Issuu

Art of the American West Tuesday, September 15, 2026 SINCE 1969

AUCTIONEERS & APPRAISERS johnmoran.com

Art of the American West September 15, 2026 | 10am PST Sale 349 145 East Walnut Avenue, Monrovia CA 91016

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

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Friday, September 11th: 12-4pm Saturday, September 12th: 12-4pm Monday, September 14th: 12-4pm Tuesday, September 15th: Doors open 9am

Meet the Team Kim Jarand Head of Sale Director, Native American Art k.jarand@johnmoran.com Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

Sally Andrew Cataloguer, Silver Jewelry & Decorative Art s.andrew@johnmoran.com

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

Santana Royal Martinez

(1909-2002, San Ildefonso) “Deer Dancer” Gouache and pencil on paper Signed in blue ink lower right: Santana Martinez; titled by repute Sight: 5 x 3 5/8 in. $300-500 Provenance: Sold: Santa Fe Art Auction, Santa Fe, NM, “Native Market: American Indian: Classic to Contemporary,” August 13, 2024, Lot 19

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

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1002

Popovi Da

(1923-1971, San Ildefonso Pueblo) Untitled (Deer, Tree, Skunk), circa 1965 Gouache and traces of graphite on paper Signed lower right: Popovi Da; with the artist’s studio sticker verso 20 x 15 1/2 in. $2,000-3,000 Provenance: Sold: Santa Fe Art Auction, Santa Fe, NM, 2020

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1003 Tony Da

(1940-2008, San Ildefonso Pueblo) “Fetish Bear,” 1995 Screenprint in colors and turquoise stones on paper Edition: 12/150 Signed with initials and numbered “12-150” in pencil in the lower sheet corners: TDA Image/Sheet: 21 1/8 x 21 in. $1,200-1,800

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m er ic an Wes t l Tu e s d a y, S e p t e m b e r 1 5 , 2 0 2 6

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Oscar Howe

(1915-1983, Yanktonai Dakota)

In 1958, the Yanktonai Dakota artist Oscar Howe subm at the Philbrook Art Center. Bold, abstract, and highly “traditional Indian” painting within the exhibition. Rath Style,” in which he trained during his early years at the strikingly modern visual language rooted in Dakota cu In response, Howe wrote a letter to the museum’s cura creative autonomy of Indigenous artists. As Howe asse forever with one phase of Indian painting, with no righ a child, and only the White Man knows what is best for challenge to the restrictive expectations placed upon N broadly, marking a pivotal moment in the emergence o

Born on May 13, 1915, on a reservation in South Dako grew closer to art, especially after a severe skin conditi operated by the Bureau of Indian Affairs, where he end recover physically and mentally, he spent many hours w stories of their ancestors. These lessons became deep life, and which profoundly shaped his artistic sensibility

Howe later received formal training at the Santa Fe Ind “Studio Style,” characterized by flat, stylized depiction ambition. Even as a student, Howe absorbed moderni expressive linework with motifs drawn from Dakota cul from his contemporaries. He found himself at the inter and Romanticist currents, reflecting the social and poli

Howe created casein paintings from 1955 to 1978, and angular, faceted forms, complex color relationships, an traditions while embracing modernist abstraction, “Sio and innovative artistic language.

Throughout his career, Howe’s contributions were wide relentlessly championing the modernist innovation tha to artistic independence and cultural pride. His paintin while affirming the place of Indigenous voices within m Native American art and the transformative power of c

mitted his painting “Umine Wacipi” (“War and Peace Dance”) to the Annual Indian Art competition experimental, the work departed drastically from the stylistic conventions that had come to define her than adhering to the flat colors and illustrative compositions associated with the “Studio e Santa Fe Indian School, Howe employed fractured forms and dynamic movement to create a ultural expression. The jurors rejected the painting, claiming it did not conform to their guidelines. ator of Native American art, Jeanne Snodgrass, defending both his artistic vision and the broader erted, “There is much more to Indian Art than pretty, stylized pictures‚Ä¶ Are we to be held back ht for individualism, dictated to as the Indian always has been, put on reservations, and treated like r him? Now, even in Art” (Dockstader et al., 1982, p. 19). His words not only articulated a powerful Native artists, but also addressed the political and governmental treatment of Native people more of a modern, self-determined vision of Indigenous art.

ota, Oscar Howe showed an early affinity for art. Often discouraged by his parents, he nonetheless ion forced him indoors for extended periods. Howe later attended the Pierre Indian School, dured harsh treatment, and his health challenges only intensified. Returning to the reservation to with his grandmother, Shell Face, who taught him tribal symbols, designs, cultural traditions, and ply ingrained in Howe, providing a wellspring of inspiration that he would draw upon throughout his y.

dian School under Dorothy Dunn, gaining technical foundations while encountering the rigid ns of ceremonial and historical subjects. Yet this style proved too limiting for his imaginative ist currents circulating in the broader American art world, integrating principles of abstraction and lture. This synthesis of tradition and innovation would define his artistic trajectory and set him apart rsection of two worlds: the presentation of traditional cultural forms and inspiration from modernist itical transformations of the era.

d “Sioux Council,” circa 1960s, exemplifies the artist’s mature visual language, characterized by nd a sophisticated synthesis of abstraction and representation. Drawing upon Dakota cultural oux Council” demonstrates Howe’s ability to transform Indigenous subjects into a highly personal

ely recognized. He taught at the University of South Dakota, shaping generations of artists, while at would come to define his legacy. Today, Oscar Howe’s work resonates as a powerful testament ngs do more than depict figures or events; they evoke the enduring vitality of Dakota traditions modern art. Through his work, Howe’s voice remains vibrant, asserting the enduring significance of creativity untethered by convention.

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1004

Oscar Howe

(1915-1983, Yanktonai Dakota) “Sioux Council” Casein on paper Signed lower right: Oscar Howe; signed again, titled, and inscribed “$40.00,” all in ink, verso Sight: 18 1/2 x 24 1/2 in.; Sheet: 19 3/4 x 25 3/4 in. $50,000-70,000 Provenance: Private collection, South Dakota, acquired directly from the artist, circa 1960s By family descent

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1005

Fritz Scholder

(1937-2005, Luiseño) “Indian Portrait” Oil on Masonite Signed upper left: Scholder; titled on a gallery label affixed to the frame’s verso 15 x 10 5/8 in. $20,000-30,000 Provenance: Goldfield Galleries, Los Angeles, CA Notes: Fritz Scholder was a Luiseño painter and sculptor whose bold, expressionistic portraits challenged traditional representations of Native American people and the human figure. Born in Minnesota and later based in Santa Fe and Scottsdale, Scholder studied art under Wayne Thiebaud and became a major figure at the Institute of American Indian Arts.

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

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1006

Fritz Scholder (1937-2005, Luiseño) “Indian Portrait No. 2,” 1972-73 Lithograph in colors on buff Arches paper Edition: 78/100 (there were also 10 artist’s proofs) Signed and numbered in pencil in the lower margin: Scholder; Ben Q. Adams, prntr.; Tamarind Institute, Albuquerque, NM, prntr. and pub., inscribed “buff Arches” and with their work number, 73-690, in pencil, all verso; with the artist’s, printers’, and publisher’s blindstamps in the lower margin Image: 11 x 7 in.; Sheet: 15 x 11 1/4 in. $1,000-2,000 Literature: Tamarind 73-690 i/ii

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1007

Allan Houser

(1914-1994, Chiricahua Apache) “One More Song,” 1983 Patinated bronze on wood base Edition: 86/100 Signed and dated in the casting: ALLAN HOUSER / © / 83; impressed edition Height of bronze 4 3/4 in., width 4 7/8 in., depth 2 1/8 in.; height overall 5 1/2 in., width 5 7/8 in., depth 3 1/8 in. $800-1,200 Provenance: Private Collection, WA Notes: This lot is accompanied by copies of a periodical article about the artist featuring an image of the work in this lot, as well as an artist’s bio and CV.

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Kevin Red Star (b. 1943, Crow)

Kevin Red Star was born on the Crow R valued art, music, and culture. As a you to attend the Institute of American India the San Francisco Art Institute, where h helped him combine contemporary arti

Reservation in Lodge Grass, Montana, and grew up in a family that ung person, he developed a strong interest in drawing and was selected an Arts in Santa Fe, New Mexico, in the early 1960s. He later studied at he was introduced to modern and avant-garde art. These experiences istic techniques with the traditions and history of his Crow heritage.

1008

Kevin Red Star

(b. 1943, Crow) “Two Hot Dancers” (Crow), 1979 Oil and ink on canvas Signed lower right: Kevin Red Star; signed again, titled, dated “1979,” and inscribed “Santa Fe - NMX,” all verso 36 x 36 in. $5,000-7,000 Provenance: Property from a Private Collection

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

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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, S e p te mb e r 1 5 , 2 0 2 6

1009

Kevin Red Star

(b. 1943, Crow) “Summer Home,” 1972 Acrylic on canvas Signed and dated lower right: Kevin Red Star / 1972; titled verso 44 1/4 x 54 in. $4,000-6,000

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c a n We s t l Tues da y, S e p t e m b e r 1 5 , 2 0 2 6

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

Bennie Buffalo, born Benjamin Buffalo, American figures and cultural themes. H beginning in 1963, where he developed subject matter.

In 1967 he joined the U.S. Army and se fighting at Battle of Hamburger Hill. Aft his work across the United States and L

In 1973 he won first place in painting at of Art (then the Philbrook Art Center), a short, Buffalo’s work contributed to the identity and the personal experiences t

uffalo

was a Cheyenne painter known for modernist depictions of Native He studied at the Institute of American Indian Arts in Santa Fe d a distinctive style combining contemporary design with Indigenous

erved with the 101st Airborne Division in Vietnam, surviving the intense ter returning to civilian life, Buffalo continued painting and exhibiting Latin America.

t the American Indian Artists Exhibition held at the Philbrook Museum a major recognition for Native artists. Though his career was relatively modern Native American art movement and reflected both cultural that shaped his life.

1010

Benjamin “Bennie” Buffalo

(1948-1994, Cheyenne) Profile portrait of a young woman, 1977 Oil on canvas Signed, dated, and inscribed lower right: B. Buffalo 77 / © 36 x 36 in. $3,000-5,000

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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, S e p te mb e r 1 5 , 2 0 2 6

1011

David Paul Bradley

(b. 1954, Chippewa) “New Mexico Sunrise,” 1989 Acrylic on paper mounted to paper Signed, dated, and inscribed lower right: David P. Bradley / © 89; signed and dated again, as well as titled and inscribed, all on a remnant of the former backing paper: David P. Bradley / © / “New Mexico Sunrise” Image/Sheet: 14 3/4 x 21 1/8 in.; Mount: 18 1/4 x 24 1/8 in. $3,000-5,000 Provenance: With Elaine Horwitch Galleries, Santa Fe, NM

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1012

Lloyd Caibaiosai

(1947-1975, Ojibway) “Wolf Hunter,” 1975 Screenprint in colors on laid paper Edition: 68/100 Signed, titled, dated, numbered, and inscribed, “Printed at Woodland Studio,” all in ink in the lower margin: Lloyd Caibaiosai Image: 17 1/2 x 34 in.; Sight: 23 5/8 x 35 3/4 in. $150-250

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1013

Lloyd Caibaiosai

(1947-1975, Ojibway) “Blue Wolf,” 1975 Screenprint in colors on laid paper Edition: 82/100 Signed, titled, dated 12/1/75, numbered, and inscribed, “Printed at Woodland Studio,” all in ink along the lower portion of the work’s blue background: Lloyd Caibaiosai Image: 32 x 20 1/8 in.; Sight: 35 3/4 x 23 3/4 in. $150-250

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1014

R. C. Gorman

(1932-2005, Diné [Navajo]) “Noon,” 1987 Glazed ceramic Edition: 12/150 Signed and numbered to lower edge: R.C. Gorman; dated, titled, and inscribed in pen to the underside: Gorman Edition / GRC / greg grycner Ltd ed. © Height 26 1/4 in., diameter 20 in. $300-500

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1015

Gene Kloss

(1903-1996) “Corn Dancers Coming,” 1975 Etching and drypoint on wove paper An artist’s proof, aside from the edition of 50 Signed, titled, and inscribed “Artist’s Proof” in pencil in the lower margin: Gene Kloss; inscribed “An Inner Courtyard, South House, Taos Pueblo / Etching + Drypoint (25)” in black ink on a fragment of matboard affixed to the frame’s backing paper Plate: 11 1/8 x 14 in.; Sheet: 15 1/4 x 18 3/8 in. $1,000-1,500 Literature: Sanchez 569

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1016

Gene Kloss

(1903-1996) “Domingo Basket Dance,” 1973 Etching and drypoint on BFK Rives paper An artist’s proof, aside from the edition of 50 Signed, titled, and inscribed “Artist’s Proof” in pencil in the lower margin: Gene Kloss; inscribed “Etching + Drypoint (323)” in black ink on a fragment of matboard affixed to the frame’s backing paper Plate: 12 1/8 x 15 1/8 in.; Sheet: 15 3/4 x 18 5/8 in. $1,000-1,500 Literature: Sanchez 562

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1017

Gene Kloss

(1903-1996) “Tribute to the Earth,” 1972 Etching, drypoint, and aquatint on Somerset paper An artist’s proof, aside from the edition of 35 Signed, titled, and inscribed “Artist’s Proof” in pencil in the lower margin: Gene Kloss; inscribed “A Winter Dance at Santa Domingo Pueblo / Etching, Drypoint, + Aquatint (38)” in black ink on a fragment of matboard affixed to the frame’s backing paper Plate: 15 x 12 in.; Sheet: 19 1/4 x 15 1/2 in. $1,000-1,500 Literature: Sanchez 542

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

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1018

Gene Kloss

(1903-1996) “San Felipe Buffalo Dancers,” 1962 Etching and drypoint on wove paper An artist’s proof, aside from the edition of 50 Signed, titled, and inscribed in pencil in the lower margin: Gene Kloss N.A.; dated and inscribed “ED 50 / 1962” in pencil in the lower right margin corner (hidden by the overmat); inscribed “A dance given on the San Felipe Saint’s Day, Feb 2 annually as seen in 1962 / + made then / Etching + Drypoint (42)” in black ink on a fragment of matboard affixed to the frame’s backing paper Plate: 13 5/8 x 12 in.; Sheet: 18 1/4 x 15 in. $1,000-1,500 Literature: Sanchez 493

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

1019

Gene Kloss

(1903-1996) “Blessings on San Felipe Day,” 1975 Etching and drypoint on Somerset paper An artist’s proof, aside from the edition of 75 Signed, titled, and inscribed “Artist’s Proof” in pencil in the lower margin: Gene Kloss; inscribed “During the Dance + San Felipe Pueblo, February 2nd annually / young mothers bring their babies for a blessing by the cacique / intaglio (262)” in black ink on a fragment of matboard affixed to the frame’s backing paper Plate: 18 x 13 1/8 in.; Sheet: 21 1/2 x 16 in. $1,000-1,500 Literature: Sanchez 570

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1020

Mark Rossi

(b. 1951) Morning Singer Katsina Verdigris patinated bronze on marble plinth Signed in the casting: M Rossi Height of bronze 20 1/4 in., width 8 in., depth 7 in.; height overall 22 1/4 in., width 8 in., depth 7 5/8 in. $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, S e p te mb e r 1 5 , 2 0 2 6

1021

A Hopi bow and four arrows in a hide bow ca

Late 19th century Comprising a carved wood and sinew bow, four arro most with feather remnants, and a hide quiver and b 7 pieces Length of bow 52 in.; length of longest arrow 32 3/4 $800-1,200

ase and quiver

ows including one with carved stone tip, bow cover with fringe

4 in.; length of bow cover with fringe 46 in.

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1022

A group of Hopi polychrome dance implements

Mid-20th century Comprising six painted wood or gourd rattles, two painted carved wood lightning sticks, and a carved painted dance rod with a painted cloth ball, some mounted with feather accents 9 pieces Longest rattle height 18 in., diameter 5 in; shortest height 8 in., diameter 3 3/4 in.; longest stick height 28 in., width 3 1/2 in., depth 1/2 in. $300-500

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

1023

Seven Southwest polychrome katsina carvings

Second half 20th century A group of katsina figures in various sizes including a Hopi Maiden ‘Rain’ kachina by Bruce Harvey, a Sunface figure by D. Kenneth, Diné (Navajo), and other figures including a bear, Mudhead, eagle, and sheep (circa 1992), most with feather, fur, and hide accents Variously marked to base for maker, title, and date 7 pieces Largest height 13 5/8 in., width 3 1/4 in., depth 3 1/8 in.; smallest height 7 in., width 3 1/8 in., depth 2 1/2 in. $300-500

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1024

Three Southwest polychrome katsina carvings

Late 20th/21st century Comprising three Hopi style carved wood katsina figures including a ‘Crow Mother’ by Kevin Sekakuku (b. 1977, Hopi) and a larger Wolf katsina with dance stick and rattle, as well as a ‘Ho-o-te’ or ‘Ahote’ katsina dancer with a horned mask with moon and star motifs, and with feather and fur accents One signed and titled to base; one titled to base 3 pieces Largest height 12 3/4 in., width 6 in., depth 6 1/2 in.; smallest height 7 3/4 in., width 3 in., depth 2 1/2 in. $600-900

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1025

Nancy Kee (20th century, Diné [Navajo])

A Diné (Navajo) Yei Bi Chei procession Depicting five figures and a talking god, in carved polychromed wood with yarn and fur accents, all mounted to a wood base Signed and inscribed on the underside “Nancy Kee / Yei ba chai” Height 10 1/4 in., width 20 in., depth 4 1/4 in. $300-500

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1026

An Anasazi black on white pottery cup

7th-14th century CE With lug handle, painted with black bands of geometric motifs on white slip ground Height 5 3/8 in., width 5 5/8 in., depth 5 3/8 in. $200-400 Provenance: Estate, Pasadena, CA By family descent

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

1027

A Hohokam red on white pottery jar

8th-15th century CE Painted with red bands of hash marks centering a band of repeated swirling and stepped motifs on white buff slip ground Height 5 3/4 in., width 8 3/8 in., depth 8 1/4 in. $400-600 Provenance: Estate, Pasadena, CA By family descent

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1028

A Four Mile polychrome pottery bowl

Circa 14th/15th century With black and white stepped and geometric motifs on red slip ground Height 4 3/8 in., diameter 9 1/2 in. $200-400 Provenance: Estate, Pasadena, CA By family descent

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

1029

A Hopi polychrome yellowware pottery low bowl

Mid-20th century Possibly Nampeyo family made, with red and black figural designs to interior on yellow ground, with banded geometric motifs to shoulder exterior Unmarked Height 3 1/2 in., diameter 9 7/8 in. $300-500

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1030

A Hopi polychrome yellowware pottery low bowl

Mid-20th century The exterior with red and black band of geometric motifs on cream slip ground Unmarked Height 4 in., diameter 9 3/4 in. $200-300

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1031

A Hopi polychrome yellowware pottery jar

Mid-20th century With red and black geometric motifs on cream slip ground Signed in slip to underside with undeciphered artist’s flower and raincloud device Height 4 5/8 in., diameter 5 5/8 in. $100-200

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1032

Fannie Polacca Nampeyo (1900-1987, Hopi)

A polychrome pottery jar With red and black band of migration pattern motif around body Signed in slip to underside: FANNIE NAMPEYO Height 6 1/2 in., diameter 10 in. $1,500-2,500 Provenance: Sold: Cowan’s Auctions, Cincinnati, OH, “American Indian and Western Art,” April 5, 2019, Lot 305 Private collection, acquired from the above

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

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1033

Fannie Nampeyo (1900-1987, Hopi)

Two polychrome pottery jars, circa 1960s Each with red and black on cream slip ground, one depciting a migration motif, the other with band of geometric motifs Each signed in slip to underside: FANNIE NAMPEYO / [corn cipher] 2 pieces Height of taller 3 1/4 in., diameter 4 7/8 in.; height of shorter 3 in., diameter 5 3/8 in. $800-1,200 Provenance: Property of a California Coastal Collection

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1034

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

A polychrome pottery yellowware vase Painted with four red and brown parrot motifs on cream slip ground Signed to underside: Priscilla Namingha Nampeyo Height 11 1/2 in., diameter 5 1/2 in. $500-700

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1035

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

A polychrome yellowware pottery jar With red and black groups of feather and geometric motifs in four sections radiating from the shoulder on cream slip ground Signed in slip to underside: Priscilla Namingha Nampeyo Height 7 5/8 in., diameter 12 3/8 in. $800-1,200 Provenance: Property of a California Coastal Collection

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1036

Joy Navasie (Frog Woman) (1919-2012, Hopi-Tewa) A polychrome pottery vase With red and brown geometric motifs on white slip ground Painted with artist’s frog device to underside Height 9 in., diameter 7 1/2 in. $500-800 Provenance: Property of a California Coastal Collection

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1037

Garnet Pavatea (Flower Girl) (1915-1981, Hopi-Tewa)

A redware pottery bowl and ladle Comprising a polychrome bowl with red and black geometric figural motif to interior on white slip ground, with red slip exterior, and a black-on-red ladle Each signed in slip: GARNET PAVATEA 2 pieces Height of bowl 3 3/4 in., diameter 10 3/4 in.; length of ladle 9 5/8 in., width 3 3/4 in. $400-600 Provenance: Property of a California Coastal Collection

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1038

Five Hopi pottery items Five works:

Elva Nampeyo (1926-1985) A polychrome wedding jar with red and brown banded migration motif on cream slip ground Signed in slip to underside: ELVA NAMPEYO / [corn cipher] Height 9 1/8 in., diameter 5 5/8 in. Adelle Nampeyo (b. 1959) A polychrome jar with red and brown Sikyátki Revival motifs on cream slip ground Signed in slip to underside: Adelle Nampeyo / [corn cipher] Height 4 1/4 in., diameter 5 3/4 in. Elton Nampeyo (b. 1953) A polychrome jar with red and brown migration motifs on cream slip ground Signed in slip to underside: ELTON NAMPEYO Height 3 5/8 in., diameter 6 3/8 in. Helen Naha (Featherwoman) (1922-1993) A diminutive polychrome seed jar with multicolor geometric and spiral motifs on white slip ground Signed in slip to underside with artist’s feather cipher Height 2 1/8 in., diameter 2 7/8 in. A pottery ladle with brown geometric motifs on cream slip ground Signed in slip: JT NAMPEYO Length 11 3/4 in. 5 pieces $600-900

Provenance: Property of a California Coastal Collection

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1039

Seven Pueblo or Southwest pottery items Seven works:

Muriel Navasie (1954-1988, Hopi-Tewa) A polychrome wedding vase with red and brown geometric motifs on a cream slip ground Signed to underside: M. Navasie [spider cipher] Height 6 5/8 in., width 4 in., depth 3 3/8 in. Mary O. Chalan (b. 1939, Cochiti Pueblo) A polychrome storyteller Signed to underside: Mary O. Chalan / Cochiti / N. M. Height 3 in., width 2 in., depth 2 3/4 in. Two Acoma Pueblo pottery bells, late 20th/early 21st century Comprising a figural three-color bell and a black on white slip bell One signed: ACOMA / E. S. 2 pieces Height of larger 3 3/8 in., diameter 2 1/2 in. A diminutive blackware jar, mid-20th century Incised: RPL Height 2 1/8 in., diameter 2 1/8 in. A yellowware bowl, mid-20th century Unmarked Height 2 7/8 in., diameter 3 7/8 in. A New Mexican polychrome pottery figure, late 20th century Signed to underside: M M / [indistinct] Height 10 3/4 in., diameter 5 3/8 in. 7 pieces total $100-200

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1040

Helen Naha (Feather Woman) (1922-1993, Hopi-Tewa)

A black-on-white pottery low jar, circa 1970 With wide shoulder, decorated with black repeating zigzag, crosshatched, and swirling motifs below a meander-adorned shoulder, on white slip ground Signed in slip to underside with artist’s feather device Height 5 1/4 in., diameter 13 in. $1,200-1,800 Provenance: Collector and dealer Letta Wofford, Santa Fe, NM Collection of L.D. “Brink” Brinkman, acquired from the above, August 1997 Sold: Bonhams Los Angeles, CA, “Native American Art Including Selections from the L.D. ‘Brink’ Brinkman Collection,” June 17, 2019, Lot 160 Private collection, acquired from the above Literature: Spencer Gill and Jerry D. Jacka, “Pottery Treasures: The Splendor of Southwest Indian Art” (Portland, OR: Graphic Arts Center Pub. Co., 1976), pg. 42, illustrated

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1041

Helen Naha (Feather Woman) (1922-1993, Hopi-Tewa)

A polychrome pottery low jar With wide shoulder, decorated with tan, brown, ochre, and black banded migration motif to shoulder and lower body, on white slip ground Signed in slip to underside with artist’s feather device Height 3 5/8 in., diameter 10 1/2 in. $1,000-1,500 Provenance: Property of a California Coastal Collection

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1042

Jean Sahmie Nampeyo (b. 1949, Hopi-Tewa)

A polychrome yellowware pottery vase With rounded bottom, decorated with red and black avian and geometric motifs on cream slip ground Signed in slip to underside: JEAN SAHME NAMPEYO Height 11 1/4 in., diameter 7 1/2 in. $800-1,200 Provenance: Property of a California Coastal Collection

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1043

A Zuni Pueblo polychrome pottery jar

First half 20th century The three-color olla with red and black alternating registers of heartline deer and floral medallions, flanked above and below by geometric motifs, on white slip ground, above a puki indentation Height 8 3/4 in., diameter 11 3/4 in. $1,200-1,800 Provenance: Property from an important Colorado private collection Sold: Bonhams, San Francisco, CA, “Native American Art,” June 19, 2017, Lot 189 Private collection, acquired from the above

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

johnmoran.com

1044

Anita Candelaria (20th century, Zuni Pueblo)

A polychrome pottery owl storyteller, late 20th/early 21st century With red and black painted designs on white slip ground Signed in slip to underside: ANITA CANDELARIA / ZUNI, N.M Height 10 3/8 in., width 7 3/4 in., depth 5 7/8 in. $200-400 Provenance: Private Collection, WA

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1045

Agnes Peynetsa (b. 1962, Zuni Pueblo)

Three diminutive frog effigy vessels, 1994-1998 With red and black painted frog effigy and white slip ground Each signed, variously dated, and inscribed to underside: Agnes Peynetsa © / Zuni, N.M. 3 pieces Tallest height 1 3/4 in., diameter 1 1/8 in.; shortest height 7/8 in., width 1/ 1/2 in., depth 1 1/8 in. $200-400 Provenance: Private Collection, WA

johnmoran.com

1046

Seven Pueblo pottery items Seven works:

Tonita Nampeyo (1934-2020, Hopi-Tewa) A polychrome jar painted with red and brown avian and geometric motifs on white slip ground Signed in slip to underside: Tonita Nampeyo / [corn cipher] Height 3 34/ in., diameter 5 3/4 in. Rachel Sahmie Nampeyo (1956-2022, Hopi) A diminutive polychrome jar with red and brown Sikyátki Revival motifs on cream slip ground Incised to underside: RS / NAMPEYO Height 1 5/8 in., diameter 2 1/4 in. Erma Kalestewa (b. 1958, Zuni Pueblo) A polychrome jar with red and brown heartline deer on white slip ground Incised to underside: © ERMA KALESTEWA / ZUNI, N.M. Height 3 1/4 in., diameter 4 in.

Beverly Victorino (b. 1955, Acoma Pueblo) A seed jar with black serrated and geometric motifs on white slip ground Signed in slip to underside: ACOMA. N.M. / B. Victorino Height 2 3/8 in., diameter 2 3/8 in. Cynthia Romero (20th century, Acoma Pueblo) A seed jar with black on white slip-painted fine-line designs Signed to underside: Acoma, N.M. / By / Cynthia Romero Height 3 5/8 in., diameter 3 5/8 in. A polychrome effigy cup With stepped rim and opposed figures in relief, painted with red and black figural and geometric designs on white slip ground Signed in slip to underside: Elivita & Suzie Solomon / Zuni Height 4 3/4 in., width 4 3/4 in., depth 3 3/4 in.

pottery ladle with black dragonfly motifs on cream slip ground Signed in slip indistinctly Length 10 5/8 in. 7 pieces $300-500 Provenance: Property of a California Coastal Collection

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

johnmoran.com

1047

An Acoma Pueblo polychrome pottery jar

First half 20th century With black fine-line and geometric motifs on white slip ground above a terracotta wash and puki indentation Height 5 3/4 in., diameter 9 1/2 in. $1,000-1,500 Provenance: Sold: Bonhams, Los Angeles, CA, “Native American Art,” December 11, 2018, Lot 453 Private collection, acquired from the above

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1048

An Acoma Pueblo polychrome pottery jar

Mid-20th century With red and black swirling geometric motifs on white slip ground above a puki indentation Unmarked Height 8 3/8 in., diameter 11 1/4 in. $300-500 Provenance: Property of a California Coastal Collection

johnmoran.com

1049

Lucy M. Lewis (1890-1992, Acoma Pueblo)

A polychrome pottery jar, circa 1940 Decorated with black conjoined fine-line spirals separated by stepped and rectangular elements on white slip above a terracotta wash and puki indentation Signed in slip to base: Lucy M Louis / Acoma NM. Height 9 1/8 in., diameter 11 3/8 in. $3,000-5,000 Provenance: Sold: Robert W. Skinner Inc. Auctioneers, Bolton, MA, April,1993, Lot 86 Sold: Bonhams, Los Angeles, CA, “Native American Art,” June 17, 2019, Lot 166 Private collection, acquired from the above

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1050

Lucy M. Lewis (1890-1992, Acoma Pueblo)

A diminutive pottery tray Decorated with black fine-line geometric design on white slip ground Signed in slip to underside: Lucy M. Lewis / Acoma, N.M. Height 3/4 in., diameter 4 in. $200-400

johnmoran.com

1051

Two Acoma Pueblo polychrome pottery jars Two works:

Loretta Garcia (b. 1956) An olla jar with black on white repeating geometric motifs above a terracotta wash and puki indentation Signed to underside: Acoma / L. Garcia Height 8 in., diameter 10 1/2 in. Carla Garcia (20th century) A jar with four red and black heartline deer on white slip ground Signed to underside: Carla, Garcia / Acoma / N.M Height 5 1/8 in., diameter 7 5/8 in. 2 pieces $300-500 Provenance: Property of a California Coastal Collection 76

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1052

An Acoma Pueblo polychrome pottery canteen

Mid-20th century With opposed lug handles, painted with orange and brown bird motif on white slip ground Signed in slip to underside: Acoma / [feather device] Height 4 in., width 4 1/2 in., depth 5 1/4 in. $300-500

johnmoran.com

1053

Marie Z. Chino (1907-1982, Acoma Pueblo)

A pottery effigy water pitcher With figurative handle decorated with fine-line black Anasazi Revival stepped design on white slip ground Signed to the underside: Marie Z. Chino / Acoma, N M Height 8 1/4 in., width 7 in., depth 5 3/4 in. $400-600

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1054

Sarah Garcia (1928-2015, Acoma Pueblo)

A large polychrome pottery olla jar With orange and black bands of geometric motifs and heartline bears and deer on white slip ground, above a puki indentation Signed and inscribed in slip to underside: SRAH.GARCIA / ACOMA / N.M Height 15 3/4 in., diameter 16 1/8 in. $1,000-1,500 Provenance: Property of a California Coastal Collection

johnmoran.com

1055

Loretta Joe (b. 1958, Acoma Pueblo)

Two polychrome pottery items Comprising a plate with red and brown band of geometric motifs to rim centering a hare, and an olla jar with red and brown geometric motifs, each on white slip ground Each signed in slip to underside: L. JOE / ACOMA / N.M. 2 pieces Height of olla 9 1/2 in., diameter 10 1/4 in.; height of plate 1 1/2 in., diameter 15 1/8 in. $400-600 Provenance: Property of a California Coastal Collection

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1056

Three Acoma Pueblo pottery items Second half 20th century Three works:

Rachel Concho (b. 1936) A polychrome seed pot with all-over Mimbres Revival-style lizards and geometric motifs Signed in slip to base: R. Concho / Acoma, N.M. Height 1 3/4 in., diameter 3 1/8 in. Two polychrome pottery seed pots, including a flat seed pot with a central design of lizards and insects, and a band of geometric motifs to edge, possibly Carolyn Concho (b. 1963, Acoma), together with a globular miniature fine line seed jar with red base and top Variously marked in slip to base: C. Concho, Acoma, N.M. / MH Acoma N.M 2 pieces Larger height 1 1/2 in., diameter 3 5/8 in; smaller height 2 1/8 in., diameter 2 1/4 in. 3 pieces total $200-400

johnmoran.com

1057

1058

Mid/late 20th century Nine works:

Two works:

Nine Puebloan pottery owls

Nellie Bica (1905-1998, Zuni Pueblo) Two polychrome pottery owls Each marked in slip to base: N.B. Zuni 2 pieces Larger height 2 1/4 in., width 1 5/8 in., depth 1 5/8 in.

