native art and Totems. While working with 1995, Oelze moved to Japan, where he taught English while continuing to paint and ed his inspiration to focus on Western scenes. In 2004, Oelze and his wife, Utako, ontana, where the surrounding landscape serves as a constant source of inspiration for

art world, with his paintings featured in galleries and exhibitions across the United d artistic expression makes his work highly admired by Western art enthusiasts.

1210

Don Oelze

(b. 1965) “Recounting the Coup,” 2007 Oil on canvas Signed and dated lower left: Oelze ‘07; titled on the frame plaque 48” H x 60” W $15,000-20,000

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1211

Two Hopi painted carved cottonwood katsinas Two works:

Henry Shelton (1929-2016, Hopi-Tewa) A white ogre katsina, late 20th/early 21st century Signed to underside: H. Shelton / [arrow] / ORAIBI, ARIZ. The Wiharu figure mounted with hide and feathers 14” H x 5” W x 5.5” D Gary Hayah (b. 20th century, Hopi-Tewa) A ‘White Bear’ katsina, late 20th/early 21st century Signed to underside: G. HAYAH / White Bear The Hon katsina mounted with hide, feathers, fur, and shells 12” H x 6” W x 6.375” D 2 pieces $300-500 Provenance: Kopavi International Gallery, Sedona, AZ Private collection, acquired from the above, July 30, 1985 Notes: This lot is accompanied by a Henry Shelton business card.

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1212

Two Southwest painted carved cottonwood katsinas

Late 20th/early 21st century Eagle signed, titled, and numbered to underside: M. W. BEGAY / EAGLE / T.T. / 401,468; owl signed and inscribed: OWL KACHINA / BY / E[indecipherable] B. Comprising an Eagle Dancer katsina mounted with hide, fur, feathers, and turquoise, and an owl katsina mounted with hide, fur, feathers, and metal 2 pieces Eagle: 12.5” H x 10” W x 6.25” D; Owl: 11.5” H x 7” W x 4.625” D $200-400

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1213

Four Hopi painted carved cottonwood katsinas Four works:

Buddy Tubinaghtewa (b. 20th century, Hopi-Tewa) A gourd maiden katsina, 2000 Signed and dated to underside: Buddy Tubinaghtewa / [hoof and sunrise ciphers] 10.25” H x 5.5” W x 6.75” D Irene Boone (b. 20th century, Hopi-Tewa) A ‘Shalaka’ katsina, 1996 Signed, dated, and titled to underside: 96 art / Irene / Boone Overall: 13.375” H x 4.125” W x 4.375” D A ‘Crow Mother’ katsina, 1996 Signed indecipherably, titled, and dated: 6-12-96 10” H x 3.625” W x 3.375” D A Kachin mana katsina, late 20th century Signed: D. A. NEHOITEWA 11” H x 3.125” W x 3.25” D 4 pieces $400-600

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1214

Two Hopi painted carved cottonwood katsinas Two works:

Virgil Long (b. 20th century, Hopi-Tewa) A Koshare ‘Clown’ katsina, early 21st century Titled and signed to underside: by: Long Mounted with fur, hide, and feathers 10.75” H x 4.5” W x 3.75” D An ‘Owl’ katsina, early 21st century Inscribed to underside: Owl Mounted with fur, hide, and feathers 7.75” H x 5” W x 3.375” D 2 pieces Tallest: 11” H x 4” W $200-300

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1215

A Navajo Crystal rug

Early 20th century, Diné Woven in red, black, cream, and natural grey wool, centered by stacked diamonds within a cluster of interlocking squares and meandering motifs, within an intricate whirling log border 86.5” H x 76” W $1,000-1,500

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1216

A Navajo regional rug Mid-20th century, Diné

Woven in black, red, cream, and natural grey wool, with central stacked serrated diamonds and a hooked long edge border 82.5” H x 47” W $500-700

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1217

A Navajo Storm Pattern rug

Early 20th century, Diné Woven in dark brown, red, ochre, tan, and natural grey/brown, the border with floating crosses within stepped and smooth diamonds 69.5” H x 48” W $400-600

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1218

A Tina Conn Navajo storm pattern textile

Tina Conn (b. 20th century, Diné) Woven in red, grey, cream, black, and green wool with an elaborate serrated central X form, and with waterbugs, multiple serrated diamonds, and a complex stepped border 34” H x 25.75” W $400-600 Provenance: Garland’s Navajo Rugs, Sedona AZ Private collection, acquired from the abovementioned, October 1995 Notes: This lot accompanied by a Certificate of Authenticity and purchase receipt from the above, dated October 1995; with a tag indicating weaver, and with a photo of the weaver holding the textile. w w w. j o h n m o r a n . c o m 2 9 9

1219

A Navajo Teec Nos Pos pictorial textile

Late 20th century, Diné Woven in grey, black, brown, red, and cream wool with central stylized stepped waterbug style hooked diamond and other geometric motifs, with inner stepped borders with multiple feather motifs and an elaborate outer border to two sides 55” H x 37.25” W $500-700

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1220

A Navajo Ganado rug

Late 20th century, Diné Woven in red, light and mid-grey, cream, and black wool featuring a central stepped diamond and complex stepped corners, with sawtooth borders to sides 52” H x 33” W $500-700

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1221

Two small Navajo Ganado textiles Late 20th century, Diné Two works:

Mary Kee (b. 20th century, Diné) A Navajo Ganado textile, circa 1996 Woven in red, black, light grey, and dark grey wool, with a complex central concentric hooked diamond and a complex hooked border, with a ‘spirit line’ from one corner 36” H x 25.25” W A Navajo Ganado textile Attributed to Beth Bitsuie (b. 20th century, Diné) Woven in red, black, cream, light grey, and dark grey wool with an elaborate central stepped diamond and multiple stepped motifs to corners and border 34” H x 26” W 2 pieces $500-700 Provenance: The Mary Kee textile: Garland’s Navajo Rugs, Sedona AZ Notes: The Mary Kee textile accompanied by a Certificate of Appraisal & Authenticity from the abovementioned, dated August 1998; with a tag indicating weaver, and with a photo of the weaver holding the textile.

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A set of three Improved Order of Red Men carved wood mirrors Early/mid-20th century Each unmarked Each with architectural pediment, one carved with crossed swords, another with crossed mallets, and another with crossed clubs 3 pieces Each: 42” H x 30.5” W x 5.5” D $1,000-1,500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1223

An Improved Order of Red Men carved wood bed post

Early/mid-20th century Unmarked With architectural pediment, carved with crossed arrows and axes in relief 20.5” H x 84” W x 5.625” D $400-600 Provenance: The Collection of Gary Diamond, Los Angeles, CA

1224

An American carved walnut bookcase

Late 19th century Carved with calla lilies in relief to sides and a floral element in relief to pediment, with stylized trimming to front edges 38.25” H x 33.25” W x 14” D $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1225

An Arts & Crafts wood and slag glass chandelier

Early 20th century Each lower fixture with ‘Union’ knob switch Possibly W. B. Brown (1906-1923), with five lights, each housed in a slag glass and wood shade, four issuing from a chain-link-form wood arms, electrified 26” H x 29” W x 29” D $1,000-2,000 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1226

An Arts & Crafts pendant lamp

Early 20th century With two lights and reticulated brass shade depicting Southwest/Native American themes to each panel and skirt, designed for slumped/slag glass or mica, electrified 34.5” H x 10.25” W x 10.25” D $600-800 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1227

A pair of Mica Lamp Co. table lamps

Early 21st century Each with impressed factory marks; one with applied label: MICA LAMP CO. / Glendale, CA / SOLID COPPER Each patinated copper base issuing three lights, surmounted by a copper and mica shade, electrified 2 pieces Each overall: 19.25” H x 17.25” Dia. $600-800 Provenance: Private collection, Burbank, CA

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1228

A Mica Lamp Co. table lamp

Early 21st century With impressed factory marks and applied label: MICA LAMP CO. / Glendale, CA / SOLID COPPER The patinated copper base issuing a single light, surmounted by a copper and mica shade, electrified Overall: 14.25” H x 14.375” Dia. $200-400 Provenance: Private collection, Burbank, CA

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1229

A Mica Lamp Co. floor lamp

Early 21st century Shade with applied label: MICA LAMP CO. / Glendora, CA / SOLID COPPER; with factory burn mark to underside of base The wood standard on an X-form base issuing four lights with copper acorn pulls, surmounted by a copper and mica shade, electrified Overall: 58.5” H x 25.75” Dia. $600-800 Provenance: Private collection, Burbank, CA

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An Arts & Crafts style mica and brass table lamp Early 21st century Unmarked The single-light lamp with wood standard and patinated brass base and mica shade, electrified Overall: 15.25” H x 8.125” W x 8.125” D $200-400 Provenance: Private collection, Burbank, CA

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1231

A Navajo pictorial rug

Late 20th/21st century, Diné Woven in blue, green, brown, cream, black, metallic grey, and metallic pink yarn, featuring a mountainous landscape with eagles, cows, sheep, a goat, and a figure, all under a blue sky with scattered clouds 22.25” H x 32.5” W $800-1,200

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1232

A Navajo Yei textile

Mid-20th century, Diné Woven in cream, dark brown, and multicolored wool, depicting ten figures each holding feathers 58.5” H x 88.5” W $500-700

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1233

A Navajo Yei textile

Late 20th century, Diné Woven in orange, green, natural grey, dark brown, tan, cream, and red wool, with six figures each holding corn stalks and feathers 27” H x 47.25” W $200-400

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A Navajo regional rug

Early 20th century, Diné Woven in red, cream, dark brown, and natural grey wool, with stacked serrated diamonds 55” H x 31.5” W $200-300

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1235

A Navajo Wide Ruins textile

Late 20th century, Diné Woven in grey, black, brown, yellow, and cream wool featuring four rows of conjoined serrated diamonds alternating with striped banding, with a complex serrated border to two sides 44.5” H x 32.5”W $300-500 Provenance: Ex. Blom Collection, Arizona Medicine Man Gallery, Tucson, AZ Private collection, acquired from the abovementioned, October 2021. Notes: This lot with a Certificate of Authenticity from Medicine Man Gallery, Tucson, AZ, dated October 2021. 3 1 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1236 A Navajo raised outline textile Late 20th century, Diné Woven in a raised line weave in grey, red, black, and tan wool with five stacked diamond waterbug motifs and a complex stepped border to two sides 59.5” H x 31” W $300-500 Provenance: Garland’s Navajo Rugs, Sedona, AZ Private collection, acquired from the abovementioned, 2021 Notes: This lot with a purchase information sheet from the above, dated November 2021, indicating artist and design; the lot also with an attached retail tag indicating artist and style. w w w. j o h n m o r a n . c o m 3 1 7

1237

A Navajo regional rug

Circa 1930s, Diné Woven in cream, grey, brown, and ochre wools, with central stacked diamonds and sawtooth long edges 57.5” H x 39” W $300-500 Provenance: Private collection, San Clemente, CA By family descent

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1238

A Navajo Two Grey Hills textile

Mid/late 20th century, Diné Attributed to Margret Lewis A small tapestry-woven textile woven in tan, light and mid grey, light brown, black and cream wool with central conjoined stepped diamonds, stepped corners and a denticulated border to sides 33” H x 21.25” W $300-500 Notes: This lot with attached tag indicating weaver.

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1239

A framed Navajo Two Grey Hills textile

Mid/late 20th century, Diné Woven in grey, tan, black, and cream wool with an elaborate hooked diamond to center, sawtooth diamonds to each end and an elaborate hooked border, with a ‘spirit line’ extending from one corner, professionally mounted and framed 25.25” H x 39” W $200-400

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1240

Two small Navajo Ganado textiles

Late 20th century, Diné Comprising two small mats, the larger woven in red, black, grey, and cream wool with a central stepped hooked diamond and a complex stepped border, and the smaller woven in tan, russet, grey, cream, and black wool with a small central stepped diamond and complex stepped corners 2 pieces Larger: 28” H x 22.75” W; Smaller: 21” H x 18” W $500-700

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1241

A Blanche Hale Navajo Wide Ruins textile

Late 20th century, Diné Woven in a fine tapestry weave with vegetal-dyed wool in red, brown, orange, and cream, with alternating bands of serrated diamonds and striped banding 50” H x 36” W $500-700 Provenance: Garland’s Navajo Rugs, Sedona AZ Private collection, acquired from the abovementioned, May 1985 Notes: This lot accompanied by a letter of certification and appraisal value from the above retailer, dated May 1985, as well as a tag indicating weaver, and a photo of the weaver holding the textile.

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A Charlene Laughing Navajo Moki wearing Blanket Revival textile

Late 20th/21st century, Diné Woven in red, orange, grey, purple, black, and cream wool featuring a band of concentric diamonds with serrated centers over striped banding to each side 40.75” H x 19.5” W $500-700 Notes: This lot with attached tag from Garland’s Navajo Rugs, Sedona, AZ, indicating weaver and style.

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1243

A framed Rena Billie Navajo Ganado textile

Rena Billie (b. 20th century, Diné) Circa 1987; Lower Greasewood, AZ A small mat woven in red, grey, and black wool with central hooked diamond and elaborate stepped border to two sides, professionally mounted and framed 16.25” H x 13.125” W $100-200 Provenance: Garland’s Navajo Rugs, Sedona AZ Notes: This lot accompanied by a purchase receipt from the abovementioned dated April 1987; with a tag indicating weaver, and with a photo of the weaver holding the textile.

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Two small Navajo Ganado weavings Late 20th century, Diné

Shanna Tisi (b. 20th century, Diné) A Navajo ‘Eyedazzler’ textile woven in red, grey, cream, and black wool with four vertically stacked serrated diamonds, with a sawtooth border to sides 30” H x 22.25” W A small Navajo woven sampler mat with alternating geometric stepped and striped banding 18.25” H x 12.25” W 2 pieces $300-500 Provenance: The eyedazzler: Garland’s Navajo Rugs, Sedona AZ Notes: The eyedazzler with attached tag from the abovementioned retailer indicating weaver and style. w w w. j o h n m o r a n . c o m 3 2 5

1245

A Dwight Laughing Williams Navajo revival saddle blanket textile

Dwight Laughing Williams (b. 20th century, Diné) Woven in cream, grey, orange, red, and black wool with striped banding and partial stepped diamonds with central crosses 24.5” H x 24.5” W $200-400 Provenance: Garland’s Navajo Rugs, Sedona, AZ Notes: This lot with a purchase information sheet from the abovementioned, dated January 2023, indicating artist and design; the lot also with an attached retail tag indicating artist and style.

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1246

Janusz Kozikowski

(1939-2011, Polish) “Blue Cloud/Ghost Rug,” 1983 Wool weaving Signed, dated, titled, and inscribed to applied fabric label: 7/27/83 / woven in kozikowski / Studios / Medanales, N.M. 87548 / U.S.A. 9’ 6” H x 7’ 3” W $2,000-3,000 w w w. j o h n m o r a n . c o m 3 2 7

1247

Jorge Tarallo Braun

(b. 1951) Horse and rider Oil on canvas Signed lower left: Jorge/Tarallo/Braun 24” H x 36” W $800-1,200

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1248

Charles Fracé

(1926-2005) “Bull Elephants” (Africa), 1972 Oil on canvas Signed lower left: Charles Fracé; signed again, titled, and dated in pencil on the stretcher 16.5” H x 36” W $7,000-9,000 Notes: Charles Fracé was an American wildlife illustrator and painter known for his highly detailed and scientifically accurate depictions of animals. Fracé combined artistic skill with careful observation of animal anatomy and behavior, often studying specimens in museums and zoos to achieve realism. His illustrations appeared in natural history books, magazines, and museum displays, helping educate the public about wildlife long before nature photography became widespread. Through precise line work, lifelike poses, and naturalistic settings, Fracé’s artwork captured both the physical characteristics and the spirit of the animals he portrayed, like the present depiction of four bull elephants on the African savanna.

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Frank Paul Sauerwein

(1871-1910) “Two Indian Ponies on a Hill” Watercolor on paper Estate signed lower right: F.P. Sauerwein / Estate.; titled on a label affixed to the frame’s backing board Sight: 6.5” H x 9.5” W $800-1,200 Provenance: Private estate, California

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1250

Belmore Browne

(1880-1954) “Sketch for Antelope Group,” 1907 Oil on board Signed, titled, and dated in pencil, lower right: Belmore Browne / ‘07 12” H x 16” W $2,000-3,000

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Marjorie Reed

(1915-1996) Miner with donkeys in an oasis Oil on canvas laid to canvas Signed lower right: Marjorie Reed 24” H x 36” W $2,000-3,000 Provenance: Private estate, California

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1252

Marjorie Reed

(1915-1996) “Late Afternoon on the Trail” Oil on canvasboard Signed lower left: Marjorie Reed; signed again, titled, and inscribed, all in ink, verso: “Elephant Head Rock / Santa Cruz Valley / Southern Arizona / by Marjorie Reed” 12” H x 16” W $800-1,200 Provenance: Private estate, California

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Marjorie Reed

(1915-1996) Autumn landscape Oil on canvas Signed lower right: Marjorie Reed 16” H x 20” W $600-800 Provenance: Private estate, California

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1254

Marjorie Reed (1915-1996) Two works:

“Autumn Comes to the Peaks” Oil on canvasboard Signed lower left: Marjorie Reed; titled in pencil on the overmat Sight: 3.875” H x 4.875” W “There’s No Place Like Home” Oil on canvasboard Signed lower right: Marjorie Reed; titled in pencil on the overmat Sight: 3.875” H x 4.875” W $600-800 Provenance:

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Stephen Hallet Willard

(1894-1966) Autumn landscape, June Lake, High Sierra Oil over printed photograph on Masonite Signed lower right: Stephen H. Willard ©; with the artist’s copyright black ink stamp verso 22” H x 30” W $600-800 Provenance: Private estate, California

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1256

A pair of Bradley & Hubbard brass candlesticks

Early 20th century Each applied with metal tag: BRADLEY & HUBBARD / [lamp cipher] / MFG. CO. 2 pieces Each: 12” H x 6.25” Dia. $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1257

A Heintz Art Metal Shop silver overlay lamp base

Early 20th century Impressed factory mark and: STERLING / ON BRONZE / PAT. AUG 27, 12 / 5505 B The verdigris patinated bronze base with silver overlay bamboo issuing two Leviton lights, electrified 15” H x 8.125” Dia. $500-700 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1258

A Heintz Art Metal Shop silver overlay vase

Early 20th century Appears unmarked Verdigris patinated bronze with silver overlay foliate motifs 9.5” H x 3.625” Dia. $200-400 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1259

A Heintz Art Metal Shop sterling silver overlay vase

Early 20th century Impressed factory mark and: STERLING / ON BRONZE / [indistinct] / 3595 C Patinated bronze with silver overlay depicting an iris 8.875” H x 4.75” Dia. $200-400 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1260

A Heintz Art Metal Shop silver overlay bowl

1911-1912 Stamped: PAT APD FOR/ 1851 with etched numbers: 1646 The patinated bronze bowl with rolled rim and silver overlay of foliate motif 4” H x 7.625” Dia. $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1261

An Arts & Crafts crystalline glazed pottery vase

Early 20th century With indistinct overglaze circular mark; etched number: 511 9.375” H x 6.5” Dia. $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1262

A group of five Arts & Crafts matte green glazed pottery items Early 20th century Each unmarked Comprising a Bauer low bowl, three Bauer flower frogs in the form of two birds and one frog, and a Zanesville floral vase 5 pieces Bowl: 2.25” H x 9.5” Dia.; Vase: 8.75” H x 5.75” Dia. $200-400

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1263

A pair of Pacific green glazed pottery planters Early/mid-20th century One incised to underside: 109 2 pieces Each: 14.375” H x 19” Dia. $400-600

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1264

Three California tile top side tables

Early/mid-20th century Two raised on turned legs and one with shaped base and box stretcher 3 pieces Tallest: 20.25” H x 18” W x 18” D; Shortest: 16.5” H x 18” W x 18” D $300-500

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1265

A Spanish Revival tile top table

Early 20th century With foliate pattern polychrome ceramic tiles set in a metal frame, raised on an enameled metal scrollwork base 29.25” H x 41.5” W x 24.25” D $800-1,200

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1266

A Spanish Revival tile top table

Early 20th century With foliate pattern polychrome ceramic tiles set in a metal frame, raised on an enameled metal scrollwork base 22” H x 26.5” W x 18.5” D $400-600

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1267

A pair of Garden City blue glazed pottery oil jars Circa 1930s; San Jose, CA Each unmarked 2 pieces Each: 17.125” H x 13.75” Dia. $700-900

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1268

Three Robinson Ransbottom glazed pottery oil jars Mid-20th century Each unmarked 3 pieces Each: 18” H x 13.5” Dia. $400-600

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1269

A group of Bauer glazed pottery ringware table items

Circa 1930s Comprising 5 taller cups (one with a copper holder and wood handle), 3 smaller cups, 5 footed cups, 5 footed bowls, and 5 pitchers, all forms but the smaller cups represented in five classic Bauer colors 23 pieces Each pitcher: 6.625” H x 8.25” W x 6.625” D; Each footed cup: 4.625” H x 3.5” Dia. $500-700

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1270

A group of seven Bauer pottery ringware planters

Circa 1930s One medium incised: 10; smallest incised: 8 1/2 7 pieces Largest: 13.375” H x 16.5” Dia.; Smallest: 8.25” H x 9.625” Da. $500-700

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1271

A group of Matt Carlton glazed pottery items for Bauer

Circa 1930s Five drip trays impressed: BAUER / LOS ANGELES; and variously numbered 8 or 10 Comprising: 3 strawberry pots 3 fan vases 3 ribbon rim vases 1 trumpet vase 4 candlesticks 1 dog bowl 1 salad bowl 2 squared bowls 7 drip trays 2 lidded jars 1 floral frog 4 ashtrays 32 pieces Largest bowl: 4” H x 12.5” W x 12.5” D; Largest vase: 7.875” H x 6.125” Dia. $800-1,200

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1272

A collection of Bauer glazed pottery table items

Circa 1930s Each unmarked Comprising: 8 dinner plates 7 partitioned plates 7 salad plates 7 bread & butter plates 3 serving plates 3 large bowls 13 bowls of various sizes 10 small dishes 9 mugs of various sizes 3 espresso mugs 3 footed fruit bowls 7 cups 7 saucers 87 pieces Largest plate: 12.625” Dia.; Tallest mug: 5.75” H; Large bowls: 2.625” H x 8.375” Dia. $400-600

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1273

A collection of Bauer glazed pottery ringware table items

Circa 1930s Each unmarked Comprising various plates, bowls, cups, and other service items, including but not limited to: a large footed fruit bowl, a set of oval plates, a set of luncheon plates, a set of small dishes, pitchers, bowls, cups, candlesticks, stackable leftovers bowls, salt and pepper shakers, and a teapot 91 pieces approximately Fruit bowl: 7.375” H x 14.375” Dia.; Largest plate: 14.375” Dia.; Widest bowl: 12.25” Dia. $600-800 Notes: This lot is accompanied by a group of Bauer collector’s guides, catalogue reprints, and price guides, as well as a hardcover book: “Bauer Pottery,” 1998, by Jack Chipman, signed by the author with gift inscription.

