Great Estates Live Introducing the Native American

Lot: 1 - American Revolutionary War Era powder horn, carved and inscribed Capt. Hamelton Trumbull, 1775, Roxbury Camp, Boston, 4"H x 14"W

American Revolutionary War Era powder horn, carved and inscribed Capt. Hamelton Trumbull, 1775, Roxbury Camp, Boston with carved mermaid and flower.

Lot: 2 - Replica American Revolution-era powder horn with carvings 3 1/2"H x 14"W

Replica American Revolution-era powder horn with carvings Ebenezer Davis 1760. Replica powder horn from the American Revolution era, used for storing gunpowder. It features a curved horn shape with a wooden plug and a leather strap.

Lot: 3 - French officer's gorget, ceremonial military accessory with royal coat of arms, c. 1780 1"H x 5 1/2"W x 3 3/4"D

French officer's gorget, ceremonial military accessory with royal coat of arms, c. 1780 A French gorget, likely from the 18th century, featuring a decorative crest with three fleur-de-lis motifs. The gorget is made of gilt on copper, original leather backing, and was traditionally worn as a piece of armor or ceremonial attire.

Lot: 4 - French officer's leather cartridge pouch with brass artillery emblems, 1 1/4"H 6 1/4"W x 3 3/4"D

French officer's leather cartridge pouch with brass artillery emblems A decorative cartridge case featuring a design with crossed cannons and a flame motif, likely used for military or ceremonial purposes.

Lot: 5 - British officer's gorget, ceremonial military accessory with royal coat of arms, c. 1770 1"H x 3 1/2'W x 4 1/2"D

British officer's gorget, ceremonial military accessory with royal coat of arms, c. 1770 A British gorget featuring the royal coat of arms with a lion and unicorn. The letters 'G R' are engraved, likely indicating 'George Rex'. This item is a historical military insignia worn by officers. It is made of coin silver.

Lot: 6 - Victorian Royal Artillery officer's leather sabretache with embroidered royal coat of arms 12 3/4"H x 10 1/2"W

Victorian Royal Artillery officer's leather sabretache with embroidered royal coat of arms A Victorian-era Royal Artillery officer's sabretache featuring intricate embroidery with the royal coat of arms, including a lion and unicorn. The central emblem is surrounded by gold braid and features the motto 'Quo Fas et Gloria Ducunt'.

Lot: 7 - British Royal Army Medical Corps leather officer's pouch with crowned cypher of King Edward VII and gilt embroidery 1"H x 7"W x 4 1/2"D

British Royal Army Medical Corps leather officer's pouch with crowned cypher of King Edward VII and gilt embroidery The box is adorned with gold embroidery and a crown emblem, indicating its use in a military or ceremonial context. The design and craftsmanship suggest it was used by an officer or for formal occasions.

Lot: 8 - Spanish officer's leather cartridge pouch with brass mounts and eagle emblem, c.1880 1"H x 6 1/2"W x 3 1/4"D

Spanish officer's leather cartridge pouch with brass mounts and eagle emblem, c.1880 A decorative Spanish cartridge box featuring ornate gold detailing and an emblem on the lid. The box appears to be made of black morrocco leather, front plate ornamented with ormalu trim, eagle and enameled sword of St. James overlaid on eagle.

Lot: 9 - Bavarian officer's leather cartridge pouch with silvered metal coat of arms, c. 1878 1 1/2"H x 6"W x 4 1/4"D

Bavarian officer's leather cartridge pouch with silvered metal coat of arms, c. 1878 A decorative Bavarian cartridge box featuring an embossed coat of arms with lions and a crown. The design is intricate, showcasing traditional Bavarian heraldry.

Lot: 10 - Officer's leather cartridge pouch with brass eagle emblem and strap 2"H x 6 1/4"W x 3 3/4"D (box)

Officer's leather cartridge pouch with brass eagle emblem and strap A vintage cartridge box with a strap, featuring a prominent eagle emblem on the front. The box appears to be made of leather with a brass or gold-colored metal emblem. The strap is made of woven material with leather accents.

Lot: 11 - Amozoc Mexican silver engraved charro spurs with leather straps 3 1/2"W (interior width of heelband) 6 1/2"L (heelband and rowel)

Amozoc Mexican silver engraved charro spurs with leather straps Provenance: purchased from Arizona West Gallery, 2/93.

Lot: 12 - Beaver Bill reproduction Native American style carved curly maple wood pipe tomahawk and stand with forged head, horse hair, and beads 9 1/2"H (stand and pipe), 23"L x 2 1/2"D (stand by itself)

Beaver Bill reproduction Native American style carved curly maple wood pipe tomahawk and stand with forged head, horse hair, and beads Provenance: purchased from Gentlemen Soldier, Noblesville, IN, 3/01.

Lot: 13 - Native American pipe tomahawk with beadwork and leather wrapping 21 1/4"H x 11 1/2"W

Native American pipe tomahawk with beadwork and leather wrapping Provenance: purchased from Prairie Edge, 6/91.

Lot: 14 - Adam Fortunate Eagle (1929-2026) Chippewa Native American carved wood bear pipe adorned with fur and beads on antler stand 3 1/2"H x 26 1/2"W (pipe measured)

Adam Fortunate Eagle (1929-2026) Chippewa Native American carved wood bear pipe adorned with fur and beads on antler stand Provenance: purchased at Eiteljorg Indian Market, 6/96.

Lot: 15 - Replica Nez Perce Native American beaded otter fur quiver with bow and arrows 50"H x 34"W

Replica Nez Perce Native American beaded otter fur quiver with bow and arrows made from 3 complete otter furs.