Two Pueblo polyc

Ignacia Duran (1921A polychrome olla ja white slip ground Signed in slip to und Height 6 7/8 in., diam

A group of Acoma and Zuni zoomorphic polychrome pottery owls Variously marked: M. Carrillo ‘91 / R Chavez; two further marked Acoma N.M. 7 pieces Largest height 5 1/2 in., width 4 3/4 in., depth 3 3/4 in.; smallest height 1 3/8 in., width 1 5/8 in., depth 1 1/2 in.

Juanita Arquero (b. 1 A polychrome potter With opposed lizards white slip ground Signed and dated to Height 6 1/2 in., wid

9 pieces total

2 pieces

$500-700

$300-500

Notes: Collector’s tags indicate Nellie Bica as artist.

Provenance: Property of a Californ

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chrome pottery jars

-2011, Tesuque Pueblo) ar decorated with a red and black band of repeating feathers, corn stalks, and stepped motifs on

derside: Ignacia Duran / [indistinct / “que”] Pueblo meter 9 1/4 in.

1906-n.d., Cochiti Pueblo) ry lizard effigy jar, 1968 s in relief, painted with black storm/raincloud motifs to body beneath cloud banding to rim, on

o underside: Juanita C. Arquero / Cochiti / [indistinct] / 9-27-68; with initials to body: J.C.A. dth 10 3/4 in., depth 9 in.

nia Coastal Collection johnmoran.com

1059

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

A polychrome pottery jar Painted with red and black geometric motifs on white slip ground, above a slight puki indentation Incised to underside: Robert Tenorio / [stars] / Santo Domingo Pueblo / N.M / [Zia sun] Height 9 1/2 in., diameter 11 in. $500-800 Provenance: Property of a California Coastal Collection

1061

Arthur & Hilda Coriz (1948-1998 & 1949-2007, Santo Domingo) A polychrome pottery jar With black and red roadrunner and raincloud motifs on white slip ground Incised signature to underside: Arthur & Hilda Coriz / [olla cipher] Height 7 in., diameter 12 5/8 in. $400-600 Provenance: Property of a California Coastal Collection

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1060

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

A large polychrome pottery bowl The interior painted with black corn stalks, the exterior with geometric motifs on white slip ground above a terracotta wash Incised to underside: Robert Tenorio Santo Domingo Pueblo N. Mexico Height 7 5/8 in., diameter 13 7/8 in. $500-800 Provenance: Property of a California Coastal Collection

johnmoran.com

1062

Two Pueblo polychrome pottery vessels

Mid-20th century Comprising a Santo Domingo jar with red and black floral motifs on white slip ground above a terracotta wash and puki indentation, and a Hopi yellowware bowl with red and brown band of figurative geometric motifs on cream slip ground 2 pieces Height of jar 8 in., diameter 9 1/2 in.; height of bowl 4 1/8 in., diameter 9 1/4 in. $400-600 Provenance: Property of a California Coastal Collection

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1063

Seferina Bell (1920-1986, Zia Pueblo)

A large polychrome globular jar With four bird motifs including parrots, amidst curvilinear and abstract plant or feather motifs, with scalloped rim edging and a red base Signed to slip to lower side: [bell motif for artist] / Zia Pueblo Height 10 1/4 in., diameter 16 1/2 in. $1,200-1,800 Provenance: Property of a California Coastal Collection

johnmoran.com

1064

Ruby Panana (b. 1954, Zia Pueblo)

A large polychrome pottery olla Signed to underside: Ruby Panana / Zia The four-color jar with orange, taupe, and black bird and kiva decorations on white slip ground Height 14 in., diameter 16 3/4 in. $1,000-1,500 Provenance: Property of a California Coastal Collection

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1065

Desideria Montoya Sanchez (1889-1982, San Ildefonso Pueblo) A blackware pottery bowl With piecrust crimped rim Incised signature to underside: Desideria Height 3 3/4 in., diameter 8 1/4 in. $300-500

johnmoran.com

1066

Maria Martinez (1887-1980, San Ildefonso Pueblo)

A blackware pottery bowl, circa 1920s With black on black Avanyu painted to the wide rim, and raincloud motifs Incised with signature to underside: Marie Height 3 1/8 in., diameter 12 1/4 in. $1,000-1,500 Provenance: Sold: Bonhams, San Francisco, CA, “Native American Art,” June 19, 2017, Lot 215 Private collection, acquired from the above

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johnmoran.com

1067

Maria Martinez & Popovi Da (1887-1980 & 1923-1971, San Ildefonso Pueblo) A blackware pottery jar With black on black band of feather motifs to shoulder Incised to underside: Maria / Popovi / 365 Height 6 1/4 in., diameter 8 in. $800-1,200

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1068

Santana & Adam Martinez (1909-2002 & 1904-2000)

Two blackware pottery vessels Comprising a low bowl and a round jar with black on black painted band of stepped and geometric motifs to shoulder Each incised to underside: Santana / Adam 2 pieces Height of bowl 2 1/8 in., diameter 7 1/2 in.; height of jar 3 1/4 in., diameter 5 1/4 in. $300-500

johnmoran.com

1069

Lucy Martinez (1905-1995, San Ildefonso Pueblo) A blackware pottery bowl With buff glaze Unmarked, attributed by repute Height 6 1/4 in., diameter 10 5/8 in. $300-500 Provenance: Property of a California Coastal Collection

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1070

Crucita Calabaza (Blue Corn) (1921-1999, San Ildefonso Pueblo) A small blackware pottery bowl With black-on-black painted band of cloud motifs below the rim Incised with signature to underside: Blue Corn / San Ildefonso / Pueblo Height 1 5/8 in., diameter 3 3/8 in. $300-500

johnmoran.com

1071

Carmelita Dunlap (1925-1999, San Ildefonso Pueblo)

A blackware pottery vessel With black-on-black slip-painted band of feather motifs to shoulder Incised to underside: Carmelita Dunlap / San Ildefonso Pueblo Height 8 in., diameter 7 in. $200-400

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1072

Three Pueblo blackware pottery bowls Three works:

Madeline Tafoya (1912-2002, Santa Clara Pueblo) A bowl deeply incised with band of cloud motifs Incised to underside: Madeline Tafoya / Santa Clara Height 2 1/2 in., diameter 5 1/8 in. Petra Gutierrez (1906-1992, Pojoaque/Santa Clara Pueblo) A bowl deeply incised with stepped and weather motifs Incised to underside: Petra Gutierrez / Santa Clara Pueblo Height 3 3/4 in., diameter 7 1/4 in. Dora Tse Pe (1939-2022, San Ildefonso Pueblo) A diminutive bowl Incised to underside: Dora Height 1 3/8 in., diameter 2 1/2 in. 3 pieces $200-400 johnmoran.com

1073

Barbarita Tafoya-Naranjo (1917-1984, Santa Clara Pueblo) A blackware pottery Avanyu-motif olla jar Deeply carved with Avanyu to shoulder Incised signature to underside: Barbarita / Santa Clara / Pueblo Height 5 7/8 in., diameter 9 3/4 in. $800-1,200 Provenance: Property of a California Coastal Collection

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1074

Margaret & Luther Gutierrez (1936-2017 & 1911-1987, Santa Clara Pueblo)

Three polychrome pottery figures Decorated in multicolor slip on cream ground Each signed in slip to underside: Margaret / Luther 3 pieces Height of tallest 3 3/8 in., width 2 3/4 in., depth 2 in.; height of shortest 2 1/4 in., width 4 in., depth 3 1/8 in. $200-300

johnmoran.com

1075

Six Pueblo pottery vessels Second half 20th century Comprising: Santa Clara blackware: Linda Howard Naranjo (20th century) A wedding jar with incised bear claw Alvin Baca (b. 1966) A jar incised with bear paws Phyllis Tafoya (b. 1955) A melon jar incised with bear paw motif Quanita Kalestewa (b. 1932, Zuni) A polychrome heartline deer bowl Jack Kalestewa (b. 1929, Zuni) A polychrome frog and snake effigy bowl A Laguna Pueblo white slip wedding vase incised with bear paw Each variously signed for the artist, the undeciphered reading: A.P. / Laguna 6 pieces Height of tallest 7 1/2 in., width 5 7/8 in., depth 4 1/8 in; height of low bowl 3 1/4 in., diameter 6 3/8 in.; height of effigy bowl 3 7/8 in., diameter 10 5/8 in. $400-600 Provenance: Property of a California Coastal Collection

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1076

Seven diminutive Pueblo pottery jars Second half 20th century Comprising:

Santa Clara Pueblo blackware: Denny Gutierrez (1942-2013) A melon jar Linda Askan (Jo’Povi [Cactus Flower]) (b. 1954) A wedding vase Adrianna Naranjo (20th century) A seed jar Greg Garcia (1961-2010) A vase with piecrust crimped rim Santo Domingo Pueblo polychrome: Hilda Coriz (1949-2007) A polychrome vase Robert Tenorio (b. 1950) Two miniature polychrome jars All but one polychrome variously incised with artist’s signature 7 pieces Height of tallest 4 3/4 in., diameter 3 5/8 in.; height of smallest 1 3/4 in., diameter 2 in. $300-500 Provenance: Property of a California Coastal Collection

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1077

Stella & Roy Tanner (Kwa Povi & Tsigowanu) (1937-2006 & b. 1957, San Juan Pueblo) A sgraffito redware pottery jar, 1981 Mounted with turquoise accents Etched signature and date to underside: Tsigowanu / Kwa Povi / 8-3-81 Height 2 in., diameter 2 3/8 in. $200-300 Provenance: Private Collection, WA

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1078

Lucy Leuppe McKelvey (b. 1946, Diné [Navajo])

“Whirling Rainbow Goddess of Windway Ceremony Sandpainting” jar, circa 1980 The seven-color wide-shouldered jar painted with a swirling arrangement of four rainbow figures and various crops, the shoulder encircled by a fifth figure Signed, titled, and inscribed to underside: ATÉÉD KIISÁANI / Lucy Leuppe McKelvey / NAVAJO Height 5 1/2 in., diameter 15 1/2 in. $800-1,200 Provenance: Sold: Allard Auctions, Santa Fe, NM, August 2002, Lot 843 Sold: Bonhams, Los Angeles, CA, “Native American Art Including Selections from the L.D. ‘Brink’ Brinkman Collection,” June 17, 2019, Lot 163 Private collection, acquired from the above Notes: Per previous collector’s notes, this jar was a third-place winner at the SWAIA in 1982.

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1079

Kathleen Wall (b. 1973, Jemez Pueblo)

A polychrome Koshare pottery wall mask with ribbon and removable corn husk accents Signed in slip verso: Kathleen Wall Height (excluding corn husks) 9 3/4 in., width 7 3/4 in., depth 4 1/4 in. $200-400 Provenance: Private Collection, WA

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1081

Randall Blaze (b. 1949, Oglala Lakota [Sioux])

A stoneware lizard effigy vessel, 1987 The rim mounted with onyx, turquoise, and red stone, with haute relief blue glazed lizards to shoulder Incised with signature and date: R. BLAZE / 87 Height 8 3/4 in., width 10 1/8 in., depth 9 3/4 in. $200-300 Provenance: Private Collection, WA

1080

Patrick Leach (20th century, Snuneymuxw/Coast Salish) A sgraffito pottery low bowl, 2017 With frog design to interior, turtle to exterior rim, and a banded geometric design of stacked steps to underside Incised signature and date to underside: Patrick Leach / #0175 Height 1 14/ in., diameter 5 1/4 in. $100-150

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m er ic an Wes t l Tu e s d a y, S e p t e m b e r 1 5 , 2 0 2 6

johnm

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1082

Joseph Henry Sharp

(1859-1953) “Indian with Bow and Arrows” Oil on board Signed lower right: JH Sharp; titled on gallery labels affixed to the frame’s verso 12 x 8 1/8 in. $15,000-25,000 Provenance: Nedra Matteucci Galleries, Santa Fe, NM, number PA-13993 M. Knoedler & Co., New York, NY Goldfield Galleries, Los Angeles, CA Notes: This lot is accompanied by a copy of a sales invoice dated November 18, 1970, from M. Knoedler & Co., New York, NY. Taos Society of Artists founder Joseph Henry Sharp is celebrated for his paintings of Native American people and life in the American West. In this winter composition, Sharp focuses on a single Native American hunter in a muted snowy landscape, dressed in a beaded leather coat and carrying a sheath of arrows and bow.

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1083

Joseph Henry Sharp

(1859-1953) “Indian with Staff” Oil on board Signed lower right: J.H. Sharp; titled on two gallery labels affixed verso 12 x 8 in. $15,000-25,000 Provenance: Nedra Matteucci Galleries, Santa Fe, NM, number PA-13993 M. Knoedler & Co., New York, NY Goldfield Galleries, Los Angeles, CA Notes: This lot is accompanied by a copy of a sales invoice dated November 18, 1970, from M. Knoedler & Co., New York, NY. Taos Society of Artists founder Joseph Henry Sharp is celebrated for his paintings of Native American people and life in the American West. In this winter composition, Sharp focuses on a single Native American man dressed in a beaded leather coat and holding a shaft as he stands in profile in a muted snowy landscape.

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1084

Gordon Coutts

(1868-1937) “Herding the Wild Horses” Oil on canvas Signed lower right: Gordon Coutts; alternatively titled very faintly in pencil on the stretcher “Roundup” and also numbered “34” and “40” in pencil on the stretcher; titled on gallery labels affixed to the frame’s backing board 30 1/4 x 40 1/4 in. $3,000-5,000 Provenance: Nedra Matteucci Galleries, Santa Fe, NM Goldfield Galleries, Los Angeles, CA

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1085

20th Century Western School

Buffalo Hunt Patinated bronze plaque Initialed at bottom right: JHA [conjoined] Height 14 in., width 20 in., depth 1 1/4 in. $300-500

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1086

Robert Rickards

(20th Century) “Horse Plunder,” 2009 Oil on canvas Signed and dated lower right: Rickards / 2009; titled on the frame plaque 24 x 30 in. $3,000-5,000

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1087

Robert Rickards

(20th Century) “Warning Sign,” 2009 Oil on canvas Signed and dated lower right: Rickards / 2009; titled on the frame plaque 24 x 20 in. $2,000-3,000

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1088

Elenore Stuart Bulmer

(b. 1914) Portrait of a Native American in a feathered head dress Oil on canvas Signed lower left: Elenore / Stuart / Bulmer 35 x 28 1/4 in. $800-1,200

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1089

19th Century Western School

Portrait of a Native American man, 1875 Oil on canvas Signed with conjoined initials and dated lower right: NEW. 75. 26 1/4 x 14 1/4 in. $500-700

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1090

Wil Timpe

(b. 1920) “His First Pony,” 1981 Oil on canvas Signed and dated lower left: Wil Timpe - 1981 / ©; titled and inscribed “T-34” in red marker on the stretcher 24 x 22 in. $1,500-2,500 Provenance: The Edward Goldfield Collection Goldfield Galleries, Los Angeles, CA

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1091

Raphael Lillywhite

(1891-1958) Mother and child collecting flowers Oil on Masonite Signed lower right: Raphael Lillywhite 21 x 28 in. $1,500-2,000

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Maurice Logan (1886-1977)

Maurice Logan was a founding membe commercial artist. Born in San Francisco in San Francisco prior to the earthquake He first exhibited his work at the 1914 A

Logan’s work is known for its bold color style. In 1931 and 1934, Logan traveled (1877-1947), including trips to Taos, wh important subjects for his paintings like

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er of the Society of Six who worked as an American painter and o and raised in Oakland, Logan studied art at the Partington Art School e and continued at the San Francisco Institute of Art after the disaster. Annual Spring Exhibition of the San Francisco Art Association.

rs and expressive landscapes, and his travels helped shape his artistic d to New Mexico and Arizona with fellow artist Selden Connor Gile here the Southwestern landscape, architecture, and people provided e the present work.

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1092

Maurice Logan

(1886-1977) “Apache Mother With Child,” circa early 1930s Oil on canvas Signed lower right: Maurice / Logan; titled on three gallery labels affixed to the frame’s backing board 27 1/2 x 21 in. $7,000-10,000 Provenance: The Edward Goldfield Collection Goldfield Galleries, Los Angeles, CA

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William Robinson Leig (1866-1955)

William Robinson Leigh was born on M Maryland Institute, one of the oldest art the Royal Academy in Munich. After twe painter and illustrator. The indelible rela illustration seeps into his contributions t

The present work, a study for “Baking D first trip to the Southwest in 1906 thoug years. The process of traveling to the p supplies so this diminutive painting wou to his New York studio. The figure with tending to the horno oven with nearby the dough that will eventually be baked breadmaking is rendered here for the v quick brushwork yields an immediacy to

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Maidstone Manor Farm in West Virginia. At age fourteen he attended t colleges in the United States, and he continued his studies abroad at elve years abroad, Leigh returned home and began work as a cyclorama ationship between the painted image and the narrative necessary for to fine art, creating works that beautifully convey a story to the viewer.

Day/Zuni Baking” from 1946 may have been painted as early as Leigh’s gh it is more likely it preceded the larger work by just a few months or pueblos meant Leigh could only take smaller canvases and minimal uld have been done on-site to be used in a larger work once he returned her bright red sash is fully engaged in her work, bent over at the waist supplies. A second figure in the background appears to be kneading d once the oven has reached temperature. The communal aspect of viewer, emphasizing the daily work of women in the community. Leigh’s o the scene of quotidian tribal life.

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1093

William Robinson Leigh

(1866-1955) “Zuni Breadmaker” Oil on canvas laid to canvas Unsigned; titled on the frame plaque and again in the accompanying letter 8 1/4 x 7 in. $8,000-12,000 Provenance: Nedra Matteucci Galleries, Santa Fe, NM Goldfield Galleries, Los Angeles, CA Notes: A copy of a letter of authenticity from June DuBois, the William Robinson Leigh biographer, dated November 26, 1989, accompanies the lot.

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1094

A Tiffany Studios turtleback tile ‘Zodiac’ table lamp

Early 20th century The patinated bronze base with zodiac symbols in low relief, issuing an articulated shade with molded iridescent glass and single light, electrified Impressed to underside: TIFFANY STUDIOS / NEW YORK / 541 Height 14 7/8 in., width 9 7/8 in., depth 6 1/4 in. $5,000-8,000

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1095

A Tiffany & Co. patinated metal tray

Early 20th century Impressed to underside: Tiffany & Co. / 4155 Height 5/8 in., diameter 12 in. $300-500

1097

A Grueby Faience Company glazed earthenware vase Early 20th century Molded with foliate designed in relief Impressed to underside: GREUBY POTTERY / BOSTON USA Height 3 7/8 in., diameter 4 in. $1,500-2,500

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1096

A Grueby Faience Company two color glazed earthenware vase Early 20th century Of foliate form, with green glaze and yellow buds Impressed to underside: GREUBY POTTERY / BOSTON USA Height 7 3/4 in., diameter 4 3/4 in. $1,800-2,500

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1098

Two Marblehead glazed earthenware vases

Early 20th century One with impressed cipher to underside, the other with applied factory label and mark obscured by glaze 2 pieces Height of taller 10 7/8 in., diameter 4 1/2 in.; height of shorter 9 in., diameter 5 1/8 in. $500-700

1099

A Tiffany Studios boudoir lamp and glass shade

Early 20th century with later shade The patinated bronze base issuing a single light and three arms surmounted by a later reproduction iridescent pulled feather glass shade, electrified Base impressed: Tiffany Studios / New York / 322; incised: 958 [indistinct]; shade unmarked Height overall 14 3/4 in.; height of base 11 in., width 7 in., depth 5 1/2 in.; height of shade 4 3/4 in., diameter 7 1/2 in. $800-1,200

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1100

A pair of Durand Moorish crackle glass shades

1920s Each on associated wrought-iron tripod base issuing a single light, electrified 2 pieces Height of each overall 22 1/4 in.; height of bases 15 3/4 in., width 8 1/2 in., depth 7 1/2 in.; height of shades 9 in., diameter 5 7/8 in. $600-800

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1101

A ‘Moorish’ chandelier in the style of Tiffany Studios

Early and later 20th century elements Some shades marked: quezal Verdigris patinated bronze issuing ten lights, each with various pulled feather glass Quezal-style shade, each light alternating with three ball-and-chain elements, electrified Height 19 1/4 in., diameter 25 in.; escutcheon diameter 20 1/2 in.; height of shades 5 in., approx. $1,000-1,500

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1102

Greg Campbell (b. 1951)

A turned olive wood and turquoise jar, 2023 With turquoise in-filling to inherent crevices in the knots of the wood Etched signature and inscription to underside: G. Campbell / 12-23 / Olive / Turquoise Height 7 5/8 in., diameter 7 1/8 in. $300-500

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1103

Bruce Carlton Nowlin

(b. 1949) Untitled Acrylic on canvas Signed and with the artist’s device lower right: Nowlin; signed and with the artist’s device again along the right tacking edge; and again, as “B C Nowlin,” on the verso 46 x 54 1/2 in. $4,000-6,000

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1104

Anthony Sinclair

(b. 1943) “Out of the Snow,” 1981 Oil on canvas Faintly signed and dated lower left: Sinclair © 81; titled in pencil on the stretcher 30 x 36 in. $800-1,200

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1105

Frank Howell

(1937-1997) “Lakota Summer,” 1985 Lithograph in colors on paper Edition: 26/140 Signed, titled, dated, and numbered in pencil along the center of the lower sheet edge: Frank Howell 1985; Master Editions Limited, Englewood, CO, prntr.; American Design, Ltd., Aurora, CO, pub.; with Melissa Katzman Braggins (Master Editions) blindstamp and presumably the blindstamp of Ted M. Braggins lower right, and an additional unidentified blindstamp lower left Image/Sheet: 20 1/4 x 28 1/4 in. $300-500

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1106

John Coleman

(b. 1949) “Black Moccasin,” 2004 Patinated bronze on marble plinth on rotating wood base Edition: 32/35 Signed, dated, titled, numbered, and inscribed in the casting: HIDATSA CHEIF / JOHN COLEMAN / CA [conjoined] Height of bronze 18 in., width 12 1/4 in., depth 12 in.; height overall 21 5/8 in. $7,000-10,000 Provenance: Private collection, Prescott, AZ By family descent

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1107

Retha Walden Gambaro

(1917-2013) Figure at a water hole Bronze Signed in the casting: RETHA WALDEN GAMBARO / TX [conjoined] Height 19 1/2 in., width 24 1/2 in., depth 19 3/4 in. $500-700

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1108

Retha Walden Gambaro

(1917-2013) Bust of a Native American, 1977 Fiberglass and composition on wood plinth Edition: 2/12 Incised with signature, date, and edition: RETHA WALDEN GAMBARO / 77 Height of bust 23 in., width 11 3/4 in., depth 14 1/2 in.; height overall 27 3/4 in. $400-600

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1109

James Gruzalski

(b. 1938) Native American bust Verdigris patinated bronze on wood plinth Edition: 4/30 Signed and numbered in the casting: Gruzalski Height of bronze 13 1/2 in., width 7 7/8 in., depth 9 1/8 in; height overall 19 5/8 in. $500-700

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1110

A Bailey Co. patinated bronze bust of an Indian chief 1901 Dated and inscribed in the casting: Copyright / The Bailey Height 17 1/8 in., width 10 3/4 in., depth 8 1/2 in. $400-600

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1111

A Plateau beaded Benicia Arsenal leather shot pouch

Late 19th century The pouch originally for Dyer design carbine shot, the flap later beaded with a polychrome pictorial stylized floral and geometric design, with brass closure Impressed to reverse: U. S. / ARSENAL / BENICIA Height 5 1/2 in., width 6 1/4 in., depth 3/4 in. approximately $400-600 Provenance: Private Collection, WA Notes: This lot is accompanied by a copy of a letter from the United States Department of the Interior, dated December 2, 1997, which specifies the age and origin of the pouch.

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1112

Two Nez Perce polychrome corn husk items

Attributed to Rose Frank (1912-1999, Nez Perce) Comprising a twined corn husk tapered hat with embroidered swirling sawtooth zigzag bands and hide trim to edge, as well as a small twined corn husk bag with sawtooth and stepped diamonds and other geometrical motifs to each side, and with grosgrain ribbon trim, fabric lining and hide strap handles 2 pieces Hat height 7 3/4 in., diameter 7 1/2 in.; bag height 10 1/2 in., width 10 1/4 in. approximately $400-600 Provenance: Private Collection, WA Notes: Owner’s tags indicate artist as Rose Frank, Nez Perce.

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1113

An elk horn hide scraper

20th century The long cylindrical antler scraper with carved scraper ‘foot’ to one end Height 11 3/4 in., width 2 in., depth 3 1/2 in. approximately $100-200

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1114

Two Plains hide bags

Early 20th century Comprising a Lakota (Sioux) beaded hide flat pouch with polychrome striped beaded edges and tin cone and dyed horsehair dangles to corners enclosing a trade cloth roll with pockets, together with a large parfleche bag with top flap and partial strap to back side 2 pieces The first 9 3/4 x 12 in.; the second height 12 in., width 11 in., depth 4 1/2 in. $300-500

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1115

A small pair of Plains painted parfleche boxes

Second half 20th century Each rectangular polychrome painted hide sinew-sewn box or doll trunk featuring various geometric and stylized floral motifs, with hide lacings and handles, and green cloth edging to sides 2 pieces Each height 2 1/4 in., width 3 3/4 in., depth 2 1/4 in. approximately $200-400

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1116

A Plains painted hide parfleche envelope

20th century A stiff folded rawhide container with polychrome painted geometric designs and large flap with rawhide laces Height 19 in., width 13 1/2 in., depth 1 1/2 in. $500-700

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1117

Six Plains catlinite pipe bowls and stems

20th century Comprising four carved stone pipe bowls in various styles and sizes, the largest with a notched ‘fin’ to the base behind the bowl, and two with decorative carved designs to the top of the bowl, together with two associated catlinite pipe stems Largest with inscribed signature to base: Standing Eagle; smallest with inscription to base: D.S.W. from G.A.W, 1931 6 pieces Largest bowl 3 1/2 in. x 5 1/2 in; smallest 2 5/8 in. x 5 1/4 in.; stem lengths 9 3/4 in. & 7 1/4 in. $400-600

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1118

A group of Plains-style stone pipe bowls and stems

20th/21st century Comprising two carved red catlinite pipestone bowls, one with a carved arrow motif to front of base and incised leaf motifs to stem end, as well as a carved grey pipestone bowl, together with four associated wooden pipe stems in various sizes, including two with beadwork and suede fringing accents, one with fur edging, and one long curved tapered stem with wood grain detail 7 pieces Largest bowl 4 x 8 in; smallest 3 1/4 in. x 5 1/4 in.; stem lengths 29 1/2 in. to 18 in. $400-600

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1119

A Plains beaded hide knife sheath

Late 19th century A tapered sheath of buffalo hide construction worked on each side in yellow, green, red, blue, and white beads in various geometric motifs, with red quilled hide dangles and strap 6 x 2 1/2 in. (max); tassel 4 1/2 in. $1,000-1,500

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1120

A group of Plains beaded items

20th century Three works comprising a Lakota (Sioux) polychrome beaded hide umbilical cord fetish turtle figure, a pair of polychrome on white beaded arm bands with quill tassels and metal cone dangles, and a pair of child’s beaded moccasins in blue, red, and white stepped and geometric motifs 5 pieces Turtle height 5 1/2 in., width 3 in., depth 1 1/4 in.; strap 5 5/8 in.; moccasins height 7 1/2 in., width 3 1/2 in., depth 1 in. approximately; armbands 1 3/4 in. x 10 3/4 in.; tassels 16-15 in. approximately $400-600

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1121

Three Lakota (Sioux) beaded hide pouches

Late 19th/early 20th century; Great Plains Comprising a large buffalo hide and cotton fabric pouch with banded polychrome beadwork to front, a quill-wrapped strap, and tassels with tin cone and horsehair ends; a petite strike-a-light style bag of buffalo hide, beaded on one face with geometric motifs; and a tall pouch with stacked triangle arow motifs to each side 3 pieces Largest 11 1/2 x 11 in.; smallest 4 x 3 1/2 in. $1,000-1,500

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1122

Four contemporary Native American polychrome pictorial beaded items

Late 20th/21st century Comprising two hair ornaments, including a large white, green, and multicolored floral hair slide, and a small red and white oval hair barrette with a polar bear and cub, as well as a red and purple round change purse, and a multicolored beaded Nocona folding wallet featuring a white buffalo and raven, with an eagle head verso The smallest with maker’s mark verso 4 pieces Largest 4 x 6 3/4 in.; smallest 2 1/2 x 3 1/8 in. $200-300 Provenance: Private Collection, WA

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1123

Five contemporary Native American polychrome beaded belt buckles

Late 20th/21st century Comprising five pictorial buckles featuring various motifs including an eagle head on a blue ground, a stag on a frosty blue and white ground, a bison hunter on a white and blue ground, and a white rose on a black ground, as well as a large buckle with geometric ombré stepped diamond motifs on a pale green ground, each with hide backing Three with maker’s mark verso 5 pieces Largest 3 1/2 x 4 5/8 in.; smallest 2 3/4 x 3 5/8 in. $200-300 Provenance: Private Collection, WA

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1124

Nine Anishinaabe (Ojibwe) polychrome pictorial beaded pendant necklaces

Attributed to Ida Beaulieu (d. 2021, Anishinaabe [Ojibwe]) Comprising four floral bead and porcupine quill pendants, in blues, reds, and oranges, each with an ombré shaded medallion with tonal fringe bead and quill dangles, together with two eagle motif medallion necklaces, a bear motif necklace, one with an ‘End of the Trail’ motif medallion with a mounted warrior silhouette, and a smaller ‘Sunset’ medallion worked in red and white quill with blue bead edging 9 pieces Largest 23 x 8 in.; smallest 30 x 3 1/8 in. $400-600 Provenance: Private Collection, WA Notes: Owner’s tags indicate artist attribution.

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1125

Three Native American beaded items

Late 19th/early 20th century Comprising a shield-shaped Tlingit pictorial polychrome beaded purple felt wall pouch with floral motifs and a butterfly, a Plateau floral beaded scissors case top, and a Northeast beaded picture frame with floral motifs and a printed calico backing 3 pieces Pouch 11 3/4 x 8 in.; scissors case top 7 1/2 x 3 1.2 in.; frame 8 1/2 x 8 1/4 in. $200-400

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1126

A pair of Cree beaded moosehide and fur gloves

Mid-20th century Attributed to Mary Ann Boardman (Cree, Saskatchewan, Canada) Comprising a pair of dark brown smoke tanned moosehide suede gauntlet gloves with polychrome floral beadwork, trimmed with beaver fur, hide fringing, and lined with cotton calico Each 16 x 10 in. approximately $100-200 Provenance: Private Collection, WA Notes: Owner’s tag indicates artist’s attribution.

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1127

Four Cree porcupine quill pictorial lidded baskets

Attributed to Helen Stoneypoint (20th century, Cree) Comprising a group of round birch bark boxes, each with quillwork to the lids and around the bases, trimmed with sweet grass and each featuring various motifs including a rabbit, a bear, a skunk, and a red flower 4 pieces Largest height 1 3/4 in., diameter 4 1/4 in.; smallest height 2 1/8 in., diameter 3 1/4 in. $200-400 Provenance: Private Collection, WA Notes: Each item accompanied by a retail label indicating the artist, as well as general information about the quillwork technique

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A contemporary Cree beaded pictorial cradle sculpture

Attributed to Jack Little Boy (20th/21st century, Canadian Cree) Entitled “Little Chipmunk Face Up Close,” circa 1985 The long red velvet cradle with a detailed beaded child’s portrait doll face to interior, wrapped in fur, and with hide appliqué fringing to cradle, a small fur pelt to top, and two elaborate beaded pictorial plaques attached to the pelt, one a fringed triangle, and one a mounted warrior, with hide-wrapped handle and hanging loop Unmarked Height 2 ft 6 1/2 in., width 10 1/2 in., depth 9 1/2 in.; pelt tail below cradle 9 in. $400-600 Provenance: Private Collection, WA Notes: This lot accompanied by the collector’s handwritten tag and a photograph with title and artist’s attribution; with additional photographs. 1 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, S e p te mb e r 1 5 , 2 0 2 6

1129

A contemporary Cree beaded buffalo portrait bust wall sculpture

Attributed to Jack Little Boy (20th/21st century, Canadian Cree) Untitled, circa 1980s An elaborate portrait worked in polychrome beads on hide, mounted to a partial skull base, featuring a buffalo headdress of buffalo horns, fur, and hide, with a bone necklace and shell dangles, all mounted to a small wood plank board Unmarked Height 11 1/2 in., width 18 in., depth 8 in. $300-500 Provenance: Private Collection, WA

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A large contemporary Cree beaded pictorial doll sculpture with fur

Attributed to Jack Little Boy (20th/21st century, Canadian Cree) Entitled “Chief Carrier,” circa 1988 The tall doll-like articulated soft figure with beaded portrait face, dressed in various fur pelts, with ermine and beadwork accents to center front, including a beaded chief portrait plaque with feathered headdress, a beadwork belt, and ermine leg bands, with suede hands and hair-on-hide footwear Unmarked Height 2 ft. 11 in., width 1 ft. 3 in., depth 4 1/2 in. approximately $300-500 Provenance: Private Collection, WA Notes: This lot with collector’s handwritten tag indicating title and artist’s attribution; with additional photographs.