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1274

A group of Bauer glazed pottery planters and two stands

Circa 1930s One drip tray impressed: BAUER POTTERY CO/ / LOS AGELES / 8; some others with factory impressions and variously marked: 5 / 6 / 10 Comprising 12 planters of various sizes and styles including ringware, 2 undertrays, 1 umbrella stand, and 2 wrought-iron scrollwork stands 17 pieces Umbrella: 19.75” H x 10.5” Dia.; Largest planter: 9.75” H x 11.75” Dia.; Larger stand: 32.5” H x 27” Dia. $400-600

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1275

A Bauer green glazed pottery ringware planter Circa 1930s Incised to underside: 10 10.25” H x 12.375” Dia. $200-300

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1276

Three Folk Art painted wood pedestals

20th century Each of tiered triangular form, painted in primary colors 3 pieces Each: 32.5” H x 21” W x 19” D $500-700 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1277

A pair of monumental enameled wrought iron andirons

20th century Each with scrollwork, twisted standard, and a braided ring 2 pieces Each front: 55” H x 26.5” W x 13” D; Each bracket: 21.5” H x 12” W x 50” D $800-1,200 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1278

An Arts & Crafts green glazed pottery table lamp

Early 20th century Unmarked The ceramic vessel with crystalline glaze, mounted as a two-light lamp, surmounted by a woven bamboo and fabric shade, electrified Ceramic: 17.5” H x 7.25” Dia.; Lamp: 28.7” H; Shade: 9.5” H x 26” Dia. $800-1,200

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1279

An Airflow Collectibles ‘Gee Bee’ Model R pedal car

Late 20th century With manufacturer’s label: AIRFLOW / AFC / COLLECTIBLES / ORANGE, CALIF. The enameled body with chromed metal steering wheel and accents and faux leather seat, raised on rubber wheels 24.5” H x 35.5” W x 46” D $300-500

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1280

A Pony Boy aluminum rocking horse

Circa late 1940s Marked in the casting: PONY BOY MFG CO KALAMAZOO MIC 23.25” H x 11.75” W x 34” D $200-400

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1281

Three American aluminum tricycles

Mid-20th century Two with pedals marked in the casting: ANTHONY BROTHERS; largest marked to handlebar stem: T-F A200 Each with rubber wheels, comprising two Anthony Brothers ‘Convert-O’ tricycles, and a larger tricycle with ram’s head handlebars and rubber pedals 3 pieces Tallest: 35” H x 21” W x 44” D; Shortest: 27.5” H x 22” W x 32.5” D $700-900

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1282

Leo Politi

(1908-1996) Illustrations of children, 1937 Four watercolor and pencil works on paper, framed together Each signed and dated lower right: Leo / Politi / 1937 Sight of each: 9.75” H x 6” W $600-800

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1283

Todd Abbott Winters

(20th/21st century) Spanish adobe mountain base, 1993 Watercolor and gouache on paper Signed and dated lower left: Winters 93 Image/Sheet: 29.75” H x 20.75” W $200-400

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1284

Russell Cowles

(1887-1979) Horses in a pasture, New Mexico Watercolor and pencil on Arches paper Signed lower center: Russell Cowles Sight: 21.75” H x 14.75” W $500-700 Provenance: Private estate, California

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1285

A set of J.G. & J.F. Low Art Tile Works “The Four Seasons” glazed tiles

1885 in later frame Each tile impressed: J.G. & J.F. LOW / ART TILE WORKS / CHELSEA / MASS, U.S.A. / COPYRIGHT / BY J.G. & J.F. LOW / 1885; frame unmarked Each tile depicting a maiden representing of one of the four seasons and set into a hand hammered copper frame with easel back Each tile sight: 5.75” H x 4” W; Framed: 14.5” H x 11.125” W x 1.25” D $700-900 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1286

Two American Encaustic Tiling Co. glazed ceramic panels

Late 19th/early 20th century Each tile marked in relief: A. E. TILE Co. LIMITED Each figure formed of three tiles, one set depicting a maiden, the other a musician 2 pieces Each tile: 6” H x 6” W; Each framed: 22” H x 10.125” W x 1.25” D $200-400 Provenance: The Collection of Gary Diamond, Los Angeles, CA

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1287

An Old Hickory style Adirondack desk

Early/mid-20th century With marquetry top above two drawers, raised on natural wood supports joined by an H-stretcher 30.75” H x 49.25” W x 25.75” D $800-1,200

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1288

A Northern European painted wood immigrant chest

Circa mid-19th century Inscribed indistinctly and dated 1848 With enameled metal latch lock, opposed handles, hinges, and corner brackets 18.75” H x 41” W x 21.5” D $300-500

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1289

An American painted grain wood blanket chest

Mid-19th century Signed in the staining to lid: 1856 / Robert Tager Possibly an immigrant chest, with inner compartment above a locking drawer 26.25” H x 39” W x 19” D $700-900

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1290

A large Arts & Crafts style cherrywood dining table

Late 20th/early 21st century Unmarked With spindle trestle supports joined by a double-beam H-stretcher with central spindle accents 30” H x 134.25” W x 48.25” D $1,000-2,000

1292

A Limbert oak cutout armchair

Early 20th century With shop burn mark underneath one arm Similar construction to model no. 594, but without rockers, the seat later reupholstered in purple mohair 35.75” H x 24.5” W x 23” D $400-600

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1291

An American tiger maple chest of drawers

Early 19th century Also called a bonnet chest, with four small drawers above three long locking drawers, raised on turned feet 43.75” H x 41.25” W x 19.75” D $400-600

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1293

Four Limbert Mission oak side chairs, no. 1851

Circa 1910 Each appears unmarked Each with slat back above a later leather seat with tacking 4 pieces Each: 36.75” H x 17.5” W x 20” D $500-700 Literature: Stephen Gray, “Limbert Furniture” (New York, NY: Turn of the Century Editions, 1981), p. 174

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1294

An Arts & Crafts leather top table

Early 20th century Unmarked In the style of Gustav Stickley, the top clad in oxblood leather with metal tacking, over four corbeled legs and an underteir with keyed tenon joinery 29.25” H x 31” Dia. $800-1,200

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1295

Two Arts & Crafts oak footstools

Early 20th century Each unmarked Comprising a Stickley Brothers ‘Quaint’ oak footstool, no. 5674, with leather-upholstered cushion, and another footstool with mortise and tenon construction and later mohair-upholstered cushion with tacking over passementerie trim 2 pieces Stickley: 10.5” H x 19” W x 12.5” D; Other: 16” H x 18” W x 14.75” D $600-800

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1296

A Gustav Stickley style oak lamp table

Early 20th century Stamped to underside: DUNGAN & FRY / ALLENTOWN, PA In the style of Gustav Stickley lamp table no. 137, with circular undertier above an X-stretcher 30” H x 24.25” Dia. $600-800

1297

An Arts & Crafts style cherrywood harvest table Late 20th/early 21st century Unmarked 30.25” H x 60” W x 32” D $400-600

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1298

A set of four Arts & Crafts style oak spindled side chairs

Mid/late 20th century Each unmarked Comprising two with leather seat and two with mohair seat, each with five spindle back 4 pieces Each: 44.5” H x 19” W x 22.5” D $700-900

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1299

An Arts & Crafts style oak sideboard

Late 20th century Unmarked Quarter-sawn with brass lock plates and pulls, comprising three central drawers flanked by two locking cabinet doors above a long drawer 36.25” H x 47.75” W x 20.25” D $700-900

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1300

Buck McCain

(b. 1943) “The Invocation,” 1988 Patinated bronze Signed, dated, and inscribed in the casting: McCain © 88FM 16.75” H x 10.5” W x 5” D $400-600

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1301

After Frederic Remington

(1861-1909) “The Broncho Buster,” original 1895 Patinated bronze on a stone plinth Edition: RCS 505/775 Signed and numbered in the casting: Copyright Frederic Remington Bronze: 21” H x 20.75” W x 10.5” D; Overall: 22.625” H $800-1,200 Notes: This lot is accompanied by a signed Commemorative Edition Certificate of Authenticity from the Remington Collector’s Society.

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1302

A pair of American hooked rugs

20th century Comprising two folk art rugs, each with geometric diamond motifs in pinks and beiges with dark borders, each backed with cotton fabric from vintage cotton sugar bags 2 pieces Larger: 26.5” H x 49.5” W; Smaller: 24” H x 44” W $200-400

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1303

A group of American hooked rugs

20th century Comprising three folk art rugs in reds, blues, and yellows, including a large floor rug with multicolored quilt-style patchwork motifs, as well as a multicolored mat with geometric diamond motif and zigzag borders, and a small mat with multicolored stripes and banding 3 pieces Largest: 35” H x 58.5” W; Smallest: 22.5” H x 40” W $300-500

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1304

Two American hooked rugs

20th century Comprising two large folk art rugs, including one with red, blue, pink, and multicolored quilt-style scalloped motifs and pink checkered borders, and a square rug with a modernist-style patchwork design in purple, brown, and green with fine stripe borders 2 pieces Larger: 32.5” H x 44.5” W; Smaller: 41” H x 44.5” W $200-400

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1305

A group of American hooked rugs

Late 19th/20th century Comprising four folk art mat rugs in various styles and sizes, including a horse motif mat, a small mat with intertwined floral sprigs and branches, a small black mat with floral sprigs and a central floral cross motif, and a large orange and brown multicolored tufted rug with banded edges, three of the rugs mounted to a fabric-covered stretcher 4 pieces Largest: 23” H x 41.5” W; Smallest: 22” H x 15.75” W $500-700

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1306

A group of American hooked rugs

20th century Comprising four folk art mat rugs in various styles and sizes, including a brown, pink, and green rug with a central medallion of two birds with twining leaves, two rugs in browns, pinks, and cream with geometric diamond motifs to the center and multicolored borders and striped accents, as well as a small mat in pink, green, and cream with multiple tree motifs, the three large rugs each mounted to a fabric-covered stretcher 4 pieces Largest: 29.5” H x 51” W; Smallest: 24” H x 32.25” W $400-600

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1307

A Contemporary split reed lounge chair

Late 20th century Unmarked With mohair upholstered seatback and seat cushion 34.5” H x 27” W x 36” D $200-400

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1308

An American wicker and oak side table

Early 20th century With quarter-sawn oak top mounted to a woven wicker body with X-form base 22” H x 27.5” Dia. $200-400

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1309

An American pine farmhouse bench

19th century With shaped corbels and demilune cutouts to supports 18.5” H x 38.25” W x 14.5” D $300-500

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1310

A rustic painted wood table Early 20th century Raised on attenuated legs 28” H x 21” W x 20.5” D $300-500

1311

An Arts & Crafts oak lamp table Early 20th century Unmarked 29” H x 30.125” W x 24.125” D $300-500

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1312

After Charles Rennie Mackintosh (1868-1928, Scottish)

A pair of ‘Ingram’ dining chairs by Cassina, late 20th century Each with factory mark: Cassina / Charles Rennie Mackintosh Each dark brown stained ash, with slat back and vinyl upholstered seat raised on straight legs joined by a box stretcher 2 pieces 42” H x 16” W x 19” D $300-500

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1313

A group of Pennsylvania redware pottery items

Late 19th century-late 20th century One dish incised: R Breininger / Robesonia Pa / June 1977 Comprising two apple-form money banks, two crocks, two shallow bowls/plates, and a small dish by Lester Breininger Jr. (1935-2011) 7 pieces Largest crock: 6.625” H x 9.5” W x 8” D; Largest bowl: 8.625” Dia. $300-500

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1314

Lester Breininger Jr. (1935-2011, American)

A collection of Pennsylvania glazed redware pottery eggs, 1977 & 1981 Seven incised, eight painted with artist’s typical marks and variously dated 77 or 81 Comprising seven painted with floral or animal figure motifs, and eight decorated in amorphous yellow and green glazes, all set in a woven basket 15 pieces Larger eggs: 3.5” H x 2.5” Dia.; Basket: 10” H x 15.75” W x 12.5” D $200-400

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1315

Lester Breininger Jr. (1935-2011, American)

A collection of Pennsylvania glazed redware pottery vessels, 1977 & 1981 Most incised: R Breininger / Robesonia Pa; smaller items initialed: LB; each variously dated, some titled Comprising 4 large plates, a set of 6 small dishes, 2 medium dishes, 3 bowls, 2 oval servers, 2 smaller dishes, and 2 cream jugs 21 pieces Larger plates: 10” Dia.; Cream jugs: 3.25” H x 4.25” W x 2.75” D $300-500 Notes: Two with lengthy inscriptions, including the piecrust bowl “out of the earth with / understanding the potter / can make anything,” one dish inscribed “52 hostages released by Iran / after 444 days.”

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1316

A group of hide drums and a powder horn

Late 20th/21st century Hand drum signed: Nash Tavewa / 23 / 2023 Comprising a Nash Tavewa (Zapotec) smaller single-sided stretched hand drum and a large two-sided stretched hide drum over wood with a hide handle and a beater as well as a steer horn ‘powder horn’ with cork stopper and hide strap 4 pieces Larger drum: 7” H x 14.5” Dia.; Smaller: 3” H x 16” Dia; Beater: 14.5” L; Horn: 20.75” H x 3” W x 2.75” D $300-500

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1317

Sonya Holy Eagle (b. 20th century, Lakota)

A painted hide drum, 1997 Signed and dated on reverse An oval drum with a painted yellow hand surrounded by blue, and with feathers, thunderbolts, and other spiritual motifs, on stretched hide over a wood base, with braided hide handle to top, and with a stick beater 2 pieces 15” H (with handle) x 10” W x 5.5” D; stick: 13” L $200-400

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1318

A Cheri Cappello Plains style beaded hide bag

Cheri Cappello (b. 20th century) Late 20th/early 21st century Signed in ink verso: Cheri Cappello / CCR A hide or buckskin bag with central beaded panel with geometric motifs in blue, white, and yellow, buckskin fringe with trade-style beads and with antler, animal teeth, horsehair, and ermine pelt accents 40“ L x 6.5” W including fringe $300-500

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1319

John Redtail Freesoul (b. 20th century, Cheyenne-Arapaho)

A group of Cheyenne-Arapaho custom-made painted hide items, 1987 & 1991 Three works: A “Hawk Ceremonial” effigy pipe, 1987, with a carved alabaster bowl, and dark pipestone accent, on a wood stem with antique French brass tacks, and trade bead dangles, professionally mounted and framed under acrylic Signed to base of black stone 23.5” L x 3.5” H x 1.25” W approximately A “Shadow of the Hawk” buckskin pipe bag, 1987, featuring glass trade bead beadwork, painted cross motifs, and a central bird in black, with long fringe and bone and bead dangles, professionally mounted and framed under acrylic 28” H 6.25” W; fringe: 13” approximately A “Hawk Dream Shield”, 1991, in bull hide featuring a central large painted black bird, and with feathers, and brass and trade bead accents, and bead and bone dangles within the long fringe Signed, titled, and dated verso 18.75” Dia. x 1” D, fringe: 18.75” 3 pieces $800-1,200 Provenance: Each: The artist; Elaine Horwitch Gallery, Sedona AZ Private collection, commissioned through the abovementioned gallery from the artist in 1987 and 1991. Notes: Each piece with purchase receipt from the above gallery, commission details, and information from the artist, 1987 & 1991.

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1320

Adam Fortunate Eagle (b. 1929, Chippewa)

‘Medicine Horse Society Pipe,” 1992 Signed and dated to the pipe end and the stand base: Fortunate Eagle / 1992 A carved steatite horse pipe bowl with a removable sumac stem decorated with beaded buckskin and horsehair, mounted on a custom cedar and deer antler stand 3 pieces Pipe bowl: 3.25” H x 2” W x 8.25” D; stem: 23.75” L x 1.5” Dia. $500-700 Provenance: The artist Private collection, acquired from the above, 1992 Exhibited: Los Angeles, Southwest Museum of the American Indian, “Southwest Museum’s Urban American Indian Art Expo,” Summer 1992; First Place, Fine Arts Division Notes: This lot accompanied by the First Place, Fine Arts Division Blue Ribbon and exhibition display plaque, from the abovementioned exhibition, and a copy of the purchase receipt, September 18, 1992. Adam Fortunate Eagle (1929-2025) was a Native American activist, author, and longtime advocate for Indigenous rights, best known as a key organizer of the Occupation of Alcatraz. A member of the Crow Tribe, he played a central role in advancing Native self-determination during the Red Power movement of the late 20th century. Beyond his activism, Fortunate Eagle was also a skilled artist, jeweler, educator, and storyteller.

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1321

A Cheri Cappello beaded Plains style ‘Running Buck’ Crow shirt

Cheri Cappello (b. 20th century) Late 20th/early 21st century Signed in ink to interior: Cheri Cappello / CCR; with attached label: “ ‘Running Buck’, Crow shirt” Comprising a hide shirt, possibly elk, with elaborate geometric beadwork panels to front and sleeves, fringing to sleeves and hem, removable fur pelt over-collar, with multiple horse hair, fur, and ermine pelt accents, metal studs to shirt front, and abalone shell medallion and animal feet to center front beadwork panel 40” H (from shoulders, including fringe); 22” W at front underarms & 32” W at hem; Sleeves from neck: 24.5” $1,000-1,500

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1322

George Blake (b. 1944, Hupa-Yurok)

A small carved elk antler freestanding bag, circa 1995-1996 Etched to lower edges on each side: G BLAKE / 3.96 With carved base featuring angled rows of diamond motifs in a traditional ‘stairway to heaven’ basket design, with a buckskin drawstring top stitched to the top edge 3.75” H x 3.25” W x 1.375” D $200-300 Provenance: The artist Private collection, acquired from the abovementioned, 1995 Notes: This lot accompanied by a copy of a purchase receipt from the maker, George Blake, as well as additional information about the design process, dated March 1995.

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1323

A polychrome Hupa/Yurok/Karuk basketry hat

Early/mid-20th century; Northern California A twined hat with imbricated triangular and hooked banding to sides and clusters of triangular ‘foot’ motifs to crown 3.5” H x 6.5” W x 6.25” D $500-700

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1324

A group of diminutive Pomo baskets

Early 20th century; Northern California Three coiled low basketry bowls, the largest with three geometric stylized floral motifs, and the smaller bowls with stepped radiating floral and geometric motifs 3 pieces Largest: 2.25” H x 5” Dia.; Smallest: 1.75” H x 3.5” Dia. $500-700

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1325

A large Pima pictorial basketry olla

Early 20th century, Akimel O’odham; Southwest United States A large coiled olla with checkered zigzag banding to waist, and five likely chuckwalla lizard motifs below hip, likely worked in ‘Devils Claw’ and willow 12.5” H x 14” Dia. $500-700 Provenance: Triton Museum of Art, Santa Clara, CA

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1326

Two Southwest baskets Late 20th century Two works:

Attributed to Leonora Quanimptewa (b. 20th century, Hopi) A polychrome Hopi Second Mesa coiled basketry tray Late 20th century, Hopi Pueblo, Second Mesa, Southwest United States With multiple animal motifs to center and stepped triangle ‘sunburst’ band to edges, professionally mounted and framed under glass 10.75” Dia. A coiled Pima basketry bowl Mid/late 20th century, Akimel O’odham A tapered basket with interlocking stepped whirling motifs 4.75” H x 9.25” Dia. 2 pieces $200-400 Provenance: The Hopi tray: Garland’s, Sedona AZ Private collection, acquired from the abovementioned, 1987 Notes: The Hopi tray with copy of purchase receipt from Garland’s, Sedona, AZ, dated April 1987.