Lot: 16 - Native American animal hide pipe bag with multicolor fringe and feathers 39"H x 7"W

Native American animal hide pipe bag with multicolor fringe and feathers Provenance: purchased at Prairie Edge Store, Rapid City, SD.

Lot: 17 - Lisa Ray (20th/21st century) Algonquin Shawnee Native American "Mask #7" leather ceremonial mask with applied feathers, fur, animal skull, and claws, 1991 53"H x 57"W

Lisa Ray (20th/21st century) Algonquin Shawnee Native American "Mask #7" leather ceremonial mask with applied feathers, fur, animal skull, and claws, 1991 signed and dated. The mask is intricately designed with long pheasant feathers and braided elements. Provenance: purchased at Feathers Gallery, 2/93 Biography from the Archives of askART: The following, submitted by Jason Nichols, is written by Tracy Green, representative of the artist. A resident of Spokane, Washington, Lisa Ray is an artist who creates masks using materials including feathers, fur, rawhide, beads and other objects to depict items from her native Algonquin Shawnee heritage. She specializes in quill and beadwork as well as the preparation of furs, skulls and skins. In her work, Lisa Ray reflects her own Native American Heritage and has also studied the traditions of other North American Tribes over the past 15 years. She utilizes symbolic elements from these various cultures in a contemporary stye and through artistic mediums to convey Native American tradition and history. Historically, masks were incorporated into the ceremonies, traditions, and spirituality of many tribes from around the world. Masks were considered to be alive, representing beings that exist in the spirit world. Individuals of importance, in order to communicate with ancestors, connect with and personify spirits, and to transform ones identity, wore masks. Families and clans within a tribe often used masks as genealogical record keepers. Significant events such as a birth, death, victory in battle, or a successful hunt were recorded on these masks. Thus, each item contained on the masks is symbolic, having particular meaning to the tribes. Masks are considered sacred and were made according to strict tribal traditions. Of her work, Lisa Ray says: "My initial curiosity and inspiration for masks stemmed from the realization that many of us wear layers of masks to hide emotions such as pain, insecurity, and fear. It is our life long struggle to peal away the masks to allow our true, unencumbered self shine through. In some small way I believe my creations bring us to this realization and allow us to begin the process of shedding our masks. My creativity is driven from my spiritual connection to a power greater than ourselves as well as my appreciation for indigenous cultures. I am successful when I orchestrate the symphony of meaning contained in natures elements into a bridge between the voices of the past, the voices older than stones, thus providing an awareness and connection with Native American history, tradition and spirituality. Through my masks, I strive to visually make intangible concepts and meanings, tangible." Her work is in the permanent collection of the Smithsonian Institution in Washington D.C.

Lot: 18 - Dave McGary, American (1958-2013), Bear Tracks, 1993, bronze, 28 1/2"H x 26"W

Dave McGary American, (1958-2013) Bear Tracks, 1993 bronze Incised signature and date, numbered 33/75. Provenance: purchased at The Legacy Galleries, 2/95. Biography from the Archives of askART An interpreter of Native American culture, especially male Indians in historical native dress, Dave McGary is a sculptor whose studio from 1981 has been in Ruidoso, New Mexico. He employs about thirty artisans to complete the finishing work on his pieces that are cast at a variety of foundries. His work is highly detailed, sometimes with several-hundred pieces welded together, and combines paints with patinas. He begins by making a wire skeleton and builds from the muscles to the skin to the clothing. He grew up on the family ranch at Cody, Wyoming, and in junior high began casting jewelry. As a teenager, he met his mentor, western sculptor Harry Jackson, who was then living in Caspar, Wyoming. McGary earned a grant to study bronze making with Jackson in Italy where he spent two years studying, learning a variety of casting techniques and studying Renaissance marble carving. Following that period, he spent several years working in foundries in New Mexico and became highly interested in Indian culture through his friendship with Sioux Indian families in South Dakota. Eventually he was adopted into that tribe's Bear Clan and given the right to attend their ceremonies. Many of his works are monumental Indian figures such as "Touch the Clouds," dedicated in 1998 for the sculpture garden of the Houston Livestock Show and Rodeo. The Indian chief's arms span fifteen feet, and it is the first monument in Houston to portray a Native American. He was also commissioned by the city of Santa Fe to create a memorial statue of Don Pedro de Peralta, a city founder.

Lot: 19 - Dave McGary, American (1958-2013), Trophies of Honor, 1994, bronze, 23 1/2"H x 12"W

Dave McGary American, (1958-2013) Trophies of Honor, 1994 bronze Incised signature and date, numbered 10/75. Provenance: purchased 2/95. Biography from the Archives of askART An interpreter of Native American culture, especially male Indians in historical native dress, Dave McGary is a sculptor whose studio from 1981 has been in Ruidoso, New Mexico. He employs about thirty artisans to complete the finishing work on his pieces that are cast at a variety of foundries. His work is highly detailed, sometimes with several-hundred pieces welded together, and combines paints with patinas. He begins by making a wire skeleton and builds from the muscles to the skin to the clothing. He grew up on the family ranch at Cody, Wyoming, and in junior high began casting jewelry. As a teenager, he met his mentor, western sculptor Harry Jackson, who was then living in Caspar, Wyoming. McGary earned a grant to study bronze making with Jackson in Italy where he spent two years studying, learning a variety of casting techniques and studying Renaissance marble carving. Following that period, he spent several years working in foundries in New Mexico and became highly interested in Indian culture through his friendship with Sioux Indian families in South Dakota. Eventually he was adopted into that tribe's Bear Clan and given the right to attend their ceremonies. Many of his works are monumental Indian figures such as "Touch the Clouds," dedicated in 1998 for the sculpture garden of the Houston Livestock Show and Rodeo. The Indian chief's arms span fifteen feet, and it is the first monument in Houston to portray a Native American. He was also commissioned by the city of Santa Fe to create a memorial statue of Don Pedro de Peralta, a city founder.