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1131

Two large Cree polychrome pictorial beaded portrait necklaces

Attributed to Jack Little Boy (20th/21st century, Canadian Cree) Each necklace with a large medallion featuring the dimensional beaded image of a young girl together with a bald eagle, the larger suspended by two ermine pelts attached with hide laces, and the smaller by a wide yellow and black lattice beadwork strap The smaller marked in ink verso: JLB Larger 22 x 7 in.; smaller 26 x 5 in. $200-300 Provenance: Private Collection, WA Notes: Collector’s tags and item information indicate artist’s attribution.

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1132

Hib Sabin (b. 1935)

A bald eagle mask Carved and painted juniper Unsigned Height 4 3/4 in., width 6 3/8 in., depth 7 3/4 in.; stand height 17 in. including base $700-900 Provenance: Per collector’s notes, acquired directly from the artist

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Roger Charles Cavalli

(b. 1930) Owl with wings spread, 1969 Carved granite on marble base Incised with signature: CAVALLI Height overall 10 in., width 18 1/4 in., depth 6 in. $500-700 Provenance: Private collection, San Diego, CA

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1134

Roger Charles Cavalli

(b. 1930) “Space,” 1969 Carved granite on marble base Signed on the side: R. CAVALLI Height overall 8 3/4 in., width 17 1/2 in., depth 4 1/4 in. $500-700 Provenance: The artist Private collection, San Diego, CA, acquired from the above, August 27, 1969 Notes: This lot is accompanied by a signed hand-written receipt/certificate of authenticity from the artist.

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1135

Theodore J. Richardson

(1855-1914) A canoe on an Alaskan lake with a mountain in the distance Watercolor on paper Signed lower left: T.J. Richardson. 11 x 18 1/2 in. $400-600

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1136

Theodore J. Richardson (1855-1914) Two Works:

A small boat on an Alaskan waterway Watercolor en grisaille on paper Signed lower left: T.J. Richardson Sheet: 5 x 8 7/8 in.; Mount: 10 1/2 x 14 3/8 in. “Wrangell Narrows” (Southeast Alaska) Watercolor en grisaille on paper mounted to paper Signed lower right: T.J. Richardson; titled in pencil on the verso of the mount Sheet: 5 x 8 7/8 in.; Mount: 10 1/2 x 14 3/8 in. $800-1,200 Notes: An outlined pencil sketch of the same scene, with the word “White” inscribed in the sky is on the verso of the image of a small boat on an Alaskan waterway.

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1137

Two carved model totem poles

Early 20th & late 20th century Comprising a Haida carved argillite totem pole featuring an eagle above two figures eating fish and a seal, one likely a bear, and one an orca; together with a later black resin reproduction totem with various animal figures including a raven, a frog, and possible an orca The resin marked: REP 2 pieces Stone height 9 in., width 2 3/4 in., depth 2 3/4 in.; resin height 10 1/4 in., width 2 1/4 in., depth 2 in. $800-1,200

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1138

Two carved model totem poles

Mid-20th century; Pacific Northwest Comprising a Haida argillite carving with a single bear figure with narrow claws, and a Northwest Coaststyle likely resin carving with multiple figures including a likely killer whale with a fish, and an octopus 2 pieces Larger height 5 1/4 in., width 1 in., depth 1 3/16 in.; smaller height 5 in., width 1 1/4 in., depth 1 1/8 in. $300-500 Provenance: Private Estate, Southern California

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1139

Earl Jones (b. 1949, Haida)

A carved argillite pipe, late 20th/21st century; British Columbia The small pipe depicting two eagles and two bears Signed and titled to underside: Earl Jones / Haida, B.C. Height 2 in., width 1 in., depth 7 1/4 in. $400-600 Provenance: Private Collection, WA

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1140

A Northwest Coast mountain sheep horn spoon

20th century The large carved horn spoon with a tapered handle Height 11 1/2 in., width 3 3/4 in., depth 5 1/2 in. approximately $200-400

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1141

A Northwest Coast button blanket

20th century Featuring a large central stylized grizzly bear figure with seven shield-shaped ‘Copper’ motifs, most outlines worked in mother-of-pearl buttons, the bear with polychrome painted eyes and features, and all on a green wool blanket with blue and red wool trim to edges 5 x 5 ft. 1 in. approximately $700-900

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1142

Three Salish polychrome painted paddles

Mid-20th century; Pacific Northwest The oar-shaped carved wood women’s dance paddles each with painted motifs to one side and to handle Largest 20 x 3 3/4 in.; smallest 17 1/2 x 3 in. $500-700

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1143

Two Northwest Coast polychrome-painted cedar rattles

Second half 20th century Comprising a large oval two-sided rattle with painted stylized facial motifs and a small twosided rattle with painted carved facial motifs, each with a leather-wrapped handle 2 pieces Larger height 9 in., width 3 3/4 in., depth 3 1/4 in.; smaller height 8 3/4 in., diameter 1 7/8 in. $200-400 Provenance: Private Estate, Southern California

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1144

Mervyn Child Hunt (b. 1955, Kwagul/Tlingit/Nuu Chah Nulth/British) A carved and polychrome-painted mask Marked in ink verso: NW / 63; further inscribed and signed in pencil: Kwakiutl Art / Freman / Mervyn / Child / Hunt Height 9 in., width 8 3/8 in., depth 5 3/4 in. $200-400

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1145

A Northwest Coast polychrome carved cedar mask Third quarter 20th century Marked in ink verso: NW / 64 Height 13 3/4 in., width 10 3/4 in., depth 5 1/2 in. $200-400

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1146

A Northwest Coast polychrome carved cedar ‘Dzunuk’wa’ mask

Second half 20th century A likely Kwakwaka’wakw (Kwakiutl) Tsonoqua mask in black, red, and white pigment, with black hair, likely depicting Dzunuk’wa, or the ‘Wild Woman of the Woods’ Marked in ink verso: NW 61 Height 13 1/8 in., width 7 1/4 in., depth 3 5/8 in. $200-400

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1147

A Northwest Coast polychrome carved cedar mask Third quarter 20th century Unmarked Height 10 1/2 in., width 7 1/4 in., depth 6 in. $200-400

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1148

Two Northwest Coast polychrome carved wood masks Two works:

Ray Holt (20th century, Tsimshian; Metlakatla, AK) An ‘Eagle Spirit” mask with blue, red, and black painted stylized features, circa 1986 Signed and dated in ink verso, possibly in another hand; titled to attached tag Height 9 7/8 in., width 8 in., depth 5 in. approximately A ‘Man transforming into a Cougar’ transformative mask with grey, red, and black painted features and teeth Signed verso with incised hand pictograph; titled to attached tag Height 10 3/4 in., width 9 3/8 in., depth 5 1/4 in. approximately 2 pieces $300-500 Provenance: Private Collection, WA

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1149

Four Northwest Coast-style polychrome painted totem models

First half 20th century The carved painted wood models of varying sizes, featuring stacked figures including eagles, an owl, bears, and a bearded figure The smallest signed and dated in ink to base: Elizabeth Christ / 7-13-28 / Victoria B. C. 4 pieces Largest height 13 3/4 in., width 3 1/2 in., depth 4 in.; smallest height 9 in., width 6 1/4 in., depth 2 1/4 in. $200-400

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1150

Mike Epp (b. 1962, Gitlaan/Coast Tsimshian)

A Northwest Coast headdress with central polychrome carved wood frontlet featuring a standing beaver figure and abalone and bird quill accents, the frontlet attached to the red felt tradecloth-covered framework, all trimmed with ermine fur, mother-of-pearl discs, and six ermine pelts topped with blue and red striped trade beads, all sinewstitched and mounted to a birch-strip framework Frontlet inscribed verso: ME [conjoined, partially visible behind framework]; partial view of inscription below: Coast Tsimshian, Gitlaan Tribe, Raven Clan, Metlakatla, B. C. Height 6 1/2 in., width 8 in., depth 9 in.; pelts hang approximately 9 in. below edge $600-800 Provenance: Private Collection, WA Notes: This lot accompanied by a photograph of the item, as well as a typed label: “Headdress: (AMHALAYT)” “The chief’s headdress “was” and is the most important piece of regalia worn at Tsimshian potlatches. The figure or figures also display the owner’s family crest or rights.” “The headdress is of Alaskan yellow cedar, inner frame of birch, abalone shell, mother of pearl shell, bird quills, ermine, chevron beads, red trade cloth, and sinew. The figure depicts the ever-working beaver.”

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1151

Mike Epp (b. 1962, Gitlaan/Coast Tsimshian)

A polychrome carved cedar speaker’s staff, late 20th century Depicting eleven figures including a bear, raven, and frog, a shaman, and a human in transfiguration, with two copper ring accents Incised: ME; with lengthy inked inscription, possibly in the artist’s hand Length 58 in., diameter 2 1/4 in. $400-600 Provenance: Private Collection, WA Notes: The inscription reads: Human, Bear, Frog, Human, Human, three Humans, Human, man changing to hawk, Bear / Mike Erp / Coast Tsimshian / Gitlan Tribe / Raven Clan . Metlakatla B.C.

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1152

Four Northwest Coast carved wood items Four works:

Mike Epp (b. 1962, Gitlaan/Coast Tsimshian) Comprising three carved wood objects including a polychrome bear rattle with sinew-wrapped handle, a carved polychrome ‘Bear’ headdress frontlet featuring a standing bear figure, inlaid abalone and bird quill accents, and ermine hide strips, and a long narrow traditional ‘soap berry’ spoon with a carved eagle motif to one side Each with incised signature: ME [conjoined] 3 pieces Rattle height 10 in., width 4 1/8 in., depth 1 1/2 in.; frontlet height 7 in., width 6 in., depth 1 3/4 in.; spoon height 14 in., width 1 5/8 in., depth 1/4 in. A large carved wood spoon with eagle-head handle and carved motifs to bowl exterior, circa 1986 Marked to head underside: RH [conjoined] / ‘86 Height 7 in., width 4 in., depth 13 1/4 in. 4 pieces total $500-700 Provenance: Private Collection, WA Notes: The soap berry spoon with retail card from Tin-Na-Tit Kin-Ne-Ki Tee-Ga Indian Arts & Gallery, Republic, WA. The bear frontlet with inscription in ink verso: “Bear Headress” / Mike Epp. Coast Tsimshian, Gitlan Raven Clan, Metlakatla, B. C.

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1153

A Tlingit polychrome basket

20th century; Pacific Northwest Coast A finely twined berry basket with ‘false embroidery’ designs worked in fretwork bands and diagonal stepped panels to the sides Height 5 in., diameter 6 3/4 in. approximately $800-1,200 Provenance: James Schwabacher Collection, San Francisco The Alan and Bronnie Blaugrund Collection Sold: Bonhams, Los Angeles, CA, “The Alan and Bronnie Blaugrund Collection of Native American Basketry,” December 10, 2018, lot 199 (one of two) Private collection, acquired from the above Literature: John Kania and Alan Blaugrund, “Antique Native American Basketry of Western North America” (Seattle: Marquand Books, 2014), 257, plate 140

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1154

Three Salish polychrome lidded baskets

First half 20th century; Pacific Northwest A group of coiled woven basketry items with imbricated designs, including two rectangular basketry trunks, one a large tapered box with a stepped zigzag band to body and ticking to the rim, the lid with a stepped diamond motif, and a smaller handled basket with geometric motifs and ticking bands to lid, together with a globular lidded basketry jar with imbricated diamonds motifs 3 pieces Largest box height with lid 10 in., width 15 3/4 in., depth 10 in.; jar height with lid 5 3/4 in., diameter 6 in. approximately $300-500

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1155

Two Salish polychrome baskets

First half 20th century; Pacific Northwest Comprising two coiled basketry items with imbricated designs including a handled rectangular storage basket with bands of ticking and geometric designs, as well as a pedestal tray with a central floral motif and swirled ticking to base, with an openwork piecrust rim and base edge 2 pieces Box height 5 1/4 in., width 13 1/4 in., depth 7 1/4 in.; handle height 8 in.; pedestal height 6 1/2 in., diameter 9 in. approximately $200-400

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1156

Three Salish polychrome basketry trays

First half 20th century; Pacific Northwest A group of coiled woven trays with imbricated designs, two with opposed handles, including two round trays, one with pictorial motifs and ticking to the inner edge, and one with handles and a stepped starburst to center and floating cross motifs, as well as a rectangular tray with handles and a large central stylized star motif 3 pieces Larger round tray height 3 1/4 in., diameter 16 1/2 in.; smaller tray height 2 in., diameter 16 in.; rectangular tray height 3 1/2 in., width 19 in., depth 12 1/2 in. $300-500

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1157

A group of Northwest Coast basketry items Second half 20th century Seven works:

Lillian Buchert (b. 1904 - d., Tsimshian) Four polychrome twined yellow Alaskan cedar lidded baskets in various sizes and with imbricated designs including geometric banding, and pictorial designs such as a whale and fish 4 pieces Largest height 3 1/4 in., diameter 3 1/2 in.; smallest height 1 1/4 in., diameter 1/4 in. Carolyn Mickey (20th century, Hesquiaht/Nuu-chah-nulth; Vancouver Island, B.C.) A polychrome twined lidded pictorial basket featuring whales, fish, and canoe motifs, and with striped banding to lid and near base Height 2 3/4 in., diameter 4 3/4 in. Mary Long Feather (20th century, Yakama, South-central Washington) A polychrome beaded necklace in yellow, green, and white, with a basket-form pendant with a hide base and dentalium shell spacers, with a pair of matching earrings 3 pieces Necklace 34 x 1 in.; earrings each 2 in. 8 pieces total $100-200 Provenance: Private Collection, WA Notes: Two items accompanied by retail cards from TIN-NA-TIT KIN-NE-KI TEE-GA Indian Arts & Gifts, Republic, WA, indicating artists and materials. 2 0 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

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1158

A Nuu-chah-nulth (Nootka) or Makah polychrome lidded basket

Mid/late 20th century, Pacific Northwest Coast The small twined basket with polychrome banding to sides featuring figures in boats alternating with fish motifs, and multiple striped bands to knobbed lid Height 3 3/4 in., diameter 4 1/2 in. $75-125

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1159

George Blake (b. 1944, Hupa/Yurok)

A carved elk antler purse with hide wrapping and incised triangular motifs, circa 1988 Appears unmarked Height 1 3/4 in., width 6 1/4 in., depth 1 1/2 in. $400-600 Provenance: The artist Private collection, acquired from the above, December 1988 Notes: This lot accompanied by a copy of a purchase receipt from the maker, George Blake, dated 1988.

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1160

A Hupa/Yurok/Karuk polychrome 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 Height 3 1/2 in., width 6 1/2 in., depth 6 1/4 in. $500-700 Provenance: Private Estate, California

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1161

A Pit River polychrome basketry bowl

Mid/late 20th century; Northeast California The small twined bowl with zigzag stepped hooked banding and ticking near rim Height 3 5/8 in., diameter 7 to 6 5/8 in. (variable) $400-600

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1162

A Pomo gift basket

Mid/late 20th century; Northern California The coiled small oval bowl with a diagonal stepped zigzag motif to each side and quail top knot feathers to the rim Height 2 in., width 4 3/8 in., depth 3 3/8 in. $500-700

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1163

A Pomo beaded gift basket

Early/mid-20th century; Northern California A diminutive coiled basketry bowl with alternating triangle motifs, adorned with shell disc button beads and quail topknot feathers Height 1 1/2 in., diameter 4 3/4 in. (variable) $300-500

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1164

A Pomo basketry bowl

Attributed to Laura Fish Somersal (1892-1990, Pomo-Wappo), circa 1986 The large coiled low bowl with three radiating stepped zigzag motifs issuing from center to rim Height 3 in., diameter 9 in. (variable) $500-700 Notes: Collector’s tags indicate artist’s attribution and date.

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1165

A Pomo basketry bowl

Mid-20th century; Northern California The small coiled low bowl with five columns of stacked zigzag triangle motifs Height 2 1/2 in., diameter 5 3/4 in. (variable) $400-600

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1166

Four Western polychrome beaded basketry items

First half 20th century Comprising two small Paiute coiled beaded baskets, one with repeating zigzag bands, the other with serrated diamond elements, as well as a Klamath twined basket in green with three diagonal sawtooth motifs; and a Modoc bead-overlaid bottle decorated with serrated diamonds and crosses 4 pieces Paiute height 3 in., diameter 5 3/8 in.; Klamath height 2 3/4 in., diameter 4 1/4 in.; bottle height 10 3/4 in., diameter 4 1/2 in. approximately $1,200-1,800 Provenance: Sold: Bonhams, Los Angeles, CA, “Native American Art Including Selections from the L.D. “Brink” Brinkman Collection,” June 17, 2019, Lot 214 Private collection, acquired from the above

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1167

A Yokuts polychrome basketry bowl

Early/mid-20th century; Central California The tall coiled tapered basket with five stacked triangular columns alternating with large stepped triangles and contrast diagonal rim stitching Height 6 1/8 in., diameter 11 1/8 in. $800-1,200 Provenance: The Collection of Ronald Bainbridge, Michigan Sold: Cowan’s, Cincinnati, OH, “American Indian and Western Art,” April 6, 2018, Lot 303 Private collection, acquired from the above

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1168

Two Washoe twined basketry items

Attributed to Sarah Jim Mayo (1858-1918, Washoe) Comprising a basketry-covered lidded bottle and a winnowing tray, each with multiple various geometric bands Bottle height 11 in., diameter 5 in.; tray 18 x 15 in. approximately $1,200-1,800 Provenance: Sold: Bonhams, Los Angeles, CA, “Native American Art,” December 16, 2019, Lot 173 Private collection, acquired from the above Notes: [From previous sale] The attributions to Sarah Jim Mayo made by Marvin Cohodas, Professor in the Department of Fine Arts at the University of British Columbia; Cohodas writes, “[Sarah Mayo’s] freedom of innovation is also evident in her twined basketry, both in her unusual use of redbud for designs, and in the development of new and often complex designs, such as the fret motif in the third band from the base.”

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1169

Four Western polychrome twined baskets

Early/mid-20th century Comprising a large round basket with conical base and geometric banding, and a narrow conical gap-stitched basket with contrast bands, as well as a basketry bowl with coiled rim and diagonal colored banding, and a pliable berry-style basketry bowl with floating triangles and striped banding, with wrapped rod detail near top edge 4 pieces Largest height 6 1/2 in., diameter 11 1/2 in.; smallest height 4 1/4 in., diameter 7 1/2 in. $200-300

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1170

A large Paiute polychrome storage basket

Second quarter 20th century; Great Basin A large polychrome coiled globular basketry jar with large shaped knobbed lid, featuring four polychrome stylized floral motifs to sides and similar motifs to sides of lid, the lid with colored top knob Height 14 in., diameter 13 1/2 in., approximately $400-600

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1171

Three Paiute basketry vessels

Late 19th/early 20th century; Great Basin A group comprising two coiled globular basketry jars, each with multistrand braided horsehair handles, one with a sinew cord, as well as a small twined tapered conical bottle-neck vessel sealed with pine resin pitch, with one multistrand braided horsehair handle 3 pieces Larger jar height 12 in., diameter 10 in.; smaller jar height 9 1/4 in., diameter 8 in.; tapered jar height 10 1/2 in., diameter 5 1/4 in. approximately $300-500

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1173

An Apache pitch-sealed basketry water vessel

Late 19th/early 20th century; Southeast United States A large twined tapered conical bottle-neck jar sealed with pine resin pitch, with canvas to the base, and with two multistrand horsehair handles, one handle supporting a hide-and-rope strap, with later denim strap addition Height 14 in., diameter 9 1/2 in., irregular $200-400

1172

Two Western Apache basketry trays

Early 20th century; Southwest United States Each large coiled low bowl with stepped motifs including one with a central concentric star/flower motif with floating elements and the other with an interlocking radiating floral/star design and dark center 2 pieces Larger height 3 in., diameter 15 1/4 in.; smaller height 4 in., diameter 14 3/4 in. $1,200-1,800 Provenance: The Collection of Ronald Bainbridge, Michigan Sold: Cowan’s Auctions, Cincinnati, OH, “American Indian and Western Art,” April 6, 2018, lot 311 Private collection, acquired from the above

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1174

Two Apache pitch-sealed basketry vessels

Late 19th/early 20th century; Southeast United States Comprising two coiled jars including a tall double gourd-form jar and a smaller jar with two horsehair handles, each coated in pine pitch 2 pieces Larger height 13 1/2 in., width 7 1/2 in., depth 7 1/2 in.; smaller height 8 3/4 in., width 8 in., depth 8 in. irregular $300-500 Notes: The smaller basket with a Sotheby’s lot tag, not dated.

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1175

Two Apache pitch-covered basketry vessels

Late 19th/early 20th century; Southeast United States Comprising two coiled basketry jars, each with basketry twig handles, and each coated in pine pitch 2 pieces Larger height 10 in., width 8 1/2 in., depth 5 3/4 in.; smaller height 9 1/2 in., width 7 1/2 in., depth 7 in. irregular $200-400

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1176

An Apache pitch-covered basketry vessel

Late 19th/early 20th century; Southeast United States A large coiled basketry water jar coated in pine pitch, with two multi-strand braided horsehair handles Height 11 in., width 9 in., depth 9 1/2 in. irregular $200-400

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1177

Three Hopi polychrome wicker basketry items

Mid/late 20th century; Arizona Comprising a large twined wicker basket, as well as two polychrome twined wicker plaques, each with geometric motifs 3 pieces Basket height 8 in., 13 1/3 in. approximately; plaques each height 1 in.; diameters 14 1/2 in. and 13 in. $200-400 Notes: Per the consignor’s recollection, the basketry bowl from Third Mesa Hotevilla.

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1178

Five Hopi polychrome basketry plaques

Mid/late 20th century; Arizona Each Second Mesa coiled plaque with various figural and stylized motifs including a standing Mudhead [Koyemsi], a Palhik Mana motif, a Grandmother [Hahay-i wu-uti] motif, a star or flower motif, and an oval stylized turtle tray with an unfinished edge of tapered grass 5 pieces Largest height 1 1/4 in., diameter 11 in.; smallest height 1 in., diameter 9 in. $300-500

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Frank Tenney Johnson (1874-1939)

Southwestern painter and illustrator Frank West and was especially skilled in depictio and New York before traveling throughou life on the open range. His experiences in often portraying solitary riders, horses, cam became famous for his distinctive “moonl create a mysterious, luminous atmosphere as a master of Western moonlight paintin increasingly successful, and in 1937 he wa helped define the visual image of the Am

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k Tenney Johnson is best known for his romantic images of the American ons of nocturnal subjects. Born in Iowa, Johnson studied art in Milwaukee ut the West, where he observed cowboys, horses, Native Americans, and nspired him to focus on quiet nighttime scenes rather than dramatic action, mpfires, and frontier settlements beneath moonlight and stars. Johnson light technique,” using cool blue-green shadows and warm lamplight to e. His nocturnes became his signature works and earned him recognition ng. He moved to California in the 1920s, where his easel paintings became as elected a National Academician. Johnson created a body of work that merican West at night.

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1179

Frank Tenney Johnson

(1874-1939) “Night Rider” Oil on canvas laid to canvas Unsigned; titled on labels affixed to the frame’s verso; alternatively titled “Nocturnal” 24 3/8 x 36 in. $20,000-30,000 Provenance: The Edward Goldfield Collection Exhibited: Los Angeles, CA, Bronson-Rollins & Associates Inc., “The Western Tradition,” October 20 - December 20, 1988

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1180

Charles Damrow

(1916-1989) Two cowboys on horseback, 1962 Oil on canvas Signed and dated lower right: Charles Damrow / ‘62 36 x 48 in. $1,000-1,500 Provenance: Sold: Butterfield & Butterfield, Los Angeles, CA, “California and American Paintings and Sculpture,” June 12, 1996

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1181

Ernest Tonk

(1889-1968) “The Rustlers” Watercolor and gouache on paper Signed lower right: Ernest Tonk; titled on the frame plaque Sight: 19 1/8 x 25 1/8 in. $1,000-1,500

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1182

Jerry Bingham

(b. 1953) “Display of Caution” Oil on canvas Signed lower left: Bingham ©; signed “Jerry Bingham” and titled in ink on the stretcher 9 x 12 in. $500-700 Provenance: The Coeur d’Alene Galleries, Coeur d’Alene, ID Private collection, Prescott, AZ By family descent

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1183

Jerry Bingham

(b. 1953) “Hard Meals at Mandan” Oil on canvas Signed lower right: Bingham ©; signed “Jerry Bingham” and titled on the stretcher 9 x 12 in. $500-700 Provenance: The Coeur d’Alene Galleries, Coeur d’Alene, ID Private collection, Prescott, AZ By family descent

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1184

Thomas Beecham

(1926-2000) “Terror on the Plains,” cover illustration for the December issue of “Fury” magazine, 1957 Oil on board Signed lower right: Beecham; with the artist’s name, title of the magazine, “Fury,” issue date, “December 1957,” and inscribed “Vol. 22 Nig,” all in ink, verso; titled “Terror on the Plains” on an auction label affixed to the frame’s backing paper 17 1/2 x 13 3/4 in. $600-800 Provenance: Weider Health and Fitness Collection Sold: Heritage Auctions, Dallas, TX, “Illustration Art Signature Auction,” October 12, 2016, Lot 71217 Sold: March in Montana Auctions, Great Falls, MT, in association with Coeur d’Alene Auctions, Coeur d’Alene, ID, “March in Montana 2021,” March 19-20, 2021, Lot 321 Private collection, Prescott, AZ By family descent

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1185

Kim Mackey (b. 1953) Three works:

“Round-Up” Etching in brown ink on Somerset paper Edition: 19/30 Signed, titled, and numbered in pencil in the lower margin: Mackey Plate: 3 7/8 x 6 3/8 in.; Sheet: 8 x 10 1/2 in. “The Suitor’s Gift” Etching in brown ink on wove paper Edition: 8/25 Signed, titled, and numbered in pencil in the lower margin: Mackey Plate: 7 3/4 x 6 1/2 in.; Sheet: 10 x 12 1/8 in. “Bronc Stomper” Etching in brown ink on wove paper Edition: 13/30 Signed, titled, and numbered in pencil in the lower margin: Mackey Plate: 5 5/8 x 6 1/2 in.; Sheet: 9 3/4 x 10 5/8 in. $400-600

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1186

1187

(1912-1993) “The Gunslinger,” 1953 Patinated bronze on stone plinth Signed and dated in the casting: CLEM SPAMPINATO / NY Height of bronze 22 1/2 in., width 26 in., depth 13 in.; height overall 23 1/2 in.

(1912-1993) “Bulldogging S Patinated bronz Signed, dated, Height of bronz width 24 1/4 in.

Clemente Spampinato

$1,500-2,500

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Clemente Spa

$1,500-2,500

ampinato

Spread Legs,” 1955 ze on stone plinth and titled in the casting: CLEM SPAMPINATO © / N.Y. ze 10 1/2 in., width 23 in., depth 13 1/4 in.; height overall 11 3/4 in., ., depth 14 in.

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1188

John Fawcett

(b. 1952) “Draggin Dust,” 1995 Watercolor and gouache on tan paper Signed, dated, and with the artist’s device lower right: Fawcett © ‘95; titled on the accompanying certificate of purchase Image/Sheet: 20 3/4 x 25 3/4 in. $1,000-1,500 Provenance: Wind Rivers Gallery, Aspen, CO Notes: This lot is accompanied by a “certificate of purchase” dated February 10, 1996, from the gallery mentioned above, and other documentation materials about the artist.

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1189

Brian Boner

(21st Century) “Wheelwell,” 2006 Oil on panel Signed, titled, and dated verso: B. Boner / 1/06 47 3/4 x 47 3/4 in. $1,000-2,000 Provenance: Art One Gallery, Inc., Scottsdale, AZ Notes: This lot is accompanied by a copy of a sales invoice dated January 14, 2006, from the gallery mentioned above.

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1190

Nelson Boren

(b. 1952) “Stallion Boots” Watercolor on paper Signed and with the artist’s initials device lower left: Nelson Boren NB; titled by repute Image/Sheet: 12 x 16 in. $800-1,200

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1191

A large Arts & Crafts oak dining table

Early 20th century, possibly Charles Stickley (1860-1927) With a quarter-sawn oak tabletop raised on exaggerated cross stretchers with large keyed tenon joinery Appears unmarked Height 30 in., diameter 65 in. $1,000-1,500 Provenance: The Collection of Gary Diamond, Los Angeles, CA

1193

A Gustav Stickley oak desk, model 711

1907-1912; Eastwood, NY The oak desk with rectangular top over a central lockable drawer flanked by two writing slides above a series of drawers with hammered copper pulls, raised on eight straight legs Stamped with Craftsman shop mark [joiner’s compass] and paper label Height 30 in., width 60 1/4 in., depth 32 in. $1,200-1,800

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1192

A Limbert quarter-sawn oak sideboard, model 1331

Early 20th century With later dish rack above two locking drawers, two cabinet doors, and a long locking drawer Factory burn mark to upper drawer interior; stamped verso: 1331 Height 43 1/2 in., width 48 1/4 in., depth 21 in. $800-1,200

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1194

A Tiffany Studios Favrile glass geometric table lamp

Circa 1902-1919; New York, NY The caramel-colored leaded glass geometric shade with square brick pattern on a three-light patinated bronze base, electrified Shade marked in relief: Tiffany Studios / New York / 1486; base unsigned Height overall 22 1/2 in.; height of shade 7 in., diameter 16 in. $6,000-8,000

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1195

A Tiffany Studios Favrile glass and bronze ‘Chinese’ table lamp

Early 20th century With Chinese archaic-style filigree metal overlay, on a patinated bronze base issuing two Leviton lights, electrified Shade impressed: TIFFANY STUDIOS NEW YORK 1588; base impressed: TIFFANY STUDIOS / NEW YORK / 535 Height overall 16 3/4 in., width 10 1/8 in., depth 10 1/8 in. $2,000-4,000 Provenance: The Collection of Sybil Rosen and Robert Fisher

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1196

Five Tiffany Studios bronze and Favrile glass ‘Grape Leaf’ desk items

Early 20th century Verdigris patinated, comprising an oval easel-back picture frame, an easel-back calendar holder with incomplete set of paper cards, a matchstick holder, a lidded box, and a bronze brush pot Each impressed: TIFFANY STUDIOS / NEW YORK; match holder numbered: 958; smaller frame impressed with indistinct number 5 pieces Oval aperture 5 5/8 x 3 3/4 in.; rectangular aperture 2 1/4 x 3 3/8 in.; height of box 1 7/8 in., width 4 3/8 in., depth 3 1/8 in.; height of match holder 4 in., diameter 5 1/4 in. $800-1,200

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1197

A Tiffany Furnaces Favrile glass and gilt-bronze vase

Early 20th century The spreading foliate base mounted with an iridescent glass trumpet vase Impressed to underside: [‘L’ in cartouche] / LOUIS C.TIFFANY FURNACES.INC. / FAVRILE / 158 Height 17 1/4 in., diameter 5 1/2 in. $700-1,000

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1198

A group of nine meerschaum pipes

Late 19th/early 20th century Each pipe bowl carved in intricate high relief with various figures, portrait masks, and animal groups including deer, dogs, and birds, five with attached stems, and four with fitted cases 13 pieces Largest height 4 in., width 8 in., depth 2 in.; smallest height 1 1/2 in., width 3 in., depth 1 in.; largest case height 3 in., width 8 in., depth 1 1/4 in. $500-800

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1199

Six Western hand-painted or transfer-printed porcelain plates

Mid/late 20th century Comprising three painted with cowboy figures, one Till Goodan printed imaged of a bucking horse, one printed “Let ‘Er Buck” Pendleton, Oregon, and one depicting “Mission San Diego de Alcala” Two marked for Vernon Kilns, others variously marked 6 pieces Largest diameter 14 in.; smallest diameter 9 1/4 in. $150-250

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1200

Two Avirex leather bomber jackets Two works:

A ‘Red Cloud’ Avirex red leather varsity style jacket, circa 1990’s With chenille appliques to front and back including a shield emblem, ‘Red Cloud’, ‘Lakota Tribe’ [with buffalo head], and with printed photographic patches sewn to lining, referencing Suquamish, WA; the jacket with tonal striped ribbing to collar, hem, and cuffs Labeled for Avirex; Made in Korea Size XL; chest 26 in.; sleeves 25 in.; CB length 26 in. An Avirex brown leather A-2 flight jacket, circa 1988 With various patches, emblems and pins attached to the exterior and to pockets, including a printed Chinese Air Force emblem patch to the right sleeve, and a large American/Taiwanese Flag ‘blood chit’ printed leather appliqué to the back; the interior with various mementos and photographs stitched to lining, encased in plastic, and other labels indicating care of jacket, as well as a ‘Membership Certificate’ of the American Volunteer Corps embroidered and printed to the lining Labeled for Avirex; Made in Korea Size L; chest 24 in.; sleeves 25 in.; CB length 25 in. 2 pieces $500-700 Notes: For the flight jacket: “The patch on this jacket is a reproduction of a famous WWII-era “Flying Tigers” blood chit. It shows the flags of the United States and the Republic of China (the “Blue Sky with a White Sun”), with Chinese text requesting aid for the American pilot.”