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1327

A set of Beverly Etsate Zuni sterling silver and stone set jewelry

Beverly Etsate (b. 20th century, Zuni) Late 20th/21st century Etched: Bev Etsate / Zuni Comprising a Zuni squash blossom necklace with ten carved multicolored stone inlay “corn” blossoms including alternating turquoise, coral, mother of pearl, shell, and spiny oyster, suspending a silver naja with applied turquoise and shell blossoms, as well as a matching blue carved turquoise ring 2 pieces Necklace: 24.75” L x 2.25” H; ring size: 8.25 91.1 grams gross $600-800

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1328

An Isleta Pueblo style trade bead necklace

Late 20th century Some elements stamped: GDT A long strand with multiple silver-toned stamped and incised metal elements including crosses, medallions, wings, and other milagro-style motifs, all alternating with beads including “white heart” trade beads, Italian glass beads and various mixed metal beads 57 “ L x 3.75” H 230.5 grams gross $800-1,200

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1329

A Southwest silver and turquoise ‘box & bow’ squash blossom necklace

Mid-20th century Unmarked A double strand silver bead necklace of twenty-eight ‘box and bow’ blossoms, each with set nugget turquoise blossoms, suspending a large naja with twelve set nugget turquoise stones 22.5” L x 2.375” H 131.4 grams gross $700-900

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1330

A Southwest sterling silver and turquoise squash blossom necklace Mid/late 20th century Unmarked A chunky double strand necklace with ten graduated set turquoise blossoms, suspending a large central stone-set naja 27.5” L x 2.5” H 167.6 grams gross $600-800

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1331

A group of Southwest Zuni needlepoint jewelry

Mid/late 20th century Four with unidentified etched mark; cuff further stamped: W Hooee / Zuni / NM Five works comprising a delicate needlepoint turquoise squash blossom necklace with twelve blossoms and a central elaborate naja, together with a pair of matching blossom earrings, as well as a two-wire cuff bracelet with central round plaque, two rings, including one with cluster set needlepoint turquoise, and two further pairs of earrings, one pair with dangles, and the other a pair of diminutive studs 10 pieces Necklace: 23.5” L x 2.25” H; cuff: 6.25” total inner C x 1.625” H, gap: 1.25”; Ring sizes: 9 & 8; Earrings: 2” H; 1.5” H; 0.375” H 158.8 grams gross $800-1,200

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1332

A group of Southwest sterling silver and turquoise jewelry

Mid/late 20th century Cuff etched: Ralph King / 1975; two marked: Sterling Comprising a sterling silver chain link pendant necklace with five set oblong slab turquoise plaques, each plaque with incised edges, as well as a four-wire cuff with large central set slab turquoise, and a sterling silver and shadow set turquoise ring 3 pieces Necklace: 18” L x 1.5” H; Cuff: 6.5” total inner C x 1.5” H, gap: 1”; Ring size: 5 134.7 grams gross $500-700

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1333

A group of Southwest silver jewelry Mid/late 20th century Five works:

Jack & Mary Tom (b. 1948 & b. 20th century, Diné) A Navajo sterling silver and turquoise necklace Stamped: JT / Sterling / IHMJ With five set turquoise links with silver overlay accents and a central dangle 17” L x 2” H A group of Southwest set stone cuff bracelets Two variously marked for maker and/or for sterling: MJ / [sign picto for Bell Trading Post] Comprising a Fred Harvey-style four wire stamped sterling silver cuff with central set turquoise cabochon and silver wire accents, as well as three further two-wire cuffs, including two with set turquoise, and one with three set mother of pearl plaques 4 pieces Largest: 6.5” total inner C x 1” H; Smallest: 6” total inner C x 1” H 5 pieces total 122.3 grams gross $500-700

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1334

A Navajo multistrand turquoise necklace, attributed to Annie Mae Yellowhorse

Annie Mae Yellowhorse (b. 19th century, Diné) Late 19th/early 20th century, Wide Ruins A four-strand fine turquoise and heishi necklace strung to sinew, professionally mounted and framed 31” L approximately $600-800 Notes: Annie Mae Yellowhorse is the great-grandmother of Navajo/Diné jeweler Gloria Yellowhorse (d. 2013) This lot with a handwritten note on frame verso, indicating maker, family, and materials.

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1335

Two Southwest necklaces

Mid/late 20th century Comprising a sandcast sterling silver naja suspended by a single strand of coral, heishi, and silver beads (24” L x 2.375” H), as well as a multistrand fine bead coral and white clam shell necklace (30” L) 2 pieces 254.9 grams gross $400-600

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1336

A group of Southwest jewelry

Mid-20th century Variously marked for maker and/or for sterling: B [figure picto] / H [script] / D. Lucas Seven works comprising a chunky Pueblo graduated turquoise necklace with graduated clamshell beads and an attached pair of turquoise and coral jaclas, a three-strand red trade bead and coral necklace with silver bead spacers and a traditional wrapped neck cord, and a single strand of turquoise, red trade bead, and shell jaclas, as well as two sterling silver and set turquoise brooches, one an insect pin and one a butterfly concho-style brooch with repoussé accents, and two pairs of turquoise earrings, one pair suspending graduated turquoise nuggets, and one pair of squash blossom-style earrings 9 pieces Necklaces: 30” L & 26” L; jaclas: 3.5” H; Brooches: 2.5” H & 1.75” H; Earrings: 1.5” H & 1.25” H 277.6 grams gross $400-600

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1337

A group of Southwest silver and turquoise jewelry

Mid/late 20th century Buckle stamped: DC / Sterling Two works comprising an oval concho-style bolo with central cluster set turquoise and stamped edging accents, suspended from a braided black leather cord with silver cone tips, as well as an ornate sterling silver oval belt buckle with multiple applied silver floral, feather, and silver ball accents, with set nugget turquoise to one edge 2 pieces Bolo slide: 2.5” H x 2” W; cord: 39” L; Buckle: 2.375” H x 3” W; Belt ring: 1.875” 109.7 grams gross $300-500

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1338

Two Southwest sterling silver and turquoise jewelry items

Mid/late 20th century Each unmarked Comprising a chunky cuff with large row set turquoise and silver wire and silver ball accents and stamped edges, as well as a sterling silver and turquoise bolo tie with naja-style plaque slide set to a braided black leather cord with silver end tips 2 pieces Cuff: 6.75” total inner C x 1” H, gap: 1.5”; Bolo slide: 2.75” H x 1.75” W; cord: 38” L approximately 122.0 grams gross $400-600

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1339

Two Southwest sterling silver bolo ties Late 20th century Two works:

Jennifer Curtis (b. 1964, Diné) A Navajo sterling silver bolo tie Stamped: Jr. Curtis [script]/ Sterling A heavy oval incised silver medallion bolo on a braided black leather cord with cylindrical silver tips Bolo: 2” H x 1.75” W”; cord: 39” L A Southwest sterling silver and stone inlay bolo tie Unmarked A chunky rectangular bolo with raised coral and opal channel inlay in an elaborate shadowbox setting, on a braided black leather cord with silver bands and tips Bolo: 2.375” H x 1.25” W”; cord: 44” L 2 pieces 174.1 grams gross $500-700 4 2 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1340

A Zuni silver and turquoise bolo tie, attributed to Dan Simplico

Attributed to Dan Simplicio (1917-1970, Zuni) Stamped: Sterling A sterling silver bolo tie featuring a trapezoidal slide with a large set slab turquoise, with an elaborate silver snake and stylized leaf overlay, attached to a black braided leather cord with silver cone and ball tips Bolo slide: 2.125” H x 1.75” W; cord: 39” L approximately 54.0 grams gross $300-500

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1341

A Preston Monongye Hopi silver and turquoise cuff bracelet Preston Monongye (1927-1987, Mission/Hopi) Mid/late 20th century Marked to plaque with artist’s Peyote bird picto A wide tapered chunky cuff in cast silver with applied wire botanical accents and a set turquoise oblong cabochon 6.375” total inner C x 1.75” H, gap: 1.5” 93.4 grams gross $2,000-3,000

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1342

A large Ernie Lister Navajo sterling silver cuff bracelet

Ernie Lister (b. 1953, Diné) Late 20th/21st century Stamped: E Lister A chunky ridged silver cuff with three repoussé crosses each set with turquoise, and with stamped edging accents 8” total inner C x 1.25” H; gap: 1.125” 119.0 grams gross $800-1,200

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1343

A Danny Romero sterling silver cuff bracelet

Danny Romero (1954-2018; Yaqui/Spanish) Stamped: D R.MER. / FINE / [pictograph] A chunky sterling silver cuff with figural silver overlay featuring various Pueblo and Southwest motifs 7.25” total inner C x 0.75” H, gap: 1.5” 90.0 grams $500-700

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1344

A set of Jimmy Victor Begay Navajo sterling silver and turquoise jewelry

Jimmy Victor Begay (b. 20th century, Diné) Mid/late 20th century Each marked: JVB Comprising a chunky tapered cuff bracelet with six graduated set nugget turquoise, with silver feather and silver wire overlay accents, as well as a similar design chunky silver ring 2 pieces Cuff: 6.875” total inner C x 1.5” H, gap: 1.25”; Ring size: 10.75 127.6 grams gross $700-900

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1345

A large Tommy Singer Navajo sterling silver cuff bracelet

Tommy Singer (1940-2014, Diné) Late 20th century Stamped: T Singer / Sterling A chunky silver pictorial cuff with heartline buffalo silver overlay, stamp work to terminals, and hammered silver edges 8.75” total inner C x 2.125” H; gap: 1.875” 120 grams $500-700

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1346

An Alice Sam Navajo silver and turquoise cuff bracelet

Alice Sam (b. 20th century, Diné) Late 20th/early 21st century Stamped: Alice Sam A chunky cuff with six shadow set turquoise cabochons and ridged stamped edges 6.5” total inner C x 1.375” H, gap: 1.375” 75.8 grams gross $400-600

1348

An Albert Yazzie Navajo sterling silver and channel set inlay cuff bracelet Albert Yazzie (b.1954, Diné) Stamped: AY / Sterling A narrow cuff with delicate multistage silver, turquoise, lapis lazuli, mother of pearl, spiny oyster, and black stone channel and mosaic inlay, with various sized dot, arrow and celestial motifs 7.125 total inner C x 0.5” H, gap: 1.125” 43.9 grams gross $500-700

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1347

A Southwest sandcast ingot silver and turquoise cuff bracelet

Mid/late 20th century Stamped: E A chunky cuff with three set turquoise stones and stamped edge accents 6.25” total inner C x 0.875” H, gap:1.25” 51.6 grams gross $500-700

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1349

A Southwest sterling silver and turquoise watch cuff bracelet

Mid/late 20th century Unmarked A chunky shaped watch cuff bracelet with multiple set turquoise nuggets and applied silver feather, ball, and wire accents 7.125” total inner C x 1.875” H, gap: 1.125” 178.0 grams gross $300-500

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1350

A Victor Coochwytewa Hopi silver pictorial cuff bracelet

Victor Coochwytewa (1922-2011, Hopi) “Starblower: Brings Light into Darkness”, circa 1985 Stamped with artist’s mark of cloud with five rain lines; further stamped with Kopavi figural hallmark / Sterling A narrow cuff bracelet with multiple ‘Starblower’ figures in sterling silver overlay 7.25” total inner C x 0.5” H, gap: 1.125” 38.2 grams $400-600

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1351

Two Southwest style silver cuff bracelets Mid/late 20th century Two works:

A Maciel’s Mexican sterling silver cuff bracelet Stamped: Maciel’_ / Sterling / Made in Mexico / 925/1000 An openwork repoussé sterling silver cuff with floral motifs 6.5” inner C x 1.375” H, with a 1” gap A Southwest-style silver and set stone cuff bracelet Marked: 925; and with double-struck illegible maker’s mark A two-wire cuff with three set pink striped rhodochrosite cabochons with silver overlay feather motifs 6.75” inner C x 1.375” H, with a 1.125” gap 2 pieces 81.1 grams gross $200-400

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1352

A David Dear ‘Fritz” Southwest sterling silver ranger set

Late 20th century Buckle stamped: DEAR / .925 / © A ‘Fritz’ Art Deco-style set comprising a sterling silver buckle, one keeper, and a tip, each with an incised and overlay fan motif with silver dot accents Buckle: 1.75” H x 2.25” W, opening: 0.75”; each keeper: 1” H; tip: 0.75” H 52.8 grams $300-500

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1353

A Larry Moses Begay Navajo sterling silver and turquoise pendant/brooch

Larry Moses Begay (b. 20th century, Diné) Late 20th century Stamped: LMB / Navajo / Sterling / USA The round brooch/pendant with petit point cluster-set edging and center, with a central openwork band 2.5” Dia. 25.1 grams gross $200-400

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1354

A group of Zuni carved stone fetish animals

Mid/late 20th century, mostly Zuni Pueblo Most variously incised with signature, initials, or artist’s cipher From artists including Gibbs Otho, Joseph Begay, Anderson Weahkee, Michael Coble, and Daphne Quam, each carved from hardstone, one with turquoise heartline, each with inset turquoise, jet, or coral eyes, five mounted with offerings 8 pieces Tallest: 3” H x 4.125” W x 1.625” D; Smallest: 1.25” H x 2” W x 1.125” D $700-900 Notes: This lot is accompanied by copies of purchase receipts from PuebloDirect.com as well as Certificates of Authenticity for the Michael Coble, and Daphne Quam fetishes.

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1355

A group of Zuni carved stone fetish animals

Mid/late 20th century, mostly Zuni Pueblo Most variously incised with signature, initials, or artist’s cipher From artists including Paulette Quam, Stewart Quandelacy, Bernard Laiwakete, and Rodney Laiwakete, each carved from hardstone, three with turquoise heartlines, four mounted with offerings 9 pieces Largest: 2.625” H x 4” W x 1.5” D; Shortest: 1.875” H x 3.75” W x 0.75” D $300-500 Notes: This lot is accompanied by copies of purchase receipts from PuebloDirect.com for the Paulette Quam, Stewart Quandelacy, Bernard Laiwakete, and Rodney Laiwakete fetishes, as well as Certificates of Authenticity for the Stewart Quandelacy, Bernard Laiwakete, and Rodney Laiwakete fetishes.

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1356

Three Zuni carved stone fetish bears

Mid/late 20th century, Zuni Pueblo Each variously incised with signature, initials, or artist’s cipher Comprising one Andres Lementino carved from marble with turquoise accents and a shell and hardstone Tawa sunface, one carved white hardstone mounted with offerings and a feather with heartline, and another carved white hardstone mounted with offerings 3 pieces Lementino: 6” H x 2.75” W x 1.5” D; Smallest: 2.75” H x 1.5” W x 1.875” D $200-400 Notes: This lot is accompanied by copies of a purchase receipt from PuebloDirect.com as well as a Certificate of Authenticity for the Andres Lementino fetish.

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1357

Two Zuni carved hardstone fetish animals

Late 20th century Buffalo with incised signature: Riverwoman Comprising a buffalo figure titled “Woman of the Buffalo” by Riverwoman Freesoul, mounted with bone horns, coral eyes, and wrapped with beads and hide, and a carved hardstone bear attributed to Tom Holmes mounted with an arrowhead offering, raised on an acrylic stand 2 pieces Buffalo: 8” H x 12” W x 3.75” D; Bear without stand: 4.375” H x 7.875” W x 2” D $600-800 Provenance: Buffalo: Galeria Capistrano, San Juan Capistrano, CA Private collection, acquired from the above, April 12, 1991 Bear: Galeria Capistrano, San Juan Capistrano, CA Private collection, acquired from the above, July 20, 1986 Notes: This lot is accompanied by an essay from Riverwoman Freesoul as well as a purchase receipt and gallery card from the abovementioned gallery, in original postage.

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1358

Five Zuni carved stone fetish medicine bears

Mid/late 20th century, mostly Zuni Pueblo Most variously incised with signature, initials, or artist’s cipher From artists including Paulette Quam, Stewart Quandelacy, and Hiram Peynestas, comprising one carved from shell, four carved from hardstone, three with turquoise or coral heartlines, each with inset turquoise or coral eyes or accents, two mounted with offerings 5 pieces Largest (Hiram): 3.125” H x 3.875” W x 0.875” D; Smallest: 1.25” H x 1.875” W x 0.375” D $300-500 Notes: This lot is accompanied by copies of purchase receipts from PuebloDirect.com for the Paulette Quam, Stewart Quandelacy, and Hiram Peynestas fetishes, as well as Certificates of Authenticity for the Paulette Quam and Stewart Quandelacy fetishes.

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1359

Six Zuni carved stone fetish animals

Mid/late 20th century, mostly Zuni Pueblo Most variously incised with signature, initials, or artist’s cipher From artists including Fred Bowannie, comprising one carved from shell and five hardstone, four with turquoise or coral inset eyes, two mounted with offerings 6 pieces Largest: 3.625” H x 2” W x 1.375” D; Smallest: 1.125” H x 1.875” W x 0.75” D $300-500

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1360

A group of Southwest Zuni carved stone animal fetishes

Mid/late 20th century One small antler figure marked: HL Comprising two carved greenstone frogs, a carved catlinite pipestone armadillo, and a carved catlinite bear with a medicine bundle, as well as a carved blackstone puma/mountain lion, and three carved antler katsina figures with turquoise, coral, and shell accents 8 pieces Largest: 2.5” H; Smallest: 1.125” H $200-300

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1361

A group of Zuni carved stone fetish reptiles and amphibians

Mid/late 20th century, mostly Zuni Pueblo Most variously incised with signature, initials, or artist’s cipher From artists including Garrick Acque, Bryson Bobelu, Joseph Begay, and Ronnie Lunasee, each carved from hardstone and mounted with coral, jet, shell, or turquoise eyes and accents 9 pieces Longest: 0.875” H x 5.375” W x 1.625” D; Smallest: 0.625” H x 1.375” W x 1.375” D $200-400 Notes: This lot is accompanied by copies of purchase receipt from PuebloDirect.com as well as Certificates of Authenticity for the Garrick Acque and Ronnie Lunasee fetishes.

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1362

A group of Zuni carved stone fetish animals

Mid/late 20th century, mostly Zuni Pueblo Most variously incised with initials or artist’s cipher Comprising nine mammalian figures, including one amber by Georgianne Quandelacy, two carved jet, and six carved hardstone, most with inset turquoise or coral eyes, each mounted with offerings 9 pieces Largest: 1.75” H x 3.625” W x 2.875” D; Smallest: 0.5” H x 1.625” W x 0.875” D $200-400

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1363

A group of Zuni carved stone fetish animals

Mid/late 20th century, mostly Zuni Pueblo Most variously incised with signature, initials, or artist’s cipher From artists including Cheryl Beyuka and Rodney Laiwakete, comprising two carved from shell, one bone, two jet, and eight hardstone, most with inset turquoise or shell accents, two mounted with offerings 13 pieces Largest: 2” H x 2.5” W x 1.5” D; Smallest:1.125” H x 1.375” W x 0.375” D $200-400 Notes: This lot is accompanied by copies of purchase receipts from PuebloDirect.com for the Cheryl Beyuka and Rodney Laiwakete fetishes, as well as a Certificate of Authenticity for the Cheryl Beyuka fetish.

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1364

A group of Southwest Pueblo carved stone horse fetish figures

Mid/late 20th century, mostly Zuni Pueblo One marked to base, twelve labeled for artist A large group of carved stone figures, primarily horses, in various stones including turquoise, pipestone, and jet, and in various sizes, comprising thirteen figures by Zuni artists including Thelma Sheche, Harriet Byers, Emery Boone, Lucy Cooeyate, Gerald Burns, Virginia Toombs, Lee Badoni, and Alvino Nastasio, as well as eighteen further horse figures, most with mounted offerings 31 pieces Largest: 1.5” H x 3” W x 0.75” D; Smallest: 0.25” H x 0.75” W x 0.125” D $300-500

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1365

A group of Southwest Pueblo carved stone horse fetish figures

Mid/late 20th century, mostly Zuni Pueblo Six labeled for artist; one labeled: Martinez A group of carved stone figures, primarily horses, in various sizes and various stones and materials including pipestone, bone, and other pink, grey, and green hardstones, including six figures by Zuni artists including Emery Boone, Gabriel Burns, and Jessie Le Boeuf as well as twenty further figures, most with mounted offerings 26 pieces Largest: 0.875” H x 0.5” W x 3” D; Smallest: 0.375” H x 0.25” W x 0.875” D $200-400

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1366

A group of Southwest style bolo ties

Late 20th century Each unmarked Four works comprising a rectangular picture jasper bolo tie on a gold-tone mesh cord with metal tips (34.5” L), and a fossilized double ammonite bolo with a red braided cord (35” L), as well as a moderniststyle sterling silver slide with set boulder opal on a silver-tone mesh cord (32” L), and a heavy sculptural sterling silver stag bolo with gilt-tone antlers, on a braided black leather cord with silver tips and a bone accent (38” L) 4 pieces Bolo slides: 3” H to 1.75” H 325.3 grams gross $200-400

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1367

A group of Southwest style silver and stone set cuff bracelets

Late 20th century Four variously marked for maker and/or for sterling: F / AJB [conjoined, likely Rose & Allen Joe Boy, Navajo/Diné] / Spoc___ Gallery Comprising two narrow cuffs with raised sculptural stone inlay, one with turquoise, and one with purple stone inlay, as well as a narrow sterling cuff with turquoise square inlay, a thin cuff with set raised greenstone, and a rounded sterling cuff with tapered ends 5 pieces Largest: 6.75” total inner C x 0.25” H, gap: 1”; Smallest: 6” total inner C x 0.5” H, gap” 1” 113.2 grams gross $300-500

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1368

A group of Southwest style stone set cuff bracelets

Mid/late 20th century Each variously marked for maker and/or for sterling: AP / EA Getco Inc / MKL / [unknown cloud picto] Comprising six narrow set stone cuffs in various styles including channel inlay, row set, and cluster set, with various stones including turquoise, amber, lapis lazuli, shell, malachite, onyx, quartz, and hematite 6 pieces Largest: 6.375” total inner C x 0.25” H, gap: 1.25”; Smallest: 5.75” total inner C x 0.5” H, gap: 1” 97.9 grams gross $200-400

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1369

R.C. Gorman

(1932-2005, Navajo/Diné) Two seated women, 1979 Pastel on paper Signed and dated lower left: R.C. Gorman 1979 Image/Sheet: 30” H x 40” W $2,000-3,000