Lot: 20 - Malcolm Furlow, American (1946-2023), Apache Warrior, acrylic on canvas, 40"H x 40"W

Malcolm Furlow American, (1946-2023) Apache Warrior acrylic on canvas Signed upper center. Includes exhibition material. Provenance: purchased from Center Street Gallery, Jackson, Wyoming, 7/12/89 Biography from the Archives of askART Taos resident, Malcolm Furlow, an award winning painter, hasn't always been an artist. As a young man he received a track scholarship to the

Lot: 21 - Guy Corrie blown studio art glass vase, 1983 8 3/4"H x 8"Diam.

Guy Corrie blown studio art glass vase, 1983 Incised signature and date under base.

Lot: 22 - Felix Vigil, American (20th/21st Century), River of Life/Night Storm, 2000/01, oil on canvas, 40 1/4"H x 40"W

Felix Vigil American, (20th/21st Century) River of Life/Night Storm, 2000/01 oil on canvas Signed and dated lower right. Signed, titled, and dated verso. Biography from Blue Rain Gallery: Felix Vigil is a contemporary painter from the southwestern United States. He was born and raised on the Jemez Pueblo northwest of Albuquerque, New Mexico. Felix, who resides on Jemez Pueblo and is an active member of its community, relates, "Living at Jemez affords me the opportunity to live a very traditional life-style. The language is strong and the ceremonies are still a major part of our lives." Felix has displayed his work in many prestigious exhibitions throughout the country. He recently received a first place ribbon for painting at the 2000 Santa Fe Indian Market. A former instructor at the Institute of American Indian Art in Santa Fe, Felix Vigils paintings are mixed medium collage on canvas. His imagery is based on Native American mythology and themes. Over the years his work has become more esoteric in its symbolism and composition. In addition to the popular imagery of his southwest native culture, Felix has been incorporating motifs of Northwest Coast tribes into some of his paintings. Felix states: "There are many similarities in the philosophy of the designs between the Northwest Coast peoples and the Southwest. Paying homage to the animals is the central theme. The spirit of the animals is where our strength comes from. We emulate their character and pray that we can attain their powers. "Within the scheme of the design there is an interdependency and relationship that exists between each design element and symbol. This speaks of the relationship that is evident in the world around us. Each creature is dependent on another to live and survive. And we, as humans, depend on these creatures to live." From an early age Felix was exposed to the art of his father Francis, whom was a highly regarded Native American painter working in oils, watercolor and later in acrylics. When Felix reached his early twenties he attended the Maryland Institute College of Art in Baltimore, Maryland. He graduated in 1980 with a BFA in painting.

Lot: 23 - Felix Vigil, American (20th/21st Century), Ceremony for the Sun, 1999, oil on canvas, 40"H x 40"W

Felix Vigil American, (20th/21st Century) Ceremony for the Sun, 1999 oil on canvas Signed and dated lower right and verso. Biography from Blue Rain Gallery: Felix Vigil is a contemporary painter from the southwestern United States. He was born and raised on the Jemez Pueblo northwest of Albuquerque, New Mexico. Felix, who resides on Jemez Pueblo and is an active member of its community, relates, "Living at Jemez affords me the opportunity to live a very traditional life-style. The language is strong and the ceremonies are still a major part of our lives." Felix has displayed his work in many prestigious exhibitions throughout the country. He recently received a first place ribbon for painting at the 2000 Santa Fe Indian Market. A former instructor at the Institute of American Indian Art in Santa Fe, Felix Vigils paintings are mixed medium collage on canvas. His imagery is based on Native American mythology and themes. Over the years his work has become more esoteric in its symbolism and composition. In addition to the popular imagery of his southwest native culture, Felix has been incorporating motifs of Northwest Coast tribes into some of his paintings. Felix states: "There are many similarities in the philosophy of the designs between the Northwest Coast peoples and the Southwest. Paying homage to the animals is the central theme. The spirit of the animals is where our strength comes from. We emulate their character and pray that we can attain their powers. "Within the scheme of the design there is an interdependency and relationship that exists between each design element and symbol. This speaks of the relationship that is evident in the world around us. Each creature is dependent on another to live and survive. And we, as humans, depend on these creatures to live." From an early age Felix was exposed to the art of his father Francis, whom was a highly regarded Native American painter working in oils, watercolor and later in acrylics. When Felix reached his early twenties he attended the Maryland Institute College of Art in Baltimore, Maryland. He graduated in 1980 with a BFA in painting.

Lot: 24 - Joe Beeler, American (1931-2006), Sundance Chief, bronze, 21 1/2"H x 11 1/2"W