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1201

A pair of Western leather chaps

Late 20th century The tapered chaps in heavy dark brown leather with a fixed waistband and shaped yoke with contrast stitching, a small silver-tone buckle, and each leg with full length brass zipper closure with short fringing to edges Overall height 35 in. approximately; width 13 1/2 in. at upper leg, 8 in. at ankle $200-400

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1202

A group of Western spurs

20th century Six pairs of spurs and one single spur, each of various style of heel, shank, and rowel, by various makers including Vogt, E. Garcia, Winchester, and Andrews (Joshua, Tex), most with mixed metal overlay designs, three with chased silver accents, one pair with monogram CR, the Winchester pair with pictorial ‘leg’ design shanks, and one pair with wide woven leather straps with large chased silver concha style medallions 13 pieces Largest inner heel width 3 1/2 in., shank length 2 1/4 in., rowels diameter 2 1/4 in.; smallest inner heel width 3 in., shank length 1 5/8 in., rowels diameter 1 1/2 in. $500-800

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1203

A large group of Mexican spurs and a headstall

Late 19th/20th century Seven pairs of Mexican spurs, each of various style of heel, shank, and rowel, most of wrought iron and with silver or mixed metal inlay, the smallest with chased silver accents, and two pairs with shaped leather straps, as well as an equestrian headstall with cased silver inlay in a stylized revolver motif 15 pieces Largest inner heel width 3 3/4 in., shank length 3 1/2 in., rowels diameter 4 in.; smallest inner heel width 3 in., shank length 1 1/2 in., rowels diameter 2 1/4 in. $600-900

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1204

After Ansel Adams

(1902-1984) “Cathedral Spires and Rocks, Late Afternoon, Yosemite National Park, California,” one plate from “Yosemite Special Edition Photographs,” 1949 Gelatin silver print on paper mounted to board, as issued From the edition of unknown size, printed later by Alan Ross from Adams’ original negative under his supervision Unsigned, as issued; with the “Special Edition Photographs of Yosemite by Ansel Adams” black ink stamp including the title, printer’s credit, and printer’s initials in ink, all on the verso of the mount Sight: 7 1/4 x 9 1/4 in. $600-800

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1205

After Ansel Adams

(1902-1984) “Peaks and Meadow, Lyell Fork of the Merced River, Yosemite National Park,” one plate from “Yosemite Special Edition Photographs,” 1943 Gelatin silver print on paper mounted to board, as issued From the edition of unknown size, printed later by Alan Ross from Adams’ original negative under his supervision Unsigned, as issued; with the “Special Edition Photographs of Yosemite by Ansel Adams” black ink stamp including the title, printer’s credit, and printer’s initials in ink, all on the verso of the mount Sight: 7 1/8 x 9 1/4 in. $600-800

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1206

A Diné (Navajo) Classic period half dress

Third quarter 19th century A single panel worked in wide red bands to each end with contrast zigzags and scalloped narrow banding and fringed corners, woven in natural black, indigo-dyed blue, and red wool, the darker red dyed with lac and the lighter red (approximately 5% of all red yarns) dyed with 50% lac/50% cochineal 4 ft. 5 in. x 2 ft. 9 in. approximately $2,000-3,000 Notes: Dye test results: the darker red yarns are dyed with lac, while the lighter reds are dyed with a mixture of lac and cochineal (50/50 ratio of lac to cochineal). Dye testing by Dr. David Wenger confirms the stated dyes; the test results to accompany the lot.

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1207

A Diné (Navajo) Late Classic sarape

Circa 1875-1885 Woven in red, cream, indigo, purple, and yellow wool with multiple bands of serrated barbed zigzags and floating serrated diamonds to center 4 ft. 10 in. x 3 ft. 6 in. approximately $4,000-6,000

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1208

A Diné (Navajo) transitional manta weaving

Early 20th century Woven in brown, red, variegated blue, and orange wool with stepped borders and floating crosses to each long edge 4 ft 8 in. x 3 ft 6 1/2 in. approximately $3,000-5,000

1209

A Diné (Navajo) transitional weaving

Circa 1880-1900 Woven in red and multicolored wools featuring a serrated diamond lattice enclosing floating zigzag and two-tone elements, with banded ends 7 ft. 4 in. x 4 ft. 7 in. approximately $1,200-1,800 Provenance: Sold: Bonhams, Los Angeles, CA, “Native American Art,” December 11, 2018, Lot 491 Private collection, acquired from the above

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1210

A Diné (Navajo) transitional weaving

Late 19th/early 20th century Woven in natural cream, mottled grey, brown and tan wool, featuring sawtooth zigzag bands with multiple floating crosses and striped banding to ends 5 ft. 11 in. x 4 ft. 4 in. approximately $400-600

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1211

James Swinnerton

(1875-1974) “Navajo Land, Monument Valley” Oil on canvas Signed lower right: Swinnerton; titled on gallery and exhibition labels affixed to the frame’s backing board 34 1/8 x 28 1/4 in. $4,000-6,000 Provenance: Nedra Matteucci Gallereis, Santa Fe, NM Goldfield Galleries, Los Angeles, CA Sold: Santa Fe Art Auction, Santa Fe, NM, “14th Annual Santa Fe Art Auction,” November 10, 2007, Lot 107

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1212

John William Hilton

(1904-1983) “Mt. San Jacinto” Oil on Masonite With the incised signature lower right: John W. Hilton; titled by repute; inscribed along the upper portion of the frame’s verso: “To my Darling Barbara with love” and, in another hand, “I give this painting to Dr. John Helsabeck in gratitude for a new and happy life. Barbara Hilton” 24 x 36 in. $2,000-3,000 Provenance: The artist Barbara Hilton, the artist’s wife, gifted from the above Private collection, Indio, CA Private collection, purchased from the above

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1213

Laurence Philip Sisson

(1928-2015) “Sheltered” Oil on Masonite Signed lower left: L. Sisson; titled on a gallery label that accompanies this lot 20 x 30 in. $2,000-3,000 Provenance: Wadle Galleries Ltd, Santa Fe, NM Private collection, San Diego, CA Notes: This lot is accompanied by a detached label from the gallery mentioned above.

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1214

Roi Clarkson Coleman

(1884-1945) “Floating Veils of the Desert” Oil on canvas Signed lower left: R. Clarkson Coleman; signed again and titled, all in pencil, on the stretcher 24 x 30 1/4 in. $800-1,200

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1215

A Diné (Navajo) third phase blanket-style weaving

First half 20th century Woven in red, cream, brown, and ochre wool with contrast banding and a sawtooth diamond to center, with hatched lines to each corner 6 ft. x 4 ft. 5 in. approximately $2,000-3,000

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1216

A Diné (Navajo) Germantown weaving

Late 19th/early 20th century Woven in red, green, cream, blue, black, and pale yellow wool in an all-over diamond lattice pattern of concentric sawtooth diamond lozenges, with banded ends 7 ft. x 4 ft. 7 in. approximately $2,000-4,000 Provenance: Sold: Bonhams, Los Angeles, CA, “Native American Art,” December 11, 2018, Lot 507 Private collection, acquired from the above

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1217

A Diné (Navajo) Germantown textile

Late 19th century Featuring a central column of four black storm pattern motifs flanked on either side by a column of five sawtooth diamonds, all on a red ground, woven in red, cream, black, green and purple wool yarn, with red yarn fringing to each corner 6 ft. 1 1/2 in. x 3 ft. 2 1/2 in. approximately $1,000-2,000

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1218

A Diné (Navajo) Germantown loomer

Early 20th century Woven in green, red, blue, cream, and grey wool, with a central serrated diamond motif and triangular motifs to sides, with cotton warps and wooden loom bars and rods 1 ft. 4 in. x 1 ft. 4 in. $300-500

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1219

A Diné (Navajo) two-faced twill loomer

Second half 20th century Featuring a double weave in-progress sampler with various twill patterns, woven in brown, orange, and cream wool yarn with wool warps, cotton binding, and with various wooden loom bars and sticks 2 ft. 2 in. x 2 ft. approximately $400-600

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1220

A Diné (Navajo) pictorial weaving

Early/mid-20th century A narrow throw finely woven in red, brown, cream, grey, and orange wool with wool warps, featuring a central roundel with arrow motifs and serrated zigzags with feather motifs, as well as larger serrated zigzags to each end with floating serrated diamonds 5 ft. 3 1/2 in. x 2 ft 4 1/2 in. approximately $300-500

1221

A Diné (Navajo) Crystal JB Moore rug

First half 20th century Woven in red, cream, and black wool with a central and two side columns of stacked sawtooth diamonds, alternating with columns of floating geometric motifs, a J.B. Moore variation of Plate XV 6 ft. 10 in. x 4 ft. 9 in. approximately $1,200-1,800 Provenance: Sold: Bonhams, Los Angeles, CA, “Native American Art,” August 31, 2020, Lot 135 Private collection, acquired from the above

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1222

A Diné (Navajo) Crystal JB Moore rug

First half 20th century Woven in grey, tan, red, cream, brown, and olive green wool with wool warps, featuring a central elaborate diamond flanked by stylized cross motifs, with multiple floating motifs including whirling logs, and a wide border with stepped diamonds, a J.B. Moore variant of Plate XXX 6 ft. 10 in. x 4 ft. 2 in. approximately $800-1,200 Provenance: Private Collection, Davidson, North Carolina Sold: Brunk Auctions, Asheville, NC, “Premier Auction,” July 20, 2019, Lot 1225 Acquired from the above by the current owner

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1223

A large Diné (Navajo) rug

Mid-20th century Woven in cream, red, brown, and grey wool, with a central medallion taking the form of an abstract butterfly, with additional diamonds and stepped devices, framed in a double banded border. 11 ft. 11 in. x 9 ft. approximately $3,000-5,000 Provenance: Sold: Bonhams, San Francisco, CA, “Native American Art” (Sale 24299), December 4, 2017, Lot 193 Private collection, acquired from the above

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1224

A Diné (Navajo) regional rug

First half 20th century Woven in natural cream, brown, and mottled brown wool featuring three columns of interlocking stacked concentric crosses with floating zigzags and partial stepped diamonds to the sides 7 ft. x 4 ft. 9 in. approximately $800-1,200

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1225

A Diné (Navajo) regional rug

First half 20th century Woven in variegated brown, grey, dark brown, and cream wool with a central hooked diamond with a whirling log motif, two elaborate stepped hooked triangles, flanked by floating stepped motifs, all within a stepped dark brown border 7 ft x 5 ft 4 in. $700-900

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1226

A Diné (Navajo) Two Grey Hills rug

Early 20th century With conjoined stepped diamonds and floating figural motifs within a denticulated border, woven in dark brown, cream, natural grey, and ochre wool 6 ft 11 1/2 in. x 4 ft 7 1/2 in. $600-800

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1227

A Diné (Navajo) regional rug

First quarter 20th century Woven in grey, cream, and dark brown wool with a large central stepped X- form and floating elements to each end 7 ft. 6 in. x 3 ft. 10 in. approximately $800-1,200

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1228

A Diné (Navajo) regional rug

First half 20th century Featuring four bands of crosses woven in red, brown, cream and mottled brown wool, with banded ends 5 ft. 6 in. x 3 ft. 6 in. approximately $800-1,200

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1229

A Diné (Navajo) third phase wearing blanket-style weaving

First half 20th century Woven in red, cream, and dark brown wool, with striped banding and stepped diamond motifs to the center and edges 4 ft. 4 in. x 4 ft. 2 in. approximately $1,000-1,500

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1230

A Diné (Navajo) regional rug

First half 20th century Woven in mottled grey/brown, dark brown, tan, red, cream, black, and orange wool with wool warps, featuring multicolored central concentric hatched diamond motifs and banded borders 4 ft. 9 in. x 3 ft. approximately $500-700

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1231

A Diné (Navajo) regional rug

Mid-20th century Woven in cream, brown, and mottled grey/brown wool with three columns of floating crosses within a double border 6 ft. 2 in. x 3 ft. 9 in. approximately $700-900 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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1232

Charles Fritz

(b. 1955) “The Ancient Autumn Song,” 1998 Oil on canvas Signed and dated lower left: C. Fritz © ‘98; titled on the frame plaque 36 x 50 in. $10,000-15,000 Provenance: Sold: Coeur d’ Alene Auctions, Reno, NV, July 28, 2018, Lot 120 Private collection, Tucson, AZ Literature: Nancy Gillespie, “Big Country, Big Talent” Art of the West (Minnetonka, MN: Duerr and Tierney, Ltd., May/June 1999), p 28, illustrated Notes: According to the artist, “To the outdoorsman, autumn is the cherished season. Every moment of venturing into game country is savored: the horses and their tack, wall tents and wood stoves, traveling by horse before light and after dark, every day climbing for all you are worth, often with no reward except for the handsome view. In the end, his ancient song is my ancient song.” 2 9 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

1233

Luke Frazier

(b. 1950) “Arizona Roundup,” 2007 Oil on Masonite Signed lower right: L. Frazier, dated lower left: © 07; signed and dated again, and titled, all verso, and yet again on an artist’s label affixed verso; titled on the frame plaque 30 x 40 in. $7,000-10,000 Provenance: Sold: Scottsdale Art Auction, Scottsdale, AZ, April 6, 2013, Lot 352 The Legacy Gallery, Scottsdale, AZ Private collection, Tucson, AZ

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1234

Ott Jones

(b. 1959) “Number One” (caribou), 1987 Patinated bronze on marble base on rotating wood plinth Edition: 1/28 Signed, dated, and numbered in the casting: OttJones / © Height of bronze 17 1/4 in., width 18 3/4 in., depth 13 1/2 in.; height overall 19 1/4 in. $500-700

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1235

Steve Retzlaff

(Active 20th Century) “Majesty,” 1998 Patinated and polished bronze on marble plinth Signed, dated, and titled in the casting: Retzlaff © Height of bronze 9 7/8 in., width 7 3/8 in., depth 5 7/8 in.; height overall 11 5/8 in. $600-800

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1236

1237

(b. 1963) “Desert Dweller” (Desert Bighorn Sheep), 2023 Oil on canvasboard Signed lower left: © Krystii Melaine; signed again, titled, dated “December 2023,” and numbered “#1533,” all in ink, verso; with the artist’s studio label affixed verso 9 x 12 in.

(b. 1970) “Dugga Boys,” 2013 Oil on Masonite Signed and dated along the lower edge at right: L and titled, all on an artist’s label affixed verso; title 24 x 40 in.

Krystii Melaine

$600-800 Provenance: Private collection, Prescott, AZ By family descent

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Luke Frazier

$4,000-6,000

Provenance: Sold: Scottsdale Art Auction, Scottsdale, AZ, April Private collection, Tucson, AZ

L. Frazier; signed and dated again, ed again on the frame plaque

l 6, 2013, Lot 360

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1238

Luke Frazier

(b. 1970) “On Granite Cliffs,” 2012 Oil on Masonite Signed lower right: L. Frazier, dated upper right: ©12; signed and dated again, and titled, all on an artist’s label affixed verso; titled again on a frame plaque 30 x 36 in. $5,000-7,000 Provenance: Sold: Reno, NV, Coeur d’Alene Art Auction, “The 2012 Coeur d’Alene Art Auction,” July 21, 2012, Lot 76 Private collection, Tucson, AZ Notes: According to Luke Frazier, “Glacier National Park is a wonderful and beautiful place—granite mountains thrust to the sky and moraine valleys cut by millennial glaciers are scattered with pristine lakes. This vast diverse ecosystem is the centerpiece of what has been referred to as the “Crown of the Continent.” The nimble and sure-footed mountain goats scale these cliffs in search of lichen and tender grasses. It seems that these mountain men are oblivious to severe weather, clinging to the cliff face come rain or shine.”

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1239

Twelve Folk Art polychrome carved wood fish and amphibian models

20th century A large group of polychrome painted wood fish of various species as well as a turtle and two swimming frogs, each in various colors and each with painted metal fins or other accents, ten mounted to custom painted steel stands 12 pieces Largest height 3 1/2 in., width 18 in., depth 7 1/4 in.; smallest height 3/4 in., width 4 in., depth 2 in.; stand heights 9 to 3 1/2 in. $400-600

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1240

A Folk Art carved wood wolf trophy/plaque

Late 20th/21st century A large sculpted wolf head effigy composed of carved wood sections covered with embossed textured foil, with polychrome painted features, metal teeth, and resin eyes; the head mounted to a painted wood plaque Unsigned Height 26 3/4 in., width 11 3/4 in., depth 29 in. $300-500

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1241

Seven Folk Art geese patio ornaments

Mid/late 20th century Canvas duck impressed to underside: SPORT EN ART; and signed: by Ron Vich Comprising three painted carved wood cygnet decoys, one painted wood panel in wood base, one painted wood with metal articulated neck, one printed board with articulated neck, and one painted canvas, armature, and wood decoy 7 pieces Height of canvas 9 7/8 in., width 26 5/8 in., depth 9 1/4 in.; height of cygnet decoys 4 3/4 in., width 9 1/2 in., depth 4 1/2 in. $300-500

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1242

A Tiffany Studios Favrile glass dragonfly lamp screen Early 20th century The wings with metal overlay filigree Unmarked Height 6 5/8 in., width 10 1/8 in., depth 1/2 in. $1,000-2,000

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1243

A Tiffany-style glass and metal ‘Daffodil’ table lamp

Late 20th century, Gunther Lambert Collection The leaded glass shade depicting floral motifs, on a Gunther Lambert Collection lamp base issuing three lights, electrified Base marked in the casting in relief: GUNTHER LAMBERT COLLECTION; shade unmarked Height of base 25 in., diameter 9 3/4 in.; height of shade 8 3/4 in., diameter 20 in. $1,000-2,000

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1244

An American glazed earthenware vase

Early 20th century, attributed to Tiffany Studios The polychrome glazed vase molded in the form of irises Unmarked Height 13 in., width 4 1/2 in., depth 4 1/2 in. $1,500-2,000 Literature: c.f. Alastair Duncan, “Tiffany at Auction” (New York: Rizzoli, 1981), pg. 31, no. 69

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1245

A Tiffany Studios bronze ‘Root’ candlestick

Early 20th century with later married elements The root-form base with altered support raising an associated iridescent pulled feather glass shade Impressed: TIFFANY STUDIOS / NEW YORK / 1200 Height overall 13 3/8 in., diameter 5 1/2 in. $700-1,000

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1246

Five Tiffany Studios bronze and Favrile glass ‘Pine Needle’ desk items

Early 20th century Verdigris patinated, comprising two lidded boxes, a stamp box, an easel-back picture frame, and an easel-back calendar holder Each impressed: TIFFANY STUDIOS / NEW YORK; smaller box numbered: 800; stamp box numbered: 801 5 pieces Frame aperture 3 3/8 x 2 1/4 in.; height of largest box 2 1/4 in., width 6 in., depth 4 1/8 in. $700-900

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1247

A Buffalo Metal Works Tiffany-style lily lamp

1976 The patinated copper alloy base issuing three lights, each with iridescent gold glass lily-form shade, electrified Incised with date to underside of base: Buffalo Metal Works / #138 / 5-76 Height 12 1/2 in., diameter 10 in., irregular $500-800

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1248

Tom Phillips

(1927-2005) Cowboys herding cattle in a Western landscape Watercolor and pastel on paper Signed, dated, and with the artist’s tipi device lower right: © 79 Tom Phillips Sight: 26 1/4 x 42 in. $1,000-2,000

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1249

Fred Fellows

(b. 1934) “Spring Time” Watercolor and gouache on paper Signed lower left: Fellows / CA; titled possibly in another hand on the frame’s backing board Sight: 9 1/2 x 13 1/2 in. $500-700 Provenance: Ronald G. Barnie, purchased in Flathead Lake, MT, 1975

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1250

Attributed to Frank B. Hoffman (1888-1958) A cowboy on horseback smoking Ink on tissue paper laid to board Appears unsigned Sight: 7 7/8 x 9 7/8 in. $400-600

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1251

Edward Borein

(1872-1945) “A California Vaquero,” 1924 Monoprint with gouache highlights on paper mounted to paperboard Signed and dated in pencil lower right: Edward Borein; titled lower left; signed again on the matting lower right; inscribed “To Pete Lewis from a Horseman” and with an artist’s horse and rider remarque on the matting lower left; inscribed indistinctly in pencil in another hand: “W. [****tt] on the lower left corner of the mount Sheet: 19 7/8 x 15 1/4 in.; Mount: 19 7/8 x 16 3/8 in. $6,000-8,000

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1252

Eugene Higgins

(1874-1958) “The Strange Land” Oil on canvas Signed lower left: Eugene Higgins; signed again and titled in paint, verso, titled yet again on two exhibition labels affixed to the stretcher and frame; inscribed “The Outcasts” in pencil on the stretcher; alternatively titled “Refugees” on another label affixed to the stretcher 35 1/4 x 26 3/8 in. $500-700 Provenance: Mr. and Mrs. H.B. Nelles Collection Exhibited: Los Angeles, California, University of Southern California Art Gallery, no date

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1253

David Lemon

(b. 1945) “Frontiersman” Patinated bronze on stone plinth Edition: 5/40 Signed and numbered in the casting: LEMON ©; titled by repute Height of bronze 13 3/8 in., width 6 3/4 in., depth 6 3/8 in.; height overall 15 3/8 in. $300-500

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1254

Hans Paap

(1890-1967) “Bill Woods, The Prospector,” 1930 Oil on canvas Signed, titled (twice), dated, and inscribed along the lower edge: Hans Paap 20 May 1930 / New Mexico 20 x 18 in. $2,500-3,500 Provenance: The Edward Goldfield Collection Goldfield Galleries, Los Angeles, CA

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1255

Everett Shinn

(1876-1953) Ferndale Trotting Association ticket booth Pencil on paper mounted to illustration board Signed lower left: Everett Shinn Sheet: 8 x 10 3/8 in.; Sight: 8 1/2 x 10 7/8 in. $400-600 Provenance: The Hawes Collection, St. Louis, MO Private collection, San Diego, CA

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1256

Everett Shinn

(1876-1953) Ferndale directional sign Pencil on paper mounted to illustration board Signed lower left: Everett Shinn Sheet: 8 1/4 x 10 1/8 in.; Sight: 9 x 10 5/8 in. $400-600 Provenance: The Hawes Collection, St. Louis, MO Private collection, San Diego, CA

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1257

A Roycroft copper and brass fruit bowl 1920s In the Art Deco style Impressed to underside: [orb] / ROYCROFT Height 4 5/8 in., diameter 12 in. $500-700

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1258

A Mica Lamp Co. table lamp

Late 20th/early 21st century With a bulbous-shaped verdigris patinated copper base, three arms, and three light, surmounted by a copper and mica three-paneled shade, electrified Label to underside: Mica Lamp Company / Glendale, CA; further stamped with company logo; shade with applied label numbered: 961662 Height overall 18 1/2 in.; height of base 17 5/8 in., width 15 1/4 in., depth 13 3/4 in.; height of shade 7 1/4 in., diameter 17 1/4 in. $400-600

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1259

A Mica Lamp Co. table lamp

Early 21st century The patinated copper base issuing three lights, surmounted by a copper and mica shade, electrified With impressed factory marks; one with applied label: MICA LAMP CO. / Glendale, CA / SOLID COPPER Height overall 25 in.; height of base 24 1/4 in., width 18 1/2 in., depth 17 1/2 in.; height of shade 9 1/2 in., diameter 20 5/8 in. $400-600

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1260

David Warren Seyler (1917-2010)

A ‘Sad Madonna’ porcelain figure, model 180 for Kenton Hills Porcelains, Inc. Glazed porcelain With underglaze signature to underside: Unica Seyler; impressed factory mark Height 13 3/4 in., diameter 2 3/4 in. $500-700 Provenance: Collection of David Seyler Acquired from the previous by the present owner

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1261

Three American iridescent glass vases 1920s Three works:

A Steuben ‘Aurene’ vase Etched: STEUBEN / AURENE / 268 [indistinct] Height 8 3/8 in., diameter 7 5/8 in. A Kew Blas pulled feather iridescent glass vase Etched to underside: KEW-BLAS Height 8 1/8 in., diameter 3 7/8 in. A diminutive iridescent blue glass vase Unmarked Height 2 5/8 in., diameter 2 3/4 in. 3 pieces $400-600 johnmoran.com 329

1262

A Miller Lamp Co. table lamp and pulled feather glass shade

20th century The patinated and gold-toned metal base with single light and a pulled feather iridescent glass shade, electrified Shade later etched: V652893; base unmarked Height of base 11 3/8 in., width 5 1/2 in., depth 5 in.; height of shade 6 in, diameter 5 5/8 in; overall height 17 1/4 in. $300-500

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1263

An American mottled glass and metal overlay table lamp

Early 20th century, possibly Handel Amber slag glass shade with decorative metal overlay design, raised on a patinated metal fourlobed base issuing two lights with acorn pulls, electrified Unmarked Height overall 21 1/2 in.; height of shade 6 1/4 in., diameter 18 3/4 in. $800-1,200

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1264

A Diné (Navajo) regional rug

Mid-20th century Woven in mottled brown, dark brown, tan, cream, and red wool featuring a central hooked diamond and narrow band border 4 x 3 ft. approximately $400-600

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1265

A Diné (Navajo) regional rug

First half 20th century Woven in grey, red, brown, and cream wool with a central column of stacked sawtooth diamonds and a red zigzag line, all within two crenelated inner borders and with a meandering stepped border to the long side edges 7 ft. 5 in. x 4 ft. 9 in. approximately $700-900

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1266

A Diné (Navajo) regional rug

Mid-20th century Woven in tan, dark brown, cream, and pale mottled brown wool with a central stepped X-form and further triangle motifs all within a complex hooked border 4 ft.10 1/2 in. x 3 ft. 1 in. approximately $500-700

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1267

A fine Diné (Navajo) Two Grey Hills rug

First half 20th century Finely woven in brown, cream, tan, and mottled brown wool with a central column of stacked diamonds with concentric zigzags and floating two-tone diamonds to sides 4 ft 1 in. x 2 ft. 8 in. approximately $600-800

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1268

A Diné (Navajo) Ganado rug

Mid-20th century Woven in cream, red, black and mottled brown wool with multiple central elaborate stepped concentric diamonds with stepped hook details and banded borders 5 ft. 10 in. x 3 ft. 7 in. approximately $700-900

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1269

A Diné (Navajo) regional rug

Mid-20th century Woven in white, brown, yellow, red, and mottled brown wool featuring two stacked stepped diamonds with floating stepped motifs and with a stepped border to two sides 5 ft. 6 in. x 3 ft. 4 in. approximately $500-700

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1270

A Diné (Navajo) regional rug

Mid-20th century Woven in cream, dark brown, mottled brown, and tan wool with a column of central conjoined stepped diamonds, with floating sawtooth motifs and a complex sawtooth border to the long edges 6 ft. 4 in. x 3 ft. 4 in. approximately $600-800

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1272

A Diné (Navajo) third phase revival textile

Mid-20th century Woven in red, cream, brown, and dark blue wool with contrast and striped banding and stepped diamonds 6 ft. 2 1/2 in. x 5 ft. 3 in. approximately $700-900

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1272

A Diné (Navajo) third phase revival textile

Mid-20th century Woven in red, cream, brown, and dark blue wool with contrast and striped banding and stepped diamonds 6 ft. 2 1/2 in. x 5 ft. 3 in. approximately $700-900

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1273

A Diné (Navajo) Two Grey Hills rug

Mid-20th century With two central elaborate hooked diamonds flanked by complex stepped motifs with feather motif accents, all with banded borders, finely woven in sand, tan, cream, dark brown, and grey wool with wool warps 4 ft. 5 in. x 2 ft. 5 1/2 in. approximately $500-700

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1274

A Diné (Navajo) Two Grey Hills rug

Second half 20th century Woven in cream, black, pale grey, tan, and pale pink wool featuring multiple central concentric stepped hatched diamonds with a black band border 5 ft.1 in. x 3 ft. 1 in. approximately $500-700

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1275

A Diné (Navajo) regional rug

Mid-20th century Woven in cream, brown, and black wool with a central narrow serrated column and similar complex serrated border to the long sides 5 ft. 8 in. x 3 ft. 2 in. approximately $500-700

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1276

A Diné (Navajo) regional rug

Second half 20th century A long textile woven in red, cream, black, and dark brown wool with multiple bands of conjoined diamonds 4ft. 10 in. x 2 ft. 4 1/2 in. approximately $500-700

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1277

A Diné (Navajo) double saddle blanket

Mid-20th century Woven in cream, red, brown, grey, and yellow wool featuring two central serrated diamonds and serrated banding to corners, narrow striped banding to edges and to center, and abundant green and red yarn fringed tassels to each corner 4 ft. 1 1/2 in. x 2 ft. 9 in. approximately $500-700

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1278

A Diné (Navajo) optical rug

Second half 20th century Woven in red, grey, cream, and black wool with an allover optical pattern of interlocking three-dimensional cubes 5 ft. x 2 ft. 7 in. approximately $400-600

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1279

A Diné (Navajo) double saddle blanket

Second half 20th century Woven in black, red, grey, dark blue, and orange wool with multiple serrated-end bands and a zigzag border to long sides 5 ft. 2 in. x 2 ft. 9 in. approximately $500-700

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1280

A Diné (Navajo) double saddle blanket

Mid/late 20th century The long blanket woven in cream, black, ochre, and mottled grey wool with wide ochre bands alternating with grey bands, and with concentric stepped diamonds to central edges and corners 4 ft. 1 1/2 in. x 2 ft. 6 1/2 in. approximately $200-300

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1281

A large Diné (Navajo) regional rug

Second half 20th century Woven in brown, cream, red, and pale grey wool with a central elongated stepped hooked diamond with floating stepped elements within and flanked by contrast meanders to each corner, stacked triangles to the center all within a complex hooked border and banding to all edges 9 ft. x 5 ft. approximately $800-1,200

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1282

A Diné (Navajo) regional rug

Second half 20th century Woven in cream, red, grey, and black wool featuring multiple columns of alternating colored concentric serrated diamonds and with a complex sawtooth border to the long sides 5 ft. 11 in. x 3 ft. 10 in. approximately $600-800

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1283

A Diné (Navajo) regional rug

Second half 20th century Woven in red, black, cream, and grey wool, with a central conjoined hooked stepped diamond, with feather elements and serrated elements to the ends, within a complex stepped hooked border 6 ft.11 in. x 4 ft. 3 in. $700-900

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1284

Mary L. Tom (20th/21st century, Diné [Navajo])

A finely woven Two Grey Hills petite rug Worked with a central delicate hooked stepped diamond with stylized butterfly motifs within a complex stepped hooked inner border and banded outer borders, with a spirit line, and all woven in grey, cream, black, and brown wool 2 ft. 9 in. x 1 ft. 11 in. approximately $400-600 Notes: With attached label from Two Grey Hills trading Post, Tohatchi, New Mexico indicating weaver as Mary L. Tom.

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1285

A Diné (Navajo) Two Grey Hills rug

Late 20th century Woven in browns, greys, black and cream wool with a central elaborate stepped diamond and stepped motifs to the corners 2 ft. 6 in. x 2 ft. 11 1/4 in. approximately $200-400 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “Art of the American West,” May 24, 2022, Lot 2235 (one of two) Private collection, acquired from the above

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1286

A Mexican Diné (Navajo)-style rug

Second half 20th century Woven in black, grey, red, and multicolored wool in a Teec Nos Pos-style featuring stacked diamonds, floating elements and a complex border 4 ft. 10 in. x 3 ft. approximately $500-700

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1287

A Diné (Navajo) Wide Ruins textile

Late 20th century Woven in multicolor wool, with alternating bands of stacked serrated diamonds 2 ft. 8 in. x 1 ft. 8 in. $200-400 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

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1288

A Diné (Navajo) Chinle/Wide Ruin

Second half 20th century Woven in mottled grey, cream, pale bro featuring alternating stepped motif and 4 ft. x 3 ft. 2 in. approximately $300-500

1289

A Diné (Navajo) Chinle/Wide Ruins rug

Third quarter 20th century Woven in pale brown, ochre, yellow, cream, and grey wool in alternating serrated diamond and stripe banded motifs 4 ft. 1 in. x 2 ft. 10 in. approximately $300-500

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ns rug

own, and russet wool d stripe banding

1290

A Diné (Navajo) regional rug

Late 20th century Woven in grey, green, blue, tan, and salmon pink wool with central multicolored sawtooth and stepped hooked diamonds, with stepped motifs to each corner 3 ft. 8 1/2 in. x 2 ft. 9 1/2 in. approximately $300-500

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1291

A Diné (Navajo) third phase chiefs-style weaving

Second half 20th century, attributed to Priscilla Warren (20th century, Diné) Woven in in dark gray, red, light gray, and blue wool with contrast striped banding and stepped diamonds with central crosses 6 ft. x 4 ft. 9 in. approximately $800-1,200 Provenance: Steve Geswiller Gallery, Benson NM Sold: John Moran Auctioneers, Monrovia Ca, “Art of The American West,” September 8, 2019, Lot 295 Private Collection, acquired from the above Notes: Previous owner’s notes indicate Priscilla Warren as weaver.