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1370

R.C. Gorman

(1932-2005, Navajo/Diné) “Ranchos Twilight,” 1988 Lithograph in colors on paper Edition: 64/225 (there were also 25 artist’s proofs) Signed, dated, and numbered in pencil in the lower left and right corners: R.C. Gorman 1988 Western Graphics Workshop, Inc., Albuquerque, NM, prntr./pub.; with the artist’s and the printer/ publisher’s blindstamps lower center Sight: 31.25” H x 41.5” W $400-600 Literature: Adams and Newlin 218

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1371

R.C. Gorman

(1932-2005, Navajo/Diné) “Crescent Moon,” 1987 Lithograph in colors on paper Edition: 181/225 Signed, dated, and numbered in pencil along the lower edge: R.C. Gorman 1987, with the artist’s blindstamp; Houston Fine Art Press, Houston, TX, prntr., with their blindstamp lower right Image/Sheet: 30” H x 39.5” W $300-500

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1372

Karen Ahlgren

(Active 21st century) Figure carrying lilies and a blanket Watercolor on paper Signed near the center of the left edge: © Karen Ahlgren Image/Sheet: 30” H x 23” W $300-500 Provenance: Moondance Gallery, Santa Fe, NM

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1373

Amado Maurillo Peña

(b. 1943, Pascua Yaqui) Figure and pot Pastel and acrylic on paper Signed in pencil upper left: Amado Maurillo Peña Sight: 41” H x 29” W $500-700

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1374

A Southwest sterling silver and turquoise concho link belt

Mid/late 20th century Unmarked A long belt comprising sixteen repoussé medallion conchos, one a hooked buckle, and each with stamp work accents and central set turquoise 36.25” L ; each concho: 1.5” Dia. $400-600

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1375

A group of Southwest silver and stone set jewelry Mid/late 20th century Fourteen works:

Victor Coochwytewa (1922-2011, Hopi) A pair of Hopi silver overlay disc earrings Stamped with artist’s picto: [cloud with five rain lines] Each clip earring with a Pueblo swirled avian motif Each: 1.375” Dia. 2 pieces A group of Southwest silver and stone set jewelry Five variously marked for maker and/or for sterling: Yazzie / A.P. / NF / JP [conjoined] Thirteen works comprising three Navajo/Diné style set turquoise rings, including one cluster-set ring, as well as three small pendants with set turquoise, including a diminutive naja pendant charm, and two set stone brooches, including a cluster set Zuni-style round openwork brooch and a spider brooch with set malachite, together with five pairs of earrings in various styles including a Hopi style pair with bird motif overlay, and two pairs of Zuni-style earrings with coral, turquoise and mother of pearl inlay, one with a Sunface motif 18 pieces Pendants: 1.25” H to 0.875” H; Ring sizes: 8 to 3.5; Brooches: each: 1.5” H; Earrings: 1.5” Dia. to 0.5” Dia. 20 pieces total 97.9 grams gross $400-600 4 6 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1376

A group of Southwest silver and turquoise jewelry

Mid/late 20th century One marked: LB Comprising three row-set petit point silver turquoise cuff bracelets including a single wire cuff and a double wire cuff, each with stamp work accents, and a chunky cuff with diminutive shadowbox set row turquoise, as well as two Fred Harvey-style cuffs, each with elaborate geometric and pictorial stamp work and central set turquoise, a two-sided cross pendant with turquoise and coral petit point stones, a floral brooch with petit point stones, and a Zuni-style cluster set petit point ring 8 pieces Cuffs: 6.75” inner C x 0.5” H, gap: 1” to 6.375” inner C x 0.75” H, gap: 1.25”; Pendant: 1.75” H x 24” L; Brooch: 3” H x 1.75” W; Ring size: 6 157.0 grams gross $600-800

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1377

A large group of Southwest style silver and turquoise jewelry

Mid/late 20th century Variously marked for maker and/or for sterling: C Prior / Kevin Beltz 1988 / gt / Mexico / Grady Alexander Comprising a sterling silver multistone inlay cuff bracelet including malachite and coral, six Southwest-themed silver brooches including coyotes, cactus, a cowboy boot, and a roadrunner, a silver cross brooch with set turquoise, and a multistone bar pin brooch, as well as a set turquoise pendant, a silver and set agate bolo slide and a silver scarf slide with set turquoise, a sterling silver kachina pendant on a chain, a single strand of silver pearls, a silver linked concho belt, and two sterling silver rings 17 pieces Brooches: 2.625” H to 1.5” H; Cuff: 6.5” inner C x 0.5” H, gap: 1.25”; Necklaces: 24.5” L to 24” L; Slides: 1.625” H & 1.25” H; Belt: 33” L x 1” H; Ring sizes: 9.75 & 4.25; Pendant: 1.5” H 17 pieces 317.7 grams gross $600-800

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1378

A large group of Southwest silver and turquoise jewelry Mid/late 20th century Twenty-three works:

Justin Morris (b. 1948, Diné) A set of Navajo silver and turquoise jewelry Each with etched signature; one etched: Sterling Comprising a two-wire cuff with central set turquoise surrounded by multiple applied silver feathers and silver wire accents, together with a matching pendant/brooch, and a pair of earrings 4 pieces Cuff: 7” inner C x 1.25” H, gap: 1.5”; Pendant: 1.625” H; Earrings: 0.75” H A group of Southwest silver and turquoise jewelry Most variously marked for maker and/or for sterling: K. Mtz / [Bell trading Post] / SC [Silver Cloud Inc.] / R / Mexico Comprising two bolo ties, one featuring a large set oval pink agate doublet with silver dot edging, and one in gilt vermeil sterling silver with applied feather motifs, each set to a braided leather cord with matching tips, together with fourteen silver rings of various sizes and styles including set stones including turquoise, greenstone, coral, malachite, onyx, stone inlay and chipped mosaic inlay, as well as a small cross pendant, a small roadrunner brooch, and two ‘safety pin’ brooches/pins, all with set turquoise and or coral 20 pieces Bolos: slides: 2.375” H & 1.5” H; cords: 38” & 37” L; Ring sizes: 10.25 to 5.5; Pins: 3.25” L & 2” L; Pendant: 1.5” H 24 pieces total 235.1 grams gross $500-700 w w w. j o h n m o r a n . c o m 4 6 5

1379

A group of Southwest silver and stone necklaces Mid/late 20th century Five works:

John White (b. 20th century, Diné) A Navajo sterling silver and turquoise pendant necklace Stamped for artist and for sterling With a teardrop shadowbox pendant with set turquoise suspended from a strand of alternating round and oblong silver beads 19” L x 1.75” H A group of Southwest silver and stone necklaces One marked: Q.T.[for Quoc Turquoise Inc, shop, Albuquerque] / Sterling Comprising a chunky necklace of turquoise nugget beads with silver cone clasps (20.5” L), a Thunderbird motif necklace featuring a stone and shell inlaid jet pendant suspended from a strand of white shell heishi (26” L x 1.875” H), a silver bead necklace with an elaborate pendant with squash blossom and bead dangles (18.5” L x 3” H), and a fine silver chain necklace with a diminutive naja style pendant with feather dangles (18” L x 2” H) 4 pieces 5 pieces total 168.5 grams gross $200-400 4 6 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1380

Two Southwest turquoise beaded necklaces

Mid/late 20th century One clasp stamped: 925 Comprising a chunky double-strand necklace with graduated turquoise nuggets, as well as a small double-strand turquoise choker necklace with smooth turquoise chips and nuggets, each with silver cone clasps 24.5” L & 21”-18” L 281.2 grams gross $200-300

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1381

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

P. Attakai (b. 20th century, Diné) A Navajo sterling silver sand cast belt buckle Stamped: P ATTAKAI / Sterling / RTA [script] An openwork buckle with central set turquoise 1.875” H x 3.125” W; belt ring: 1.375” A group of Southwest silver and turquoise jewelry One ring stamped: Cheri S. Four works comprising a large Zuni-style round cluster set petit point brooch, a three-wire silver cuff with central set oblong turquoise, and two silver and set turquoise rings 4 pieces Brooch: 2.625” Dia.; Cuff: 6” total inner C x 1.375” H, gap: 0.875”; Ring sizes: 8.75 & 7.75

5 pieces total

114.1 grams gross $500-700

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1382

A group of Fred Harvey style Southwest silver cuff bracelets

Mid-20th century One stamped: Sanford [for Sanford & Co.] Comprising a tapered multiwire cuff with central turquoise, stamp work, and silver feather overlay, a small cuff with three set turquoise stones and stamp work accents, and a two-wire cuff with central set oblong turquoise 3 pieces Largest: 6.5” inner C x 0.75” H, gap: 1.5”; Smallest: 6” inner C x 0.625” H, gap: 1.25” 63.8 grams gross $300-500

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1383

A group of Southwest silver and set stone jewelry

Mid/late 20th century Two variously marked for maker and/or for sterling: J.M. Begay [Diné] / Seven works with set turquoise comprising a three-wire cuff bracelet with cluster-set turquoise and twisted wire and silver ball accents, together with three large Zuni style cluster set petit point turquoise rings, one with coral, as well as a single stone set ring and a pair of similar design earrings, and a pair of modernist-style turquoise drop earrings 9 pieces Cuff: 6.375” total inner C x 1”H; Ring sizes: 9.5 to 6.5; Earrings: 1.25” H to 0.75” Dia. 77.2 grams gross $600-800

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1384

A group of Southwest cast silver cuff bracelets Mid/late 20th century Three works:

Will Denetdale (b. 20th century, Diné) A Navajo sterling and turquoise cuff Stamped: W Denetdale / Navajo / Sterling [script, partial W] A cast silver cuff with narrow oval set turquoise cabochon and incised line accents 6.25” total inner C x 0.375” H, gap: 1.25” Two Southwest cast silver cuff bracelets One stamped: RC / C [on flower within circle] Comprising a chunky cast silver ridged cuff with geometric and pictorial silver and 12K gold plate overlay, and a chunky silver ridged cuff with stamp work accents 2 pieces Each cuff: 6.125” total inner C x 0.375” H, gap: 0.75” 3 pieces total 126.4 grams gross $600-900

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1385

A group of Southwest silver jewelry Late 19th/20th century Six works:

Willie Nezzie (b .1950, Diné) A Navajo turquoise and coral chipped mosaic inlay belt buckle Stamped: WN With pictorial landscape and “teepee” motif and peyote bird 2.125” H x 3.125” W A group of Southwest sterling silver jewelry Cuff marked: Montreal / RC [or G, in script] Comprising a thin ridged sterling silver Plains cuff bracelet with pierced terminals, with a leather cord, a sterling silver turquoise and coral chipped mosaic inlay pictorial belt buckle with “teepee” and peyote bird motifs, and a bolo tie with concho-button style slide with set turquoise, on a braided black leather cord with silver tips, as well as pair of set turquoise cuff links and a pair of turquoise set buttons 7 pieces Cuff: 5.5” L x 0.875” H; Buckle: 2” H x 3” W; Bolo: 36.5” L x 1.25” Dia.; Cuff links: 0.5” H; Buttons: 1” H 8 pieces total 146.0 grams gross $300-500

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1386

Lawrence Favorite (b. 20th century)

An ironwood and turquoise vase, late 20th century Incised signature to underside: L. Favorite With in-filling and inlaid turquoise elements 16.75” H x 5.625” W x 2.625” D $200-400

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1387

Two live edge burlwood cross sections

20th century The smaller with a wall-hanging hook 2 pieces Larger: 46” H x 32.5” W x 2.25” D; Smaller: 39.5” H x 28” W x 1.875” D $200-400

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1388

A group of wood turned vessels

Late 20th century Live edge burn mark: John Berglund / 97; conical incised: T. Van Cleave / Norfolk / Pine; one incised: Howard Lewis / Persimmon / 11/90; larger bowl incised: Straka / Roberta / Wood; smallest incised: Paul Gerhart / Koa Wood 5 pieces Tallest: 7.75” H x 8” Dia.; Berglund: 7” H x 12.75” W x 8” D; Smallest: 2.75” H x 6.5” W x 5.75” D $300-500

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1389

A group of six Southwest Pueblo pottery items Six works:

Muriel Navasie (1954-1988, Hopi-Tewa) A polychrome wedding vase, mid/late 20th century Signed to underside: M. Navasie [spider cipher] With red and brown geometric motifs on a cream slip ground 6.625” H x 4” W x 3.375” D Mary O. Chalan (b. 1939, Cochiti Pueblo) A polychrome storyteller, late 20th century Signed to underside: Mary O. Chalan / Cochiti / N. M. 3” H x 2” W x 2.75” D Two Acoma Pueblo pottery bells, late 20th/early 21st century One signed: ACOMA / E. S. Comprising a figural three-color bell and a black on white slip bell 2 pieces Larger: 3.375” H x 2.5” Dia. A diminutive blackware jar, mid-20th century Incised: RPL 2.125” H x 2.125” Dia. A yellowware bowl, mid-20th century Unmarked 2.875” H x 3.875” Dia. 6 pieces total $200-300

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1390

A group of Native American antler and stone knives Late 20th century Three works:

Attributed to George Blake (b. 1944, Hupa-Yurok) A Hupa obsidian and carved antler knife, circa 1990 Unmarked With a knapped black obsidian blade attached to an antler handle with sinew wrapping 8.25” H x 2” W Two Native American antler and knapped stone knives Largest with oval artist’s cipher to handle base Comprising two knives, one with a knapped obsidian blade, and onewith a grey stone blade, each with an antler handle of varying size and color, with sinew or hide wrappings 2 pieces Larger: 9.5” H x 1.75” W; Smaller: 8” H x 1.5” W 3 pieces total $200-400 Notes: Owner’s notes indicate medium knife purchased from Hupa-Yurok carver George Blake in 1990.

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1391

A group of Southwest style table items

Late 20th/early 21st century Three marked for maker Six works comprising a Larry Demrick turned acacia wood bowl with a band of turquoise chip inlay to shoulder (4.5” H x 6.75” Dia.), two J. Alexander stamped German silver mixed metal jewelry boxes, each with set turquoise (each: 2.5” H x 4.125” W x 3.125” D), and a Northwest Coast-style small wooden box with mask motif in various colored wood and shell inlay, and two matching wood inlay key fobs (box: 1.375” H x 3.5” W x 2.375” D; fobs: 4.5” H) 6 pieces $300-500

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1392

Robert Dale Tsosie (b. 1960, Navajo/Diné)

Eagle head Carved stone on wood plinth Incised signature: R D / TSOSIE 4.25” H x 5” W x 4.375” D $100-200

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1393

Three glazed pottery fetish bears

Late 20th century The smallest with incised initial and date: SMB / 5/96 Two depicted with medicine/offering wrap and mounted with horse hair 3 pieces Largest: 12.25” H x 16.5” W x 8.75” D; Smallest: 4.5” H x 5.625” W x 3.875” D $400-600

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1394

A group of Southwest silver and turquoise rings

Mid/late 20th century Five variously marked for maker and/or for sterling: S / N / JT [for Jessie Thompson, Navajo/Diné] / Jim Tow [?, etched] Comprising seventeen silver rings, most with double or triple set stones including turquoise and coral, in various sizes and styles, including silver floral and feather motifs and wire overlay and silver ball accents 17 pieces Ring sizes: 9.5 to 4 113.5 grams gross $500-700

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1395

A group of Southwest style silver and stone set jewelry

Mid/late 20th century Most variously marked for maker and/or for sterling: A.J. / ES / DMD / Mexico TM-13 / CII / SF / JGD / Q.T. © [for Quoc Turquoise Inc. Albuquerque] / CR [Carolyn Pollack Relios Inc.] Comprising nineteen set stone necklace pendants in various sizes and styles, including turquoise cabochons, nugget turquoise, stone inlay, and row set gems including turquoise, lapis lazuli, spiny oyster, and garnet, as well as two silver and set stone slide bead pendants, and two brooches with row set stones including moonstone, onyx and amethyst 23 pieces Pendants: 2.5” H to 1.25” H; slides: 0.375” Dia.; brooches: 1.5” H x 1.5” W & 0.5” H x 1.5” W 203.4 grams gross $400-600

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1396

A large group of Southwest style silver and stone set rings

Mid/late 20th century Sixteen variously marked for maker and/or for sterling: B / OTT © / Teme [Sunburst Handcrafts] / [Bell Trading Post] / [Wheeler Manufacturing of Lemon] / M. Will D [Danz Ltd] / DJ [or JD] / CR [Carolyn Pollack Relios Inc.] A group of diminutive silver rings in various colors and sizes, most with single set stones including turquoise, coral, mother of pearl, and in various styles including a shadowbox set oval ring with spiny oyster and lapis lazuli stone inlay, a silver overlap ring with stepped Pueblo motif and row-set gemstones, a Fred Harvey-style Thunderbird motif ring, a silver scorpion motif ring, and a reversible turquoise and amber ring with narrow swivel bands, as well as other single set stone rings with silver feather, geometric, and twisted wire overlay and edge accents 34 pieces Ring sizes: 9 to 1.5 106.4 grams gross $300-500

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1397

A group of Southwest silver and turquoise rings

Mid/late 20th century Ten variously marked for maker and/or for sterling: RL / V SD / Mexico / ST / AK / CR [Carolyn Pollack Relios Inc.] Comprising thirteen rings with set turquoise in various sizes and styles, including shadowbox, stamp work, twisted wire overlay and incised edge accents, as well as nine rings with stone inlay, mosaic inlay, and multistone channel inlay including turquoise, coral, opal, amethyst, onyx, and mother of pearl, as well as three rings with chipped turquoise and coral mosaic inlay, including one with a peyote bird motif, and a Zuni-style Thunderbird/woodpecker ring with stone and shell inlay 25 pieces Ring sizes: 8 to 4 146.3 grams gross $200-400

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1398

A Southwest Zuni-style carved fetish necklace

Mid/late 20th century With unknown artist’s mark to pendant base A single strand necklace with graduated carved bone animals including rabbits, birds, bears, turtles, bison, and bighorn sheep, suspending a central carved bone katsina figure pendant, the necklace with silver cone tips and silver chain link clasp 35” L x 2 “H 105.6 grams gross $300-500

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1399

Western Movie Poster for “The Losers End,” circa 1914

Lithograph in colors on paper laid to canvas From the edition of unknown size Acme Litho. Co., New York, NY, prntr., with their name and presumably the identifying number of this poster image (11184) printed in the lower right corner of the image Image: 38.5” H x 26.25” W; Sheet: 40.75” H x 28” W $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: William Steiner Productions, Incorporated, is credited with the production of “The Loser’s End,” a silent film, released in 1924, which was written, directed, and starred Leo Maloney as Bruce Mason. In the film, cowhand Bruce Mason is framed and falsely accused of smuggling opium across the Texas-Mexico border near the ranch he works on. He walks, runs, rides and fights his way through many obstacles before he proves his innocence, and wins the hand of Lois Kincaid, daughter of the rancher.

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1400

Western Movie Poster for “Cupid’s Rustler,” circa 1924

Lithograph in colors on paper laid to canvas From the edition of unknown size Ritchey Litho. Corp., Omaha, NE, with their name printed in the image at the center of the lower edge Image: 37.75” H x 24” W; Sheet: 40.75” H x 27” W $500-700 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: “Cupid’s Rustler” American silent Western film directed by Francis Ford and starring Edmund Cobb and Florence Gilbert that was released in 1924. Its plot involves a cowboy who falls for a notorious dance-hall girl, who is brought back home to the farm, where a crooked ranch foreman who knew her before tries to seduce her. The film is notable for featuring an early appearance by the future star Janet Gaynor.

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1401

Western Movie Poster for “The Lightning Rider,” circa 1924

Lithograph in colors on paper laid to canvas From the edition of unknown size The Otis Lithograph Co., Cleveland, OH, prntr., with their name and presumably the identifying number of this poster image (5602-H) printed near the lower portion of the image’s right edge; additionally, “Style A” printed in the lower margin, directly below the image, at right Image: 37.5” H x 24.25” W; Sheet: 40.375” H x 27” W $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: The silent Western movie, “The Lightening Rider,” debuted in American theaters on May 18, 1924. According to IMDB, the plot involves a bandit known as The Black Mask who is terrorizing the countryside around the California border town of Caliboro. When word spreads that the The Black Mask’s gang will hit town, the town priest turns over the church’s money to the local sheriff for safekeeping. The gang attacks the town and tries to take the money, but Deputy Phil Morgan stops it. Unfortunately, the sheriff is killed in the process. Morgan disguises himself as The Black Mask in order to find the gang’s hideout but is captured by the local townspeople who think he is the real Black Mask. Complications ensue. 4 9 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1402

Western Movie Poster for “The Meddler,” circa 1925

Lithograph in colors on paper laid to canvas From the edition of unknown size Morgan Litho., Co., Cleveland, OH, prntr., with their name and presumably the identifying number of this poster image (30131) printed in the image at the center of the lower edge Image: 37” H x 23.25” W; Sheet: 41.25” H x 27.125” W $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: “The Meddler” is a silent Western movie that was released in 1925. It was directed by Arthur Rosson and featured the actors William Desmond, Gloria Roy, and Claire Anderson.