Joe Beeler American, (1931-2006) Sundance Chief bronze Incised signature at base, numbered 6/45, Bronzesmith Foundry stamp. Provenance: purchased at Trailside Fine Art Gallery 10/94. Biography from the Archives of askART A founding member of the Cowboy Artists of America*, Joe Beeler was a pioneer in contemporary western art and is accomplished in both painting and bronzes. At annual exhibitions of the CAA, Beeler earned numerous Sculpture Awards: Silver, 2000; Gold 1993; Gold and Silver, 1990; Silver 1973; and Gold, 1971, 1969, and 1967. In 2001, he received the CAA Special Lifetime Achievement Award. He was born on Christmas Day, 1931 in Joplin, Missouri and was early recognized as having art talent. He was raised in Oklahoma and Missouri and received his Bachelor of Fine Arts degree from Kansas State Teachers College and continued studies at the Art Center School in Los Angeles. He served in the Korean War and taught at Tulsa University and Kansas State Teachers College, which he later credited as giving him the art background he needed. His art career began with illustration assignments with the University of Oklahoma Press in Norman. He continued as a free-lance illustrator and began selling his work to ranchers. A 1960 one-man show at the Thomas L Gilcrease Museum in 1960 launched his career of national acclaim, honors, and awards. From 1962, he and his family have lived in Sedona, Arizona where his studio has been on five acres of land. In 2002, he was selected by the family of Barry Goldwater, former United States Senator from Arizona, to sculpt the statue of the Senator for a one-acre park named for him at Tatum and Lincoln streets in Paradise Valley, Arizona. Joe Beeler died on April 26, 2006. The circumstances were fitting for this man whose life had been dedicated to memorializing the American west, especially his home state of Arizona. He died on his Sedona ranch of a heart attack while dragging calves to a branding fire. "No cowboy could ask for a better way to go than being horseback and with his boots on. Mr. Beeler died doing what he loved." Sources include: Files of the Phoenix Art Museum Library CA Cowboy Artists of America 44th Annual Exhibition, 2009, Cowboy Artists of America and The Phoenix Art Museum. Art of the West Southwest Art Obituary, Red Rock News, Sedona, Arizona, May 3, 2006, courtesy, Fran Elliott, Art Collector and Historian, Sedona

Lot: 25 - Joe Beeler, American (1931-2006), Never Walk when you can Ride, bronze

Joe Beeler American, (1931-2006) Never Walk when you can Ride bronze Incised signature at base, numbered 12/45, Bronzesmith Foundry stamp. Provenance: purchased from Trailside Fine Art Gallery, 5/96. Biography from the Archives of askART A founding member of the Cowboy Artists of America*, Joe Beeler was a pioneer in contemporary western art and is accomplished in both painting and bronzes. At annual exhibitions of the CAA, Beeler earned numerous Sculpture Awards: Silver, 2000; Gold 1993; Gold and Silver, 1990; Silver 1973; and Gold, 1971, 1969, and 1967. In 2001, he received the CAA Special Lifetime Achievement Award. He was born on Christmas Day, 1931 in Joplin, Missouri and was early recognized as having art talent. He was raised in Oklahoma and Missouri and received his Bachelor of Fine Arts degree from Kansas State Teachers College and continued studies at the Art Center School in Los Angeles. He served in the Korean War and taught at Tulsa University and Kansas State Teachers College, which he later credited as giving him the art background he needed. His art career began with illustration assignments with the University of Oklahoma Press in Norman. He continued as a free-lance illustrator and began selling his work to ranchers. A 1960 one-man show at the Thomas L Gilcrease Museum in 1960 launched his career of national acclaim, honors, and awards. From 1962, he and his family have lived in Sedona, Arizona where his studio has been on five acres of land. In 2002, he was selected by the family of Barry Goldwater, former United States Senator from Arizona, to sculpt the statue of the Senator for a one-acre park named for him at Tatum and Lincoln streets in Paradise Valley, Arizona. Joe Beeler died on April 26, 2006. The circumstances were fitting for this man whose life had been dedicated to memorializing the American west, especially his home state of Arizona. He died on his Sedona ranch of a heart attack while dragging calves to a branding fire. "No cowboy could ask for a better way to go than being horseback and with his boots on. Mr. Beeler died doing what he loved." Sources include: Files of the Phoenix Art Museum Library CA Cowboy Artists of America 44th Annual Exhibition, 2009, Cowboy Artists of America and The Phoenix Art Museum. Art of the West Southwest Art Obituary, Red Rock News, Sedona, Arizona, May 3, 2006, courtesy, Fran Elliott, Art Collector and Historian, Sedona

Lot: 26 - Joe Beeler, American (1931-2006), Scout of the Long Knives, bronze, 23 1/2"H x 8"W

Joe Beeler American, (1931-2006) Scout of the Long Knives bronze Incised signature at base, numbered 31/40. Gallery label under base. Provenance: purchased Trailside Fine Art Gallery, 10/94. Biography from the Archives of askART A founding member of the Cowboy Artists of America*, Joe Beeler was a pioneer in contemporary western art and is accomplished in both painting and bronzes. At annual exhibitions of the CAA, Beeler earned numerous Sculpture Awards: Silver, 2000; Gold 1993; Gold and Silver, 1990; Silver 1973; and Gold, 1971, 1969, and 1967. In 2001, he received the CAA Special Lifetime Achievement Award. He was born on Christmas Day, 1931 in Joplin, Missouri and was early recognized as having art talent. He was raised in Oklahoma and Missouri and received his Bachelor of Fine Arts degree from Kansas State Teachers College and continued studies at the Art Center School in Los Angeles. He served in the Korean War and taught at Tulsa University and Kansas State Teachers College, which he later credited as giving him the art background he needed. His art career began with illustration assignments with the University of Oklahoma Press in Norman. He continued as a free-lance illustrator and began selling his work to ranchers. A 1960 one-man show at the Thomas L Gilcrease Museum in 1960 launched his career of national acclaim, honors, and awards. From 1962, he and his family have lived in Sedona, Arizona where his studio has been on five acres of land. In 2002, he was selected by the family of Barry Goldwater, former United States Senator from Arizona, to sculpt the statue of the Senator for a one-acre park named for him at Tatum and Lincoln streets in Paradise Valley, Arizona. Joe Beeler died on April 26, 2006. The circumstances were fitting for this man whose life had been dedicated to memorializing the American west, especially his home state of Arizona. He died on his Sedona ranch of a heart attack while dragging calves to a branding fire. "No cowboy could ask for a better way to go than being horseback and with his boots on. Mr. Beeler died doing what he loved." Sources include: Files of the Phoenix Art Museum Library CA Cowboy Artists of America 44th Annual Exhibition, 2009, Cowboy Artists of America and The Phoenix Art Museum. Art of the West Southwest Art Obituary, Red Rock News, Sedona, Arizona, May 3, 2006, courtesy, Fran Elliott, Art Collector and Historian, Sedona

Lot: 27 - Leola One Feather (b. 1954) Oglala Lakota Native American hide war shirt with quillwork and fringe 30 1/2"H x 63"W

Leola One Feather (b. 1954) Oglala Lakota Native American hide war shirt with quillwork and fringe A traditional Native American war shirt crafted by Leola One Feather. The shirt features intricate quillwork and fringe, adorned with colorful patterns and possibly human or horsehair. Provenance: purchased at Thin Elk's Vision Gallery, Rapid City SD on 8/2002.