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1292

A Navajo first phase wearing blanket-style weaving

20th century Woven in bands of aniline red, blue, natural cream and dark brown wool 4 ft. 9 1/4 in. x 5 ft. 8 3/4 in. $800-1,200

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1293

A Diné (Navajo) pictorial rug

Second half 20th century Woven in black, grey, beige, green, pink and multicolored wool featuring multiple figures, animals, buildings, trucks, within a desert landscape with low hills, water, and clouds 4 ft. 4 in. x 2 ft. 5 1/2 in. approximately $600-800

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1294

A Diné (Navajo) storm pattern pictorial Yei rug

Second half 20th century Woven in grey, black, red, cream, and blue in a storm pattern variation featuring five panels each with two standing Yei figures and multiple floating elements including water bugs 4 ft. 1/2 in. x 2 ft. 11 in. approximately $500-700

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1295

A Diné (Navajo) Yei rug

Second half 20th century, attributed to Eva Jem, Diné Woven in grey, black, dark red, cream, and turquoise blue wool featuring six Yei dancers to the center and with a complex stepped border to each side 3 ft. x 2 ft. 3 1/2 in. approximately $300-500 Notes: This lot with an attached Certificate of Genuineness tag from the Navajo Arts & Crafts Enterprise, Window Rock, AZ, indicating Eva Jem as weaver.

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1296

A Diné (Navajo) storm pattern regional rug

Late 20th century, attributed to Daisy George, Diné Woven in grey, black, green, red, and white wool, featuring a central storm pattern with hatched zigzag ‘lightning’ lines and multiple floating elements all within a wide pictorial border with flowering plant motifs and with sawtooth bands to each long side 4 ft. 1 in. x 2 ft. 4 in. approximately $300-500 Notes: This lot with collector’s tag indicating Daisy George as weaver, and with photocopy image of weaver holding the textile.

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1297

A Diné (Navajo) storm pattern rug

Late 20th century With a delicate central storm pattern motif flanked by stacked triangle columns and waterbug motifs, with a complex sawtooth border to two sides, woven in brown, red, black, cream, and pale lilac wool 2 ft. 8 in. x 2 ft. 3 in. approximately $300-500

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1298

Two Diné (Navajo) regional mats

Late 20th century; the smaller attributed to Elise Henderson, Diné, circa 1982 Each variously woven in grey, black, brown, cream, and tan wool with stepped diamonds and other geometric motifs, the larger with a stepped border to each long side 2 pieces Larger 2 ft. 1 in. x 1 ft. 9 in.; smaller 2 ft. 1 in. x 1 ft. 3 in. approximately $400-600 Notes: The smaller mat with a Fred Harvey tag from 1982 indicating weaver as Elise Henderson, Diné.

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1299

Two Diné (Navajo) Ganado throws

Late 20th century; the smaller attributed to attributed to Rebecca Martin, Diné Comprising a storm pattern weaving with floating elements and fine line sawtooth borders to sides, as well as a diminutive mat with a central elaborate stepped diamond and stepped border to sides, each textile with a spirit line and each woven in red, grey, cream, and black wool 2 pieces Larger 2 ft. 2 in. x 1 ft. 10 in.; smaller 1 ft. 4 3/4 in. x 1 ft. 1 1/4 in. approximately $300-500 Notes: The smaller with an attached tag from “The Squash Blossom,” Colorado Springs & Vail, CO, indicating Rebecca Martin as weaver.

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1300

A Mills novelty ‘Page Boy Extraordinary’ slot machine

1930s The five-cent machine with three reels, housed in an enameled metal and wood case, raised on a glazed wood locking cabinet with single shelf and silver-toned metal paw feet Height of machine 29 in., width 17 in., depth 15 3/4 in.; height of cabinet 34 1/4 in., width 20 in., depth 20 in. $800-1,200

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1301

A Mills ‘High Top 7-7-7’ slot machine

Late 1940s The ten-cent machine with three reels, housed in an enameled metal and wood case Height 25 3/4 in., width 18 3/4 in., depth 16 in. $700-1,000

1303

A Mills ‘Liberty Bell’ slot machine

Circa 1930s The five-cent machine with three reels, housed in a metal and wood case With manufacturer’s applied label to right side proper; impressed in the wood: 119111 Height 25 in., width 16 1/2 in., depth 15 in. $600-900

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1302

A Mills ‘High Top 7-7-7’ slot machine

1940s The five-cent machine with three reels, housed in an enameled metal and wood case With manufacturer’s applied label to right side proper Height 26 1/4 in., width 19 in., depth 15 1/4 in. $800-1,200

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1304

A Mills ‘Primadonna’ slot machine

1950s The ten-cent machine with three reels, housed in an enameled and chromed metal case, electrified, raised on a glazed wood locking cabinet with single shelf and brass paw feet Height of machine 28 3/4 in., width 19 in., depth 15 in.; height of cabinet 34 in., width 19 1/2 in., depth 19 1/2 in. $500-800

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1305

A Mills ‘Bursting Cherry’ slot machine

Circa 1937 The twenty-five-cent machine with three reels, housed in an enameled metal and wood case, raised on a glazed wood locking cabinet with single shelf and silver-toned metal paw feet Numbered to paper label applied to interior: No 396260 Height of machine 25 1/2 in., width 17 in., depth 15 1/2in.; height of cabinet 34 1/4 in., width 20 1/4 in., depth 20 in. $600-900

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1306

A Mills ‘Bell Fruit’ slot machine

Second quarter 20th century The one-cent machine with three reels, housed in an enameled metal and wood case Inscribed at front in the casting: BD NOVELTIES / LOS ANGELES CAL; numbered to upper components in the metal: MVC1375 / 148069 Height 24 3/4 in., width 16 1/2 in., depth 15 1/2 in. $800-1,200

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1307

An O. D. Jennings ‘Dutch Boy’ slot machine

Circa 1925 The ten-cent machine with three reels, housed in a metal and wood case Numbered to upper area: 72346 / 644 Height 24 1/2 in., width 16 in., depth 14 1/4 in. $700-1,000

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1308

After André Wilquin

(1899-2000) Remington Portable Typewriter poster, circa 1925 Lithograph in colors laid to paper and backed with linen Signed as part of the image center left: A. Wilquin, and with the printed text: “Y.D.F.3-English-Litho. in U.S.A.” in the lower left margin; A. Waltisbühl & Co., Lucerne, Switzerland, pub. Sheet: 49 1/2 x 35 in.; Linen support: 52 3/4 x 38 in. $500-700 Provenance: The Estate of Tammis Day, Sula, MT Sold: John Moran Auctioneers, Monrovia, CA, “The Estate of Tammis Day,” October 3, 2017, Lot 1013

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1309

After Frederic Remington

(1861-1909) “The Cowboy,” conceived 1905 Patinated bronze on mixed marble plinth Edition: 1/50 Signed in the casting: Frederic Remington; impressed edition Height of bronze 20 7/8 in., width 25 7/8 in., depth 7 7/8 in.; height overall 22 3/4 in., width 25 7/8 in., depth 9 in. $400-600 Provenance: Private collection, Prescott, AZ By family descent

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1310

A Charles Marion Russell postcard

Bears signature and inscribed “Cowboy artist” along the lower edge; With a remarque of a buffalo bearing Charles Marion Russell’s initials and bull skull device, verso; stamp dated November 12, 1908, verso; inscription verso addressed to Mr. J.J. Wilder, Kingsley, Iowa, from Nancy Russell by repute Sheet: 5 1/2 x 3 1/2 in. $2,000-3,000 Notes: The postcard is inscribed as follows: “Dear friend: I am so sorry to hear that you have been having poor health. Come out here and get well with me. I slept alone in my cabin last time and I’d be so glad to have you in the other cot. I know you will like this picture for your dresser.” This lot is accompanied by a cardboard and glass display box and a copy of documentation related to the Iowa Grand Army of the Republic that lists J.J. Wilder as Commander of the Gen. Bell Post of Kingsley.

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1311

Paolo Soleri (1919-2013)

A Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher The cast bronze bell with clapper and sheet copper fin Height overall 34 in.; height of bell 6 in.; height of fin 5 3/4 in. $300-500

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1312

An Arroyo Craftsman Arts & Crafts-style cylindrical lantern

Early 21st century The patinated brass case with iridescent slag glass panels housing a single light, electrified Factory label applied to escutcheon interior Height overall 20 in.; height of lantern 12 1/2 in., diameter 6 7/8 in. $200-300

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1313

Four Arroyo Craftsman Arts & Crafts-style lanterns

Early 21st century The patinated brass cases with iridescent slag glass panels housing a single light, comprising one pair of lanterns hanging from arms issued from wall-mounted escutcheons, one lantern mounted flush with wall, and another ceiling-mounted, electrified Each with factory label applied to escutcheon interior 4 pieces Height of pair lantern only 11 in., width 7 1/4 in., depth 7 1/4 in; height of flush 8 3/4 in., width 7 1/4 in., depth 7 1/4 in.; overall height of ceiling 15 1/2 in., width 6 1/8 in., depth 6 1/8 in. $300-500

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1314

An Arroyo Craftsman Arts & Crafts-style ‘Evergreen’ ceiling lantern

Early 21st century The patinated brass case with iridescent slag glass panels housing a single light, electrified Factory label applied to escutcheon interior Height lantern only 12 in., width 17 1/4 in., depth 17 1/4 in.; height overall 25 1/4 in. $300-500

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1315

An Arroyo Craftsman Arts & Crafts-style ‘Cloud Lift’ ceiling lantern

Early 21st century The patinated brass case with iridescent slag glass panels housing a single light, electrified Factory label applied to escutcheon interior Height lantern only 14 1/4 in., width 20 1/8 in., depth 20 1/8 in.; height overall 27 in. $300-500

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1316

Two Old California Lantern Co. Arts & Crafts style lanterns

2003 and 2008 The patinated brass cases with slag glass panels housing a single light, one hanging from arm issued from wall-mounted escutcheon, the other ceiling mounted issued from chain, electrified Ceiling with factory metal label applied to escutcheon; each dated; wall-mounted with applied paper label with model number: #1-184 2 pieces Heigh of each lantern only 17 3/4 in., width 16 in., depth 16 in.; ceiling overall height 26 in.; wall-mounted depth from wall 18 1/2 in. $300-500

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1317

A set of five Old California Lantern Co. Arts & Crafts-style lanterns

2004 The patinated brass cases with slag glass panels housing a single light, each hanging from arm issued from wall-mounted escutcheon, electrified Each with factory metal label applied to escutcheon; each dated to applied paper label and with model number: #1-182 5 pieces Height of lanterns only 10 in., width 8 1/8 in., depth 8 1/8 in.; height overall 12 in., depth from wall 10 in. $300-500

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1318

A Southwest sterling silver concha belt

Mid/late 20th century With a chunky sterling silver oval buckle and nine oval conchas, each with silver overlay and stampwork to edges, each concha lined with black leather, and all mounted to a black leather strap Stamped with unidentified crossed hourglass mark Buckle 3 1/4 x 4 in.; each concha 2 3/4 x 3 1/2 in.; strap 35 x 1 1/8 in. 780.8 grams gross $1,200-1,800

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1319

A Southwest sterling silver belt buckle

Mid/late 20th century In a Zuni style, a chunky buckle featuring a central turquoise and bone inlay sunburst motif edged with applied curvilinear silver wire and ball accents Unmarked 2 3/4 x 4 in.; belt bar 2 in. 135.8 grams gross $200-300

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1320

A Diné (Navajo) or Zuni ‘Box & Bow’ squash blossom necklace

Late 20th/21st century With fourteen stamped sterling silver ‘box and bow’ blossoms, each with graduated set turquoise, and a central set turquoise three-wire naja, all set to a double strand of silver beads Stamped: LK / Sterling 27 1/2 x 2 3/4 in. 154.0 grams gross $800-1,200 Provenance: Property of a California Coastal Collection

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1321

A Pueblo multi-strand necklace

Mid-20th century A chunky eight-strand necklace with graduated coral and tab turquoise beads, with silver ball spacers and a traditional wrapped neck cord Unmarked 32 in. approximately 591.1 grams gross $800-1,200

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1322

A Pueblo multi-strand turquoise necklace with jaclas

Early/mid-20th century A chunky three-strand necklace with graduated tab turquoise with turquoise spacers, suspending five pairs of turquoise, coral, and shell jaclas, the strands with a traditional wrapped neck cord Unmarked 30 in. x 6 in. approximately 590.1 grams gross $700-900

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1323

Two Pueblo turquoise necklaces

Mid/late 20th century Each single-strand necklace with graduated tab turquoise, one with heishi shell spacers Unmarked 2 pieces 31 in. & 26 1/2 in. 309.3 grams gross $500-700

johnmoran.com 397

1324

A group of Southwest jewelry

Early/mid-20th century Comprising two strands of red glass ‘white heart’ trade beads set with coins and yellow glass spacers, as well as a single strand necklace of graduated turquoise nuggets, and an early delicate triple-strand festooned turquoise, branch coral, and heishi necklace, strung on cord, and with a pair of matching festoon earrings 5 pieces Necklaces 41 in. to 21 in.; earrings 4 1/4 in. 369.8 grams gross $200-400

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1325

Three Southwest necklaces

Second half 20th century Comprising a heishi necklace with carved turquoise and stone fetish animals including heartline bears, wolves and birds, with trade beads and animal bone spacers, a necklace of red aventurine stone beads with bone and turquoise spacers and a carved turquoise bear fetish pendant, and a bone and greenstone beaded choker necklace with black hide laces 3 pieces Necklace lengths 33 in. to 14 1/2 in. (plus laces) 324.6 grams gross $200-400 Provenance: Private Collection, WA

johnmoran.com 399

1326

Wilson Yazzie (20th century, Diné [Navajo]) & Sarah McCray (20th century, Diné [Navajo])

A large Zuni-style 12k gold-plated sterling silver Eagle Dancer pictorial bolo featuring a central multistone sculptural overlay Katsina dancer figure in mother of pearl, jet, turquoise, coral, and other shells, all applied to a set round abalone shell disc, bordered by 12K gold plated applied wire and feather accents, and mounted on a black braided leather cord with gold-plated tips and overlay dangles Etched in script verso: Bolo by Wilson Yazzie / Carving by Sarah McCray /12k-GF on Sterling Bolo 3 1/8 x 4 1/8 in., cord (including dangles) 40 in. 114.5 grams gross $300-500

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1327

Three Southwest-style sterling silver bolo ties

Late 20th century Featuring a sterling silver and carved turquoise-colored stone horse bolo, a sterling silver horse head portrait bolo, and a sterling silver steer skull bolo, each mounted on a braided leather cord with silver tips Variously marked for maker and for sterling: S.T.C. / G 3 pieces Largest bolo 3 1/4 x 2 1/2 in., cord 37 in.; smallest 2 x 1 1/2 in., cord 37 in. 221.2 grams gross $200-400

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1328

Three Diné (Navajo) or Hopi silver bolo ties

Mid/late 20th century Featuring a trio of figural bolos in silver including a sculptural sterling silver overlay katsina motif bolo, a Mabel Kee Diné sterling silver heartline bear with set blue stones, and a Willie Nezzie Diné tipi-motif silver metal bolo with chipped stone mosaic inlay, each mounted on a braided black leather cord with silver metal cone tips Each variously marked for maker and for sterling: HC [conjoined, for Hopi Crafts] / MK [for Mabel Kee, Diné (Navajo)] / WN [for Willie Nezzie, b. 1950, Diné (Navajo)] 3 pieces Bolos 3 1/4 x 1 in. to 1 7/8 x 1 38 in.; cords 38 to 37 in. 107.0 grams gross $200-400

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1329

Two Southwest sterling silver and turquoise jewelry items

Late 20th century Comprising a three-wire cuff bracelet with a central set oblong turquoise stone, together with a small concho-style sterling silver bolo with set turquoise, mounted to a black braided leather cord with silver cone and ball tips Each unmarked Cuff 6 1/4 in. total inner C x 1 1/8 in., including a 1 1/8 in. gap; bolo 1 14 x 1 1/2 in., cord 42 in. 66.7 grams gross $200-300

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1330

Two Southwest sterling silver bear-motif jewelry items Two works:

Emerson Kinzel (20th century, Diné [Navajo]) A round sterling silver overlay concho-style bolo with a heartline bear motif and hooked border, with stampwork edging, set to a black braided leather cord with silver cone-and-ball tips Stamped: EK [conjoined] / Sterling Bolo diameter 2 1/2 in.; cord 44 in. A sterling silver heartline bear pendant suspended on a single strand of silver beads with turquoise nuggets Pendant bail stamped: Sterling / [sunrise sunburst] 18 1/2 x 2 3/4 in. 2 pieces total 107.4 grams gross $200-300 4 0 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

1331

Five Southwest jewelry items

Mid-20th century Comprising a sterling silver necklace with a set turquoise and cast silver naja and a sterling silver and set turquoise bolo tie, as well as a Pueblo-style liquid silver and turquoise tab necklace, a pair of spiney oyster jaclas, and a sterling silver belt buckle with set turquoise and applied silver wire and feather accents Each unmarked 5 pieces Necklaces 25 x 2 1/4 in. & 24 in.; bolo 2 3/8 x 1 3/4 in., cord 36 in.; jaclas 5 3/8 in.; buckle 1 3/4 x 2 5/8 in. 212.6 grams gross $300-500

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1332

Four Southwest sterling silver and stone inlay jewelry items

Mid/late 20th century Comprising two round sterling silver pendant/brooches, one with silver overlay and a peyote bird motif in chipped turquoise and coral mosaic inlay by J Nelson (Diné [Navajo]), and one a larger Zuni multi-stone inlay pendant/brooch with a blue jay bird on a branch motif in turquoise, mother of pearl, and coral inlay by Derrick & Nichelle Edaakie (Zuni), as well as a Diné silver brooch with cut-out hummingbird and floral motifs, with set turquoise, coral and lapis lazuli cabochons and a 14k gold accent by Leonard Nez (Diné [Navajo]), and a pair of large articulated silver pierced earrings with elaborate geometric multistone inlay including turquoise, coral and mother-of-pearl Variously stamped: J. Nelson [or Nelsen, partial marks] / Derrick & Nichelle Edaakie [etched script/ E / Leonardo Nez / Navajo; two stamped for sterling, one further stamped: 14K 5 pieces Pendants 2 1/4 to 2 in.; earrings 3 1/4 x 1 3/8 in. 118.4 grams gross $400-600 Provenance: Private Collection, WA

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1333

Verdel & Esther Niiha (20th/21st century, Zuni)

An elaborate two-wire multistone inlay Thunderbird cuff bracelet including turquoise, mother of pearl, coral, and other shells, with a central Sunface motif and curved wing plaques to shoulders Etched signatures verso; further etched: Zuni / N. Mex. 6 1/2 in. total inner C x 2 1/2 in., including a 1 in. gap 50.4 grams gross $300-500 Provenance: Property of a California Coastal Collection

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1334

Ten Zuni-style sterling silver and stone inlay jewelry items

Late 20th century Ten works by various artists in geometric or figural multistone inlay including turquoise, coral, mother of pearl, lapis lazuli, and malachite, featuring two stone inlay pendant necklaces, three pendant brooches, two with associated chains including a mosaic inlay bear face pendant/brooch by Paul Peyketewa Jr (Zuni), and a Sunface pendant/brooch with dangles by Beverly Weebothee (Zuni), as well as four multistone inlay rings, one a geometric inlay ring by Ray Jack (Diné [Navajo]), and a pair of multistone inlay earrings by Sheryl or Strallie Edaakie (Zuni) Variously marked for artist: P.P.J. Zuni / Henry and Linda Barber / S Edaakie [script] Zuni / Bw [script] / Sec [ec within S] / MT Panteah Zuni / RAJack; three stamped: Sterling 11 pieces Pendants/brooches 1 3/4 in. to 3/4 in.; ring sizes 8 1/4 to 6 1/2; earrings 1/2 in. 79.4 grams gross $300-500 Provenance: Private Collection, WA

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1335

Three sterling silver and multistone inlay cartoon-themed figural jewelry items Three works:

Veronica Poblano Nastacio (b. 1951, Zuni) A cartoon mouse sculptural stone inlay ring including turquoise, coral, jet and mother of pearl, circa 1973 With etched signature and date verso Ring size 7 A large classic cartoon mouse standing figure stone inlay belt buckle/concho with turquoise, coral, jet and mother of pearl, as well as a Snoopy-style figural dog stone inlay ring with mother of pearl and coral Each unmarked 2 pieces Buckle/concho 4 x 2 5/8 in., belt loop 1 3/8 in.; ring size 4 3 pieces total 91.2 grams gross $300-500

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1336

Lee & Mary Weebothee (1927-2015 & 1934-1995, Zuni Pueblo) A sterling silver cluster-set coral domed ring with cobblestone inlay Stamped: Lee/Mary [script] / Zuni Ring size 7; diameter 7/8 in. 10.2 grams gross $200-400 Provenance: Private Collection, WA

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1337

Lee & Mary Weebothee (1927-2015 & 1934-1995, Zuni Pueblo)

Three sterling silver and set stone domed rings, each cluster-set with cobblestone inlay, including one with turquoise, one with pink mother of pearl shell inlay, and one with multistone inlay including coral, turquoise, mother of pearl, shells, and lapis lazuli Each stamped: Lee/Mary [script] / Zuni 3 pieces Ring sizes 7 3/4 to 6 19.8 grams gross $400-600 Provenance: Private Collection, WA

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1338

Lee & Mary Weebothee (1927-2015 & 1934-1995, Zuni Pueblo)

Four sterling silver domed rings, each cluster-set with cobblestone inlay in mother of pearl and shell in various colors including purple, pale purple/gray, pink, and white Each stamped: Lee/Mary [script] / Zuni 4 pieces Ring sizes 7 1/2 to 5 24.3 grams gross $400-600 Provenance: Private Collection, WA

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1339

Sergei Bongart

(1918-1985) Adobe in a western landscape Oil on canvas Signed lower left: Sergei Bongart 24 x 30 in. $1,000-1,500 Provenance: The Estate of Sergei Bongart

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1340

Sergei Bongart

(1918-1985) Cows in a verdant landscape Oil on canvas Signed lower right: Sergei Bongart 32 x 40 in. $1,000-1,500 Provenance: The Estate of Sergei Bongart

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1341

Daniel Lang

(1935-2013) “Stillwell,” 1973 Screenprint in colors on paper An artist’s proof, aside from the edition of 75 Signed, titled, and inscribed “a/p” in pencil along the lower edge: Daniel Lang Sight: 21 1/2 x 26 3/4 in. $500-700

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1342 Jim Daly

(b. 1940) A blasted tree in a Western landscape Oil on canvas Signed lower left: Jim Daly; signed again, together with the artist’s fingerprint, verso 18 x 24 in. $600-800

johnmoran.com 417

1343

Ray Strong

(1905-2006) “Red Barn, Chamberlin Ranch, Los Olivos,” circa 1989 Oil with traces of pencil on Masonite Signed lower right: Ray Strong; numbered “131” in ink, verso; titled and dated on a gallery label affixed to the verso 22 x 28 in. $2,500-3,500 Provenance: Sullivan Goss Art Gallery, Santa Barbara, CA Notes: Framed in a Carleton-Kirkegaard hand-carved frame.

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1344

Thomas L. Lewis

(1907-1978) New Mexican desert landscape in sepia tones, 1953 Oil on canvas Signed, dated, and inscribed lower left: Thos. L. Lewis / ‘53 / Taos 16 x 20 in. $400-600

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1345

A New Mexican-style painted wood cabinet

Late 20th/early 21st century With upper gallery above openwork cabinet door with inset wood rods, opening to reveal two shelves Inscribed right side proper: AVONO / MARTES 4DE JUNIO 50 / SAVADO 60 Height 64 in., width 23 3/4 in., depth 17 in. $400-600

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1346

A Santa Fe-style painted wood wall cabinet

1989 Decorated with horses, with stepped gallery above a cabinet door with spindles to front, opening to reveal a single shelf, with wall-mounting hardware verso Signed verso: [artist’s device] / INT. LOS RIOS / F.J. Chaboya 89; inscribed to underside: HECHO EN MEXICO Height 28 in., width 15 1/2 in., depth 7 1/2 in. $200-400

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1347

A New Mexican-style painted wood cabinet

Late 20th/early 21st century The hinged door with Zia Pueblo-style bird, opening to reveal a single shelf Height 48 3/4 in., width 28 1/2 in., depth 13 1/4 in. $400-600

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1348

A New Mexican-style painted wood cabinet

Late 20th/early 21st century With two shelves above a painted Yei figure to cabinet door, opening to reveal a single shelf Height 73 in., width 27 3/4 in., depth 13 1/4 in. $400-600

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1349

A Santa Fe-style painted wood cabinet

Late 20th/early 21st century The hinged door painted with chili motifs, opening to reveal two shelves Signed indistinctly verso Height 46 in., width 23 1/4 in., depth 13 1/2 in. $300-500

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1350

Kenneth “Ken” Peshlakai (20th/21st century, Diné [Navajo])

A diminutive sterling silver and mixed metal lidded box with pictorial silver overlay featuring figures and animals in a landscape, and with a row of channel set turquoise and coral to the lid Stamped to base for artist and for sterling 2 pieces Overall height 1 1/2 in., width 2 1/4 in., depth 1 1/4 in. 80.1 grams gross $600-900

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1351

Albert Payton (20th/21st century, Diné [Navajo])

A chunky sterling silver pictorial cuff with central large square set turquoise and with silver overlay goats and stampwork including whirling log motifs Stamped: A. Payton [script] / Sterling 6 3/4 in. total inner C x 1 in., including a 1 1/8 in. gap 57.1 grams gross $500-700

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1352

Bennie Ration (b. 1955, Diné [Navajo])

A sterling silver climbing frog figural pendant/brooch with set oblong turquoise stone and incised silver geometric accents, suspended from a silver chain Stamped: B.R. / Sterling / [talon picto] Pendant 2 5/8 x 2 in., chain 22 1/4 in. 46.3 grams gross $500-700 Provenance: Private Collection, WA Notes: Bennie Ration (Navajo/Diné, b. 1955) is a silversmith known for his distinctive three-dimensional jewelry and sculptural interpretations of Southwestern imagery. Born on the Canoncito Navajo Reservation in New Mexico, he learned silversmithing from his father, John Ration, beginning at the age of eleven. After studying graphic design and screen printing in Scottsdale, Arizona, Ration worked professionally as a graphic designer before returning to jewelry making in 1978. His background in design helped shape a recognizable style characterized by dimensional forms, strong geometric composition, and precise silverwork. Ration is particularly known for depictions of kachina figures, birds, feathers, and other Southwestern motifs rendered in sterling silver, often incorporating turquoise and overlay techniques.

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1353

Five Southwest sterling silver pendants

Late 20th/21st century Comprising a large shadowbox-style cutout silver eagle head profile pendant necklace with large set turquoise suspended from a silver chain with feather links, by Delbert Vandever (Diné [Navajo]), a concho-style silver overlay pendant with set turquoise on a chain, by Norman Woody (Diné [Navajo]), as well as a cutout silver turtle pendant/ brooch on a silver chain, and two chunky silver and set turquoise pendants, each with elaborate applied silver feather and wire accents Variously marked for artist: N. Woody / LB Toledo [Thunderbird, for Les Baker shop] / SV; each marked for sterling 5 pieces Eagle 16 1/2 x 2 1/2 in.; pendants 3 1/8 to 3 in.; chains 24 in. & 21 1/2 in. 189.8 grams gross $400-600 Provenance: Private Collection, WA

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1354

Orville Tsinnie (1943-2017, Diné [Navajo])

A chunky sterling silver watch cuff with five graduated set turquoise cabochons to each shoulder and heavy stamping to edges, with attached watch face Stamped: TSINNIE / Shiprock / NM / [Shiprock motif] / Sterling 6 in. total inner C x 1 in., including a 1 in. gap 66.4 grams gross $400-600

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1355

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

A sterling silver and set coral teardrop pendant with fine line sunburst stampwork Etched signature verso 2 3/8 x 1 1/2 in. 61.7 grams gross $300-500 Provenance: Private Collection, WA

1357

Harold Lovato (1954-1997, Kewa [Santo Domingo])

A delicate sterling silver link bracelet with a set turquoise link and sandcast links featuring corn stalks, maze swirls, and Pueblo motifs Stamped; HL [conjoined; with cornstalk] 7 1/2 x 1/2 in. 22.2 grams gross $300-500 Provenance: Private Collection, WA

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1356

Danny Romero (1954-2018, Yaqui/Spanish)

A tapered sterling silver belt buckle with scattered raised silver dots mosaic stone inlay including turquoise, coral, and mother of pearl Stamped: D R.MER. / Sterling / [starburst pictograph] 1 x 1 3/4 in. 30.1 grams gross $700-1,000

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1358

Lee & Mary Weebothee (1927-2015 & 1934-1995, Zuni Pueblo) Two sterling silver cluster-set domed rings with cobblestone inlay, one in turquoise, and one in pink coral Each stamped: Lee/Mary [script] / Zuni 2 pieces Ring sizes 6 & 5 1/2 18.2 grams gross $200-400 Provenance: Private Collection, WA

1359

Lee & Mary Weebothee (1927-2015 & 1934-1995, Zuni Pueblo)

Three sterling silver domed rings, each cluster-set with cobblestone inlay, including one with turquoise, one with mother of pearl shell inlay, and one with multistone inlay including coral, turquoise, mother of pearl, shells, and lapis lazuli Each stamped: Lee/Mary [script] / Zuni 3 pieces Ring sizes 8 to 4 1/2 19.8 grams gross $300-500 Provenance: Private Collection, WA

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1360

Lee & Mary Weebothee (1927-2015 & 1934-1995, Zuni Pueblo)

Three sterling silver domed rings, each cluster-set with cobblestone inlay, two in mother of pearl and one in grey shell, and one with multistone inlay including coral, turquoise, mother of pearl, and other shells Each stamped: Lee/Mary [script] / Zuni 3 pieces Ring sizes 7 1/4 to 6 1/2 18.8 grams gross $300-500 Provenance: Private Collection, WA

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1361

Bill Cramer

(b. 1960) “Giant Steps” Oil on canvas Signed lower right: Cramer; signed “Bill Cramer,” titled, and inscribed “140318,” all in pencil, verso 40 x 30 in. $2,000-4,000 Provenance: Private collection, Prescott, AZ By family descent

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1362

Bud Heiss

(b. 1952) “Canyon Morning Mist” Oil on panel Signed lower left: Bud Heiss 14 x 18 in. $600-800 Provenance: Private collection, Prescott, AZ By family descent

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1363

Mitchell Godfrey

(b. 1958) Ranch in winter Oil on board Signed lower right: Godfrey 8 x 10 in. $200-300 Provenance: Private collection, Prescott, AZ By family descent

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1364

Kerry Kinman

(1946-2008) Desert landscape Oil on canvas Signed lower right: K. Kinman 30 x 40 in. $1,500-2,000

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1365

Michael Ome Untiedt

(b. 1953) “Study at Dawn,” 2001 Oil on canvas mounted to gatorboard Indistinctly inscribed with the artist’s device lower right; signed and with the artist’s device, again, and dated, all verso: “[device] / © 2001 / Mike Untiedt”; titled on a typed artist’s label affixed verso 9 x 12 in. $800-1,200

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1366

A Handel obverse and reverse-painted glass table lamp

Early 20th century The shade with textured exterior depicting floral motifs, mounted on a patinated metal base issuing three lights, electrified Painted to shade interior: A HANDEL 5643; heat cap ring impressed: HANDEL Lamps / PAT’D NO. / 979664; base impressed: HANDEL Height overall 23 1/4 in.; height of shade 7 1/4 in., diameter 14 1/4 in. $2,000-3,000

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1367

A Handel painted glass table lamp

Early 20th century The shade with textured exterior depicting ivy, mounted on a patinated metal base issuing two lights, electrified Shade signed: Handel #5468; heat cap ring impressed: HANDEL Lamps / PAT’D NO. / 979664; base impressed: HANDEL Height overall 21 in.; height of shade 8 in., diameter 15 1/2 in. $2,000-3,000

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1368

Four Riviere Studios bronze and glass desk items

Early 20th century Verdigris patinated, comprising two easel-back pine frames with pine needle design and a triangular box with holly design, together with a slag glass and grape leaf filigree candlestick Candlestick marked: TIFFANY STUDIOS NEW YORK; largest frame personalized with initials ‘H E’ 4 pieces Larger frame aperture 9 3/4 x 7 3/4 in.; smaller aperture 3 3/8 x 2 1/4 in.; height of candlestick 10 in.; height of box 3 3/8 in., width 6 1/8 in., depth 5 1/4 in. $700-900

johnmoran.com 451

1369

A Diné (Navajo) or Zuni sterling silver and turquoise cuff bracelet Mid-20th century A three-wire pierced cuff with cluster-set oval and rectangular turquoise, stamped silver button accents and stampwork to shoulders 6 1/2 in. total inner C x 1 in., including a 1 1/4 in. gap 38.7 grams gross $1,000-1,500

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1370

A Diné (Navajo) sterling silver and turquoise cuff bracelet

Mid-20th century A heavy cuff of stamped carinated, rounded and twisted wire supporting seven set turquoise stones with silver drop accents and hammered flared terminals Unmarked 6 1/8 in. total inner C x 1 3/8 in., including a 3/4 in. gap 103.8 grams gross $800-1,200