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1403

Movie Poster for “Hit the Saddle,” from “The Three Mesquiteers” series, 1937

Offset lithograph in colors on paper laid to canvas From the edition of unknown size Morgan Litho. Corp., Cleveland, OH, prntr., with their name and presumably the identifying number of this poster image (10744) printed in the lower margin, directly below the image, at right. Image: 38.625” H x 25.25” W; Sheet: 41.5” H x 27.25” W $200-300 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: “Hit the Saddle” is a 1937 Western B-movie starring Robert Livingston, Ray Corrigan, Max Terhune, and Rita Hayworth, before she became famous. It was the second film in “The Three Mesquiteers” series released by Republic Pictures. 4 9 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1404

A group of Southwest style silver and turquoise jewelry

Mid/late 20th century Variously stamped for maker and/or sterling: P / IMHJ [sunface] / AC Sterling [from 1949-1994] / Mexico [ring] Nine works comprising two silver cuffs, one a Jimmy Patterson Navajo/Diné cuff with chip mosaic inlay and roadrunner motif, a sterling silver two-wire cuff with set turquoise and coral, two sterling silver pendants including an Alberto Contreras large cast silver pendant with nugget turquoise, and a stylized cast silver bird/blossom pendant/brooch with set turquoise, and an openwork cast sterling silver brooch, together with an oval set stone buckle, a set turquoise ring, a pair of multistone inlay earrings and a small sterling silver and set turquoise cylinder or lipstick case 10 pieces Each cuff: 6.5” total inner C x 1” H, gap: 1.25”; pendants: 2.75” H x 1.875” W & 2.5” H x 1.75” W; Brooch: 1.5” H x 2.875” W; Buckle: 2.125” H x 3.125” W; Ring size: 11.75; Case: 2.75” H x 0.75” Dia. 260.9 grams gross $400-600

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1405

A group of Southwest silver and stone set jewelry

Mid/late 20th century Two variously marked for maker and/or for sterling: GFIS Eleven works comprising five rings in various styles and sizes, each with set turquoise, as well as two rings with set malachite, and one ring with set coral and turquoise, together with a diminutive Fred Harvey-style Thunderbird motif stamped silver ring and a pair of matching Thunderbird earrings with set turquoise, and a pair of set turquoise dangle earrings 13 pieces Ring sizes: 12.75 to 5; Earrings: 1.5” H to 0.625” H 77.6 grams gross $300-500

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1406

A group of Southwest silver and stone set jewelry

Late 20th century Cuff marked: AC [or G] / Sunburst / Sterling; earrings with label for Tracey Bowekaty, Zuni Five works comprising a textured sterling silver cuff bracelet with sculptural raised inlay in turquoise coral, and shell, and a small wire cuff with multistone inlay, together with two silver rings, one with a set lapis lazuli cabochon, and the other with turquoise, spiny oyster and shell inlay, as well as a pair of Zuni round disc earrings with multistone inlay 6 pieces Cuffs: 6.25” total inner C x 0.75” H, gap: 1” and 6.25” total inner C x 0.125” H, gap: 1”; each ring: size 9; earrings: 0.625” Dia. 67.1 grams gross $200-400

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1407

A group of Southwest style jewelry

Mid/late 20th century Eight variously marked for maker and/or for sterling: SC / [double-struck indistinct possibly D. Banteah] / MS Mexico [Eagle 107] / Circle J.W. / KG [conjoined] / S^D Comprising a sterling silver watch cuff with intricate silver overlay floral and feather motifs, and a narrow tapered delicate cuff with turquoise, shell, onyx and dark purple stone raised channel inlay and with twisted wire terminals, together with ten silver rings in various styles and sizes including set turquoise, domed cluster set turquoise, chipped mosaic inlay, including one with a peyote bird motif, as well as an oval shadowbox set ring with tiny chipped mosaic accents and a Sunface multistone inlay ring 12 pieces Cuffs each: 6.25” total inner C; 0.75” H & 0.5” H, each gap: 1”; Ring sizes: 9.75 to 6.5 123.5 grams gross $200-400

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1408

A group of Southwest style silver and gemstone jewelry pendants

Mid/late 20th century Nine variously marked for maker and/or for sterling: DTR [Desert Rose Trading] / Mexico / India Comprising fifteen silver pendants with various set stones including turquoise, onyx, opal, and greenstone, in various styles and sizes including floral, geometric, channel stone inlay, shadowbox, and polished stones 15 pieces Pendants: 3” H to 1.125” H 221.6 grams gross $300-500

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1409

A group of Southwest style silver and turquoise rings

Mid/late 20th century Nine variously marked for maker and/or for sterling: Effie C. Zuni [for Effie Calavaza, 1927-2019] / SW / RH / SS / Mexico [Eagle 57] / JP Comprising a triple set and two double set turquoise rings as well as fourteen single set turquoise rings in various colors, sizes, and styles, including stamp work accents and silver feather and twisted wire overlay and edge accents 17 pieces Ring sizes: 9 to 4 89.9 grams gross $300-500

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1410

A group of sterling silver and set stone figural brooches

Mid/late 20th century Most variously marked for maker and/or for sterling: B.W. / A&J H Mexico / MB / M / Joalen [etched] / Mexico / Sue B. / Williamson 1995 [etched] Eighteen works comprising nine bird motif pins including Southwest roadrunners and hummingbirds, some with set turquoise and some with multistone inlay, as well as two sterling silver dragonfly pins and a blue enamel butterfly pin, four dog motif pins and a repoussé seahorse brooch 18 pieces Largest: 3” H; smallest: 0.75” H 119.4 grams gross $200-400

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1411

A group of Southwest silver and stone inlay rings

Mid/late 20th century Most variously marked for maker and/or for sterling: CLY / MGD / TSI / K / TSP / JCSC S-10 / SS T / Teme [for Sunburst Handcrafts Inc.] / SP / JK / SF Comprising thirty rings in various colors, sizes, and styles, most with stone inlay including turquoise, coral, lapis lazuli, opal, tigers eye, onyx, and mother of pearl, as well as multicolored channel inlay, multicolored cobblestone inlay, and sculptural inlay with onyx and fire opal, together with some Zunistyle rings with figural inlay motifs including woodpecker/Thunderbird, turtle and butterfly 30 pieces Ring sizes: 8 to 3 102.9 grams gross $200-400

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1412

A group of Southwest style silver rings

Mid/late 20th century Most variously marked for maker and/or for sterling: LL BCT [Lloyd Becenti, Navajo/Diné] / L. Chee Navajo / S [Shube’s] / Mexico / Masha / V / CJ [Carlisle Jewelry Albuquerque] / CR [Carolyn Pollack / Relios Jewelry Co] / CJ / B. Chee [Navajo/Diné] / RJP Mexico / [Eagle 3] / A.J.Nunc / J.A. [James Avery] Comprising thirty-six rings in various sizes and styles, including some with Storyteller pictorial silver overlay with figures, animals, hogans, weavers, and katsina mask motif, some bands with heartline bears, narrow silver bands with stamped motifs including Fred Harvey-style arrows and feathers, Pueblo motifs, and also with incised geometric lines and three with silver wire, feather, and floral overlay as well as other rings with insect motifs, and scrollwork bands 36 pieces Ring sizes: 11 to 4.75 165.3 grams gross $200-400

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1413

Western Movie Poster for “Riders of the Purple Sage,” circa 1931

Lithograph in colors on paper laid another sheet of paper or possibly canvas From the edition of unknown size H. C. Miner Litho. Co., New York, NY, prntr., with their name and presumably the identifying number of this poster image (30126) printed in the lower righter corner of the image Image: 33.75” H x 25” W; Sheet: 41.5” H x 28.375” W $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: According to information on the internet, “H.C. Miner Litho Company of New York was started in 1896 and operated by H.C. Miner and his son H.C. Miner Jr. They were reorganized in 1908 with a new president, Hugo Zigfield and continued operation until 1935. They were primarily used by United Artists and Fox for their lithography work.” “Riders of the Purple Sage” is a 1931 American Western movie based on Zane Grey’s 1912 novel of the same name. This lot advertises the Fox Film Corporation version directed by Hamilton MacFadden. The third of five screen versions, it was also the first sound version. 5 0 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1414

Western Movie Poster for “The Man from Hell’s Edges,” circa 1932

Lithograph in colors on paper laid to canvas From the edition of unknown size Morgan Litho. Co., Cleveland, OH, prntr., with their name and presumably the identifying number of this poster image (15646) printed in the lower margin, directly below the image, at right. Image: 39” H x 25.125” W; Sheet: 41” H x 27.625” W $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: “The Man from Hell’s Edge” (also known s “El Lobo”) is a 1932 American Western movie starring Bob Steele, written and directed by his father, Robert N. Bradbury.

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1415

Western Movie Poster for “Land of Wanted Men,” circa 1931

Lithograph in colors on paper laid another sheet of paper or possibly canvas From the edition of unknown size Tooker Litho. Co., New York, NY, prntr., with their name logo printed near the lower righter corner of the image Image: 39” H x 25.375” W; Sheet: 41” H x 27.25” W $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: In this 1931 film, written and directed by Harry L. Fraser, a cowboy takes a job as sheriff in a small town and finds that one of his first jobs is trying to stop trouble between newly arrived sheepmen and local cattle ranchers who don’t want the sheep grazing on “their” range.

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1416

Western Movie Poster for “Cyclone of the Saddle,” circa 1935

Offset lithograph in colors on paper laid to canvas From the edition of unknown size No printing company credited on the poster; a very small line of copyright-type text and a number printed in the lower margin, to the left and right, directly below the image: Country of origin U.S.A. / 6216 Image: 39” H x 25.625” W; Sheet: 41” H x 27.5 “ W $300-500 Provenance: The Collection of Gary Diamond, Los Angeles, CA Notes: “Cyclone of the Saddle” is a 1935 American Western film directed by Elmer Clifton, starring Rex Lease, Janet Chandler, Bobby Nelson, and Yakima Canutt.

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1417

1418

Two works:

1957-2007 Hardcover and softbound Eleven works:

Laura Ingalls Wilder (1867-1957) “Little House on the Prairie,” 1935 Hardcover octavo Wilder, Laura Ingalls. “Little House on the Prairie.” Illustrated by Helen Sewell. New York: Harper & Brothers Publishers, 1935 Fifth Edition 8.125” H x 7.25” W x 0.875” D “By the Shores of Silver Lake,” 1939 Hardcover octavo Wilder, Laura Ingalls. “By the Shores of Silver Lake.” Illustrated by Helen Sewell and Mildred Boyle. New York: Harper & Brothers Publishers, 1939 First Printing 8.375” H x 6” W x 1.375” D

A group of eleven We

“Frederic Remington: A C “Albert Bierstadt: Art & E “Maynard Dixon: Masterp “The Heart of Maynard D “The Charles M. Russell B “Thomas Hill: The Grand “George Sanders Bickers “The Paintings of Fred Gr “Sydney Laurence: Painte “Birger Sandzén: An Illust “C.S. Price,” n.d.

2 pieces

11 pieces Largest: 13.5” H x 10.5” W

$500-700

$300-500

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estern art books

d books

Catalogue Raisonné,” 1996, 2 volumes Enterprise,” 1990 pieces from the Brigham Young University & Private Collections,” 2007 Dixon,” 2001 Book: The Life and Work of the Cowboy Artist,” 1957 View,” 1980 staff 1893-1954 ‘Painter of Pictures’,” 1988 rayson Sayre (1879-1939),” 1987 er of the North,” 1990 trated Biography,” 1993

W x 1” D

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1419

Edward S. Curtis

(1868-1952) “Portraits from North American Indian Life: Edward S. Curtis,” 1972 Hardcover photo book Coleman, A. D. and T. C. McLuhan (introductions). “Portraits from North American Indian Life: Edward S. Curtis.” New York: Outerbridge & Lazard, Inc., 1972 With signed gift inscription from one of the introduction contributors to first free end paper 14.875” H x 18.25” W x 1” D $200-300 Provenance: The Collection of Gary Diamond, Los Angeles, CA

5 0 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

1420

A group of books on Native American subjects 1974-1998 Fifteen works:

“Plains Indian Drawings 1865-1935: Pages from a Visual History,” 1996 “North American Indian Art,” 1982 “Art of the American Indian Frontier: The Chandler-Pohrt Collection,” 1992 “Hopi Kachina Dolls and Their Carvers,” 1991 “The Smithsonian Book of North American Indians: Before the Coming of the Europeans,” 1986 “Kachinas in the Pueblo World,” 1994 “Masterpieces of American Indian Art,” 1995 “Seven Families in Pueblo Pottery,” 1974 “By the Power of Their Dreams: Songs, Prayers, and Sacred Shields of the Plains Indians,” 1994 “Zuni Fetishes and Carvings,” 1998 “Dolls & Toys of Native America: A Journey Through Childhood,” 1995 “Dancing Colors: Paths of Native American Women,” 1992 “Becoming Brave: The Path to Native American Manhood,” 1992 “Navajo Weaving: Art in Its Cultural Context,” 1987 “l’Empreinte du Sable,” 1992 15 pieces Largest: 12.375” H x 10.5” W x 1.25” D $100-200

w w w. j o h n m o r a n . c o m 5 0 9

Consign Today

Art of the American West June 30, 2026

Consignment Deadline May 20, 2026 Auction Inquiries: info@johnmoran.com 5 1 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

SINCE 1969

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

Edith Hamlin (1902-1992), “Night Blooming Cereus” (Taos), 1932

Price Realized: $60,325 SINCE 1969

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Condition Reports 5 1 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, A p ril 7 , 2 0 2 6

w w w. j o h n m o r a n . c o m 5 1 3

1001 Each drilled. Each with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with soiling to interior and drilled. 1002 Undrilled. Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Soiling to interior. 1003 Undrilled. With dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Soiling to interior. 1004 Each undrilled. Each overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Stand with heavy oxidation/rust. One pot with an inherent thumb-sized rim indentation. 1005 Visual: Overall good appearance. An unobtrusive pea-sized pigment loss in the extreme upper right corner. Blacklight: A 1” H x 0.5” W touch-up in the sky at the center near the upper edge. A 0.25” H x 1” W touch-up in the upper edge, at far right, and another (smaller) in the lower right corner. Frame: 39.75” H x 46.25” W x 2.75” D 1006 Visual: Overall good appearance. Blacklight: No evidence of restoration.

Condition Reports

Frame: 16.25” H x 20.25” W x 1.25” D

514

1007 Visual: Overall good appearance. Slight varnish discoloration and minor specks of grime primarily in the sky. Blacklight: A few small clusters of tiny flecks of touchup, the largest area measuring 1” H x 1.75” W, all in the mountains in the upper left quadrant. Frame: 27.5” H x 33.5” W x 3” D 1008 Undrilled. Overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With soiling to interior.

1009 Each drilled. One with a 9” long vertical crack to base and bottom half of body. Each with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with soiling to interior. Each with a rice-sized glaze chip to rim. 1010 Undrilled. With dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Soiling to interior. The stand with oxidation/rust. 1011 Each undrilled. With dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Soiling to interior. 1012 Each undrilled. Each overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. The oil jar with a likely inherent pea-sized hole in the glaze of body. 1013 Three with holes drilled and soiling to interior. One undrilled. Each overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. One with a 0.25” long scuff to rim with loss to glaze. 1014 Each drilled. One with a dime-sized chipped loss to rim. Each with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with soiling to interior. 1015 Each undrilled. Each with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with soiling to interior. The stand with oxidation/rust. 1016 Overall good condition with scuffs, scratches, oxidation, and verdigris to bronze commensurate with age. 1017 Each overall good condition with scuffs, scratches, oxidation, and verdigris to bronze and copper commensurate with age. Each with detached fin. With 60” L and 53” L chains.

Blacklight: Some pigments fluoresce under blacklight, but likely not due to restoration.

1027 Overall good appearance. Not examined out of the frame. Framed under glass: 19.25” H x 15.5” W x 2” D

Blacklight: Some pigments fluoresce under blacklight, but likely not due to restoration.

1028 Overall good appearance. Probable pale toning in the sky, but vivid color elsewhere. Time stains along the sheet edges. A surface scuff measuring 0.125” H x 0.25” W along the center of the upper edge. A few scattered, small, pale foxmarks in the sky, mainly to the left of the church. The sheet is loose.

Unframed

Framed under Plexiglas: 22.5” H x 18.5” W x 1.375” D

1020 Visual: Overall good appearance. Blacklight: No evidence of restoration.

1029 Overall good appearance. With margins. The sheet is framed floating, secured to the back mat from the verso. Not examined out of the frame.

Frame: 31.25” H x 37.25” W x 2” D

Framed under glass: 24.75” H x 36.25” W x 2.25” D

1021 Visual: Overall good appearance.

1030 Visual: Overall good appearance. As mentioned, the canvas has been laid to panel.

Unframed 1019 Visual: Overall good appearance.

Blacklight: No evidence of restoration. Frame: 20.75” H x 23.75” W x 2.5” D 1022 Overall good appearance. Not examined out of the frame. Framed under glass: 20.5” H x 23.5” W x 1.5” D 1023 Overall good appearance. Not examined out of the frame. Framed under glass: 20.5” H x 23.5” W x 1.25” D

Blacklight: No evidence of restoration. Frame: 40.5” H x 63.75” W x 2.75” D 1031 Overall good appearance. Full margins with deckled edges. Pale time staining showing in the deckle of the margins, with more noticeable time staining at the top right margin edge. Pale toning visible in the margins and on the verso. The sheet is loose , not matted. Unframed

Blacklight: No evidence of restoration.

1032 Overall good appearance. Full margins with deckled edges. Very pale time staining showing in the deckle of the margins edges. The sheet is loose, not matted.

Frame: 15.75” H x 17.75” W x 1.75” D

Unframed

1025 Visual: Overall good appearance.

1033 Overall good appearance. With full margins with deckled edges. Pale time staining showing in the deckle of the outer margins with more noticeable time staining in the bottom left corner, right and top edge. Some toning. The sheet is loose, not matted.

1024 Visual: Overall good appearance.

Blacklight: No evidence of restoration. Frame: 16” H x 19.25” W x 1.5” D 1026 Overall good appearance. Not examined out of the frame.

Unframed

Condition Reports

1018 Visual: Overall good appearance.

Framed under glass: 15.25” H x 20” W x 2” D 515

1034 Overall generally good appearance. Full margins with deckled edges. Time staining showing in the deckle of the margin edges, with a larger area of uneven time staining along the bottom margin edge, 0.75” H toward the left margin edge, and 0.25” H toward the right margin edge. Scattered circular surface stains verso, not affecting recto. The sheet is loose, not matted. Unframed 1035 Overall good appearance. Full margins with deckled edges. The margins slightly toned. Possible small area of faint stray printer’s ink in the center of the right margin. Very pale time staining showing in the deckle of the margin edges, with more noticeable time staining at the top right margin corner and right margin edge. The sheet is loose, not matted.

Frame: 68” H x 74.25” W x 3” D 1041 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.

1036 Visual: Overall good appearance. Slight grime. Foxing on the verso. Blacklight: No evidence of restoration.

Framed under glass: 31.5” H x 25.5” W x 1.5” D

Unframed 1037 Visual: Overall good appearance. Grime scattered primarily throughout the white pigments. A few 2” (or smaller) faint surface scuffs scattered in the background. Blacklight: No evidence of restoration.

1043 Overall good appearance. A few soft handling marks primarily in the blank of the lower half. A very pale, unobtrusive, small, surface stain to the right of center at the lower sight edge. Not examined out of the frame. Framed under glass: 19.25” H x 23.25” W x 2” D

Blacklight: No evidence of restoration.

1044 Overall good appearance. The sheet with pale lightstaining, small binding holes along the lower edge, and a pinhead-sized foxmark in the left portion of the upper edge, all commensurate with age and use as ledger paper. The sheet is framed floating, affixed to the back mat from the verso. Not examined out of the frame.

Frame: 54.625” H x 30.625” W x 2” D

Framed under glass: 15.25” H x 19.25” W x 1.25” D

1039 Visual: Overall good appearance. A 1.25” thin, vertical streak of grime in the background of the upper right quadrant, and a few other minor specks scattered primarily in the background of the right half.

1045 Overall good appearance. Not examined out of the frame.

Blacklight: No evidence of restoration. A few areas of the figure’s hair and clothing fluoresce under blacklight, though this appears to be in the hand of the artist.

1046 Overall good appearance. A 1.5” vertical crease extending in to the image from the left portion of the sight edge. Not examined out of the frame.

Frame: 42.75” H x 33.75” W x 2” D

Framed under glass: 16.5” H x 20.5” W x 1” D

Unframed 1038 Visual: Overall good appearance. A few minor specks of surface grime scattered primarily in the lower half.

Condition Reports

Blacklight: No evidence of restoration.

1042 Overall good appearance. The colors vibrant and the delicate casein surface without any visible scratches or scuff marks, even when viewed in raking light. The sheet with unpainted margins beyond the image that reveal some of the artist’s precise, underlying, original guidelines. The sheet is carefully taped along the outer margin edges to the (presumably original) matboard support with brown paper tape.