Lot: 28 - Native American geometric beaded leather war shirt 41"H x 63"W

Native American geometric beaded leather war shirt A traditional beaded leather shirt featuring intricate beadwork and fringe. The design includes geometric patterns in blue, white, and red beads, typical of Native American craftsmanship. Provenance: purchased from Prairie Edge SD., 6/91

Lot: 29 - Native American style replica beaded hide war shirt with horse hair fringe, 40"H x 67"W

Native American style replica beaded hide war shirt with horse hair fringe This is a traditional Indian War Shirt featuring intricate beadwork and fringe detailing. The shirt is made from leather and adorned with colorful beads and tassels, typical of Native American craftsmanship.

Lot: 30 - Native American ceremonial fan 31"H x 14 1/4"W

Native American ceremonial fan A Native American ceremonial fan featuring a handle wrapped in blue and white materials, adorned with feathers and decorative elements. The fan includes a carved figure at the top and is likely used in traditional ceremonies. Provenance: purchased from Prairie Edge, 6/91

Lot: 31 - Dora Tse Pe Pene (1939-2022) Native American San IIdefonso Pueblo blackware pottery jar with turquoise cabochon, 1990, 6 1/2"H x 7 3/4"Diam.

Dora Tse Pe Pene (1939-2022) Native American San IIdefonso Pueblo blackware pottery jar with turquoise cabochon, 1990 Incised signature and date under base. A blackware pottery piece by Dora Tse Pe, featuring a turquoise cabochon. The piece is contemporary San Ildefonso black caved ceramic jar with inset turq and aranyu. Hand-crafted, showcasing traditional Pueblo pottery techniques. Provenance: purchased at Gallery 10, 4/23/91

Lot: 32 - Dora Tse Pe Pene (1939-2022) Native American San IIdefonso Pueblo pottery vase with carved zoomorphic design and turquoise cabochon, 1990 7 3/4"H x 5"Diam.

Dora Tse Pe Pene (1939-2022) Native American San IIdefonso Pueblo pottery vase with carved zoomorphic design and turquoise cabochon, 1990 Incised signature and date under base. A pottery piece by Dora Tse-Pé, featuring traditional Native American design elements with a turquoise cabochon. The piece shows a combination of polished and matte finishes, characteristic of Tse-Pé's style. Provenance: purchased at Gallery 10, 4/1991

Lot: 33 - Bill Nebeker, American (b. 1942), Tombstone Reckoning, 2008, bronze, 23"H x 20"W x 17"D

Bill Nebeker American, (b. 1942) Tombstone Reckoning, 2008 bronze Incised signature and date at base, numbered 17/30. Provenance: purchased at the Eiteljorg "Quest" sale, 9-2009. Biography from the Archives of askART Known for his detailed, well researched sculpture of authentic depiction of the historical American West in the tradition of Charles Russell and Frederic Remington, Bill Nebeker of Prescott, Arizona has been a member of the Cowboy Artists of America* since 1978. Among his honors at annual exhibitions of the CAA are the Sculpture Award, Gold in 1989 and Silver in 1985; and Kiekhofer Award for Best of Show, 1989. In Kerrville, Texas, the Cowboy Artists Museum featured a 30 year retrospective of his work in the late 1990s. He does not have traditional art training and describes himself as having irregular work habits, working sometimes intensely and then taking many days off. He has been a full-time artist since 1976, and is devoted to realism and accurate depiction of his subjects, which include Indians, cowboys, frontier settlers and animals. "When he sculpts Native Americans, he researches their culture, clothing, weapons and symbols to be sure his depiction is historically accurate, with the dignity they deserve." (CA). He was inspired to become a sculptor in the early 1960s when he saw sculpture by George Phippen at a one-man show in Skull Valley, Arizona. Once established on his path of creating western sculpture and the year after Phippen died (1966), Nebeker began to work at Phippen's foundry, the Bear Paw Bronze Works in Skull Valley, operated by a son of Phippen. Nebeker's wife, Merry, also took a job at the foundry, and because of this immersion, Nebeker received a hands-on education from the Phippen family in making western sculpture. He also met many top western sculptors such as Veryl Goodnight, Richard Greeves, and Joe Beeler. Realizing he could make more money selling his own sculpture, Nebeker quit the job at the foundry in 1978 and moved to Prescott with his family, which by then was three children as well as his wife. Arizona has recognized Nebeker as one of its outstanding artists. In 2009, he was named Arizona Culturekeeper by representatives of the Arizona State Historical Society who give the honor to an individual who "has made a positive impact on Arizona's history, culture or economy, and are pioneers of Arizona through family ties, business, civic leadership or passiona contributions to a cause that is distinctily Arizona." (CA). Sources: Mary Nelson, "The Beat of a Different Drum", Art of the West, September/October 2005, pp. 56-61 CA Catalogue, Cowboy Artists of America, 44th Annual Exhibition 2009, p.18 Artist Files of the Phoenix Art Museum Library