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1371

A Diné (Navajo) or Zuni sterling silver and turquoise cuff bracelet

First half 20th century A chunky three-wire cuff with three cluster-set floral style turquoise plaques and silver ball accents Unmarked 7 3/4 in. total inner C x 1 5/8 in., including a 1 1/4 in. gap 83.1 grams gross $1,200-1,800

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1372

Two Diné (Navajo) sterling silver and turquoise cuff bracelets

Mid-20th century Each sterling cuff with a pierced and stamped band, the first centering a single oblong turquoise; the second set with three rectangular turquoise, and each with silver ball accents Each unmarked The first 6 1/2 in. total inner C x 3/4 in., including a 1 in. gap; the second 6 3/4 in. total inner C x 7/8 in., including a 1 in. gap 69.6 grams gross $1,000-1,500 Notes: The first cuff accompanied by a pawn ticket dated 1992

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1373

A pair of Zuni silver coin and turquoise pins

Mid-20th century Each designed with a Morgan silver dollar framed within a turquoise-inlaid sunburst surround with silver drop accents. Unmarked Each diameter 2 1/8 in. 97.3 grams gross $800-1,200 Notes: One pin accompanied by a pawn ticket dated July 1986

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1374

Two Southwest sterling silver and turquoise bracelets

Mid/late 20th century Comprising a Diné (Navajo) sand-cast openwork cuff centering an oval turquoise cabochon, as well as a sterling silver graduated link watch band bracelet, each link set with an oval turquoise cabochon Band stamped: JB [conjoined, possibly for John G. Begay (Diné, 20th century)] 2 pieces Cuff 6 3/4 in. total inner C x 1 5/8 in., including a 1 3/8 in. gap; watch band 6 x 1 in. 138.0 grams gross $800-1,200

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1375

Two Diné (Navajo) sterling silver shadowbox cuff bracelets

Mid/late 20th century Comprising a chunky cuff set with five graduated turquoise and with elaborate stamp work to the interior and exterior, as well as a four-wire cuff set with three oval coral cabochons within stamped scalloped surrounds The first stamped: C.O. Lee / 919 The first 6 3/8 in. total inner C x 1 1/2 in., including a 1 1/8 in. gap; the second 6 3/8 in. total inner C x 1 1/2 in., including a 1 in. gap 120.7 grams gross $800-1,200

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1376

Four Southwest sterling silver and turquoise rings

Mid/late 20th century A group of shadow set sterling silver rings with set turquoise and set coral, including a double set coral ring by Valerie Goodluck (Diné [Navajo]) One marked for artist; further marked: Sterling 4 pieces Ring sizes 9 3/4 to 4 27.4 grams gross $200-400 Provenance: Private Collection, WA

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1377

A Southwest sterling silver and turquoise squash blossom necklace

Late 20th century A double strand necklace with ten set turquoise blossoms, suspending a matching set turquoise silver naja, all with applied silver wire and stamped accents Stamped: A [conjoined with line above] / CS [possibly Cecil Sanders, Diné] 23 x 2 1/2 in. 125.7 grams gross $700-900

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1378

A Southwest sterling silver and coral squash blossom necklace

Mid-20th century Comprising ten shadow-set coral blossoms with a central naja with five matching shadow-set plaques, all on a double strand of silver beads Unmarked 21 1/2 x 3 in. 124 grams gross $600-800

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1379

Ron Bedonie (b. 1967, Diné [Navajo])

A sterling silver concho-style cuff bracelet with extensive incised fine line details Stamped for artist and for sterling 7 3/8 in. total inner C x 2 5/8 in., including a 1 5/8 in. gap 140.3 grams $400-600

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1380

A set of Southwest petit point turquoise squash blossom necklace elements

Mid/late 20th century A group of necklace elements in sterling silver and cluster-set turquoise, likely by Victor Moses Begay (Diné [Navajo]) including a row-set naja and twelve matching blossoms, ready for stringing Naja stamped: VMB 13 pieces Naja 2 3/4 x 2 5/8 in.; each blossom 1 5/8 x 7/8 in. 90.5 grams gross $200-300

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1381

Two Southwest sterling silver and cluster set turquoise jewelry items Two works:

Larry Moses Begay (20th century, Diné [Navajo]) A Zuni-style three-wire petit point turquoise watch cuff with cluster set plaques, with an attached watch face Stamped: LMB / Sterling 6 3/4 total inner C x 1 5/8 in., including a 1 5/8 in. gap A Zuni-style sterling silver and petit point turquoise oval pendant/brooch Stamped: HB [script] / Sterling 1 5/8 x 1 7/8 in. 2 pieces total 57.0 grams gross $300-500

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1382

Five Southwest sterling silver and set stone rings

Mid/late 20th century A group of sterling silver rings in various set stone styles including a shadow set coral ring by Valerie Goodluck (20th century, Diné [Navajo]), and a multistone inlay ring by Richard & Geneva Terrazas (each 20th century, Mexican & Zuni), as well as three further cluster set rings, two with turquoise-colored stones and one with coral Two stamped for artist; two stamped for sterling 5 pieces Ring sizes 11 to 4 1/2 27.4 grams gross $400-600 Provenance: Private Collection, WA

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1383

Six Southwest-style sterling silver and gemstone rings

Mid-20th century A group of sterling silver rings each with set peridot cabochons and silver wire overlay, in various stylized floral and curvilinear shapes Four variously stamped: S K [larger] / M [possibly for Melissa Yazzie, Diné] 6 pieces Ring sizes 8 1/4 to 6 46.9 grams gross $200-400 Provenance: Private Collection, WA

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1384

Eight large Southwest silver and set stone rings

Mid/late 20th century A group of chunky sterling silver rings, including three by Lee & Mary Weebothee (Zuni), one with elaborate sculptural coral and turquoise inlay and nugget silver accents, as well as a set coral and a set turquoise ring, together with a multistone inlay ring by Richard & Geneva Terrazas (Mexican & Zuni), two rings with double set turquoise and applied silver feather and wire accents, and two with set stone oval cabochons, one in lapis lazuli and one in onyx Four variously marked for artist: Lee/Mary Zuni / R. & G. T. / MC J; three marked Sterling 8 pieces Ring sizes 12 to 9 3/4 134.2 grams gross $200-400 Provenance: Private Collection, WA

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1385

Shawn Gould

(Active 21st Century) “Dawn Patrol” Acrylic on board Signed lower left: Shawn Gould; signed again and titled on the frame’s backing board 11 x 14 in. $500-700 Provenance: Trailside Galleries, Jackson, WY Private collection, Prescott, AZ By family descent

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1386

Terry Donahue

(b. 1956) “Matriarch” Pastel on paper Signed in pencil lower left: T. Donahue; titled on a gallery label affixed to the frame’s backing paper Sight: 9 1/2 x 7 1/2 in. $300-500 Provenance: The Legacy Gallery, Bozeman, MT Private collection, Prescott, AZ By family descent

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1387

20th Century Western School

Howling wolf Patinated bronze on marble plinth Unmarked Height of bronze 13 1/2 in., width 15 1/2 in., depth 4 1/2 in.; height overall 14 1/2 in., width 17 5/8 in., depth 5 1/2 in. $200-300 Provenance: Private collection, Prescott, AZ By family descent

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1388

1389

(21st Century) “Wolf in Blue,” 2016 Oil on canvasboard With the incised signature lower left: Sarah Webber; signed again and titled verso; dated on a white tag strung to the frame’s hanging wire 8 x 10 in.

(b. 1965) Lone wolf on a rocky outcrop Oil on canvasboard Signed lower left: Aldrich; inscrib 12 x 16 in.

Sarah Webber

$200-300 Provenance: The Legacy Gallery, Scottsdale, AZ Private collection, Prescott, AZ By family descent

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Edward “Ned” Aldrich

$500-700 Provenance: Private collection, Prescott, AZ By family descent

bed “Ned” on the frame’s verso, possibly in another hand

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1390

A Southwest sterling silver squash blossom coin necklace Mid-20th century A single strand sterling silver bead necklace with ten 1920s Liberty quarter coin ‘blossoms’ suspending a cast sterling silver naja Unmarked 24 x 1 7/8 in. 118.0 grams gross $300-500

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1391

A Southwest sterling silver and turquoise squash blossom necklace

Mid-20th century A chunky double strand necklace with twelve ornate graduated set turquoise blossoms with applied feather motifs, all suspending a large two-wire set turquoise naja with central stone and silver ball accents Unmarked 29 x 4 1/4 in. 325.4 grams gross $600-800

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1392

A Southwest sandcast silver squash blossom necklace

Mid-20th century A single strand silver bead necklace with fourteen blossom beads, all suspending a sandcast naja with central set turquoise Unmarked 30 1/2 x 2 3/4 in. 130.5 grams gross $200-300

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1393

Four Southwest sterling silver & pictorial overlay jewelry items

Late 20th century Comprising a large teardrop pendant necklace with delicate overlay katsina dancer profile motif and fine geometric accents, as well as a narrow storyteller cuff with Kokopelli motifs and stampwork banding by David Reeves (b. 1948-n.d., Diné [Navajo]), a wide Hopi-style cuff with multiple heartline bear motifs, and a chunky sterling silver bangle by Verna Tahe (20th century, Diné [Navajo]) Three variously marked for artist: D. Reeves / TAHE / [impressed triangle]; three marked for sterling 4 pieces Necklace 21 1/2 x 3 in.; cuffs 7 1/8 in. total inner C x 1 1/4 in. and 7 1/8 in total inner C x 3/4 in., each including a 1 3/8 in. gap; bangle 8 1/8 in. inner C x 3/4 in. 244.7 grams gross $200-400 Provenance: Private Collection, WA

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1394

Two Diné (Navajo) sterling silver cuff bracelets

Late 20th century Each cuff with stampwork including a Nora Bill Tahe (Diné [Navajo]) chunky cuff with stamped banding, as well as a Verna Tahe (Diné [Navajo]) narrow cuff with scalloped stampwork bands Variously marked: NORA / Sterling; Tahe [script] / Sterling 2 pieces The first 7 in. total inner C x 1/2 in., including a 1 3/8 in. gap; the second 6 1/2 in. total inner C x 1/8 in., including a 1 in. gap 72.4 grams gross $200-400 Provenance: Private Collection, WA

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1395

Eleven Southwest-style sterling silver jewelry items

Mid/late 20th century A large group comprising a three-wire cuff by Verna Tahe (Diné [Navajo]), a narrow ridged cuff with a pair of matching earrings, likely by Yazzie Johnson (Diné [Navajo]), and three further silver cuffs with wrapped wire accents and ball terminals, as well as five small child-sized cuffs in various styles including cast silver, a concho-style cuff with set malachite by George Kee (Diné [Navajo]), and two stampwork cuffs, one with row-set turquoise 12 pieces Variously stamped for artist: Y / L / GK / TAHE; seven stamped for Sterling Large cuffs 6 7/8 in. to 6 in. total inner C; child cuffs 5 in. to 4 1/4 in. total inner C; earrings 1 in. 150.2 grams gross $300-500 Provenance: Private Collection, WA

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1396

Four Southwest silver jewelry items

Mid/late 20th century Comprising a large hammered silver hair slide with fine line incised texture to center and a stylized floral motif of set turquoise and applied silver feather and wire accents, with a matching stick by Roy Vandever (1936-2009, Diné [Navajo]), together with a sterling silver repoussé concho pendant/brooch with stampwork by Tommie Charlie (b. 1952, Diné [Navajo]), together with a handmade paper clip chain, and a sterling silver and set turquoise ring Variously stamped for artist: Tc / Roy Vandever [etched signature] / NRB; one stamped for sterling 4 pieces Hair slide 3 x 4 in., stick 4 in.; pendant/brooch diameter 2 5/8 in., chain 30 1/4 in.; ring size 7 109.7 grams gross $200-400 Provenance: Private Collection, WA

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1397

A Southwest sterling silver and lapis lazuli squash blossom necklace

A small squash blossom-style necklace with five ornate blossoms with set lapis lazuli, suspending a matching pendant, all on a double strand of silver beads Stamped: A / Sterling 20 1/4 x 4 in. 70.0 grams gross $500-700

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1398

A sandcast silver Rainbow Guardian Yei necklace

Attributed to Francis Jones (b. 1943, Diné [Navajo]) A chunky double strand necklace with twelve graduated cast silver Yei figural ‘blossoms’, suspending a large central cast silver Guardian ‘naja’ Unmarked 31 1/2 x 2 3/8 in. 208.4 grams $400-600 Notes: Owner’s label indicates artist’s attribution.

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1399

A Southwest sterling silver and turquoise heartline bear necklace demi-parure set Late 20th century A chunky squash blossom-style necklace with six heartline bear ‘blossom’ plaques and a larger central bear, each with set turquoise and silver feather and floral overlay accents and mounted on a double strand of silver beads, with a pair of matching earrings 3 pieces Each stamped: RS [larger S] / Sterling, likely for Roger Skeet, Jr. (b. 1933, Diné [Navajo]) Necklace 24 1/2 x 2 1/2 in.; earrings 1 3/8 in. 91.2 grams gross $300-500 Provenance: Private Collection, WA

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1400

Frank Yellowhorse (b. 1933, Diné [Navajo])

A sterling silver and multistone mosaic inlay collar link necklace with central teardrop pendant, featuring turquoise, spiny oyster, and lapis lazuli Stamped: Frank Yellowhorse [script, with horse]; further stamped: Navajo / Sterling 23 1/2 x 2 in. 80.6 grams gross $300-500 Provenance: Property of a California Coastal Collection

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1401

Seven Southwest sterling silver jewelry items

Late 20th century Comprising a single strand necklace of onyx and green stone beads suspending a set onyx cabochon with applied silver feathers and wire overlay accents, as well as four further pendants, each on an associated chain, including a set amber pendant by Nusie Henry Belon (Diné [Navajo]), a small set variscite pendant, a set lapis lazuli blue pendant/brooch with set pearls, and a cast sterling silver arrowhead pendant, together with a concho-style stamped sterling silver and set onyx pendant/brooch with multiple bead dangles and a pair of turquoise earrings by Esther Wood (b. 1946, Diné [Navajo] Four stamped for artist: A / AJ / Nusie [script] / Esther [etched signature]; five further stamped for Sterling, one stamped: Navajo 8 pieces Necklace 22 x 2 3/4 in.; pendants/brooches 3 1/2 in. to 1 1/2 in.; chains 24 in. to 17 1/2 in.; earrings 1 1/4 in. 204.9 grams gross $300-500 Provenance: Private Collection, WA

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1402

Nine Southwest sterling silver overlay jewelry items

Late 20th century A group of Hopi style pictorial and storyteller sterling silver overlay jewelry in various styles including two pendant necklaces and a pendant/brooch, each on an associated chain, as well as five pairs of earrings, and a key ring, with various motifs such as Kokopelli, heartline bear, a lizard, and a Diné weaver, all by various artists including Fernando Puhuhefvaya (Hopi), Dawn Lucas (Hopi), Floyd Becenti, Jr. or Lloyd Becenti (Hopi), E Yazzie (Diné [Navajo]), Wilbur Wauneka (Diné [Navajo]), Les Peone, Gibson Gene (Diné [Navajo] Each variously marked for artist: [stylized cloud] / E. Yazzie [script] / BcT / WW / L. Peone / [peyote bird picto] / [star picto]; eight marked for Sterling 14 pieces Pendants heights 2 1/8 in. H to 1 1/2 in.; earrings 2 1/2 in. to 1 in.; key ring 1 1/4 x 2 1/2 in. 109.3 grams gross $200-400 Provenance: Private Collection, WA

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1403

A large group of Southwest-style figural sterling silver and set stone brooches

Late 20th century A group of brooches featuring various animals and insects including turtles, lizards, butterflies, dragonflies, a scorpion, an eagle, a hummingbird, and a frog, in various styles, ten with set stones or stone inlay including malachite, lapis lazuli, amethyst, and turquoise, as well as three sterling silver pendant/brooches including a large turtle pendant, a button-style silver overlay eagle pendant, and a diminutive butterfly pendant with multistone inlay Ten variously marked for artist: VY/WWS / AM / A.P. / K / BT / M; thirteen marked for Sterling 15 pieces Largest 2 1/2 x 1 1/4 in.; smallest 1 1/4 x 1 in. 169.3 grams gross $200-400 Provenance: Private Collection, WA

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1404

Four Southwest-style sterling silver jewelry items Four works:

Roie Jaque (20th century, Diné [Navajo]) A sterling silver and green gemstone cluster set pendant Stamped: Roie Jaque / Sterling 2 x 1 in. A sterling silver and multistone intricate mosaic inlay collar link necklace with turquoise, coral, and mother of pearl, as well as a modernist-style small silver and turquoise, coral, and lapis lazuli stone inlay pendant/brooch, and a pair of sterling silver cufflinks each with a shadow set stylized bird motif in 18k gold overlay Necklace stamped: Sterling; cuff links stamped: 925 / 18K 4 pieces Necklace 20 1/2 x 1 5/8 in.; brooch/pendant 1 x 1 1/8 in.; cuff links 5/8 x 1 in. 5 pieces total 72.8 grams gross

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1405

Seven Southwest silver jewelry items

Late 20th/21st century Comprising a chunky silver necklace featuring blue lapis lazuli beads and large sterling silver barrel beads, and a lapis lazuli inlay teardrop pendant on an associated chain, as well as five pairs of stone inlay earrings including a pair of Sunface motif earrings in coral, malachite and lapis lazuli inlay by Chester Benally (Diné [Navajo]), a pair of lapis, coral and turquoise inlay earrings by John Shopteese (Pottawatomi), a pair of multistone geometric inlay half-hoops, and two round pairs with lapis and with purple stone inlay 12 pieces Three marked for artist: C. Benally / J [with fish picto] / E; two marked for Sterling 12 pieces Necklaces 27 in. & 22 x 1 3/8 in.; earrings 1 3/8 in. to 1 in. 172.4 grams gross $200-400 Provenance: Private Collection, WA

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1406

Eight Southwest sterling silver jewelry items

Late 20th century Comprising a large sterling silver pendant necklace with cluster set onyx and onyx dangles topped with applied silver feather, floral, and wire accents and suspended on an associated chain (stamped: G), as well as seven pairs of earrings in various styles including a pair of set coral earrings by Herman Vandever (Diné [Navajo]), and a pair of white turquoise drop earrings with stamped edging (likely Elken Senter, Chickasaw), as well as other designs including feathers, set stone dangles, and concho designs Three variously marked for artist: G / ES / [etched signature: Herman Vandever]; five marked for sterling 15 pieces Necklace 24 x 5 1/2 in.; earrings 2 1/2 in. to 1 3/8 in. 178.0 grams gross $200-400 Provenance: Private Collection, WA

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1407

Six Southwest-style silver jewelry items Six works:

Esther Wood (b. 1946, Diné [Navajo]) A chunky three-wire sterling silver cuff with central set oval lapis lazuli cabochon and stamped edge accents With etched signature verso: E. Wood [script] 6 1/4 in. total inner C x 1 3/4 in., including a 1 in. gap Five silver and stone-set jewelry items including a narrow ridged sterling silver cuff with a pair of matching earrings, likely by Yazzie Johnson (Diné [Navajo]), a wide sterling silver cuff with stamped fineline banding and a central set spiny oyster cabochon, likely by Ella Cowboy [Diné [Navajo]), a narrow delicate sterling silver cuff with upstanding set turquoise and etched silver overlay, and a three wire cuff with shell inlay butterfly motif Variously stamped for artist: Y / SK / E / Mexico; four marked for sterling 6 pieces Cuffs 6 3/4 total inner C x 1 1/4 in., gap 1 3/8 in. to 6 in. total inner C x 1 1/2 in., gap 1 /14 in.; earrings 1 in. 7 pieces total 166.6 grams gross $400-600 Provenance: Private Collection, WA johnmoran.com 493

1408

A group of Southwest-style sterling silver and turquoise jewelry

Mid/late 20th century Buckle with indistinct marks; cuff etched: MJU; earring posts stamped: Sterling Six works comprising a large sterling oval buckle with set turquoise, silver wire and feather motif overlay, and a central buffalo head, and a large set turquoise ring, as well as a three-wire cuff with three set turquoise plaques, and four pairs of silver and turquoise earrings including petit point Buckle with indistinct marks; cuff etched: MJU; earring posts stamped: Sterling 11 pieces Buckle 3 1/2 x 4 in.; cuff 6 1/2 in. total inner C x 1 in., including a 1 1/4 in. gap; earrings 1/2 to 7/8 in.; ring size 9 3/4 217.5 grams gross $600-800

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1409

A group of Southwest silver jewelry

Mid/late 20th century Twelve works comprising a sterling silver turtle pendant/brooch with set turquoise on a silver chain, a silver naja pendant/brooch with set turquoise, and a repoussé dragonfly brooch with set orange stone, as well as six pairs of earrings in various styles including a pair of set spiney oyster earrings by Esther Wood (b. 1946, Diné [Navajo]) as well as carved stone and jet fetish frogs and jet heartline bears, silver beads, and set blue stones with silver dangles, and three money clips in various designs including a Kokopelli overlay motif Variously stamped for artist: Esther [etched script] / R / S [within a V] / WW / RB / D; four stamped for Sterling 18 pieces Necklace 21 x 3 in.; pendant/brooch 2 1/8 x 2 3/8 in.; clips 1 x 2 in.; earrings 2 1/4 in. to 5/8 in. 189.6 grams gross $200-400 Provenance: Private Collection, WA

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1410

A group of Southwest-style jewelry and accessories

Mid/late 20th century Nineteen works comprising a Pueblo-style necklace with graduated disc beads and various stone beads including turquoise and shell, a chunky silver metal money clip with set turquoise-colored stones, two sterling silver cuff bracelets, including an eagle motif cuff with set turquoise inlay, as well as a concho-style bolo slide with set blue stone, two conchos, including a repoussé butterfly spacer with set turquoise, a mosaic inlay bear paw stick pin, a pair of multistone inlay watchstrap ends, four pairs of earrings, and six single earrings Most unmarked; seven variously marked for maker and for sterling: JGD / Navajo [leaf and flower pictographs] / Radiant Jewel Studio / K / JG/95 [etched] 24 pieces Necklace 24 in. L; cuffs 7 in. and 6 3/4 in. total inner C; earring pairs 2 in. to 1 in.; clip 1 x 2 1/4 in.; bolo 1 1/2 x 2 1/8 in. 247.1 grams gross $300-500

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1411

Five large Southwest sterling silver and set stone rings

Mid/late 20th century A group of chunky sterling silver rings, four with mosaic stone inlay including one by Ray Jack (Diné [Navajo]) with spiny oyster, coral, mother of pearl, and turquoise, one with lapis lazuli by likely Bobby Lujan (Taos Pueblo), and a large ring with elaborate sculptural coral inlay and nugget silver accents, as well as a ring with a set onyx cushion cabochon and a tall modernist style ring with set orange stone Four variously marked for artist: RA Jack / BL / E; one etched: by Chatt; two marked: Sterling 5 pieces Ring sizes 11 to 9 90.4 grams gross $200-400 Provenance: Private Collection, WA

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1412

Eight large Southwest silver and stone set rings

Mid/late 20th century A group of chunky sterling silver rings, including two by Lee & Mary Weebothee (Zuni), one with elaborate coral and turquoise geometric inlay and nugget silver accents, and one with set coral and turquoise, as well as a large ring with elaborate sculptural turquoise and coral inlay and nugget silver accents, and a multistone sculptural inlay ring by Richard & Geneva Terrazas (Mexican & Zuni), together with three further rings with multistone inlay and a large ring with set square turquoise Four variously marked for artist: Lee/Mary Zuni / R. & G. T. / E; two marked Sterling 8 pieces Ring sizes 13 1/2 to 8 132.6 grams gross $400-600 Provenance: Private Collection, WA

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1413

Seven Southwest silver and set stone watch bands

Late 20th century Comprising seven silver and set stone two-piece watch band end sets, in various styles including shadowbox set turquoise and malachite, needlepoint turquoise, turquoise and mother of pearl row-set inlay, and mother of pearl and onyx channel inlay, each set attached to an associated stretch metal band Variously marked for artist: CL / A & G Tucson [etched script] / P; one marked for sterling 7 pieces Largest set each 1 1/8 x 1 3/4 in.; smallest set each 1/2 x 1 1/8 in. 112.0 grams gross $300-500 Provenance: Private Collection, WA

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1414

Three Southwest sterling silver watch cuffs and band Three works:

Phil Chapo (20th century, Diné [Navajo]) An asymmetrical leaf motif watch cuff with set turquoise, coral, and applied silver feather overlay and ball accents Stamped for artist 6 in. total inner C x 1 1/2 in, including a 7/8 in. gap A chunky sterling silver shaped tapered watch cuff with six set turquoise stones, as well as a likely Willie Haley (20th century, Diné [Navajo]) watch band with sterling silver and 12K gold-filled strap ends with set turquoise and applied feather accents Cuff stamped: W C / Sterling; band ends stamped: Sterling; one further etched: 12-KGF-ON / Willie Haley 2 pieces Cuff 7 in. total inner C x 1 1/2 in., including a 1 3/8 in. gap; band ends 1 1/8 x 1 1/2 in. 3 pieces total 133.5 grams gross

$300-500

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1415

Eight pairs of Southwest silver and set stone earrings

Late 20th century Comprising eight pairs of earrings in various styles including concho stampwork and repoussé designs, shadowbox, and silver overlay, most with set stones including malachite, turquoise, and lapis lazuli, including a pair of oblong set turquoise earrings by Everett and Mary Teller (Diné [Navajo]), a pair of shadowbox set malachite bearpaw earrings by Les Peone, and a pair of white turquoise drop earrings with stamped edging (likely Elken Senter, Chickasaw) 16 pieces Variously stamped for artist: EMT [within a fish] / BB / ES / NW / L. Peone; four stamped for Sterling Largest 2 in.; smallest 1 1/4 in. 106.8 grams gross $200-400 Provenance: Private Collection, WA

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1416

Thirteen Southwest sterling silver and set stone rings

Mid/late 20th century A large group of rings, most with various set stones including turquoise, coral, green hardstone, mother of pearl, and chipped stone inlay, and one with silver wire and feather overlay accents, by various artists including Melton Lee (Diné [Navajo]), and L. Spencer (possibly Lorraine Spencer, Diné [Navajo] Four marked for artist; four marked for Sterling 13 pieces Ring sizes 10 to 5 80.2 grams gross $300-500 Provenance: Private Collection, WA

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1417

Six Southwest silver and turquoise rings

Mid/late 20th century A group of sterling silver and set turquoise or coral rings in various styles and shapes including one shadowbox set, and one with applied silver feather accent One etched: EJ [script] 6 pieces Ring sizes 8 3/4 to 5 1/4 43.5 grams gross $200-400 Provenance: Private Collection, WA

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1418

Wayne Paquin (1951-2008, Zuni/Jicarilla Apache)

A carved turquoise eagle fetish sculpture, late 20th century With a carved eagle in flight suspended from a sterling silver wire arch attached to a carved turquoise boulder, with a sterling plaque to front Signed to plaque on base: Wayne Paquin / Zuni Height 3 3/4 in., width 5 1/2 in., depth 4 1/8 in. $200-400 Provenance: Private Collection, WA

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1419

Two Zuni Pueblo turquoise encrusted pottery fetish jars

Second half 20th century Each jar with applied ground turquoise chips and mounted with carved stone fetish animals and feathers, the larger jar with a turquoise encrusted figural carved wood stick inserted into a hole in the side, and with multiple corn kernels placed inside the jar 3 pieces Larger height 3 3/4 in., diameter 4 in.; smaller height 2 1/2 in., diameter 2 3/4 in.; stick height 5 1/8 in., height 3/8 in. $200-400 Provenance: Private Collection, WA

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1420

Leonard ‘Old Man’ Halate (1914- 2001, Zuni)

Seven carved stone animal and dinosaur fetishes, mid/late 20th century Comprising five carved hardstone dinosaur and lizard-style figures, each with inlaid applied shell zigzag spikes and horns, and with scattered turquoise chips to backs, as well as a carved stone badger and a elephant, each with stone inlay eyes and one mounted with an offering Unsigned, two with attached label 10 pieces Largest height 2 1/2 in., width 3 3/4 in., depth 1 1/4 in.; smallest height 1 1/2 in., width 3 in., depth 7/8 in. $200-400 Provenance: Private Collection, WA Notes: Each with collector’s tag indicating artist and title.

5 0 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

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1421

Eleven Zuni carved badger/bear fetishes

Mid/late 20th century, mostly Zuni Pueblo From artists including Julie Norton, comprising bears, badgers, and a cougar, most carved from various hardstones, as well as horn, turquoise, sandstone, and pipestone, most with inlaid turquoise eyes, and six mounted with offerings Two variously initialed: SA / NV; one with labels indicating artist 11 pieces Largest height 1 in., width 3 5/8 in., depth 1 3/8 in.; smallest height 3/4 in., width 1 3/8 in., depth 1/2 in. $200-400

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, S e p te mb e r 1 5 , 2 0 2 6

1422

Thirteen Zuni carved bear fetishes

Mid/late 20th century, mostly Zuni Pueblo From artists including Nelson Yatsattie, Louise Singer, and Donovan Laiwakete, carved from jet, serpentine, sandstone, pipestone, and wood; one with inset turquoise heartline, three mounted with offerings Some variously incised or inked with signature 13 pieces Largest height 4 in., width 2 in., depth 2 3/8 in.; Smallest height 1 in., width 3/4 in., depth 3/4 in. $200-400

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1423

Ten Zuni carved mammalian fetishes

Mid/late 20th century, mostly Zuni Pueblo From artists including Edna Leki, Loubert Soseeah, and Mel S, comprising bears, a cougar, foxes, a cow, a mole, and various mustelids, most carved from various hardstones, as well as shell and pipestone, and six mounted with offerings Two signed, two with labels indicating artist 10 pieces Largest height 2 in., width 4 1/2 in., depth 5/8 in.; smallest height 1 in., width 2 in., depth 3/4 in. $200-400

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, S e p te mb e r 1 5 , 2 0 2 6

1424

Fifteen Zuni carved mammalian fetishes

Mid/late 20th century, mostly Zuni Pueblo From artists including Melissa Quam, Emery Eriacho, and Kenny Chavez, comprising mostly bears, wolves and coyotes, most carved from various hardstones, as well as jet, tagua nut, amber, and antler, six with inset turquoise, coral, or silver heartlines, and five mounted with offerings Each unsigned, three with labels indicating artist 15 pieces Largest height 1 1/2 in., width 3 1/2 in., depth 5/8 in.; smallest height 3/4 in., width 1 5/8 in., depth 5/8 in. $200-400

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1425

Seventeen Zuni carved bear fetishes

Mid/late 20th century, mostly Zuni Pueblo From artists including Abby Quam, comprising fourteen carved from various hardstones, two jet, and one shell; ten with inset turquoise, lapis, or coral heartlines, three mounted with offerings Each unsigned 17 pieces Largest height 2 3/8 in., width 3 1/4 in., depth 3/4 in.; Smallest height 1 1/8 in., width 1 1/4 in., depth 3/8 in. $200-400 Notes: This lot is accompanied by a purchase receipt from an unknown dealer, dated May 25, 1990.

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, S e p te mb e r 1 5 , 2 0 2 6

1426

A large group of Zuni carved animal fetish figures

Second half 20th century, mostly Zuni Pueblo From artists including Michael Sanchez, Tom Nays, Sara Leekya, Wilfred Cheama, Lance Cheama, Julius Nello, M. Chavez, J Quam, and Russell Shack, including heartline bears and wolves, fishing bears, lynx, turtles, frogs, rabbit, lizards, a mole, a squirrel, a dolphin, and a ram, carved from jet, pipestone, serpentine, green serpentine, turquoise, onyx, and other hardstones, several with turquoise and shell inlay accents, and some mounted with offerings Most marked to base or to tag 33 pieces approximately Largest height 3 3/8 in., width 5 in., depth 2 1/4 in.; smallest height 3/8 in., width 1 in., depth 7/8 in. $200-400 Provenance: Private Collection, WA

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1427

A group of books and magazines on Native American subjects

Second half 20th century-early 21st century Comprising hardcover and softbound books on subjects such as Inuit art, Huichol, Maya, and other tribal and material-specific art subjects 22 pieces Height of tallest 12 in., width 9 in., depth 5/8 in. $100-200

5 1 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

1428

A group of Western Art books and reference materials

Second half 20th century-early 21st century Comprising hardcover books, American Indian Art Magazines, and Western Art auction catalogues 28 pieces Height of largest 11 in., width 11 7/8 in., width 1 3/4 in. $100-200

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1429

An Ovambo dagger with sheath

Late 19th/early 20th century; Angola/Namibia Each in carved dark wood with copper and wrapped wire accents, featuring a tapered ridged metal blade set in a carved wood handle, with a matching sheath with wide top handle and integral wooden channel for a cord attachment Initials marked to sheath end edge: GL 2 pieces Overall height 12 in, width 4 1/8 in., depth 1 1/4 in.; knife height 11 1/2 in., sheath height 7 1/2 in. $1,000-1,500

5 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, S e p te mb e r 1 5 , 2 0 2 6

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Consign Today

Art of the American West November 18, 2026

Consignment Deadline October 8, 2026 Auction Inquiries: info@johnmoran.com 5 1 8 A r t of t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 5 , 2 0 2 6

SINCE 1969

AUCTIONEERS & APPRAISERS

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Do you need a formal appraisal for insurance scheduling, estate tax ﬁling, gift or charitable donation? Moran’s team of USPAP compliant appraisers is here to meet your needs. • USPAP Compliant • Quick Turnaround

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

OscarHowe (1915-1983, Yanktonai Dakota) “Sioux Singer” 1962

Price Realized: $120,000 SINCE 1969

AUCTIONEERS & APPRAISERS johnmoran.com 519

Condition Reports

1001 Minor mat staining showing along the window opening of the over mat. Slight paper toning. Some of the colors may be slightly attenuated. Not examined out of the frame. Framed under glass: 11 x 9 3/8 x 1 1/4 in. 1002 Faint time staining visible under the mat. The original artist’s brown paper tape is along the entire perimeter of the sheet, verso, not affecting the recto. The sheet is hinged to the overmat with white mylar tape along the verso of the upper sheet edge. Framed under glass: 26 3/4 x 22 1/2 x 1 in. 1003 The full sheet. An approximately 2-inch, curved, faint, surface scuff at center, as well as a few scattered tiny specks of possible surface grime, all verso, and none of which affect the recto. The sheet is loose, not matted, but placed in a shallow, foamcore shadowbox.