Unframed

516

1040 Visual: Overall good appearance. An occasional scattered, unobtrusive rice-sized (or smaller) pigment loss.

Framed under glass: 30.25” H x 51.25” W x 1” D

Framed under glass: 35.75” H x 48.375” W x 2.5” D 1048 Overall good appearance. A spider carcass inside the frame on the back mat, not affecting the work. The sheet is framed floating, secured from the verso to an invisible matboard which is subsequently affixed to a linen-covered backing board. Not examined out of the frame. Framed under glass: 33.5” H x 40.75” W x 1.5” D 1049 Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered single stitch losses to top exterior, with larger areas of multiple stitch losses to hip coils, and exterior base, largest area: 2.5”. Some exposed base coils with minor chips/damage. Slight fading to shoulders. 1050 Overall good condition with dust accumulation and shelf wear commensurate with age and use. A few scattered single stitch losses to interior and exterior, with scattered areas of stitch loss to exterior base, largest: 0.75” L. 1051 Overall good condition with light dust accumulation and minor wear commensurate with age and use. A small spot of wax residue to base. 1052 Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered single stitch losses to interior. Exterior with a minor smudge of red near top edge, near terminal. 1053 Visual: Overall good appearance. Slight varnish discoloration. Small areas of fine craquelure in the figure’s hair and scattered occasionally throughout. An extremely soft reverse pressure mark, roughly 2” H x 2” W, to the left of the figure’s head, primarily visible in raking light. Very slight stretcher bar creases along each edge. Blacklight: No evidence of restoration, although difficult to read under uneven varnish application. Frame: 36.25” H x 31.25” W x 2.75” D

1054 Visual: Overall generally good appearance. Fine craquelure and stretcher bar creases along each edge, primarily visible in raking light. Two soft pressure marks along the center of the left edge, primarily visible in raking light. Minor surface dust. Blacklight: An occasional pea-sized (or smaller) touch-up in the background of the upper right quadrant. Long bands of possible touch-up along the extreme edges, difficult to read under uneven varnish application. Frame: 49” H x 41” W x 2.75” D 1055 Visual: Overall good appearance. Scattered spots of crazing, particularly in the shadow of the well. A small diagonal area of paint loss, about 0.25” H x 0.375” W, near the upper right corner. A pinhead-sized spot of paint loss in the lower right corner and a surface scuff on the lower-to-mid right side approx. 0.75” H x 0.125” W. Blacklight: Appears unvarnished with areas that fluoresce but does not appear to have restoration. Frame: 20.75” H x 22.75” W x 2” D 1056 Visual: There are 6 pea-sized abrasions and 3 faint vertical surface scratches in the bottom left quadrant, the largest is about 12” long. The paint is flaking along the bottom left edge corner. Surface dirt throughout with an old varnish layer. The canvas has been relined, as noted above, and the frame has extensive damage. Blacklight: Spots of touch-up throughout, especially along the right and left bottom edge. There are a few larger areas of infill in the upper half, the largest in the upper center, is about 2” H x 2” W, and another is 0.5” H x 4.5” W on the left side near the desk. These larger repairs are also visible in regular raking light. Frame: 70.5” H x 91” W x 5” D

Condition Reports

1047 Overall good appearance. Not examined out of the frame.

517

1057 Visual: Overall generally good appearance. A 0.5” diagonal tear along with a 0.75” horizontal scuff lower center. A 0.0625” H x 0.125” W puncture with a 0.125” indent/tear below on the center left side at the entrance to the tepee. A pin-head sized pigment loss in the lower right. Craquelure throughout the background. Scattered wear and grime, with an aged varnish layer. Blacklight: Some pigments stand out, such as the red accents on the bush in the bottom left and the deep black pigments in the figures, but this does not appear to read as restoration. 1058 Visual: Overall good appearance. Slight varnish discoloration and minor grime. Fine craquelure scattered primarily in the lower half. Very soft stretcher bar creases along each edge, primarily visible in raking light. Blacklight: Extensive touch-ups throughout, including a 9” H x 5” W area of scattered touch-ups in the mountains at the center of the left edge, horizontal streaks of touch-up scattered throughout the sky, and small flecks of touch-up in the figure’s hair and the horse. Frame: 45.5” H x 38.5” W x 3.25” D 1059 Visual: Overall good appearance. Fine craquelure throughout. Two quarter-sized (or smaller) areas where the varnish appears cloudy in the background to the left of the figure’s head. Blacklight: A 1.5” H x 1” W touch-up in the figure’s right eye, as well as a few smaller touch-ups scattered in the figure’s face and suit, with six related patches verso.

Condition Reports

Frame: 45.75” H x 41” W x 6” D 1060 Full sheet and the colors bright. Extensive foxing affecting the right quarter of the work, with the foxing extending a little over halfway along the lower edge. Occasional other scattered foxmarks. Mild light-staining where the paper is exposed. An unobtrusive, possible tear extending 1” vertically from the lower edge, left of center, just into the blue pigment. The white gouache in the outer border is flaking, with areas of pigment loss, especially on the left sheet edge. The edges and corners are worn, with scattered small paper and pigment losses. The corners are worn, and dog eared, with the lower right corner showing significant impact distortion. Scattered surface soiling showing mostly in the white painted border and the verso. The sheet is loose. Unframed 518

1061 Overall generally good appearance. The colors are bright. Pale light-staining where the paper is exposed, generally around the figure, within the words “The Minute Man,” and above the city skyline. A 1.5” H x 1.5” W area of damp staining in the upper left corner, another 1” H x 0.625” W area at the upper portion of the right edge, with a few small, scattered damp stains elsewhere. Two thin, diagonal surface scratches (or old, possibly repaired tears) along the lower left edge, to the left of the black city silhouette, one measuring 0.75” and the other 1.25”. The white gouache along the sheet edges appears slightly unstable, with attendant specks of paint loss which have fallen against the black silhouette area. The corners are worn and dog eared with attendant small pigment losses. Minor scattered surface soiling, predominantly along the edges. The sheet is loose. Unframed 1062 Overall good appearance. The paper slightly toned, primarily verso, from age and contact with a previous backboard. The colors, however, have remained fresh. A few very unobtrusive, skillfully made-up and touched-in paper losses at the outermost edges. All of these are generally rice-sized (or smaller), with the exception of one which measures approximately 4.5” H x 0.25” W along the lower portion of the left sheet edge, and one at the tip of the upper right sheet corner which measures approximately 0.5” diagonally x 0.25” W along each of its other two edges. A very unobtrusive, slightly irregular, 1” skillfully repaired tear extends diagonally into the sky from the upper portion of the right sheet edge, visible primarily on the verso. There is a very unobtrusive, hairline, 1” long, soft, horizontal flattened crease near the lower portion of the right sheet edge, visible only in raking light or when backlit. Old backboard staining, verso, as well a series of very small pieces of newer archival mulberry paper to gently reinforce some of the areas mentioned. The sheet is loose, secured to the back mat with four clear archival corners. Framed under Plexiglas: 16.5” H x 19.5” W x 1” D

Blacklight: A 4” H x 6” W touch-up in the ground to the left of center. Large areas of old touch-up in the clouds and the mountains. Smaller flecks of touch-up scattered throughout, primarily in the three figures and horses in the right half. Scattered long bands of touch-up along the stretcher bar creases and extreme outer edges. Frame: 29” H x 35” W x 2.75” D 1064 Overall good appearance. Pale light-staining concentrated primarily along the window opening of the overmat. One unobtrusive pinpoint-sized foxmark in the dust clouds behind the stagecoach. Very minor backboard staining. Two small pieces of white paper tape at the verso of the lower margin corners. The sheet is hinged to the overmat with white paper tape from the verso of the upper sheet edge. Framed under glass: 14.25” H x 18” W x 1” D

1067 Overall generally good appearance. Pale lightstaining. A small tear extending 0.25” diagonally into the blank background from the left sight edge, not affecting the image. A 1.5” soft diagonal crease across the upper left sheet corner, and another soft horizontal crease extending across the lower sheet edge. A pale and fairly unobtrusive foxmark in the blank near the center of the upper edge. Not examined out of the frame. Framed under glass: 17.75” H x 14” W x 1.75” D 1068 Overall good appearance. With full margins and deckled edges. The last print is tipped to a backing paper at the top corners and has a handling crease visible in the upper left quadrant, on the backing mount, not affecting the image. The brown linen covered portfolio box with minor shelf wear. 1069 Visual: Overall good appearance. Slight varnish discoloration and minor surface grime. Blacklight: One probable pea-sized spot of touch-up in the center right.

1065 Overall generally good appearance. With margins. Pale light-staining. Three very soft parallel, horizontal creases, starting from the upper portion of the left margin edge and extending across the work to the right margin edge. Soft handling marks scattered throughout the image and the margins. Minor surface soiling primarily in the lower margin. The sheet is taped to the back mat from the center of the upper margin edge.

Frame: 21.25” H x 36.25” W x 2.75” D

Framed under glass: 17.625” H x 21.125” W x 1” D

Frame: 26” H x 44” W x 2.75” D

1066 Overall generally good appearance. With margins. Pale light-staining and scattered pale foxing. A 1” vertical crease in the blank at upper center. A pinhead-sized c-shaped pressure mark in the paper, in the blank of the center of the upper plate edge. A few soft handling marks scattered throughout, primarily along the lower plate edge and upper left quadrant. Not examined out of the frame. Framed under glass: 15.25” H x 19.25” W x 1” D

1070 Visual: Overall good appearance. Slight varnish discoloration. As mentioned, the canvas is laid to Masonite. Blacklight: No evidence of restoration. The signature fluoresces under blacklight but appears to be in the hand of the artist.

Condition Reports

1063 Visual: Overall good appearance. Varnish discoloration and grime. A 0.5” surface scratch in the sky in the upper right quadrant. Old stretcher bar creases. As mentioned, the canvas has been relined.

519

1071 “Painted Cañon”: Overall generally good appearance. There are several pinhead sized dots of probable touch-up scattered throughout the image, as well as a thin broken line of touch up covering a 4” diagonal surface scratch on the right canyon wall, all visible in raking light. The edges of the mount are slightly time stained, not affecting the image. The mount has some pale damp staining in the lower left corner, and a multi-dog-eared upper left corner, affecting a 2” H x 2” W area of just the mount. Aside from the impressed gray border around the photo on the mount, which appears to be as issued, the mount is lightly toned. None of the mount issues affect the image. “Yellowstone Falls”: Overall good appearance. Two pinpoint sized abrasions in the foam at the base of the falls. The edges of the mount are slightly time stained, not affecting the image. Aside from the impressed gray border around the photo on the mount, which appears to be as issued, the mount is slightly toned, not affecting the image.

Condition Reports

1077 Separation at the junctures of armrests and seatback, very loose. Wear and sun-bleaching to finish. With scattered stains, soiling, scuffs, scratches, nicks, and indentations commensurate with age. Upholstery in good condition. 1078 Side chairs reupholstered. Each with fading to finish, with moisture staining and older losses at legs and supports. Each with scattered scuff, scratches, nicks, and abrasions commensurate with age. One chair with a 10” long crack in the seatback support issuing from the juncture with the seat cushion rail. Each leather hardened, with discoloration, staining, and cracking. Each mohair in good condition.

1072 Overall good condition with shelf wear, scattered minor 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.

1079 Each with scattered scuffs, scratches, nicks, abrasions, indentations, soiling, and dust accumulation commensurate with age. Legs with more concentrated and deeper scuffs along edges. Each with small losses at edges and corners. The leather in good condition with a few small stains and some soiling, the seat underside webbing with a few tears.

1073 Possibly refinished, the top with loose slats, heavy wear and fading to finish, scattered stains, spots, and losses at edges and corners. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Overall with a slight wobble, not sitting level.

1080 Upper cabinet with replaced hinges, one unmounted. The top with 3.5” area of chipping front edge. Drawer lacking pull, lower cabinet lacking lower strap hinge. With scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age.

1074 Refinished, likely removing the mark. With a dimesized shallow chipped loss at one tabletop corner. Overall good condition with minor scuffs and scratches, and small nicks commensurate with age. Older small losses at edges of supports.

1081 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Scattered scuffs, scratches, and minor oxidation to leather elements. Heavier scuffing to front swell leather under the lariat. Some oxidation to metal rivets and other elements and light tarnishing to silver conchos. Scattered areas of conditioning wax residue overall.

Each unframed

520

1076 The top likely refinished. Drawer bottom panel likely replaced. With scattered scuffs, scratches, nicks, soiling, spots, indentations, and dust accumulation commensurate with age. Scattered small older losses along edges and at corners.

1075 Losses to the marks and soiling to drawer interior. Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age, concentrated to legs and edges. Tabletop with deeper scratches throughout and a few faint ring stains. Legs with wear to finish, particularly to the lower 6 inches.

1082 The wood surfaces with cracking to the finish and top ply of wood, the top surface with large ring stain and another attendant large stain. With some soiling, dust accumulation, and scattered scuffs and scratches commensurate with age.

1084 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1085 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1086 Overall good condition with dust accumulation, minor scuffs and scratches, and small nicks commensurate with age. One horn with two 1-2” long areas of chipped losses. 1087 Each with bookplate affixed to front fixed endpaper at upper left, volume one with penciled ex-libris name to third free endpaper. Each with foxing and cockling to pages throughout, obtrusive to most illustrations. Each with shelf wear, rubbed wear and losses to board leather, concentrated at edges and corners, and mild bumping to spine ends and corners. 1088 Overall generally good appearance. A few small areas of pigment loss, the largest measuring 0.5” H x 1” W, in the background below the bird’s wing in the lower left quadrant, and a few more scattered rice-sized (or smaller) pigment losses primarily in the walls, and in the extreme outer edges. A pinhead-sized puncture in the lower shadow of the bird’s wing in the lower left quadrant. Craquelure primarily in the shadows of the bird. Minor specks of grime. Blacklight: No evidence of restoration. Unframed 1089 Overall good appearance. Light-staining. Minor surface soiling primarily along the lower edge. A pinhead-sized foxmark in the lower right corner. The paperboard is sandwiched within its mat. Framed under glass: 25” H x 33.25” W x 1.5” D

1090 Visual: Overall generally good appearance. Fine craquelure scattered in the sky. Light stretcher bar creases visible around the edges. Four small rice paper patches verso. The lower right corner tacking edge has been patched (3” H x 1.5” W is visible). Blacklight: A 2” H x 4” W area of touch-up just above the antlers, a 1.25” H x 3” W touch-up near the center of the right edge at the water’s edge, and a 2” H x 1” W area of touch-up at the center of the left side. Extensive small, scattered areas of touch-up throughout, primarily in the sky. Frame: 31” H x 42.5” W x 3” D 1091 Visual: Overall good appearance. A pinhead-sized spot of grime in the cloud below the bird’s tail in the upper right quadrant, and a few more scattered primarily along the outer edges. Blacklight: No evidence of restoration. Frame: 31.25” H x 27.5” W x 3” D 1092 Visual: Overall generally good appearance. Grime, soft craquelure scattered in the sky, and minor varnish discoloration, all commensurate with age. Soft rippling throughout the canvas, mostly concentrated in the upper half, and primarily visible in raking light. A dime-sized pressure mark near the upper edge, left of center. Blacklight: A 3” H x 3” W area of touch-up in the lower right corner, a 1” H x 1” W area of touch-up in the hair of the right-most figure, and possible areas of touch-up along the lower portion of the left edge. Frame: 32” H x 50” W x 2” D 1093 Visual: Overall good appearance. Varnish discoloration and slight grime. Fine craquelure primarily throughout the sky. Blacklight: A few scattered thin horizontal bands of touch-up, the longest measuring 4” W across the trees and the mountain in the center of the left half. Frame: 19.5” H x 29.5” W x 2.5” D 1094 Visual: Overall good appearance. Blacklight: A 2” H x 0.25” W band of touch-up in the sky, above the right side of the roof of the center house.

Condition Reports

1083 Each overall good to fair condition with dust accumulation, oxidation, wear and soiling commensurate with age and use. Each with scattered creases, dark marks and minor stains. The brown pair with a tear and loss to belt strap, and a couple of large holes to fabric legs. The tan pair with darkening and heavy wear to suede.

Frame: 37” H x 45” W x 3” D 521

1095 Visual: Overall generally good appearance. Varnish discoloration. Minor craquelure and slight frame abrasion with a few rice-sized or smaller pigment losses, primarily along the the left edge. Damp staining to the panel, verso Blacklight: A 9” H x 2.5” W touch-up along the upper half of the left edge, and a few more (smaller) in the lower left and upper right corner edges, as well as some even smaller ones scattered occasionally, primarily along the extreme edges. Frame: 20.5” H x 30.5” W x 1.5” D 1096 Visual: Overall generally good appearance. The work appears to be painted on the verso of an old window shade (per KH, good idea to mention this in CR). Craquelure throughout, showing primarily in raking light. Stretcher bar creases showing along all four sides. Blacklight: No evidence of restoration. Frame: 37” H x 47” W x 2” D 1097 Overall good appearance. Not examined out of the frame. Framed under glass: 27.5” H x 30.75” W x 1.5” D

Condition Reports

1098 Overall good condition with soiling, dust accumulation, scattered scuffs, scratches, and losses to enameling with attendant oxidation/rust commensurate with age. Each caster with heavy losses to rubber.

522

1099 With dust accumulation, tarnishing, scratches, scuffs, and wear commensurate with age and use. Heavy wear to leather, with scattered creasing, cracking and some dryness and stiffening in places. A few areas with splits to straps, and a break to the chin strap of the noseband. 1100 With dust accumulation, tarnishing, oxidation, scratches, scuffs, and wear commensurate with age and use. Heavy wear and darkening to leather, with scattered creasing, cracking and some dryness and stiffening in places. A few areas with partial splits to straps.

1101 Each with dust accumulation, tarnishing, oxidation, scratches, scuffs, and wear commensurate with age and use. Heavy wear to leather, with scattered creasing, cracking and some dryness and stiffening in places. A few areas with partial splits to straps. Scattered areas of white residue to leather and to metal components. 1102 Overall good condition with dust accumulation, tarnishing, faint scratches, scuffs, and minor light wear commensurate with age and use. Oxidation and tarnish to the bit. Slight darkening and rubbed wear to the braided rawhide reins. 1103 Overall good condition with dust accumulation, tarnishing, faint scratches, scuffs, and minor light wear commensurate with age and use. Oxidation and tarnish to the bit. Slight darkening and rubbed wear to the braided rawhide reins. 1104 Overall good condition with dust accumulation, tarnishing, faint scratches, scuffs, and minor light wear commensurate with age and use. A few areas of cleaning paste residue. Oxidation and tarnish to the bit. Slight darkening to the braided rawhide reins. 1105 Overall good condition with dust accumulation, tarnishing, faint scratches, scuffs, and wear commensurate with age and use. Oxidation and tarnish to the bit and chains. Some white marks to the braided buttons on the reins. 1106 Each overall good condition with dust accumulation, tarnishing, oxidation, scratches, scuffs, and normal wear commensurate with age and use. Each with rubbed wear to finish. 1107 Each overall good condition with dust accumulation, tarnishing, oxidation, scratches, scuffs, and wear commensurate with age and use. Light wear to leather band. 1108 Each overall good condition with typical signs of wear, scuffs, scratches, and oxidation commensurate with age. Leather with drying, soiling, and wear. 1109 Each spur with scattered older flaws and imperfections, scuffs, scratches, indentations, and overall oxidation commensurate with age and use. Each lacking a leather strap. The branding iron with oxidation, scattered scuffs and scratches, and light wear to wood handle.

1111 Each with dust accumulation, scattered minor flaws and imperfections, scuffs, scratches, indentations, inclusions, tarnishing, oxidation, and losses or raising to inlay commensurate with age and use. Leather with minor wear, light soiling, and scattered marks, darkening and slight creasing to straps. 1112 Each with dust accumulation, scattered older flaws and imperfections, scuffs, scratches, indentations, inclusions, oxidation, tarnishing, and losses or raising to inlay commensurate with age and use. Minor wear and slight stiffening to straps. 1113 Each with scattered older flaws and imperfections, scuffs, scratches, indentations, inclusions, oxidation, and losses or raising to inlay commensurate with age and use. 1114 Overall good condition with minor shelf and handling wear commensurate with age. 1115 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1116 Overall good appearance. With margins. Pale lightstaining. Not examined out of the frame. Framed under glass: 19.5” H x 25.75” W x 1.5” D 1117 Overall good appearance. With margins. Time staining along the extreme margin edges. Remains of two small, very narrow, cellophane tape hinges at the extreme edges of the upper margin corners. The sheet is loose, not matted. Framed under glass: 17” H x 19” W x 1.75” D 1118 Overall good appearance. Pale light-staining. The paperboard is framed floating, mounted to the backing board. Framed under glass: 12.5” H x 9.5” W x 1.25” D

1119 Overall good appearance. Slight light-staining. Not examined out of the frame. Framed under glass: 9.5” H x 7.75”W x 0.75” D 1120 Overall good appearance. Slight light-staining throughout. Framed under glass in a double-sided frame: 6.5” H x 4.5” W x 0.625” D 1121 Overall good appearance. Not examined out of the frame. Framed under glass: 22” H x 19” W x 1.5” D 1122 Visual: Overall good appearance. A few pea-sized (or smaller) flecks of pigment loss concentrated primarily along the edges of the tree trunks in the upper left quadrant. Blacklight: No evidence of restoration. Frame: 18.5” H x 22.5” W x 3.25” D 1123 With a loss to right ear and repaired breaks to right antler. With dust accumulation, scattered scuffs and scratches, and darkening/oxidation to bronze commensurate with age. 1124 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. 1125 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Wear to finish throughout. 1126 One leg shortened, so the cabinet wobbles and sits unevenly. With scattered scuffs, scratches, nicks, and small indentations along edges commensurate with age. Areas of wear to finish throughout. 1127 Overall good condition with scattered minor scuffs, scratches, nicks, and indentations commensurate with age. Underside with applied label and white marks.

Condition Reports

1110 Each with dust accumulation, scattered minor scuffs, scratches, indentations, tarnishing, oxidation, and minor losses or raising to edge inlay commensurate with age and use. Light wear and faint marks to leather straps.

523

1128 With wear and sun-bleaching to finish. With scattered scuffs, scratches, nicks, and indentations commensurate with age. Upholstery in good condition. Staining and soiling to rockers.

1136 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previously inked notes along foot rim underside.

1129 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age.

1137 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1130 One slag glass panel with a vertical crack through. Overall good condition with scattered scuffs and scratches and oxidation to bronze 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.

1138 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1131 Overall good appearance. With wide (possibly full) margins, except along the lower edge where very slightly trimmed at left. Pale light-staining within the window opening of the overmat, with the colors perhaps very slightly darkened as a result. An unobtrusive 1” horizontal split along the lower image edge, at right, attendant with the printing process. Small rectangles of minor surface skinning and discoloration from prior hinging in five places along the extreme margin edges. Pale backboard staining, occasional minor surface soiling, and stray printer’s ink, all verso. Pencil notations in another hand in the lower margin corners and verso: “Bau 104 / 35- / 663-24.” The sheet is hinged to the back mat with two pieces of archival hinging tape from the recto of the upper margin edge. Framed under Plexiglas: 34” H x 27.5” W x 1.75” D

Condition Reports

1132 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling/staining to underside.