Lot: 34 - Bill Nebeker, American (b. 1942), The Desert Ghost, 1992, bronze, 4/95 12"HJ x 5 1/2"W

Bill Nebeker American, (b. 1942) The Desert Ghost, 1992 bronze Incised signature and date at base, numbered 11/30. Provenance: purchased at Trailside Galleries Biography from the Archives of askART Known for his detailed, well researched sculpture of authentic depiction of the historical American West in the tradition of Charles Russell and Frederic Remington, Bill Nebeker of

Lot: 35 - Bill Nebeker, American (b. 1942), Dance of Valor, 1989, bronze, 11 1/2"H x 8 1/2"W

Bill Nebeker American, (b. 1942) Dance of Valor, 1989 bronze Incised signature and date at base, numbered 7/30. Biography from the Archives of askART Known for his detailed, well researched sculpture of authentic depiction of the historical American West in the tradition of Charles Russell and Frederic Remington, Bill Nebeker of Prescott, Arizona has been a member of the Cowboy Artists of America* since 1978. Among his honors at annual exhibitions of the CAA are the Sculpture Award, Gold in 1989 and Silver in 1985; and Kiekhofer Award for Best of Show, 1989. In Kerrville, Texas, the Cowboy Artists Museum featured a 30 year retrospective of his work in the late 1990s. He does not have traditional art training and describes himself as having irregular work habits, working sometimes intensely and then taking many days off. He has been a full-time artist since 1976, and is devoted to realism and accurate depiction of his subjects, which include Indians, cowboys, frontier settlers and animals. "When he sculpts Native Americans, he researches their culture, clothing, weapons and symbols to be sure his depiction is historically accurate, with the dignity they deserve." (CA). He was inspired to become a sculptor in the early 1960s when he saw sculpture by George Phippen at a one-man show in Skull Valley, Arizona. Once established on his path of creating western sculpture and the year after Phippen died (1966), Nebeker began to work at Phippen's foundry, the Bear Paw Bronze Works in Skull Valley, operated by a son of Phippen. Nebeker's wife, Merry, also took a job at the foundry, and because of this immersion, Nebeker received a hands-on education from the Phippen family in making western sculpture. He also met many top western sculptors such as Veryl Goodnight, Richard Greeves, and Joe Beeler. Realizing he could make more money selling his own sculpture, Nebeker quit the job at the foundry in 1978 and moved to Prescott with his family, which by then was three children as well as his wife. Arizona has recognized Nebeker as one of its outstanding artists. In 2009, he was named Arizona Culturekeeper by representatives of the Arizona State Historical Society who give the honor to an individual who "has made a positive impact on Arizona's history, culture or economy, and are pioneers of Arizona through family ties, business, civic leadership or passiona contributions to a cause that is distinctily Arizona." (CA). Sources: Mary Nelson, "The Beat of a Different Drum", Art of the West, September/October 2005, pp. 56-61 CA Catalogue, Cowboy Artists of America, 44th Annual Exhibition 2009, p.18 Artist Files of the Phoenix Art Museum Library

Lot: 36 - Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous “Tchijeah-Mahomas” carved and painted spirit mask with applied feathers, fur, horse hair, and beads, 2002

Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous "Tchijeah-Mahomas" carved and painted spirit mask with applied feathers, fur, horse hair, and beads, 2002 Signed and dated verso. Alphanumeric ID W1060. Provenance: purchased at Silver Sun 7/03 Biography from Antique American Indian Art: Gerard Anthony "Tsonakwa" Rancourt Jr. (born 1943) is a woodcarver, mask-maker, sculptor, storyteller, and author known for his Abenaki-inspired spirit masks and sculptures. Rancourt presents himself as an Abenaki (also spelled Abnaki) artist from central Quebec, Canada, with the name "Tsonakwa" translating roughly to "Wild Man Waiting at the North" or similar, given to great teachers in his narrative. He has described growing up on an Abenaki reservation, learning stories from family during hunts, and later becoming involved in Native advocacy, education, and arts. He collaborated extensively with his wife, Marilyn Bernadet (née Sciolé), known artistically as Yolaikia Wapitaska (White Deer Woman). Together, they created masks, carvings, and storytelling performances that blend traditional themes with contemporary expression. Rancourt is best known for carved wooden spirit masks that often feature animal motifs, horns, horsehair, feathers, beads, and vibrant polychrome paint. These draw on Abenaki and broader Algonquian spiritual traditions, depicting creatures like otters, trout, caribou, raccoons, or transformative shamanic beings. His Art: Materials: Pine or other woods, horsehair, leather, horns, mixed media. Themes: Supernatural stories, animal spirits, transformation, and the interconnectedness of humans, animals, and the natural world. Examples include the Trout Spirit Mask (in the National Museum of the American Indian collection) and various helmet-style or animal-inspired masks sold at auction or exhibited. He worked as a storyteller, artist-in-residence (e.g., at UNC-Charlotte), museum programs coordinator, and presenter at planetariums and cultural events. He has performed and exhibited across the U.S. and Canada. Exhibitions: Shows at places like the Field Museum of Natural History (with his wife), galleries in New London, CT, and other venues featuring his masks and carvings alongside explanatory panels on Abenaki legends. Publications: Co-author of books such as Seven Eyes, Seven Legs: Supernatural Stories of the Abenaki (with Yolaikia Wapitaska), Welcome the Caribou Man, and others that collect and illustrate traditional tales. His pieces are held in museum collections (e.g., NMAI) and have appeared at auction. Rancourt's spirit masks represent a modern continuation and interpretation of Northeastern Woodland masking traditions, often used in storytelling performances rather than strictly ceremonial contexts. Specific masks like the one referenced vary in design but typically embody powerful animal or spirit entities. His work remains available through galleries and has been collected by enthusiasts of Native American contemporary art.