Condition Reports

Unframed

522

1004 The colors rich. There is a broad, soft, horizontal ripple through the uppermost edge of the image, not affecting the figures, and a few other, smaller, areas of soft cockling elsewhere in the image, all of which is primarily visible in raking light. There is a fairly unobtrusive, narrow, linear, 1 1/4 x 1 inch, T-shaped, surface scuff in the upper portion of one of the brown background sections (second from the right), plus several other even smaller, fainter, surface scuffs elsewhere in the background of the upper portion of the work, all visible primarily in raking light. Scattered minor, nearly invisible, pinhead-sized (or smaller), specks of slight staining in places in the background of the upper third, possibly attendant with the soft cockling just described. A pinheadsized pigment loss at the center of the extreme lower edge of the image (not visible as matted). Old brown paper tape along the verso of the sheet edges, likely in the hand of the artist. The sheet is hinged to the overmat with small squares of linen and/or filmoplast tape in two places from the upper edge of the brown paper-taped edges (just mentioned), verso, and is additionally secured to the overmat with archival paper corners at the tips of the lower sheet corners. Framed under glass: 31 x 36 x 2 in.

1005 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 22 1/2 x 18 1/4 x 2 in. 1006 With wide margins and the left edge deckled. Pale light-staining and overmat staining. Very slight staining scattered along the extreme edge of the deckle of the left margin edge. Minor surface skinning in two places along the verso of the upper margin edge. The sheet is hinged to the back mat in two places from the verso of the upper margin edge. Framed under Plexiglas: 23 x 17 1/8 x 1 in. 1007 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1008 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 36 1/4 x 36 1/4 x 1 1/2 in. 1009 Visual: No condition issues to report. Blacklight: No evidence of restoration. Unframed 1010 Visual: No condition issues to report. Blacklight: A possible approximately 4” hairline backward C-shaped surface abrasion in the upper left quadrant, not affecting the figure, visible only under blacklight. Frame: 36 3/4 x 36 3/4 x 2 in. 1011 Visual: The sheet is framed floating and as mentioned has been mounted to a backing paper. The backing paper is hinged to the overmat from the verso of the upper edge with linen tape. Blacklight: No evidence of restoration. Framed under glass: 22 3/4 x 28 3/4 x1 1/4 in.

Framed under glass: 24 1/2 x 36 1/2 x 1 in. 1013 With wide (possibly full) margins. Vibrant colors. Minor cockling and handling marks. A few areas of surface dirt and insect debris in the blue background and margins, including a more distinct area below the date. Not examined out of the frame. Framed under glass: 36 3/8 x 24 1/4 x 1 in. 1014 With shelf and handling wear, scattered scuffs and scratches, black scuffs and smudges, small indentations, and inherent firing flaws commensurate with age. 1015 With wide (possibly full) margins. A rich impression. Extremely faint and unobtrusive mat staining confined to the margins. Small traces of printer’s ink (pea-sized or smaller) at the tips of three of the margin corners, plus a fingerprint-sized trace on the verso, none of which affect the image. Pale old hinge stains in the upper margin corners. The sheet is hinged with white tape to the overmat from the verso of the upper margin edge. Framed under glass: 18 1/2 x 21 1/4 x 1 in. 1016 With wide (possibly full) margins. A rich impression. A very minor 1/2 inch vertical area of stray printer’s ink in the lower portion of the left margin, not affecting the image. The sheet is hinged with white tape to the overmat from the verso of the upper margin edge. Framed under glass: 19 1/4 x 22 1/4 x 1 1/2 in. 1017 With wide (possibly full) margins. A rich impression. A few minor, faint, stray touches of printer’s ink, verso. The sheet is hinged with white tape to the overmat from the verso of the upper margin edge. Framed under glass: 19 1/4 x 22 1/4 x 1 1/2 in.

1018 With wide (possibly full) margins. A rich impression. Extremely faint, unobtrusive light-staining showing in the portion of the margin exposed through the window opening of the mat. Faint traces of red pigment in places, verso, not affecting the recto. The sheet is hinged with white tape to the overmat from the verso of the upper margin edge. Framed under glass: 20 7/8 x 19 1/4 x 1 in. 1019 With wide (possibly full) margins. A rich impression. A few small traces of stray printer’s ink in places at the extreme edges of the vertical margins, both recto and verso, not affecting the image. The sheet is hinged with white tape to the overmat from the verso of the upper margin edge. Framed under glass: 25 3/8 x 20 1/4 x 1 1/4 in. 1020 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Some rubbed wear and loss to patina at the lower base of bronze. 1021 Bow lacking cord. Arrows with heavy wear and losses. The cover and quiver with stiffening to the hide. Each with heavy soiling and wear commensurate with age. 1022 Each with scattered scuffs, scratches, losses to polychrome, rubbed wear, and minor soiling and dust accumulation commensurate with age. Wear to the feather accents. The longest rattle with scattered areas of insect damage to yarn wrapping on handle. 1023 Each overall good condition with dust accumulation, minor scratches, and light shelf wear commensurate with age. With light wear to feathers, fur, and hide. Minor shedding to fur accents. The bear with loose joint to left elbow. Eagle figure with heavier wear to a few feathers, and loss to one feather, retained. 1024 Each overall good condition with dust accumulation, and minor shelf wear commensurate with age. The Ahote with crushed wear and minor losses to some feathers and fur. The Wolf kachina with clean break to right arm at elbow, retained. 1025 Overall good condition with dust accumulation, and minor shelf wear commensurate with age. With light wear to fur.

Condition Reports

1012 With wide (presumably full) margins. Vibrant colors. Faint handling creases scattered in the blank and margins, not affecting the image. An extremely faint, unobtrusive possible damp stain near the center of the upper margin edge, measuring about 2 1/2 x 1 1/2 in. Not examined out of the frame.

523

1026 Large repaired break with attendant losses. Losses to rim. Rubbed wear and loss to painted decorations. With shelf wear, scuffs, scratches, and soiling commensurate with age. 1027 Reconstructed from multiple breaks with attendant losses throughout. With shelf wear, scuffs, scratches, and soiling commensurate with age. Rubbed wear and loss to painted decorations.

1037 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Ladle with rubbed wear and loss to slip painted designs of handle. Bowl with a pea-sized abrasion to shoulder.

1028 Reconstructed from multiple breaks with attendant losses throughout. With shelf wear, scuffs, scratches, and soiling commensurate with age. Rubbed wear and loss to painted decorations.

1038 Elton with sticker ghost to underside. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1029 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a few scattered small slip chips along shoulder. Fire clouding to underside.

1039 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.

1030 With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age Rubbed wear to polychrome. Penciled notation to underside. 1031 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Losses to slip to underside and foot rim, with penciled notes.

Condition Reports

1032 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a fleabite chipped loss to rim. Penciled marks to underside.

524

1036 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The foot rim with losses to slip.

1033 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The lower with flecks of possible moisture spots and orange staining, with a rice-sized spalling loss to underside. The other with penciled notation to underside. 1034 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1035 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Shape somewhat irregular, with fire clouding.

1040 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age 1041 The foot rim with chipped losses to slip, unobtrusive to artist’s device. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1042 Two dime-sized chipped losses to underside, with mounting putty residue/ghost. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age 1043 With a pea-sized chipped loss to rim and attendant 3/4 in. vertical crack issued from rim. The underside with a 3 1/2 in. long crack. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear and soiling obscuring the decorations. 1044 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1045 Each overall good condition with minimal handling wear commensurate with age.

1046 Tonita with rubbed wear to rim. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1056 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1047 Some losses to slip painting throughout. The foot rim with loss to terracotta wash and remnants of mounting material. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age

1057 Each with minor scuffs, scratches, areas of surface abrasions, and inherent firing flaws commensurate with age. Some with adhesive label residue to base. Two owls with loss to one ear. The medium size Acoma, N.M. owl with chipped losses and sympathetically repaired fractures throughout, visibile under blacklight.

1049 With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered small areas of spalling to the glaze. Underside with a 2 1/2 in. long area of penciled marks and mounting putty to foot rim. Fire clouding to bottom. 1050 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with sticker ghosts and penciled notes. 1051 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age Carla with a 1 1/4 in. long scuff to shoulder, the shelf wear obtrusive to signature, with sticker ghost to underside. 1052 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1053 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. 1054 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 1 1/2 in. diameter area of abrasion below the shoulder. 1055 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The plate somewhat of irregular shape, with sticker ghost and mounting putty residue to underside.

1058 Juanita Arquero with a 1 1/2 in. long deeper scratch to lower body, the underside with sticker remnants. Duran with fire clouding, obtrusive to parts of signature. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1059 The neck possibly with moisture damage, some craquelure. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt pads applied to underside, with loss to slip decoration to foot rim. 1060 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1061 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Underside with penciled notes. 1062 Santo Domingo with a repaired chip to rim and another dime-sized chipped loss, as well as some degradation to slip of underside. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Hopi with sticker ghost to underside and a rice-sized likely inherent indentation. 1063 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Scattered small chips to the slip. A few scattered cracks to the slip, in the body and a few to the lower sides near the base. A few areas of fire clouding. A sticker ghost to the base. 1064 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With scattered small areas of spalling, some beneath the slip.

Condition Reports

1048 With large areas of repair and losses to shoulder and body. Mounting putty residue to underside. With shelf wear, scuffs, scratches, rubbed wear, soiling, and some losses to polychrome commensurate with age.

525

1065 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 1 in. long inherent indentation in the construction. 1066 The rim with a 1 5/8 x 1 in. repaired break with small attendant losses and a 3 1/2 in. long crack issued. With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 1067 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age 1068 Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. 1069 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Inherent indentations from the construction throughout. 1070 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1071 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Condition Reports

1072 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with applied felt pads to underside.

526

1073 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Underside with sticker remnants and penciled notes. 1074 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with minor rubbed wear to the polychrome. 1075 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age

1076 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age 1077 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1078 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1079 Overall good condition with scattered minor scuffs and small scratches commensurate with age and use. Light wear to corn husks. 1080 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1081 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age 1082 Visual: Overall good appearance. Three pinheadsized surface abrasions at the center of the left edge. Scattered surface dirt. Blacklight: No evidence of restoration. Frame: 20 5/8 x 16 1/4 x 2 in. 1083 Visual: Three unobtrusive pinhead-sized abrasions along the extreme left edge. Blacklight: No evidence of restoration. Frame: 20 1/2 x 16 1/2 x 2 in. 1084 Visual: An occasional faint crack. There are possible light pinpoint abrasions on some of the tips of impasto, mainly in the lower right quadrant. Blacklight: No evidence of restoration. Frame: 41 1/4 x 50 3/4 x 2 1/2 in. 1085 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

Blacklight: No evidence of restoration. The varnish layer is spotty and uneven. Frame: 32 7/8 x 38 7/8 x 2 1/2 in. 1087 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 35 x 31 x 3 in. 1088 Visual: There is a 2 x 2 inch repair visible to the naked eye in the upper right quadrant in the purple background just to the right of the sitter’s forehead (with an accompanying patch verso). There is a 2 inch hairline tear near the upper right edge, in the green (with an accompanying patch verso). There is a 1/2 inch hairline tear between the sitter’s top two buttons. A pea-sized hole in the lower right, just above the hands. Scattered faint craquelure in places. The canvas is slack. There are stretcher bar creases along the edges and a stretcher bar crack at the upper edge. Surface grime and other minor defects, including a 4 1/2 x 2 inch spot of damp staining on the verso’s lower left. Blacklight: There are two areas of unskilled touchup, corresponding to the abovementioned visible repairs and patches, one in the purple measuring approximately 9 x 6 inches and one in the green measuring approximately 6 x 3 inches. Other areas that fluoresce are likely due to an old, uneven varnish layer and not touch-up. Frame: 41 3/4 x 34 7/8 x 2 1/2 in. 1089 Visual: Scattered faint craquelure. Stretcher bar creases, mainly visible along the vertical edges. Surface grime. Blacklight: Very old thick varnish. There are serval pinhead-sized spots that fluoresce in the lower part of the painting, but these are likely mold spots rather than touch-up. Frame: 31 3/4 x 19 3/4 x 2 1/2 in. 1090 Visual: A few scattered areas of deep craquelure, including one area in the ground of the lower left quadrant that is beginning to cup and lift. The canvas is very slightly rippled in the upper right quadrant. Blacklight: No evidence of restoration. Frame: 31 x 29 x 2 1/2 in.

1091 Visual: A few pinhead-sized (or smaller) pigment losses in the skirt of the left figure, as well as a few others scattered along the outer edges, including a small cluster to the right of center along the lower edge. Wear to the pigment at the tips of the corners, including a small (approximately 1/4 x 1/4 inch) loss to the extreme lower right corner of the Masonite itself. Blacklight: A quarter-sized touch-up in the sky near the horizon line in the upper right quadrant. A few scattered pea-sized touch-ups, including in the bun of the right figure’s hair. Small scattered clusters of peasized (or smaller) touch-ups in places throughout. Unframed 1092 Visual: Slight varnish discoloration. Small scattered areas of fine craquelure primarily in the sky. Stretcher bar creases along each edge, primarily visible in raking light. Blacklight: A very thin 3 inch vertical touch-up on the tree branch that extends into the sky in the center of the upper half. Scattered flecks of touch-up and crack-fill throughout the sky, including a thin band of touch-up along the extreme upper edge. A few scattered pea-sized possible touch-ups in the figure’s red shawl. Frame: 35 3/4 x 29 x 1 3/4 in. 1093 Visual: Scattered areas of fine craquelure. There is a rice-sized pressure mark in the lower 1/3rd of the painting, near the center. As mentioned, the canvas has been relined (wax lining). Blacklight: No evidence of restoration. Frame: 15 5/8 x 14 3/8 x 1 3/4 in. 1094 One inner diffuser cracked. With oxidation, dust accumulation, shelf wear, scuffs and scratches, and wear to patina 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. 1095 Overall good condition with slight warping, likely inherent, shelf wear, oxidation, and scuffs and scratches commensurate with age. 1096 Later colored in chips to rim. With shelf wear, soiling and mounting putty residue to underside, and minor scuffs and scratches commensurate with age. Soiling to interior, with crazing.

Condition Reports

1086 Visual: No condition issues to report.

527

1097 Overall good condition with shelf wear, soiling and mounting putty residue to underside, and minor scuffs and scratches commensurate with age.

1104 Visual: A few pea-sized (and smaller) faint orange spots (splatter marks) in the right half of the canvas, and other minor scattered surface grime.

1098 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Each with mounting putty residue to underside.

Blacklight: No evidence of restoration. The abovementioned splatter marks are most visible under blacklight.

1099 The shade with minor handling wear. The base with wear to patina, oxidation, shelf wear, and minor scuffs and scratches commensurate with age. The lamp plug needs electrical repair from a qualified electrician. Moran’s does not guarantee the working condition of electronic equipment.

1105 The full sheet with deckled edges. A 3/4 inch printing crease near the center of the right edge. A slight warp to the lower half of the sheet. The sheet is framed floating, and appears to be hinged to the back mat in places from the verso of the sheet edges. Not examined out of the frame.

1100 Each shade with wear in mounting juncture areas, with chipped losses along the rims. Each base with oxidation, scuffs, scratches, dust accumulation, and shelf 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.

Framed under glass: 29 x 36 3/8 x 1 3/4 in.

1101 Overall good condition with mild oxidation, scattered minor scuffs and scratches, and rubbed wear to patination throughout commensurate with age. Each shade good condition with some scratches and general wear. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Condition Reports

1102 Overall good condition with minor shelf wear and scattered minor scuffs and scratches.

528

1103 Visual: Scattered craquelure mostly in the upper portion of the sky. The canvas is somewhat slack with creases in the upper corners. Blacklight: There is a 3/4 x 1 inch reverse L-shaped line of touch-up in the lower left quadrant, with a corresponding patch verso. Scattered splash marks showing under blacklight. Unframed

Frame: 37 x 43 x 2 1/4 in.

1106 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1107 With weathering, soiling, heavy verdigris and oxidation, dust accumulation, scuffs, and scratches commensurate with age. 1108 Overall good condition with dust accumulation and minor handling wear commensurate with age. 1109 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1110 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1111 Overall good condition with light soiling, some dust accumulation, and rubbed wear commensurate with age. A few scattered small areas of minor bead loss to edges. The interior with some stitch holes and areas of re-worked seams. With associated hide pouch for storage. 1112 Each overall good condition with dust accumulation and light wear commensurate with age and wear. Scattered areas of minor surface soiling to some stitched and hide surfaces. Slight pilling of yarn

1114 Each with dust accumulation, soiling, stains, creasing and wear commensurate with age and use. The Sioux bag with a small hole to one side, natural to the hide. Some scattered losses to bead strands, primarily to corners and top edge. The large bag with extensive drying, stiffening, and distortion, with a break to the strap. **The pouch with interior vintage calico bag containing pieces of suede and a bundle. 1115 Each overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Scattered areas of rubbed wear to pigment. 1116 With dust accumulation and wear commensurate with age and use. Drying and slight distortion to leather, inherent spots and marks, and rubbed wear to leather and painted surface. Faint ink lines and marks at back and edges, likely from construction. With inventory number to back: P -19. 1117 Largest bowl with break and loss to front. Each with scattered scuffs, scratches, nicks, and fleabites at edges commensurate with age and use. Most with label residue to stone surface. Each with a few scattered dark marks and small black spots, especially to one bowl interior. 1118 Each bowl in overall good condition with dust accumulation and scattered scuffs, scratches, nicks, and fleabites at edges commensurate with age. Scattered light scratches and wear to wood stems and leather accents. The largest stem with inventory number to one end. 1119 Overall good condition with dust accumulation, wear, and soiling commensurate with age and use. With a single loose bead strand to one side. 1120 Two in overall good condition with dust accumulation, light soiling, and minor wear commensurate with age. The armband tassels with a few areas of minor wear and losses to quills and to feathers. The moccasins crushed and distorted, with scattered heavy soiling, areas of bead losses, and holes to each sole, likely from wear. One armband with a numbered adhesive label verso.

1121 Each overall good condition with dust accumulation, wear, and soiling commensurate with age and use. With scattered breaks and losses to quill work. The tall pouch with a few bead losses to one edge. The large pouch with a few scattered losses and small holes to wool edging at lower edge, likely from insect activity. 1122 Each overall good condition with light dust accumulation and minimal wear commensurate with age and use. The purse with minor dye transfer to the back at the lower edge. 1123 Each overall good condition with light dust accumulation and minimal wear commensurate with age and use. 1124 Each overall good condition with light dust accumulation and minimal wear commensurate with age and use. Each with hide backing, some with faint smudges and/or label residue to hide. 1125 Each with dust accumulation, wear, and light soiling commensurate with age and use. The shield with fading to purple felt. The frame with loose stitching to thread hanging loop. The scissors case top with scattered soiling, scattered areas of bead loss, and the edges with heavier wear and losses. The frame with black and white photograph inserted. 1126 Overall good condition with dust accumulation and minor wear commensurate with age and use. A few inherent marks and creases to leather. Light wear to fur, with some compression to hairs. Minor creasing to fringe. 1127 Each overall good condition with light wear commensurate with age and use. The skunk basket with a single loose thread. 1128 Overall good condition with dust accumulation and light soiling commensurate with age and use. Minor creasing/distortion to hide fringing. Fur with light wear, minor shedding, and areas of slight compression. 1129 Overall good condition with dust accumulation and light soiling commensurate with age and use. Fur with light wear, minor shedding, and areas of slight compression. Light wear and natural splitting to horns.

Condition Reports

1113 Overall good condition with scattered minor scuffs, scratches, and shelf wear commensurate with age and use. With inherent cracks and splits to the antler. Scraper foot with dark adhesive residue to inner surface. A few faint spots and surface soiling overall.

529

1130 Overall good condition with dust accumulation and light soiling commensurate with age and use. Fur with light wear, minor shedding, and areas of slight compression.

1137 Each overall good condition with wear, dust accumulation, and minor scuffs and scratches commensurate with age. The stone totem with retail label to base.

1131 Each overall good condition with light dust accumulation and minimal wear commensurate with age and use. Each with hide backing, with some faint smudges and/or label residue to hide.

1138 Each overall good condition with minor wear, dust accumulation, and minor scuffs and scratches commensurate with age. Stone with inherent inclusions and abrasions. Each with a few scattered minor chips along some edges.

1132 Overall good condition with dust accumulation and scattered nicks, scuffs, scratches, and minor shrinkage cracks commensurate with age. With hide laces verso for attachment. With display stand. 1133 Overall good condition with scattered minor scuffs and scratches commensurate with age. 1134 Overall good condition with scattered minor scuffs and scratches commensurate with age. 1135 Toning throughout, with attendant pigment attenuation, as well as darker time staining along the extreme edges of the sheet. A series of hairline tears in the lower right corner (with related repairs verso), the largest measuring 4 inches vertically. A few rice-sized (and smaller) spots of foxing along the center of the right edge, and an occasional scattered flyspeck. Puckering to the paper along the lower left edge and upper right edge. The sheet is loose, not matted.

Condition Reports

Unframed 1136 The untitled work has a 3/4 inch horizontal tear in the lower left corner, just above the signature. There are a few scattered spots of foxing as well as dime-sized (and smaller) stains in the corners from when the sheet was tipped (it was removed from the mount at some point in the past). Some faint toning to the sheet. Glue stains, foxing, and other discolorations verso, most not affecting recto. “Wrangell Narrows” is tipped to the backing sheet, likely as issued. A 3/8 x 1/8 inch area in the upper right corner is torn from the mount, and the lower right corner is loose from the mount (no visible damage). There is a pinheadsized abrasion along the lower left corner. The paper is mildly toned while the backing sheet is heavily toned with losses in places along the edges, some tears along the edges, and an almond-sized damp stain in the upper left (not affecting the image). The sheets are loose. Each unframed 530

1139 Overall good condition with minor wear, dust accumulation, and a few minor scratches commensurate with age. A very subtle repair to a hairline fracture of the mouthpiece, visible in UV light. The base with a few ‘sticker ghosts.’ 1140 Overall good condition with scattered minor scuffs, scratches, and shelf wear commensurate with age. With partially legible inventory number in ink to top verso. 1141 Overall good condition with dust accumulation, minor creasing, and light wear commensurate with age and use. Minor fading and a few scattered faint marks and spots to side A. A few scattered small single holes to the green wool, largest: 1/2 in. x 1/2 in.. Scattered insect grazing and damage to red wool edging, primarily to the lower strip at back. With loss of one button to one leg. 1142 Each with scattered scuffs and scratches commensurate with age. A few dark marks to wood in places. Wear to edges including small nicks and minor splintering to wood. Rubbed wear and chipping to paint. One handle with minor break to top side. 1143 Each overall good condition with shelf wear, dust accumulation, and scattered scuffs and scratches commensurate with age. Each with attached wire for hanging. 1144 Overall good condition with dust accumulation, minor shelf and handling wear, small nicks, and faint soiling commensurate with age. With added cord for display. 1145 Overall good condition with dust accumulation, minor shelf and handling wear, small nicks, and faint soiling commensurate with age. With wire added for display.

1147 Overall good condition with dust accumulation, minor shelf and handling wear, small nicks, and faint soiling commensurate with age. With added wire for display. 1148 Each overall good condition with dust accumulation, light soiling, small nicks, handling and shelf wear commensurate with age. The eagle mask with a few minor shallow splits to top and bottom edges. The cougar mask with a longer hairline split to top center front, and with scattered tiny spots overall. Each with hide laces for attachment or display. 1149 Each overall good condition with dust accumulation, light soiling/darkening throughout, and scattered nicks, scuffs, scratches, and minor shrinkage cracks commensurate with age. Some areas with minor rubbed wear to polychrome. 1150 Overall good condition with dust accumulation, minor wear, and scattered scuffs commensurate with age. Slight pilling/light wear to red cloth. Minor wear to fur, with slight crushing to fur on edges, and distortions/creasing to some hanging pelts from storage. One pelt with a loose stitch at the frame edge. The interior arched birch strip head frame is loose and separated from the stitching at one end. 1151 Overall good condition with scuffs, scratches, soiling at ends, and small nicks at edges commensurate with age. 1152 Each overall good condition with shelf wear, dust accumulation, and scattered scuffs and scratches commensurate with age. Light wear to fur. The large spoon with a ‘sticker ghost’ to interior of bowl. 1153 Overall good condition with light dust accumulation and minor wear commensurate with age and use. With irregular shape to rim.

1154 Each with dust accumulation and wear commensurate with age and use. Each with a few scattered stitch losses. The largest with multiple stitch losses to lid edge and to basket rim, largest area 2 1/4 in. to one corner; the rim with a small fracture in one area. Each with scattered wear and some losses to some imbrication stitches. Each with a few scattered minor marks and shelf wear to base. The basketry jar with loose handle, detached on one side. 1155 Each overall good condition with dust accumulation and wear commensurate with age and use. Each with a few scattered single stitch losses. Scattered wear and some losses to some imbrication stitches. Pedestal with a few scattered minor marks, and the tray slightly askew on base. 1156 Each with dust accumulation and wear commensurate with age and use. Each with a few scattered minor marks. Each with scattered stitch breaks and losses. Each with scattered wear and some losses to imbrication stitches. The pictorial tray with a partial small fracture to rim, with attendant stitch losses. The rectangular tray with a partial break and splits to rim, with attendant stitch losses. 1157 Each overall good condition with dust accumulation and light wear commensurate with age and use. 1158 Overall good condition with dust accumulation and minor wear commensurate with age and use. Sight distortion to lid top at knob. 1159 Overall good condition with dust accumulation and light wear commensurate with age and use. a few smudges to the hide strip wrapping. One long side with two blue marks, likely adhesive residue from the accompanying acrylic stand. Not examined with lace untied. 1160 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. 1161 Overall good condition with dust accumulation and wear commensurate with age and use. The rim with slight distortion in a couple of places.

Condition Reports

1146 Overall good condition with dust accumulation, minor shelf and handling wear, small nicks, and faint soiling commensurate with age. Light wear to hair, with minor matting to some strands. With added cord for display.

531

1162 Overall good condition with dust accumulation and wear commensurate with age and use. Wear to feathers, with some distorted, and a couple of losses. 1163 Overall good condition with dust accumulation and wear commensurate with age and use. Wear to feathers. A few losses to feathers and to shell beads. Fading to exterior. Minor fracture to rim rod, with visible distortion. 1164 With dust accumulation and wear commensurate with age and use. Multiple stitch losses to rim, with multiple breaks and a loss to the rim rod, 2 in.. Patchy darkening and discoloration to exterior. Scattered tiny holes in some stitches and rods, likely from insect activity. Slightly out of round likely due to rod breaks. 1165 With dust accumulation and wear commensurate with age and use. Scattered stitch losses to body interior and exterior. Shelf wear to base. 1166 Each overall good condition with dust accumulation and light wear commensurate with age and use. The bottle with a few scattered single bead losses, the base with multiple losses to yellow beads.

Condition Reports

1167 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered single decorative stitch losses to rim. A couple of single stitch losses to interior. A faint red mark to base exterior.

532

1168 Each overall good condition with dust accumulation and wear commensurate with age and use. The bottle with a few scattered single stitch losses, and with multiple stitch losses to outer base, and with break and 1 3/8 in. loss to outer base rod. The bottle handle with a few stitch losses, with exposed threads. The tray with scattered stitch losses to frame edges. 1169 Each with dust accumulation, slight fading, and shelf wear commensurate with age and use. The wide conical basket with a break to rim rod. The tall conical basket with minor break to rim rod, and one stitch break. The tall bowl with minor break to rim rod and patchy darkening. The berry basket with scattered breaks to rim stitching, distortion to rim and to body, and a break to the decorative rod below the rim.

1170 Overall good condition with dust accumulation and wear commensurate with age and use. Extreme fading to exterior. A few scattered single stitch losses overall, with very slight wear to exterior waist of bowl. 1171 Each with soiling, dust accumulation, and general wear commensurate with age and use. Each with scattered multiple breaks or losses, including but not limited to: scattered stitch losses, breaks and losses to rim rods and other coils near the necks; the smaller globular jar with a 12 in. long break to waist, with multiple rod losses, and breaks and losses to rim and neck. The interior of the largest jar with coated with cracked pine pitch, with lost pieces captured within. The twined conical vessel with scattered losses to pine pitch, and one side with a round hole near one handle location, 1 3/4 in. Dia.. 1172 Each overall good condition with dust accumulation and wear commensurate with age and use. Slight darkening to each overall. The 14 in. with a single stitch loss to rim. The 15 in. with a few stitch losses to interior. 1173 With soiling, and dust accumulation commensurate with age and use. Losses and cracking to pine pitch throughout, concentrated at the neck. The tapered base reinforced with pitch-coated canvas patch, with cracking along the edge in places. Some breaks and losses to horsehair handles. With wire hanger for mounting, attached to straps. 1174 Each with soiling, dust accumulation, and warping to the form commensurate with age and use. Losses to pine pitch throughout, concentrated at rim edges and base, with cracking throughout. 1175 Each with soiling, dust accumulation, and warping to the form commensurate with age and use. Each with losses to pine pitch and cracking throughout, the larger appears flattened and distorted, possibly intentionally for use, with extensive pitch losses to neck. 1176 With soiling, and dust accumulation commensurate with age and use. Losses and cracking to pine pitch throughout, concentrated at neck and base. Label residue to base.

1178 Each overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Three with slight fading to interior. Each with integral hanging loops. Each with stamped or inked letter/number verso. 1179 Visual: Craquelure throughout and stretcher bar cracks, all appear minimized with lining (as mentioned). Some light frame abrasion mainly along the upper half of the right edge. Blacklight: There are three areas of touch-up visible near the right vertical edge, one measuring 1 x 1/2 inches near the upper right corner, one measuring 1 x 1/2 inches near the center of the right edge with an accompanying pea-sized spot, and another is an area measuring 1 x 1/2 inches near the lower right corner. A very thick varnish layer may obscure other possible touch-ups. Frame: 31 7/8 x 43 3/4 x 2 1/2 in. 1180 Visual: A reverse pressure mark in the lower right quadrant with a pea-sized area of abrasion and puncture. Scattered craquelure with a bulls-eye crack measuring approximately 4 x 3 inches near the foreground horse’s back hoof. Surface dirt and an old, discolored, varnish layer. Blacklight: No evidence of restoration. Frame: 41 1/2 x 53 5/8 x 2 in. 1181 Vibrant color. The sheet is sandwiched within the overmat and backmat (adhered together), thus the verso is inaccessible. Framed under glass: 30 1/2 x 36 5/8 x 2 in. 1182 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 15 x 18 x 1 3/4 in.

1183 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 14 1/2 x 17 1/2 x 1 1/4 in. 1184 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 23 1/4 x 19 1/4 x 1 1/4 in. 1185 “Round-up”: The full sheet with margins and a deckled edge. Extremely faint time staining in the margins, not affecting the image. “The Suitor’s Gift”: The full sheet with margins. Surface dirt scattered in the margins, not affecting the image. Time staining along the upper edge. “Bronc Stomper”: With margins and a deckled edge. Minor paper cockling on the left side and extremely faint time staining along the very outer edges of the margins, not affecting the image. Each sheet is loose, unframed 1186 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1187 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Metal plaque not mounted, retained with the lot. 1188 Staple holes in places along the left and lower sheet edges, presumably in the hand of the artist. The sheet is secured to the back mat with four clear archival corners. Framed under glass: 27 5/8 x 34 x 1 1/2 in. 1189 Visual: A 1/2 x 1/2 inch (or smaller) area of wear and pigment loss to the extreme tips of the panel’s upper corners, and minor wear to the tips of the lower corners. Blacklight: No evidence of restoration. Unframed

Condition Reports

1177 Each overall good condition with dust accumulation, light soiling, and minor wear commensurate with age and use. The two plaques with slight fading to the interior. The large basket with scattered areas of slight adhesive residue to stick tops at rim. Each with inked letter/number to base.