524

1133 With several small chipped losses, the largest measuring 1.25” x 0.375” large. Scattered scuffs, scratches, nicks, and abrasions commensurate with age. Soiling and staining to underside. 1134 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1135 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1139 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1140 Overall good condition with dust accumulation and scattered minor scuffs and scratches commensurate with age. Scattered small nicks to plinth corners and edges. 1141 Overall good condition with dust accumulation and scattered minor scuffs and scratches commensurate with age. Scattered small losses to patina, particularly to edges of eagle’s head. 1142 Overall good condition with light tarnishing and wear commensurate with age and use. Stone and beads with scattered light abrasions. 1143 Overall good appearance. Full margins with deckled edges. Handling marks in the vertical margins. Very minor, scattered, pale foxmarks in the margins. The sheet is framed floating, tipped to an invisible foam board which is subsequently attached to the back mat. Not examined out of the frame. Framed under Plexiglas: 30.25” H x 35.75” H x 1.5” W 1144 Overall good appearance. With margins. Soft handling marks along the lower margin edge, particularly in the corners. A faint and unobtrusive 0.75” vertical line of discoloration in the blank at upper right. An unobtrusive 0.25” narrow, diagonal pressure mark in the blank at upper left. Not examined out of the frame. Framed under Plexiglas: 31.25” H x 35.5” W x 1” D

Framed under glass: 21.75” H x 23.25” W x 1.5” D Book: 8.625” H x 7” W x 0.875” D 1146 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. A minor chip to top corner. 1147 Overall good condition with dust accumulation and light wear commensurate with age. stone with scattered light scratches. Fabric with a few faint marks. Some wear and loss to fur trim of parka hood. With a custom stand: 8” H x 5” W x 4”. 1148 Each overall good condition with dust accumulation and light wear commensurate with age and use. The oval lidded basket with break to one end of lid handle. Spruce with stiffening. 1149 Losses to undersides of feet, obtrusive to marks. Otherwise overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1154 The Vallo with a pea-sized spalling loss to body. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two with previous dealers’ penciled marks to underside. 1155 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Terrance with staining to underside, two with previous dealer’s penciled notes to underside. 1156 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Signature partially rubbed off, with mounting putty residue and previous dealers’ penciled marks to underside. 1157 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Suazo with sticker ghost obtrusive to marks at underside. 1158 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1150 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some losses to slip paint of canes.

1159 Overall good condition with minor shelf wear commensurate with age.

1151 Each with shelf wear obtrusive to signature with losses. Serafina with mounting putty residue to underside and a few scattered small losses to slip. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1160 One with a repaired break to underside. Two with chipped losses and repairs to ends of ears. Two with previous dealer’s penciled noted to underside. Each with shelf wear, spalling throughout, scattered scuffs, scratches, and abrasions, and soiling commensurate with age.

1152 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a rice-sized area of rim not covered in black slip paint. Mounting putty residue to underside, as well as previous retailer’s penciled marks. Book in good condition with minor shelf wear and rubbing to dust jacket.

1161 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: breaks to selvage edge, concentrated along one long edge, with attendant fraying, scattered spots and stains, scattered small stitch repairs, and a long stitch repair along warp about 5” in from one short edge, side B with a large area of splattered stains at center.

1153 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mounting putty residue to underside, as well as previous retailer’s penciled marks.

Condition Reports

1145 Overall good appearance. With margins. Not examined out of the frame.

525

1162 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Side B with heavy fading, heavy soiling, and heavy staining throughout, scattered areas of dye migration to each side, scattered areas of selvage cord breakage with attendant frayed threads, and scattered stitch repairs.

1170 Overall good condition with shelf wear, wear to patina, oxidation, and scattered scuffs, scratches, and minor nicks commensurate with age. The shade with some flakiness to exterior mica. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

1163 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: heavy moth grazing with losses exposing warp, fading to side A, and threads pilling.

1171 Each key of the base supports is loose, one with a large chipped loss. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with fading to finish, staining, and deeper scratches.

1164 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: about one foot along a short end with red dye migration from another rug, and one long edge with a 5” x 2” area and 3” x 1.5” area of reweaving. 1165 Overall good condition with dust accumulation and wear commensurate with age and use. Side A with general faint soiling, and scattered faint spots and faint marks; Side B with an area of heavier extensive staining to one short edge. 1166 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 B, a few 1-2” long areas of loose weave, and scattered areas of red dye migration.

Condition Reports

1167 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 4” long area of stitch repair, areas of red dye migration at edges, and several small spots and stains.

526

1168 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: one short end with woven fabric dowel loop, side A with three 6” diameter areas of darkening from a stain, side B with similar but slightly more areas of discoloration/staining, concentrated to cream, small losses and loose threads at corners, and a 3” long area of selvage cording loss with attendant loose threads. 1169 Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.

1172 With soiling, dust accumulation, scuffs, scratches, nicks, indentations, fading to finish, and scattered spots and stains commensurate with age. Some joints with slight separation. Older losses throughout, concentrated to edges and corners. 1173 Each leg with vertical splits in the wood, with losses at edges and terminals. Repairs to leg junctures with top and skirt. Tabletop with scattered stains and nicks to edges. Extensions with slightly less wear, but with scattered drink rings and some areas of liquid damage at edges. With scattered scuffs, scratches, and fading to finish commensurate with age. With scattered scuffs, scratches, nicks, abrasions, and fading to the finish commensurate with age. 1174 Each with scattered small nicks and losses at edges, concentrated to armrests and legs. Each overall good condition with dust accumulation, scattered scuffs, scratches, nicks, and indentations commensurate with age. Areas of fading to the finish, most notably to armrests. The fabric upholstery in good condition with minor soiling and pilling to fabric. The leather with several shallow tears starting, soiling, and scattered spots and scratches. 1175 Scattered small nicks and losses at edges, concentrated to armrests and rockers. Overall good condition with dust accumulation, scattered scuffs, scratches, nicks, and indentations commensurate with age. Areas of fading to the finish, most notably to armrests. One seat slat loose. The upholstery in good condition with minor soiling and pilling to fabric. 1176 Each overall good condition with dust accumulation, scattered scuffs, scratches, and small indentations, and tarnishing to silver and oxidation to copper commensurate with age.

1178 Overall good condition with minor wear to patina with attendant mild oxidation, scattered minor scuffs and scratches and shelf wear commensurate with age. 1179 With dust accumulation, minor shelf and handling wear, and minor wear to updated patina commensurate with age. 1180 Overall good condition with oxidation, shelf wear, soiling, scattered scuffs, scratches, and small nicks commensurate with age. 1181 Wear, tarnishing, soiling, and losses to silvering throughout. With scuffs, scratches, nicks, and indentations commensurate with age. 1182 Each overall good condition with oxidation, soiling, and scattered minor scuffs and scratches commensurate with age. Ends of letter openers bent. 1183 Largest with later reinforcement to base. Each copper end of the other with heavy oxidation and tarnishing to silver overlay. Each with shelf wear, scattered scuffs and scratches, and small nicks commensurate with age. 1184 Each bookend overall good condition with heavy shelf wear, scattered scuffs and scratches, minor indentations, and darkening/oxidation to copper commensurate with age. Each canoe with heavy tarnishing and scattered small indentations. 1185 Each overall good condition with scuffs, scratches, nicks, losses to enameling, and attendant oxidation commensurate with age and use. 1186 Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. 1187 With repair to juncture of bow with figure’s right hand. Verdigris and soiling throughout. With dust accumulation, scattered scuffs and scratches, and darkening/oxidation to bronze commensurate with age.

1188 Visual: Overall good appearance. A pinhead-sized paint loss near the center of the upper sky, with an attendant, thin, approximately 0.25” scratch just to the right. Two pinhead-sized paint losses in the lower right. Minor frame abrasions in the lower left corner. Scattered surface grime. Blacklight: Additional surface dirt is visible but there is no evidence of restoration. Frame: 25.625” H x 35.625” W x 1.25” D 1189 Overall good appearance. Not examined out of the frame. Framed under glass: 21” H x 29” W x 2” D 1190 Visual: Overall good appearance. There is a grouping of pin-head sized flecks of dirt in the upper left quadrant, particularly in the sky just above the mountains near the left edge. Blacklight: There are scattered spots of grime visible only under blacklight, but there is no evidence of restoration. Frame: 31.25” H x 37.25” W x 2.25” D 1191 Visual: Overall good condition. Pale scattered foxing along the lower portion of the verso. Blacklight: No evidence of restoration. Frame: 29.25” H x 33.125” W x 4” D 1192 Visual: Overall good appearance. A 1.25” vertical surface scratch in the lower left corner, and a few others, smaller, scattered in the left half. Blacklight: A small cluster of tiny flecks of possible touch-up in the sand in the center of the lower half. Frame: 19.25” H x 14.25” W x 2.25” D 1193 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 29.875” H x 20.625” W x 1.75” D

Condition Reports

1177 With dust accumulation, scattered minor scuffs, and darkening/oxidation to copper commensurate with age. Scattered small indentations, concentrated to rim and foot rim.

527

1194 Visual: Overall generally good appearance. Faint craquelure to the left and right of the man’s head and diagonal craquelure in the upper right corner. Four horizontal lines of surface abrasion near the center of the upper edge, passing through the top of the animal’s back, the largest measuring 0.125” H x 0.75” W. Blacklight: No evidence of restoration. A few areas of florescence in the varnish or paint layers, some of which correspond to the surface abrasions mentioned above. Frame: 38” H x 22” W x 1.5” D 1195 Visual: Overall good appearance. As mentioned, the canvas is laid to board Blacklight: No evidence of restoration. Frame: 15.5” H x 12.75” W x 2.75” D 1196 With large loss at left elbow. Long vertical splits in the wood throughout the figure and base. With dust accumulation, soiling, scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Staining and discoloration to arrowhead. 1197 Scattered narrow splits in the wood. Overall good condition with scattered scuffs, scratches, small nicks, and dust accumulation commensurate with age. With abrasions to figure’s face and fading/wear to wood stain.

Condition Reports

1198 Overall good condition with minor shelf and handling wear and mild dust accumulation commensurate with age.

528

1199 With repaired break at neck. With dust accumulation, shelf and handling wear, and minor scuffs and scratches commensurate with age. 1200 Overall good condition with minor wear and light abrasions commensurate with age and use. Light wear to feathers. Reverse of knife with added hook, magnet, and thick sticky tape for display, also with spray foam and adhsive residue to surface.

1201 One wing of headpiece has been reattached. Overall good condition with shelf wear, minor scuffs and scratches, fading, dust accumulation, and mild soiling commensurate with age. 1202 Not examined unmounted or outside of case. Possibly with loss to implement held in figure’s right hand proper. With mild shelf and handling wear commensurate with age. 1203 Possibly repaired break, with glue to figure’s right leg proper. Not examined unmounted from base. With mild shelf and handling wear commensurate with age. 1204 Overall good condition with minor shelf and handling wear commensurate with age. 1205 Overall good condition with mild dust accumulation and shelf and handling wear commensurate with age. 1206 Overall good condition with mild dust accumulation and shelf and handling wear commensurate with age. 1207 Overall good condition with mild dust accumulation and shelf and handling wear commensurate with age. The underside with previous dealer’s pencil notes and previous applied sticker. 1208 Overall good condition with mild dust accumulation and shelf and handling wear commensurate with age. 1209 Overall good appearance. A few small areas of pale surface soiling, the largest measuring 1” H x 0.25” W on the ground of the lower left quadrant. A 0.75” horizontal edge tear extending in from the left edge and showing primarily from the verso. A few tiny pale foxmarks scattered along the lower edge. Old tape staining and residue, and artist pinholes along each edge. A few quarter-sized (or smaller) surface stains scattered on the verso, likely from old mounting. The sheet is taped to the overmat in three places from the verso of the upper sheet edge. Framed under glass: 29.75” H x 37.75” W x 2” D

Blacklight: No evidence of restoration. Frame: 57” H x 69.125” W x 4.5” D 1211 Ogre with break to implement held in left hand proper, retained with the lot. The Hayah with one loss to fingers, another broken and retained with the lot, as well as water damage to underside of base, obscuring the marks. Each with dust accumulation and shelf and handling wear commensurate with age.

1218 Overall good condition with light dust accumulation and light wear commensurate with age and use. Areas of red dye transfer to each side; side A with further dark staining to center. One edge with minor stitch losses to selvage, and one short end with minor breaks to cords. A few tiny single stitch areas of shallow insect grazing. 1219 Overall good condition with dust accumulation and minor wear commensurate with age and use. A few areas of dark staining to each end, the largest area: 11” x 6”.

1212 Each with staining/soiling to base underside. Each overall good condition with dust accumulation and shelf and handing wear commensurate with age. Each possibly with losses to mounted feathers.

1220 Overall good condition with light dust accumulation and light wear commensurate with age and use. An area of faint staining near one corner edge, visible on both sides.

1213 Each overall good condition with mild dust accumulation and shelf and handling wear commensurate with age. Kachin mana with a small loss to tip of headpiece feather and previous dealer’s penciled notes to underside of base.

1221 Each overall good condition with light dust accumulation and light wear commensurate with age and use. The Bitsuie with ruckling to the weave.

1214 The clown missing some feathers. Each overall good condition with dust accumulation and shelf and handling wear commensurate with age. 1215 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the short ends with areas of loose weave, one short end with areas of loss just inside of selvage, with loose weave and holes, and scattered small areas of moth grazing, some with small holes. 1216 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: large areas of yellow stains to both sides, and a few small stitch breaks at selvage edges. 1217 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 12” long hole/area of losses, exposing the warp, a few small stitch repairs, heavy soiling and staining throughout, and breaks to selvage cording, with loose threads and fraying,

1222 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with small older losses at corners. 1223 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The top front edge with a 1” long older filled loss. With a few small losses at upper corners. 1224 Upper crest panel is loose, almost unmounted. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Top shelf with a 3.25” long crack. Smaller older losses scattered at edges and corners. 1225 Missing half of one wood chain link. Otherwise good condition with dust accumulation, scattered scuffs, scratches, and minor nicks, and separation at joints 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. 1226 With oxidation, darkening to metal, scuffs, scratches, and abrasions 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.

Condition Reports

1210 Visual: Overall good appearance.

529

1227 Overall good condition with shelf wear, wear to patina, oxidation, and scattered scuffs, scratches, and minor nicks commensurate with age. The shade with some flakiness to exterior mica. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 1228 Overall good condition with minor shelf and handling wear, oxidation, and scattered minor scuffs and scratches 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. 1229 Overall good condition with minor handling wear commensurate with age. The edges of mica panels with some small losses at edges, visible only from interior, possibly inherent. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Condition Reports

1230 Overall good condition with minor shelf and handling wear 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.

530

1235 Overall good condition with dust accumulation and minor wear commensurate with age and use. Side A with scattered small brown spots near one short end, side B with some faint spots in the same area. 1236 Overall good condition with light dust accumulation and light wear commensurate with age and use. An area of staining 9” x 5” to one end, darker on side A. 1237 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: losses to selvage cording at corners as well as three areas measuring 13”, 9”, and 6” long, with attendant losses and loose weave, fading to each side, and scattered spots and stains throughout. 1238 Overall good condition with light dust accumulation and light wear commensurate with age and use. Side A with minor faint soiling and fluffiness to the weave 1239 Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered faint foxing to mounting fabric. Not examined out of frame. Frame: 30.5” H x 44.75” W x 2” D

1231 Overall good condition with dust accumulation and wear commensurate with age and use. Side A with faint soiling overall, slight fluffiness to the weave, and with uneven fading to the sky area.

1240 Each overall good condition with light dust accumulation and light wear commensurate with age and use. The smaller side A with a few scattered faint smudges.

1232 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered evidence of moth grazing to each side, each side very faded, and side B with a 3” x 3” area of staining.

1241 Overall good condition with dust accumulation and minor wear commensurate with age and use. Each side with a few scattered faint spots in a couple of areas. A couple of single spots of insect grazing.

1233 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 heavy fading, and a wood hanging implement affixed to top edge. 1234 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: rug is out of square, losses and holes at long and short edges, with attendant loose weave, a few small holes at center, and several stitched repairs.

1242 Overall good condition with dust accumulation and minor wear commensurate with age and use. 1243 Overall good condition with light dust accumulation and light wear commensurate with age and use. Not examined out of frame. Frame: 23” H x 19.625” W x 1.5” D 1244 Each overall good condition with light dust accumulation and wear commensurate with age and use.

1246 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 1247 Visual: Overall good appearance. Very minor varnish discoloration in the sky. Blacklight: No evidence of restoration. Frame: 30.75” H x 42.75” W x 2.25” D 1248 Visual: Overall good appearance. Minor frame abrasion primarily along the upper portion of the left edge, and slight wear in the upper right corner. Blacklight: No evidence of restoration. Frame: 20.25” H x 40.25” W x 2.5” D 1249 Overall good appearance. Not examined out of the frame. Framed under glass: 16.25” H x 19” W x 2.5” D 1250 Overall good appearance. Slight varnish discoloration. Blacklight: No evidence of restoration. Framed under glass: 14” H x 18” W x 1.25” D 1251 Visual: Overall good appearance. Slight varnish discoloration. A stretcher bar crease along the upper edge. Small areas of minor, fine craquelure, primarily in the thicker impasto of the lower left quadrant. Blacklight: A thin 1.25” horizontal band of touch-up in the cloud to the right of center in the upper half. Frame: 30” H x 42.5” W x 3.5” D 1252 Visual: Overall good appearance. A minor rice-sized abrasion in the sky in the upper left quadrant. A few tiny specks of grime in the upper right quadrant. Blacklight: No evidence of restoration. Frame: 16.25” H x 20.25” W x 2” D

1253 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 23.25” H x 27.25” W x 2.25” D 1254 Visual: Each overall good appearance. Blacklight: Each with no evidence of restoration. Frame of each: 12” H x 13.5” W x 2” D 1255 Visual: Overall good appearance. Minor grime scattered in the sky. Blacklight: A pea-sized touch-up in the lake to the right of center. A few rice-sized (or smaller) flecks of touch-up in the right and center of the sky, and another in the greenery of the lower right quadrant. Frame: 32” H x 40.5” W x 2.75” D 1256 Each overall good condition with shelf wear, oxidation, and scattered scuffs and scratches commensurate with age. 1257 Overall good condition with shelf wear, oxidation, scattered scuffs and scratches, and dust accumulation commensurate with age. The silver overlay with tarnishing. Wear to patina throughout. 1258 Denting to base. With heavy shelf wear, heavy oxidation, scattered scuffs and scratches, and dust accumulation commensurate with age. The silver overlay with tarnishing. With paper residue to underside as well as heavy oxidation, possibly obscuring marks. 1259 Overall good condition with shelf wear, oxidation, scattered scuffs and scratches, and dust accumulation commensurate with age. The silver overlay with tarnishing. 1260 Verdigris throughout. With shelf wear, oxidation, scattered scuffs and scratches, and dust accumulation commensurate with age. The silver overlay with tarnishing. 1261 With firing cracks to foot. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Condition Reports

1245 Overall good condition with light dust accumulation and light wear commensurate with age and use.

531

1262 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1271 Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Dog bowl with a rice-sized glaze chip to body.

1263 One drilled, the other undrilled. Each overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with soiling to interior. The other with a 0.5” long chipped loss to shoulder.

1272 Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.

1264 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The tiles with scratches and crazing, with soiling to grout.

1274 Each with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Most with soiling to interior. Five drilled. Each stand with heavy oxidation/rust and soiling.

1265 Losses to the border tiles. Each tile with crazing and fading. The base with losses to enameling and attendant oxidation/rust. Losses to metal panel underneath the top. With soiling, weathering, dust accumulation, scuffs, scratches, and nicks commensurate with age. 1266 Each tile with crazing and fading. The base with losses to enameling and attendant oxidation/rust. Losses to metal panel underneath the top. With soiling, weathering, dust accumulation, scuffs, scratches, and nicks commensurate with age.

Condition Reports

1267 Each undrilled. One with a vertical crack through all of body and base. Each with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with soiling to interior.

532

1268 Each undrilled. Each overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Each with soiling to interior. Each with faint crazing to the glaze. 1269 Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Several pieces with small glaze slips. One pitcher with a 0.5” long chipped loss to base. 1270 Two with holes drilled, five undrilled. Six with soiling to interior. Each overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Scattered glaze slips.

1273 Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.

1275 Undrilled. Overall good condition with dust accumulation, shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 1276 Each with older losses to wood and paint, concentrated at edges and corners. With scuffing, scratches, nicks, abrasions, soiling, and dust accumulation commensurate with age. 1277 Each with losses to enameling, scattered older losses, and oxidation/rust throughout. 1278 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Shade with a few breaks in the weaving, concentrated at top. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 1279 Overall good condition with scattered scuffs, scratches, nicks, small indentations, soiling, and mild oxidation commensurate with age 1280 Overall good condition with scattered scuffs, scratches, nicks, indentations, soiling, and oxidation to footrests and handles commensurate with age. 1281 The largest with large losses to front wheel rubber. Each with soiling, staining, oxidation, scuffs, scratches, and indentations commensurate with age. One with rusted handlebars.