Lot: 37 - Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous “Odzihozo” carved and painted spirit mask with applied antlers, fur, feathers, beads, and woven textile, 2002 24"H x 21"W

Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous "Odzihozo" carved and painted spirit mask with applied antlers, fur, feathers, beads, and woven textile, 2002 Signed and dated verso. Alphanumeric ID W1090. Provenance: purchased at Silver Sun, Santa Fe, 7/03 Biography from Antique American Indian Art: Gerard Anthony "Tsonakwa" Rancourt Jr. (born 1943) is a woodcarver, mask-maker, sculptor, storyteller, and author known for his Abenaki-inspired spirit masks and sculptures. Rancourt presents himself as an Abenaki (also spelled Abnaki) artist from central Quebec, Canada, with the name "Tsonakwa" translating roughly to "Wild Man Waiting at the North" or similar, given to great teachers in his narrative. He has described growing up on an Abenaki reservation, learning stories from family during hunts, and later becoming involved in Native advocacy, education, and arts. He collaborated extensively with his wife, Marilyn Bernadet (née Sciolé), known artistically as Yolaikia Wapitaska (White Deer Woman). Together, they created masks, carvings, and storytelling performances that blend traditional themes with contemporary expression. Rancourt is best known for carved wooden spirit masks that often feature animal motifs, horns, horsehair, feathers, beads, and vibrant polychrome paint. These draw on Abenaki and broader Algonquian spiritual traditions, depicting creatures like otters, trout, caribou, raccoons, or transformative shamanic beings. His Art: Materials: Pine or other woods, horsehair, leather, horns, mixed media. Themes: Supernatural stories, animal spirits, transformation, and the interconnectedness of humans, animals, and the natural world. Examples include the Trout Spirit Mask (in the National Museum of the American Indian collection) and various helmet-style or animal-inspired masks sold at auction or exhibited. He worked as a storyteller, artist-in-residence (e.g., at UNC-Charlotte), museum programs coordinator, and presenter at planetariums and cultural events. He has performed and exhibited across the U.S. and Canada. Exhibitions: Shows at places like the Field Museum of Natural History (with his wife), galleries in New London, CT, and other venues featuring his masks and carvings alongside explanatory panels on Abenaki legends. Publications: Co-author of books such as Seven Eyes, Seven Legs: Supernatural Stories of the Abenaki (with Yolaikia Wapitaska), Welcome the Caribou Man, and others that collect and illustrate traditional tales. His pieces are held in museum collections (e.g., NMAI) and have appeared at auction. Rancourt's spirit masks represent a modern continuation and interpretation of Northeastern Woodland masking traditions, often used in storytelling performances rather than strictly ceremonial contexts. Specific masks like the one referenced vary in design but typically embody powerful animal or spirit entities. His work remains available through galleries and has been collected by enthusiasts of Native American contemporary art.

Lot: 38 - Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous “Winasoziz Bebonai” carved and painted spirit mask with applied feathers, fur, horse hair, and beads, 2002, 24 1/2"H x 7 1/2"W (width indicates width of face m

Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous "Winasoziz Bebonai" carved and painted spirit mask with applied feathers, fur, horse hair, and beads, 2002 Signed and dated verso. Alphanumeric ID W1073. Provenance: purchased at Silver Sun, 7/03 Biography from Antique American Indian Art: Gerard Anthony "Tsonakwa" Rancourt Jr. (born 1943) is a woodcarver, mask-maker, sculptor, storyteller, and author known for his Abenaki-inspired spirit masks and sculptures. Rancourt presents himself as an Abenaki (also spelled Abnaki) artist from central Quebec, Canada, with the name "Tsonakwa" translating roughly to "Wild Man Waiting at the North" or similar, given to great teachers in his narrative. He has described growing up on an Abenaki reservation, learning stories from family during hunts, and later becoming involved in Native advocacy, education, and arts. He collaborated extensively with his wife, Marilyn Bernadet (née Sciolé), known artistically as Yolaikia Wapitaska (White Deer Woman). Together, they created masks, carvings, and storytelling performances that blend traditional themes with contemporary expression. Rancourt is best known for carved wooden spirit masks that often feature animal motifs, horns, horsehair, feathers, beads, and vibrant polychrome paint. These draw on Abenaki and broader Algonquian spiritual traditions, depicting creatures like otters, trout, caribou, raccoons, or transformative shamanic beings. His Art: Materials: Pine or other woods, horsehair, leather, horns, mixed media. Themes: Supernatural stories, animal spirits, transformation, and the interconnectedness of humans, animals, and the natural world. Examples include the Trout Spirit Mask (in the National Museum of the American Indian collection) and various helmet-style or animal-inspired masks sold at auction or exhibited. He worked as a storyteller, artist-in-residence (e.g., at UNC-Charlotte), museum programs coordinator, and presenter at planetariums and cultural events. He has performed and exhibited across the U.S. and Canada. Exhibitions: Shows at places like the Field Museum of Natural History (with his wife), galleries in New London, CT, and other venues featuring his masks and carvings alongside explanatory panels on Abenaki legends. Publications: Co-author of books such as Seven Eyes, Seven Legs: Supernatural Stories of the Abenaki (with Yolaikia Wapitaska), Welcome the Caribou Man, and others that collect and illustrate traditional tales. His pieces are held in museum collections (e.g., NMAI) and have appeared at auction. Rancourt's spirit masks represent a modern continuation and interpretation of Northeastern Woodland masking traditions, often used in storytelling performances rather than strictly ceremonial contexts. Specific masks like the one referenced vary in design but typically embody powerful animal or spirit entities. His work remains available through galleries and has been collected by enthusiasts of Native American contemporary art.