533

1190 Artist tack marks visible in each corner. No condition issues to report. Framed under glass: 24 3/4 x 28 3/4 x 1 1/2 in. 1191 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. 1192 Possibly later hardware. Lacking original mirrored back. Overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age. The front bar of later dish rack unmounted at one side. Small losses and more concentrated wear at feet and lower legs. Soiling to drawer interiors. Includes key. 1193 Sold as-is. The desk has been refinished previously. One side with heavy losses and lifting to the veneered layer of wood. Oxidation to hardware. Soiling and staining to drawer interiors. Overall with scuffs, scratches, nicks and small losses at edges and corners, staining, fading to finish, loss to finish, and general heavy wear commensurate with age. Lacking key.

Condition Reports

1194 The base with shelf wear and wear to patina. With scuffs, scratches, oxidation, and dust accumulation 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.

534

1195 Lacking heat cap. Sockets replaced, rewired, ring and finial replaced. Some soldering at bottom corners of shade. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 1196 Each frame lacking clear glass insert, the oval with broken arm, retained with the lot. Match holder with one cracked glass panel. Paper cards with tanning and wear and edges and corners. Each with shelf wear, oxidation, and rubbed wear to patina commensurate with age. 1197 Rim ground down/height reduced. With shelf wear, minor scuffs and scratches, and mild oxidation to bronze commensurate with age.

1198 Each with scratches, scuffs, oxidation, smudges, marks, and rubbed wear commensurate with age and use. Three lacking stems. A few scattered carved elements missing or broken. A few stems with loose attachment, and one with a break and loss to stem. Largest with repaired break to woman’s head, and with chips and indentations to stem end. Largest portrait pipe with minor fracture to lower edge where joined to stem. Smallest dog pipe with repaired fractures to stem and face, visible under UV light. Wear to cases, with dust accumulation and breaks to some hinges. 1199 ‘Till’ with heavy rubbed wear to rim. One painted cowgirl with large crack at center. Each with shelf wear, scuffs, scratches, and minor soiling commensurate with age. 1200 Each overall good condition with dust accumulation, wear and creasing commensurate with age and use. Light wear/distressing to edges at cuffs and hem. Each with a few scattered faint scratches and a couple of minor nicks to the leather. Each with minor pilling to rib knit trim interior. The red jacket with very faint smudges to neck interior at collar and lining. 1201 With dust accumulation, oxidation, scratches, abrasions, general wear and soiling commensurate with age and use. Scattered creases, minor surface cracking, darkened areas and minor stains. Heavy creasing to each knee. A small holes and splits to leather in places, most likely integral to the hide. Zippers marked: Carhartt FR / YKK. 1202 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. Wear and soiling to all straps, with slight stiffening to leather straps. 1203 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. Wear, soiling, distortion, and stiffening to leather straps. 1204 Pale scattered foxing showing on the verso of the mount and the frame’s backing board, seemingly not affecting the recto. Not examined out of the frame. Framed under Plexiglas: 13 7/8 x 15 1/2 x 3/4 in.

Framed under Plexiglas: 13 7/8 x 15 1/2 x 3/4 in. 1206 Overall good condition with dust accumulation, minor creasing, and typical signs of wear commensurate with age and use. A couple of faint small spots to one side. A couple of selvage cord breaks to one long side edge. A couple of tiny holes to the black wool section. Light wear to corner fringing. 1207 Overall good condition with light dust accumulation and minor signs of wear commensurate with age and use. A few scattered small areas of likely reweaving to edges and to cording in places. A few scattered small spots. Each side with fading to purple wool. A small hole in blue zigzag area at one corner. Each side with couple of small areas of shallow insect grazing. Each corner lacking tassel. 1208 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Minor wear to corner tassel fringe ends. 1209 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight fading to one side. Scattered minor breaks to selvage cords. Scattered small gaps/small holes in the weave at some color changes, primarily at the center.

1210 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side, scattered stains and spots to each side, a few scattered stitched repairs including reweaving to center, and hemmed short edges, with multiple failed and loose hem stitches, and heavy wear to selvage edges and cording, with multiple breaks on each long edge. 1211 Visual: Light surface dirt with an old varnish layer. Blacklight: No evidence of restoration. Frame: 45 x 39 x 2 1/2 in.

1212 Visual: Pea-sized (and smaller) scattered spots of frame abrasion in places along the extreme right edge and in the upper left corner. Surface grime and scattered faint foxmarks. Blacklight: No evidence of restoration. Foxmarks become more prominent under blacklight. Frame: 30 1/2 x 42 1/2 x 1 1/2 in. 1213 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 28 1/4 x 38 1/4 x 1 1/2 in. 1214 Visual: A 5 in. vertical tear on the right side of the painting. Craquelure throughout with areas of unstable, lifting, and flaking paint, with a 5 x 1 inch (irreg.) area of paint loss in the lower right corner. A 1/2 x 1/4 inch abrasion with puncture in the upper left quadrant. Damp staining visible on the front of the frame and also the verso of the canvas (approx. 21 x 8 inch). Blacklight: No evidence of restoration. Frame: 3 x 38 1/2 x 4 in. 1215 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Patchy fading and a few scattered faint spots and small stains to side A. A few small holes and a minor area of loose weave. Ochre wool with thinning to weave in places. Minor wear to edges with a couple of areas of loose weave and scattered breaks to cords, primarily to one short edge. 1216 Overall good condition with dust accumulation, minor creasing, and typical signs of wear commensurate with age and use. Very slight fading to one side. Scattered faint stains and surface marks to each side. A few scattered small areas of minor shallow insect grazing. A couple of loose selvage cord stitches to one long side. A couple of small areas of loose weave at one short edge. Wear and loss to corner fringing. 1217 Overall good condition with dust accumulation, minor creasing, and typical signs of wear commensurate with age and use. Scattered small faint spots/stains, and surface marks to each side. A few scattered small faint areas of minor insect grazing. Light wear to corner fringing.

Condition Reports

1205 No condition issues to report. Not examined out of the frame.

535

1218 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of minor insect grazing to each side, and several loose and tangled warps. 1219 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. The loom with scattered tangled warps. 1220 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each side with areas of dye migration, scattered stitched repairs, wear to selvage edges and cording, including a loss to one long edge, scattered areas of insect grazing including small holes, and areas of loose weave, distortion to edges with variable width overall. 1221 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Very slight fading to one side. Light wear to all edges and corners, with a few breaks to selvage cord at one corner.

Condition Reports

1222 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to one side, a few scattered small spots to each side, a few scattered small holes, largest: 1/2 x 1/4 in., scattered areas of minor insect grazing, and light wear to edges including a few scattered breaks to cords and small areas of loose weave.

536

1223 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 even fading and general light soiling. Each side with scattered small spots and minor stains including white pigment marks and a couple of darker smudges. A couple of areas of very minor dye transfer. 1224 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, a few scattered faint stains and a couple of minor surface marks (likely from furniture), light wear to selvage edges, cording, and some corners, with a few areas of loose weave, minor losses to one long edge, 2 1/2 x 1 /12 in., and narrow raveling and loss to one end edge, 9 in. L.

1225 Overall good condition with dust accumulation, minor creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: even fading to side A, a few faint small spots to side B, minor wear to selvage edges and cording, with a few breaks to cords and wear to corners. Some sympathetic stitched repairs to short ends. A few scattered areas of minor insect grazing, with some small holes.

1226 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of exposed warp, yellow staining to each side, and scattered breaks in the selvage cording. 1227 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with a couple of minor spots to cream wool, wear to corner tassels/fringing, a few areas of minor loose weave near edges, and a few minor small areas of light insect grazing.

1228 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered faint spots and stains and some areas of faint dye migration to each side, wear to corners and short ends, with some areas of loss and loose weave, and scattered areas of shallow insect grazing, with attendant scattered missing and loose stitches. 1229 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small faint stains and spots to each side, a small area of cream wool with slight stiffening and pilling to the weave, a couple of areas of loose weave to one corner, and light wear and one loss to corner tassels. 1230 With dust accumulation and typical signs of wear commensurate with age and use. Each side with scattered areas of faint dye transfer. A few scattered faint spots to side A. Side B with scattered areas of darker staining, and a strip of twill tape stitched to one short end for potential display rod. Light wear to two corners. A few small areas of loose weave/small holes to one end.

1232 Visual: Dust accumulation and occasional specks of grime commensurate with age. Blacklight: No evidence of restoration. Frame: 45 x 59 x 3 in. 1233 Visual: Dust accumulation and grime commensurate with age. Blacklight: No evidence of restoration. Frame: 39 1/4 x 49 1/2 x 2 1/4 in. 1234 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1235 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1236 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 15 1/2 x 18 1/2 x 1 1/2 in. 1237 Visual: Dust accumulation and grime commensurate with age. Blacklight: No evidence of restoration. Frame: 32 3/4 x 48 3/4 x 3 3/8 in. 1238 Visual: Dust accumulation and occasional specks of grime commensurate with age. Very slight frame abrasion along the lower edge. Blacklight: No evidence of restoration. Frame: 41 3/4 x 47 5/8 x 3 3/4 in.

1239 Each with dust accumulation, some soiling/darkening throughout, and scattered nicks, scuffs, scratches, oxidation, and minor shrinkage cracks commensurate with age. The largest with a lengthwise crack, and loss to snout. Rubbed wear and flaking to some polychrome. Some metal elements with slight distortion to shape. Each with metal hooks, eyelets or pierced metal fins to the top, possibly for hanging. Turtle and yellow frog lacking holes for a stand. Most with inset metal weight to underside of figure. 1240 Overall good condition with dust accumulation, minor marks/spots, and scattered nicks, scuffs, and scratches commensurate with age and use. A few cracks to top of snout. Slight distortion to some teeth. Some minor movement of joints, revealing sections beneath the foiled cover, visible under the neck. 1241 Each with scuffs, scratches, soiling, staining, and weathering commensurate with age. Scattered small chipped losses to wood elements at edges and extremities. 1242 Three glass panels with a crack. Overall good condition with oxidation, rubbed wear to patina, and scuffs and scratches commensurate with age. 1243 With shelf wear, oxidation, scuffs, and scratches commensurate with age. At least 15 glass panels with cracks, almost all comprising the edge panels. One light missing pull cord. Plug needs to be replaced. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 1244 Crazing to the glaze, concentrated to lower half. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some soiling to interior. 1245 Standard is bent, with a slight lean, and wax catcher is loose. Shade support is replaced. With shelf wear, wear to patina, scuffs, scratches, and oxidation commensurate with age. The shade with rubbed wear and upper and lower rims from mounting. Overall with wax residue to upper portion. 1246 No cracks in glass panels. Each with shelf wear, oxidation, and rubbed wear to patina commensurate with age.

Condition Reports

1231 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A few scattered faint spots and stains to each side. A few scattered minor breaks to selvage cords. A few subtle stitched repairs. A few scattered single loose yarns.

537

1247 Each shade overall good condition. The base with shelf wear, minor scuffs and scratches, and oxidation commensurate with age. Fraying to area near plug. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 1248 Pale light-staining. Not examined out of the frame. A 8 1/2 x 3 1/2 inch area of the frame’s glass is cracked in the upper left corner and is currently held in place with blue tape. Framed under glass: 30 1/4 x 45 3/4 x 1 1/4 in. 1249 An occasional pale scattered foxmark. Pale time or mat staining along the sheet edges. Not examined out of the frame. Framed under glass: 17 3/4 x 21 1/4 x 1 3/4 in. 1250 Light-staining. A 1 1/2 inch edge tear or crease extending in from the left portion of the lower sight edge, and another (smaller) across the upper left sight corner. Old glue and tape remnants showing along the upper and right sight edges. Not examined out of the frame. Framed under glass: 17 x 18 3/4 x 1 in. 1251 The sheet and mount are toned with some pigments likely attenuated. There is mat staining along the outer edges of the composition (along the window opening of the over mat and below). There are traces of glue (with staining) and adhered paper, as well as some surface skinning all along the outer edges of the sheet, not affecting the image.

Condition Reports

Framed under glass: 21 1/4 x 18 1/2 x 1 in.

538

1252 Visual: Heavy, but stable appearing, craquelure throughout. Considerable surface grime, with an old varnish layer and splash marks throughout. The signature and title on the verso have been covered in varnish. Splatter-style damp stains scattered verso. Blacklight: No evidence of restoration. Frame: 44 1/4 x 35 1/2 x 3 in. 1253 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

1254 Scattered areas of fine craquelure. Soft stretcher bar creases along each edge, primarily visible in raking light. A few scattered pinhead-sized (or smaller) specks of grime along the left edge. The title in the lower right appears to have been re-worked, likely by the hand of the artist, and the older toned-down title is partially visible to the right of the prominent red title. Blacklight: No evidence of restoration. A heavy layer of varnish has been applied. Frame: 26 3/4 x 24 3/4 x 2 1/4 in. 1255 A few pea-sized (and smaller) foxmarks in the center of the image. The paper is toned. A few pinheadsized abrasions in the upper portion of the extreme vertical edges of the paper. The paper is mounted to illustration board, likely as issued. Not examined out of the frame. Framed under glass: 15 x 17 x 1 in. 1256 An occasional pea-sized (and smaller) foxmark. The paper is toned. A rice-sized abrasion to the upper portion of the extreme right edge of the paper, and an even smaller abrasion along the center of the upper sheet edge. The paper is mounted to illustration board, likely as issued. Not examined out of the frame. Framed under glass: 14 3/4 x 16 7/8 x 1 in. 1257 Overall good condition with shelf wear, scuffs, scratches, oxidation, and some soiling commensurate with age. The interior with rings of staining. 1258 With a dent in the shade near to top with attendant loss to patination and slightly bent component. With shelf wear, wear to patina, oxidation, and scattered scuffs, scratches, and minor nicks 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. 1259 White scuffs to top of shade and to the rim. Overall good condition with shelf wear, wear to patina, oxidation, and scattered scuffs, scratches, and minor nicks 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.

1261 Each later etched, possibly for archival purposes with the same number to underside: V652893. Each with shelf wear and scuffs and scratches commensurate with age. 1262 Shade in good condition with minor scratches concentrated at juncture. Base with soiling, oxidation, and shelf 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. 1263 Wear to patina of base and overlay. With scuffs, scratches, shelf wear, 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. 1264 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Light wear to edges, with a few loose threads. Scattered areas of sympathetic stitched repairs along each long edge. A couple of small areas of minor insect grazing. 1265 loose weave to ends wear to cording with multiple breaks, stitched repairs With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, scattered areas of dye migration, wear to selvage edges and cording, with multiple breaks, scattered stitched repairs, including failed stitch repairs to one short end, and areas of thinning of the weave in the center, with possible insect grazing. 1266 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Side A with very slight fading. A couple of small subtle shallow areas of insect grazing. Wear to fringes at corners. 1267 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Side A with a few scattered small spots. Side B with very slight fading. Light wear to corner fringe.

1268 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Scattered faint spots and minor stains to each side. Scattered areas of faint dye transfer to each side. Light wear to selvage edges, ends, and corners, with a few minor breaks to selvage cords. A few scattered areas of very minor insect grazing, with a few loose single stitches near one short edge. 1269 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered faint stains to one side, light wear to selvage edges, with a minor short break and loose weave to one long side, minor wear to tassels at corners, and patchy fading to yellow border on each side.

1270 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, scattered stains, small spots, and minor surface soiling to each side, wear to selvage edges, corners, and cording, with extensive loose weave and attendant stitch losses to each long side. 1271 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Each side with scattered faint spots, stains, and surface soiling including a large stain near one long side. 1272 With dust accumulation and typical signs of wear commensurate with age and use. Issues include but not limited to: fading to side A, wear to selvage edges and ends, with a few cord breaks and areas of loose weave, a large hole near one long edge, 1 in. x 1 1/4 in. approximately, scattered areas of minor insect grazing with attendant small holes, and scattered areas of dye transfer to each side. With two hide strips stitched to one side at one long edge. 1273 With dust accumulation and typical signs of wear commensurate with age and use. A few scattered spots and marks to each side. Minor wear to edges, with a couple of cord breaks, and one area of attendant loose weave 2 3/4 in. A couple of small areas of loose weave/small holes near one short end. A few scattered areas of minor insect grazing.

Condition Reports

1260 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age,

539

1274 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 slight fading, each side with scattered small marks and minor stains, side B with a darker spot, a few breaks to selvage cords on one long side, and wear to one corner with minor cord loss and an area of loose weave. 1275 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: faint surface soiling to one side, and fluffiness and slight pilling to weave on each side. 1276 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A few scattered faint spots/stains to each side. A few scattered small areas of minor insect grazing. Slight pilling to weave in areas. 1277 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: extensive scattered stains and marks to each side, very faint dye migration to one side at center band, and light wear to fringe yarn.

Condition Reports

1278 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Rug slightly ruckled, with tight edges and corners. A couple of scattered very small spots to one side. With multiple black plastic curtain rings stitched to one long side, for hanging.

540

1282 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A few minor faint stains and surface marks to each side. 1283 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Scattered minor faint spots and stains to each side, with a few areas of dye migration to each side. Light surface soiling overall. 1284 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Very slight fading to one side. Each side with scattered small areas of minor shallow insect grazing. 1285 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Very slight fluffiness to the weave on one side. 1286 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Scattered area of dye migration to each side. 1287 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

1279 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: minimal fading to side A, a few scattered small spots, an area of loose weave at one corner edge, and scattered areas of dye migration to one end on each side, heavier to side A.

1288 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A few scattered spots on each side, and areas of pale dye migration near some russet/brown bands. Light wear to fringed tassels.

1280 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A few scattered small faint spots to each side. Very slight fading to one side. A very small section of loose or tufted weave at one band edge.

1289 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Light wear to tassels. A few scattered single spots of minor insect grazing.

1281 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Slight fading to one side, with fading and stains to both sides of one end. Scattered stains to each side. Wear to edges, selvage edges and corners, with

1290 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Each side with slight pilling to the weave.

1292 One short end with staining that bleeds into 8”-19” of the middle. Another corner with 32” x 19” area of light fading, possibly offset from other stain during storage. With dust accumulation and typical signs of wear commensurate with age and use. 1293 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A couple of minor loose stitches to ends. 1294 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. With fluffiness to the weave on each side. One corner panel with fine line pen/ink mark to center. 1295 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Each side with very slight fluffiness to the weave. 1296 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A couple of minor pulled stitches. 1297 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 1298 Each overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Each with fluffiness to the weave on each side. The larger with a few scattered small spots and light soiling overall. 1299 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 1300 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Scattered small losses to enamel and older chips to wood at edges. Tanning to reels and font panels. Includes keys. Working condition unknown. Moran’s does not guarantee the working condition of this item. Cabinet with scuffs, scratches, nicks, and small losses at edges, and including key.

1301 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Scattered small losses to enamel. With key. Working condition unknown. Moran’s does not guarantee the working condition of this item. 1302 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Scattered small losses to enamel, with a 4 in. x 2 in. area of large losses to right side proper. Includes keys. Working condition unknown. Moran’s does not guarantee the working condition of this item. 1303 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Scattered small losses to enamel. With key. Working condition unknown. Moran’s does not guarantee the working condition of this item. 1304 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Toning and fading to the reels and front panels. Working condition unknown. Lacking machine face lock/tumbler. Moran’s does not guarantee the working condition of this item. The stand with scuffs, scratches, nicks at edges, and oxidation to brass feet commensurate with age. Includes cabinet keys. 1305 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Scattered small losses to enamel and older chips to wood at edges, each side panel with splits in the wood. Includes keys. Working condition unknown. Moran’s does not guarantee the working condition of this item. Cabinet with scuffs, scratches, nicks, and small losses at edges, and including key. 1306 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Splits in the wood base. Scattered small losses to enamel. Includes key. Working condition unknown. Moran’s does not guarantee the working condition of this item. 1307 With scuffs, scratches, indentations, and minor oxidation to metal components commensurate with age. Scattered small losses to enamel. Tears in the front plastic covering with tanning to the paper. The wood with small older chipped losses at edges and corners. Includes keys. Working condition unknown. Moran’s does not guarantee the working condition of this item.

Condition Reports

1291 Overall good condition with dust accumulation and minor wear commensurate with age and use. A small spot to one grey stripe on one side. Slight fluffiness to weave on both sides.

541

1308 A horizontal folding crease across the center of the sheet., presumably as issued. A series of diagonal creases in the upper right corner measuring approximately 12 1/2 inches, which connect to a series of horizontal creases that are across the entire upper part of the sheet (presumably rolling creases?). Other less visible, presumed rolling, creases throughout. Repairs to small tears in the paper along the left, right, and lower edges, the largest is about 1 1/2 inches. Mild toning to the sheet. A few handling marks scattered throughout. The sheet is laid down to paper and then backed with linen, as stated.

1315 With minor handling wear and soiling 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.

Unframed

1317 One lantern missing the bottom slag glass panel. Each with handling wear, oxidation, heavy soiling, and verdigris 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.

1309 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1310 Light- and time staining, and scattered specks of surface staining or grime primarily on the verso. Two pinhead-sized reverse pressure marks along the right sheet edge. An 1/8 inch edge tear extending in horizontally from the center of the left sheet edge. The upper right and lower right sheet corners dogeared and minor wear to the other two sheet corners. The sheet is loose, not matted. Unframed, contained in a cardboard and glass display box: 12 3/8 x 16 3/8 x 1 in. 1311 Overall good condition with scuffs, scratches, oxidation, and verdigris to bronze commensurate with age.

Condition Reports

1312 With minor handling wear and soiling 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.

542

1313 Each with minor handling wear, oxidation, and some soiling 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. 1314 With minor handling wear and soiling 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.

1316 Each possibly missing the bottom slag glass panel. Each with handling wear, oxidation, heavy soiling, and verdigris 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.

1318 Overall good condition with light tarnishing and scratches commensurate with age and use. Light wear and creasing to leather. Tests for sterling with XRF. 1319 With tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions and a few deeper scratches, fine fractures and dark marks. Tests for sterling with XRF. 1320 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. 1321 Overall good condition with minor wear, light tarnishing and scratches commensurate with age and use. Scattered beads with light abrasions. A few beads with minor chips to ends. Light wear to neck cord. 1322 Overall good condition with minor wear and scratches commensurate with age and use. Scattered beads with light abrasions. A few beads with minor chips to ends. The largest tab turquoise with a minor chip to one end. Light wear to neck cord. 1323 Each overall good condition with minor wear and scratches commensurate with age and use. Scattered beads with light abrasions. A few beads with tiny chips to ends. Likely re-strung.

1324 Each overall good condition with dust accumulation, minor wear, light tarnishing, and scratches commensurate with age and use. Scattered beads with light abrasions. A few beads with tiny chips to ends. Light wear to festoon necklace cord. Most items likely restrung.

1332 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones and inlay with light abrasions and surface reaching fractures. Unmarked test for sterling with XRF. Large pendant brooch with associated chain. One earring lacking post back

1325 Each overall good condition with minor wear and scratches commensurate with age and use. Scattered stones and beads with light abrasions, visible inclusions, and surface reaching fractures.

1333 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Stone inlay with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF.

1326 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stone and shell inlay with light abrasions and surface reaching fractures. Faint hairlines to abalone disc below wing. Light wear to leather.

1334 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Cardinal pendant with fine hairline. Dancer pendant with loss to one small inlay section. Unmarked tests for sterling with XRF.

1328 Each overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Light wear to leather cords. Two test for sterling with XRF. 1329 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Light wear to leather cord. Each tests for sterling with XRF. 1330 Each overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Light wear to leather cord. One silver tip slightly distorted, with a minor dent. 1331 Each overall good condition with tarnishing and scratches commensurate with age and use. Stones and shell with scattered abrasions and surface reaching fractures. Three test for sterling with XRF.

1335 Each overall good condition with tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions and surface reaching fractures. Concho with a few faint hairlines to some stones. Each tests for sterling with XRF. 1336 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions and surface reaching fractures. Tests for sterling with XRF. 1337 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stone and shell inlay with scattered abrasions and surface reaching fractures. Each tests for sterling with XRF. 1338 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stone and shell inlay with scattered abrasions and surface reaching fractures. Each tests for sterling with XRF. 1339 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 32 1/4 x 38 x 2 1/2 in. 1340 Visual: No condition issues to report. Blacklight: No evidence of restoration.

Condition Reports

1327 Each overall good condition with tarnishing and minor scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. Light wear to leather cords. Large horse bolo lacking silver tip to one cord end.

Frame: 33 x 40 3/4 x 2 in. 543

1341 No condition issues to report. Not examined out of the frame. Framed under glass: 29 3/4 x 35 x 1 3/8 in. 1342 Visual: No condition issues to report. There is a 2 inch diameter area in the center of the canvas that is slightly raised, primarily visible in raking light. This is attendant with a small circle of paint that was applied verso, where the artist then signed his name and added his fingerprint. This is as issued, rather than a condition problem. Blacklight: No evidence of restoration. Frame: 24 1/4 x 30 1/4 x 2 1/2 in. 1343 Visual: There are scattered, minor, unobtrusive flecks of surface grime. Blacklight: No evidence of restoration. Frame: 28 3/4 x 34 3/4 x 1 1/2 in. 1344 Visual: Rice-sized (or smaller) spots of frame abrasion in the upper right corner and a 3/8 x 1/8 inch spot of frame abrasion in the lower right corner, with softer frame abrasion scattered along the right edge. Two pinhead-sized pressure marks in the upper left corner. Blacklight: No evidence of restoration. Frame: 22 5/8 x 26 5/8 x 2 in.

Condition Reports

1345 Overall good condition with dust accumulation and scattered minor scuffs and scratches commensurate with age. Scattered white and black scuffs at edges and corners.

544

1346 Overall good condition with scattered minor scuffs and scratches commensurate with age. 1347 Overall good condition with scattered minor scuffs and scratches commensurate with age. 1348 Overall good condition with scattered minor scuffs and scratches commensurate with age. 1349 Overall good condition with scattered minor scuffs and scratches commensurate with age.

1350 Overall good condition with minor wear, light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 1351 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. 1352 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. A faint hairline near top of stone. 1353 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. 1354 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. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches. 1355 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 1356 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. A couple of minor chips to black stone edges (likely jet). 1357 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions. Tests for sterling with XRF. 1358 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stone and shell inlay with scattered abrasions and surface reaching fractures. Each tests for sterling with XRF.

1360 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stone and shell inlay with scattered abrasions and surface reaching fractures. Each tests for sterling with XRF. 1361 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 46 3/4 x 36 3/4 x 3 in. 1362 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 22 3/8 x 26 3/8 x 2 1/2 in. 1363 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 14 1/2 x 16 1/2 x 3/4 in. 1364 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 36 1/2 x 46 1/2 x 2 1/2 in. 1365 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 13 5/8 x 16 5/8 x 1 1/2 in. 1366 The shade with shelf wear to rim and a few white scuffs to exterior. The base with wear to patina. With shelf wear, scuffs and 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.

1367 Shade with a 1/4 in. long chip to interior of rim and a few fleabites. Three small chips to middle of interior of shade. The base with wear and loss to patina. With scuffs, scratches, oxidation, and dust accumulation 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. 1368 No cracks in the glass. Each overall good condition with shelf wear, oxidation, and rubbed wear to patina commensurate with age. 1369 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. a few stones with minor fractures, and one rectangular stone with a cross fracture and small loss to one corner. Tests for sterling with XRF. 1370 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 1371 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A couple of stones with a minor fracture. Center large stone slightly loose in setting. Tests for sterling with XRF. 1372 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. The central stone of each cuff with a minor fracture. Each tests for sterling with XRF. 1373 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF. 1374 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One stone on the watch cuff with central fracture. The cuff with retail mark to interior. Each tests for sterling with XRF.

Condition Reports

1359 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stone and shell inlay with scattered abrasions and surface reaching fractures. Tests for sterling with XRF.

545

1375 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF. The Lee cuff with the letters AA in ink to the interior.

1385 Visual: No condition issues to report.

1376 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF.

1386 No condition issues to report. Not examined out of the frame.

1377

1387 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

1378 With tarnishing, scattered marks, and scratches commensurate with age and use. Coral with scattered minor abrasions and a few dark marks. Some beads with areas of heavy darkening/ tarnishing as illustrated. Tests for sterling with XRF. 1379 Overall good condition with light tarnishing and minor scratches commensurate with age and use. 1380 Pieces are in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with light abrasions and surface reaching fractures. Naja and blossom ends test for sterling with XRF.

Condition Reports

1381 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Working condition of watch unknown. Moran’s does not guarantee the working condition of clocks and watches.

546

1382 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions and surface reaching fractures. Each tests for sterling with XRF. 1383 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions, surface reaching fractures, and visible inclusions. Each tests for sterling with XRF. 1384 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF.

Blacklight: No evidence of restoration. Frame: 17 1/4 x 20 1/4 x 2 in.

Framed under glass: 12 5/8 x 10 5/8 x 2 in.

1388 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 15 5/8 x 13 1/2 x 1 1/2 in. 1389 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 20 3/4 x 24 3/4 x 1 3/4 in. 1390 Overall good condition with tarnishing and scratches commensurate with age and use. Naja and beads test for sterling with XRF. 1391 Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling with XRF. 1392 Overall good condition with tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. A few hairlines to center. A few blossoms with minor distortions to petals. Tests for 800 silver with XRF. 1393 Each overall good condition with light tarnishing and scratches commensurate with age and use. Unmarked tests for sterling with XRF. 1394 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

1405 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF. One pair with earclips.

1396 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF. Ring turquoise with minor chips to matrix.

1406 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures.

1397 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Scattered stones with abrasions. Blossom plaques and pendant test for sterling with XRF; beads test for 800 silver.

1407 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Esther Wood cuff tests for sterling with XRF.

1398 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Tests for sterling with XRF.

1408 Each overall good condition with minor tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface-reaching fractures. Buckle, cuff and ring test for sterling with XRF.

1399 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. 1400 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 1401 Each overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Arrowhead brooch and earrings each test for sterling with XRF. 1402 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. 1403 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Unmarked test for sterling with XRF. 1404 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Small brooch tests for sterling with XRF.

1409 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Most test for sterling; naja and two clips do not test for sterling. 1410 Each overall good condition with tarnishing, light wear, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Some single earrings lacking wire hooks. Five unmarked items test for sterling with XRF. 1411 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF. 1412 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. One inlay ring with a minor abrasion to one corner. Each tests for sterling with XRF. 1413 Each overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions. Not tested for sterling.

Condition Reports

1395 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Unmarked items test for sterling with XRF.

547

1414 Each overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surfacereaching fractures. Leaf cuff tests for sterling with XRF. Working condition of all unknown. Moran’s does not guarantee the working condition of clocks and watches. 1415 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Four pairs with earclips; four pairs with wire clasps/hooks. 1416 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One inlay ring with a couple of minor hairline fractures. Each tests for sterling with XRF. 1417 Each overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. One stone with minor chip to one end. Each tests for sterling with XRF. 1418 Overall good condition with dust accumulation and wear commensurate with age. The turquoise with scattered light abrasions and surface reaching fractures. The right wing of the eagle with a few minor fractures visible with UV light, very discretely repaired. Silver tests for sterling with XRF. Turquoise not tested for treatment.

Condition Reports

1419 Each overall good condition with dust accumulation and minor wear commensurate with age. Light wear to feathers. A few scattered minor losses to chips.

548

1420 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. The largest with a break and loss to two horns on the head. 1421 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. The largest with a tiny chip to snout.

1422 Largest with two big in-filled repairs to underside. One jet and one hardstone with abrasions to bear’s ears. Each with light wear, dust accumulation, and minor scuffs commensurate with age. 1423 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. One bear with minor loss to front feet. Puma with marks differing from label. 1424 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. 1425 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. 1426 One small bear with fractured leg, retained, and one serpentine lizard in two pieces, with a fractured tail. Frog on a log carving with small chip to log. Each with light wear, dust accumulation, and minor scuffs and fine scratches commensurate with age. 1427 Some with Ex-libris stamp to front free end paper. Each overall good condition with shelf wear, bumping to corners and edges, creasing to spines or wrappers, and varying degrees of general wear commensurate with age. 1428 Each overall good condition with shelf wear, bumping to corners and edges, creasing to spines or wrappers, and varying degrees of general wear commensurate with age. 1429 Each with scuffs, scratches, nicks, abrasions, oxidation, and rubbed wear commensurate with age. With break and loss to handle end. A few possible losses to some small rivets on the handle.

549

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Native American Art Kim Jarand Vice President, Specialist Maranda Moran Director, Fine Art Katherine Halligan, AAA President, Auctioneer Jeffrey J. Moran Director, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past Specialist, Post-War & Contemporary Design Matthew Grayson 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 Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Cataloguer, Silver Jewelry & Decorative Art Sally Andrew Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Morgana Blackwelder, ISA AM Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Business Development Specialist Julia Kelley

CLIENT SERVICES

HR Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Accounts Receivable / Customer Service Tiffany Hansen

OPERATIONS

Vice President, Business Director, Auctioneer Controller Consignment Coordinator Warehouse Supervisor, Senior Art Handler Transport Supervisor, Senior Art Handler Art Handler

MARKETING

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

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer Photographer

FOUNDERS

Stephen Swan Joseph Scott Jean Rapagna Richard Corral Joe Miranda Romero Corral 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

johnmoran.com · info@johnmoran.com · (626) 793-1833

Art of the American West — September 15, 2026 | John Moran Auctioneers