Framed together under Plexiglas: 49.25” H x 13.25” W x 1.25” D 1283 Overall good appearance. Very minor craquelure in some of the light green pigments of the bushes in the lower half. The sheet is framed floating, hinged in places from the verso sheet edges to an invisible matboard that is subsequently affixed to a linencovered backing board. Framed under glass: 42” H x 32” W x 2” D 1284 Overall good appearance. Artist pinholes in the corners. Minor time staining visible at edges, near the mat. Not examined out of the frame. Framed under glass: 35.5” H x 26.75” W x 1.125” D 1285 Not examined out of frame. Each tile with crazing to glaze. Frame with oxidation and scattered minor scuffs and scratches. 1286 Each with soiling verso and crazing recto. One with a deeper crazing crack to upper tile, vertical issued from lower edge. Frame with soiling, staining, scattered scuffs, scratches, and nicks at edges with small older losses commensurate with age. 1287 The top with several gaps and loose bits of the marquetry, with a few small losses, as well as some warping throughout. Overall good condition with soiling, scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Scattered small older losses at edges. 1288 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses and separation to wood slats. Personalized at front, and carved ‘OK’ to top. 1289 Lacking key. With scuffs, scratches, nicks, indentations, abrasions, soiling, separation at joints, and shrinkage cracks commensurate with age.

1290 Overall good condition with scattered scuffs and scratches commensurate with age. Darkening to finish/staining at leg terminals. 1291 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses at edges and corners. A few cracks in the drawer front panels. Fading to finish throughout. The top with stains and deeper scratches. Lacking key. 1292 With scattered scuffs, scratches, nicks, soiling, and indentations commensurate with age. Scattered stains, concentrated to right arm and legs. Small older losses to edges and corners throughout. Later reupholstered in good condition. 1293 One chair shaken, with separation at seat junctures with seatback, very loose. Another chair with large split in the crest rail. Each with scattered scuffs, scratches, nicks, indentations, soiling, and dust accumulation commensurate with age. Each with losses at edges and corners. Leather and tacking updated. 1294 Table is somewhat shaken. Wear to wood finish throughout, with small older losses, concentrated to edges and corners. The top with staining, scratches, and discoloration. Scattered scuffs, scratches, nicks, and abrasions commensurate with age. 1295 Each overall good condition with soiling, dust accumulation, fading to finish, scattered minor nicks and scuffs and scratches commensurate with age. The leather reupholstered in good condition, the mohair as well in good condition. 1296 With fading to finish, soiling, staining, and scattered scuffs and scratches commensurate with age. Small nicks and older small losses at edges and corners throughout, concentrated to legs. 1297 Overall good condition with scattered scuffs and scratches commensurate with age. Staining to tabletop. 1298 Each overall good condition with scattered minor scuffs, scratches, nicks, and fading to finish commensurate with age. The leather in good condition with fading and mild staining.

Condition Reports

1282 Each overall generally good appearance. Each with some degree of pale light-staining and a few scattered minor foxmarks. The third work with damp staining along the upper and lower sheet edges, not affecting the image; the second work with a lesser amount damp staining along the right edge, again not affecting the image. Each not examined out of the frame.

533

1299 Lacking plate rack, this item is sold as-is. With scattered scuffs, scratches, and minor nicks to edges commensurate with age. Deeper scratches to top. With scattered losses and abrasions to supports, edges, and corners. 1300 Verdigris throughout. With dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1301 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1302 Each with dust accumulation, scattered soiling, and general wear commensurate with age. Fading to front of each rug. Scattered loose fabric elements and a couple of small holes. Staining and soiling to cotton backing. 1303 Each with dust accumulation, scattered light soiling and small stains, and general wear commensurate with age. Slight fading to front of each rug. Largest with some minor losses to black loops at edges in a couple of areas; one area with small loss to burlap back. Diamond mat with scattered raveled threads to fabric loops. Two with stitched pole sleeve to one edge.

Condition Reports

1304 Each with dust accumulation, scattered light soiling, and general wear commensurate with age. Slight fading to front of each rug. Scattered loose fabric elements and a few areas of loose weave and missing single loops. The quilt-style rug with scattered areas of insect damage including some clustered losses to fabric loops, and the reverse with multiple patched repairs. The square rug with wear to edges. Each with a flat wooden batten within a stitch-applied pole sleeve to reverse top edge.

534

1305 Each with dust accumulation, scattered light soiling, and general wear commensurate with age. Slight fading to front of each rug. Scattered loose fabric elements and a few areas of loose weave and missing single loops. The small floral with twill tape binding to the edge, heavier soiling overall and dark marks to the edges, and areas of loose weave and minor repairs. The largest with a few small areas of minor loss and wear to the edges. Three not examined on reverse.

1306 Each with dust accumulation, scattered minor soiling, and general wear commensurate with age. Slight fading to front of each rug. Scattered pulled or loose fabric loop elements and a few areas of loose weave and missing single loops. The birds rug with scattered areas of minor insect damage including tiny holes in some loops and a few losses to single loops. The smallest with appiled unknown stiffener to reverse. Three not examined on reverse. 1307 A few of the reeds of seatback slightly bent/warped. Overall good condition with scattered scuffs, scratches, nicks, and minor soiling commensurate with age. Upholstery in good condition. 1308 Rubbed wear and losses to the wicker finish, concentrated to supports and extremities. The top with staining in the wood. Small breaks in the wicker at feet. With scattered scuffs, scratches, nicks, abrasions, and dust accumulation commensurate with age. 1309 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older chipped losses throughout. 1310 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses and loss to paint throughout. The top with a split in the wood. 1311 Two small holes drilled into top at edges. Older repairs to junctures of legs with tabletop. Some discoloration and mild staining to top. With scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. 1312 Overall fair to good condition with scattered scuffs, scratches, nicks, and shrinkage cracks commensurate with age. With heavy wear and fraying to seat upholstery, tears to the front edges. 1313 Largest crock with a later cork base affixed as well as some small losses and staining. Each other older vessel with heavy shelf and handling wear, scuffs and scratches, soiling, rubbed wear and losses to glaze, and discoloration commensurate with age.

1315 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. About half with crazing to the glaze. 1316 Each overall good condition with dust accumulation, light wear, and minor scuffs and scratches. Drums with some stiffening to the hide commensurate with age. Larger drum with grey pigment to hide surface of one side. 1317 Overall good condition with dust accumulation, and light scuffs commensurate with age. The beater hide with light wear. 1318 Overall good condition with dust accumulation and light wear commensurate with age and use. Hide with scattered marks and staining to some areas, for aged effect. Light creasing to ermine pelts. 1319 Each overall good condition with dust accumulation and light wear commensurate with age. Pipe and bag not examined out of frame. Bag frame with heavier dust accumulation to base of frame interior, with scattered faint spots to backing fabric of frame. Pipe frame: 9.5” H x 28.625” W x 3.5” D; Bag frame: 53.125” H x 11” W x 4” D 1320 Overall good condition with dust accumulation and light wear commensurate with age and use. Stone with light wear, and a few minor scratches and scuffs. Stand: 11” H x 7” W x 17.75” D 1321 Overall good condition with dust accumulation and light wear commensurate with age and use. Loose stitching to left back sleeve seam. Hide with scattered areas of rubbed wear to the shirt back, possibly inherent to hide. With likely applied color and distressing to smooth face of the hide. One hair accent at front collar with loose binding, hair slightly ravelling. Light creasing to fringing and to ermine pelts.

1322 Overall good condition with dust accumulation and light wear commensurate with age and use. The base with two blue marks, likely adhesive residue. 1323 Overall good condition with light dust accumulation and minor wear commensurate with age and use. Thread stitches at terminal, possible loss of one stitch. A few scattered faint whitish marks. Slightly out of round, with very slight ‘bump’ to crown. 1324 Each overall good condition with dust accumulation and wear commensurate with age and use. Each with darkening throughout. The larger with a few scattered single stitch losses and a couple of fine pinholes. The lowest bowl with scattered feather remnantsto exterior overall, and remnants of a label to interior base. The smaller bowls each with attached label to rim, and one with indistinct white numbers to exterior base. 1325 With dust accumulation, even fading overall, and wear commensurate with age and use. Scattered single stitch losses to interior and exterior, primarily to rim and top. Extensive multiple stitch losses to hip rim coil and to base exterior, largest area: 8.5”. Illegible writing in black ink to base exterior. 1326 Each in overall good condition with dust accumulation and light wear commensurate with age and use. The Pima with minor shelf wear to base. The Second Mesa tray not examined out of frame. Frame: 16.625” H x 16.625” W x 3” D 1327 Each overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Tests for sterling with XRF. 1328 Overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Beads with scattered light abrasions. Does not test for sterling. 1329 Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions, surface-reaching fractures, and some minor chips. Tests for sterling with XRF.

Condition Reports

1314 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some with crazing to the glaze. The basket with minor soiling and dust accumulation.

535

1330 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF.

1339 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stone inlay with light abrasions. Very light wear to leather cords.

1331 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. A few scattered stones with a minor chip. Most test for sterling with XRF.

1340 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with light abrasions and surface reaching fractures. Light wear to leather.

1332 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Cuff with added chain guard. Cuff tests for sterling with XRF. 1333 Each in overall good condition with light wear and tarnishing commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Not tested for sterling. 1334 Overall good condition with light wear commensurate with age and use. Slight darkening to sinew. Not examined out of frame. Frame: 16.25” H x 11.25” W x 1.5” D 1335 Each in overall good condition with light tarnishing and wear commensurate with age and use. Scattered beads with light abrasions. Naja tests for sterling with XRF.

Condition Reports

1336 Each in overall good condition with light wear, tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

536

1337 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Light wear to leather cord. Bolo tests for sterling. 1338 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Each tests for sterling with XRF.

1341 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with light abrasions and surface reaching fractures. Stone with a minor hairline to one end. Tests for sterling with XRF. 1342 Overall good condition with light tarnishing and wear commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Tests for sterling with XRF. 1343 Overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling with XRF. 1344 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Each tests for sterling with XRF. 1345 Overall good condition with light tarnishing and scratches commensurate with age and use. 1346 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A couple of stones with faint hairlines. 1347 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface-reaching fractures. One stone with minor chip to edge. Tests for sterling with XRF. 1348 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stone inlay with light abrasions and surface reaching fractures. A tiny loss near one edge near arrow motif.

1349 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. A couple of stones with minor fractures across one end. Tests for sterling with XRF.

1360 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Black figure with very subtle repair. Many with previous dealer’s labels or tags applied to base or sides.

1350 Overall good condition with light tarnishing and scratches commensurate with age and use.

1361 Longest green lizard with a possibly repaired break or crack in the tail. Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age.

1352 Each in overall good condition with light tarnishing and scratches commensurate with age and use 1353 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. A couple of stones with hairline fractures. 1354 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. 1355 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. 1356 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. 1357 Each overall good condition with minor shelf and handling wear commensurate with age. The bear with mounting putty to underside. 1358 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. 1359 The bird group with a crack at the base issuing from bored hole. Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Most with previous dealers’ label to underside.

1362 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Some with dealer’s applied label or mounting putty to underside. 1363 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Most with previous dealers’ stickers or mounting putty to underside. 1364 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. 1365 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. 1366 Each overall good condition with light wear, tarnishing, and scratches commensurate with age and use. A minor nick to one corner of picture agate. Stag bolo with wear and break to leather cord. Picture agate bolo and silver bolo with a few minor crimps to silver mesh cord. Silver tests for sterling with XRF. 1367 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. The greenstone cuff with a few fractures and a chip at one end. Purple cuff with minor chip to one section, and does not test for sterling with XRF. 1368 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Narrowest cuff with slight distortion to interior center curve. Unmarked tests for sterling with XRF.

Condition Reports

1351 Overall good condition with tarnishing and scratches commensurate with age and use. Minor distortion to Mexican cuff from wearing.

537

1369 Overall good appearance. Pale light- and time staining. A few pale foxmarks scattered in places throughout. Artist pinholes in places along the edges. The sheet is framed floating, hinged to the back mat from the verso of the sheet corners, and has loosened slightly from its hinge on the right side. Not examined out of the frame. Framed under glass: 41.25” H x 51” W x 2” D 1370 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 42.5” H x 52.5” W x 1.75” D 1371 Overall good appearance. The full sheet with deckled edges. Minor, soft handling marks scattered primarily along the outer sheet edges. The sheet is framed floating, hinged to the back mat from the verso. Not examined out of the frame. Framed under glass: 40.75” H x 50” W x 2” D 1372 Overall good appearance. The sheet is framed floating, secured to an invisible matboard which is subsequently affixed to a fabric-covered back mat. Not examined out of the frame. Framed under glass: 41.25” H x 33.25” W x 1.75” D 1373 Overall good appearance. Not examined out of the frame.

Condition Reports

Framed under glass: 50.5” H x 38.25” W x 2.25” D

538

1374 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. One stone with minor fractures. Tests for sterling with XRF. 1375 Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Not tested for sterling. 1376 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Each tests for sterling with XRF.

1377 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones and inlay with light abrasions and surface reaching fractures. A couple of hairlines to cuff inlay. Unmarked test for sterling with XRF. 1378 Each overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. One ring with minor chip to one end. 1379 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. The shadowbox necklace with a few scattered dents and distortions to beads. Not tested for sterling. 1380 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Turquoise not tested for treatment. 1381 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Brooch stones with a few scattered minor hairlines. Brooch does not test for sterling. 1382 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Two-wire cuff stone with minor chips to one side. Two test for sterling with XRF. 1383 Each in overall good condition with wear, tarnishing, and light scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Largest ring with slight distortion to one end. Not tested for sterling. 1384 Each in overall good condition with light tarnishing and wear commensurate with age and use. Stone with light abrasions and surface reaching fractures. Each tests for sterling with XRF.

1386 With large loss to in-filling to one side. The top with a 1” x 1” area of repaired breaks, with attendant losses. With shelf wear, scattered scuffs and scratches, and a few small faint stains commensurate with age. 1387 Each with scattered scuffs and scratches commensurate with age. The larger with heavy soiling, staining, and surface grime, with losses at edges. 1388 One vase with a loss to rim. The Cleave with vertical cracks in the wood and chips to foot. Each with staining, soiling, dust accumulation, shelf wear, and scattered scuffs and scratches commensurate with age. 1389 Muriel with repaired breaks to handle and one spout. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Bowl with staining to rim and spalling losses throughout. 1390 Each overall good condition with dust accumulation and light wear commensurate with age and use. Stones with scattered abrasions. Largest knife with applied adhesive dots to one side for display protection. 1391 Five in overall good condition with dust accumulation, light wear and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Bowl with two vertical hairline fractures. 1392 With a fleabite chip to beak. Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. 1393 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two larger with felt applied to underside, not inspected underneath.

1394 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. One branch coral stone with minor fracture. One double-set ring with slightly loose stone. Two rings each with slight distortion to band. Not tested for sterling. 1395 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Not tested for sterling. 1396 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 green turquoise stone with a few minor fractures. One ring missing tiny stone. Not tested for sterling. 1397 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A couple of rings with slight distortion to bands. Not tested for sterling. 1398 Overall good condition with light wear and scratches commensurate with age and use. Carved bone with scattered abrasions and surface reaching fractures 1399 Overall generally good appearance. Wide (possibly full) margins, and the colors fresh. Four generally unobtrusive flattened horizontal and one unobtrusive vertical flattened creases through the image, at least four of which are likely attendant with the original storage, mailing, and/or transport of the sheet to the movie houses. Other scattered short creases, handling creases, and some short, skillfully repaired creases or splits, primarily related to the original flattened creases just mentioned. The white lettering of “Leo Moloney” in the lower portion of the image appears to be overpainted with white pigment. A few very short tears and creases at the margin edges. The sheet is backed with canvas, as mentioned, and is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame. Framed under glass: 43” H x 29” W x 2” D

Condition Reports

1385 Each overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. One button with chip to one edge. Light wear to leather. Nezzie buckle does not test for sterling with XRF.

539

1400 Overall generally good appearance. Wide (possibly full) margins, and the colors fresh. Three generally unobtrusive flattened horizontal creases and one flattened vertical crease through the image, likely attendant with the original mailing and/or transport of the sheet to the movie houses. Various skillfully restored and/or touched-in areas in places along the flattened creases just mentioned, visible primarily in bright, raking light. Some of the larger text, both white and yellow, skillfully touched-in in places The sheet is backed with canvas, as mentioned, and is framed floating. Not examined out of the frame.

1403 Overall good appearance. Wide (possibly full) margins, and the colors fresh. Three generally unobtrusive flattened horizontal creases and one flattened vertical crease through the image, all likely attendant with the original storage, mailing, and/ or transport of the sheet to the movie houses. The sheet is backed with canvas, as mentioned, and is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame. Framed under glass: 43” H x 29” W x 2” D

Framed under glass: 43” H x 29” W x 2” D 1401 Overall generally good appearance. With wide (possibly full) margins that appear to have been skillfully repaired and overpainted with off-white pigment in places. Three generally unobtrusive horizontal and one unobtrusive vertical flattened creases through the image, all of which are likely attendant with the original storage, mailing, and/or transport of the sheet to the movie houses. There is a skillfully repaired tear originating from the upper portion of the central vertical crease and extending 8.5” horizontally through the man’s left cheek and out into the blue background. There are a few other, shorter, also skillfully repaired “forked” vertical/ diagonal tears originating from the lower portion of the same central vertical crease, to slightly affect the center of the various small text lines below the movie’s title. The sheet is backed with canvas, as mentioned, and is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame.

Condition Reports

Framed under glass: 43” H x 29” W x 2” D

540

1402 Overall generally good appearance. Wide (possibly full) margins, and the colors fresh. Three generally unobtrusive flattened horizontal creases and one flattened vertical crease through the image, likely attendant with the original mailing and/or transport of the sheet to the movie houses. Various skillfully restored or made-up areas in places along the flattened creases just mentioned, visible primarily in bright, raking light. The sheet is backed with canvas, as mentioned, and is framed floating. Not examined out of the frame. Framed under glass: 43” H x 29” W x 2” D

1404 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Most test for sterling with XRF; ring and large buckle do not test for sterling. 1405 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Not tested for sterling. 1406 Each in overall good condition with light tarnishing and wear commensurate with age and use. Scattered stones with light abrasions and surface-reaching fractures. Not tested for sterling. 1407 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Unmarked pieces not tested for sterling. Moran’s does not guarantee the working condition of clocks and watches. 1408 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. 1409 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Effie Calavaza ring with break and loss to snake head overlay motif. Not tested for sterling. 1410 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Not tested for sterling.

1412 Each overall good condition with light tarnishing and scratches commensurate with age and use. One band appears to be lacking central tiny stone. Not tested for sterling. 1413 Overall good appearance. Wide (possibly full) margins, and the colors fresh. Three unobtrusive horizontal and one unobtrusive vertical flattened creases through the image, likely attendant with the original storage, mailing, and/or transport of the sheet to the movie houses. There are occasional very skillful, unobtrusive touch-ups attendant with these flattened creases, primarily visible under raking light. An unobtrusive, pinhead-sized insect carcass affixed to the inside of the glass protecting the green ink at lower center. The margins appear to be entirely overpainted with cream pigment, visible under raking light. The sheet is backed with either paper or canvas, as mentioned, and is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame. Framed under glass: 43” H x 29” W x 2” D 1414 Overall good appearance. Wide (possibly full) margins, and the colors fresh. Three generally unobtrusive flattened horizontal creases through the image, likely attendant with the original storage, mailing, and/or transport of the sheet to the movie houses. A few other, short and unobtrusive handling marks in the image, primarily visible in raking light. A few small, skillfully repaired tears or made-up areas in places in the margins, visible primarily in bright, raking light. An approximately dime-sized area of slight surface soiling near the lower right margin corner. The sheet is backed with canvas, as mentioned, and is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame. Framed under glass: 43” H x 29” W x 2” D

1415 Overall good appearance. Wide (possibly full) margins, and the colors fresh. Three unobtrusive horizontal and one very unobtrusive vertical flattened creases through the image, likely attendant with the original storage, mailing, and/or transport of the sheet to the movie houses. There are occasional very skillful, unobtrusive touch-ups attendant with these flattened creases, primarily visible under raking light. The sheet is backed with canvas, as mentioned, and is framed floating, hinged to the back mat in places from the verso of the margin edges. Not examined out of the frame. Framed under glass: 43” H x 29” W x 2” D 1416 Overall generally good appearance. Wide margins, and the colors fresh. Three flattened horizontal and one flattened vertical crease through the image, likely attendant with the original storage, mailing and/or transport of the sheet to the movie houses. Various restored or made-up areas in places along the flattened creases just mentioned, some of which affect the lips and cheek, as well as the pants of the central male figure, and also the nose and cheek of the Native American figure. A dime-sized made-up patch at the upper margin edge, near the left corner, not affecting the image. The sheet is backed with canvas, as mentioned, and is framed floating. Not examined out of the frame. Framed under glass: 43.5” H x 29.5” W x 2” D 1417 Each lacking dust jacket. Each overall good condition with shelf wear and mild bumping to spine ends and board corners. ‘Little’ with front darkening/soiling to spine and 1” of spine margins into the boards, a tear in the cloth at upper spine end, rear board with scuffing, front hinge loose, cracking to binding, and inked ex-libris name to half-title at upper margin. ‘Silver’ with a 3” long white stain along one edge of spine and with inked name along upper margin of front free endpaper. 1418 Each overall good condition with shelf wear, minor bumping to spine ends and corners, rubbing at edges, and minor soiling commensurate with age. The Remington with fading to DJ spine. 1419 Hinges loose, with heavier wear to cloth spine ends. With shelf wear and bumping to spine ends and corners commensurate with age. 1420 Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age.

Condition Reports

1411 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Not tested for sterling.

541

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale,Vice President, Specialist Maranda Moran President, Auctioneer Jeffrey J. Moran Specialist, Post-War & Contemporary Design Matthew Grayson Director, Fine Art Katherine Halligan, AAA Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art Madison Ari Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Lori Kassabian Cataloguer, Fine Art Christine Weir Department Administrator, Fine Art Jacob Baer Director, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past 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 Tom Burstein Kelly Sitek Senior Specialist, Jewelry & Watches

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 Accounts Receivable / Customer Service Tiffany Hansen

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 Media & Website 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.

View Illustrated Catalogue Online @ www.johnmoran.com

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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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