Lot: 39 - Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous “Samosett Zogemo” carved and painted spirit mask with applied feathers, fur, horse hair, and beads, 2002, 23"H x 8"W (width indicates width of black and white

Gerard Tsonakwa (b. 1943) Abenaki Native American Indigenous "Samosett Zogemo" carved and painted spirit mask with applied feathers, fur, horse hair, and beads, 2002 Signed and dated verso. Alphanumeric ID W1098. Provenance: Silver Sun Gallery 7/03 Biography from Antique American Indian Art: Gerard Anthony "Tsonakwa" Rancourt Jr. (born 1943) is a woodcarver, mask-maker, sculptor, storyteller, and author known for his Abenaki-inspired spirit masks and sculptures. Rancourt presents himself as an Abenaki (also spelled Abnaki) artist from central Quebec, Canada, with the name "Tsonakwa" translating roughly to "Wild Man Waiting at the North" or similar, given to great teachers in his narrative. He has described growing up on an Abenaki reservation, learning stories from family during hunts, and later becoming involved in Native advocacy, education, and arts. He collaborated extensively with his wife, Marilyn Bernadet (née Sciolé), known artistically as Yolaikia Wapitaska (White Deer Woman). Together, they created masks, carvings, and storytelling performances that blend traditional themes with contemporary expression. Rancourt is best known for carved wooden spirit masks that often feature animal motifs, horns, horsehair, feathers, beads, and vibrant polychrome paint. These draw on Abenaki and broader Algonquian spiritual traditions, depicting creatures like otters, trout, caribou, raccoons, or transformative shamanic beings. His Art: Materials: Pine or other woods, horsehair, leather, horns, mixed media. Themes: Supernatural stories, animal spirits, transformation, and the interconnectedness of humans, animals, and the natural world. Examples include the Trout Spirit Mask (in the National Museum of the American Indian collection) and various helmet-style or animal-inspired masks sold at auction or exhibited. He worked as a storyteller, artist-in-residence (e.g., at UNC-Charlotte), museum programs coordinator, and presenter at planetariums and cultural events. He has performed and exhibited across the U.S. and Canada. Exhibitions: Shows at places like the Field Museum of Natural History (with his wife), galleries in New London, CT, and other venues featuring his masks and carvings alongside explanatory panels on Abenaki legends. Publications: Co-author of books such as Seven Eyes, Seven Legs: Supernatural Stories of the Abenaki (with Yolaikia Wapitaska), Welcome the Caribou Man, and others that collect and illustrate traditional tales. His pieces are held in museum collections (e.g., NMAI) and have appeared at auction. Rancourt's spirit masks represent a modern continuation and interpretation of Northeastern Woodland masking traditions, often used in storytelling performances rather than strictly ceremonial contexts. Specific masks like the one referenced vary in design but typically embody powerful animal or spirit entities. His work remains available through galleries and has been collected by enthusiasts of Native American contemporary art.

Lot: 40 - Michael Janes (20th century) Southwestern polychrome pottery vase with etched geometric design and raffia tassels, 1988 16"H x 11"W

Michael Janes (20th century) Southwestern polychrome pottery vase with etched geometric design and raffia tassels, 1988 Incised signature and date under base.

Lot: 41 - Michael Janes (20th century) Southwestern polychrome pottery vase with etched geometric design, 1988, 16"H x 10"W

Michael Janes (20th century) Southwestern polychrome pottery vase with etched geometric design, 1988 Incised signature and date under base.

Lot: 42 - Joe Ben, Jr, American (B.1958), night sky with Yei figures, Navajo sandpainting, 9 1/2"H x 35"W(board measured), 16 1/2"H x 42"W(frame)

Joe Ben, Jr American, (B.1958) night sky with Yei figures Navajo sandpainting The sandpainting contains 18k gold, lapis, diamonds, and other traditional minerals. Provenance: purchased from the Lovena Ohl Gallery in 4/91. Biography from the Archives of askART Joe Ben Jr. was born in 1958 to the Tacheeni Clan (Red Line Running in Water Clan) in Shiprock, New Mexico. As a child, Joe took part in traditional Navajo ceremonies that used sandpaintings. These early experiences inspired his love of art at a young age. Joe Ben Jr. combines his reservation training with international teaching experience to create exceptional Navajo sandpaintings. The fine details in his designs are created by applying the just the right amount of pulverized pigment from between his index finger and thumb to a neutral base of sand below. He exercises deep control in his movements to create the lines and shapes that define his artwork. Hand gestures that mimic the distribution of corn meal in prayer result in impressive, soft color blending. Joe's sandpaintings are distinguished by the intense of colors created by using natural materials from around the world. Joe uses lapis (blue) from Afghanistan, diamond (sparkle) from Australia, galena (silver sparkle) from Morocco, coal (black) from the Four Corners region, gypsum (white) from New Mexico, red and gold ochre from the south of France, azurite and chrysocolla (blue green) from southern Arizona, and numerous other greens, browns, and reds found on the Hopi and Navajo reservation. Joe describes his art: "Through the art of sandpainting, based on the cycle of nature, I am capable of communicating my feelings and my ideas. It is through these sand paintings of Mother Earth, of Father Sky, and their children (the trees, the rivers, the birds, the divinities and us), that I can imitate the powerful work of nature. I try to use nature's aesthetic work as a part of my life and to add dimension to my existence. Finally, I hope with this art to encourage people to consider the aesthetics of nature, because that is what art is all about.... Nature, what else is there?" Joe's son, Zach, is also following in his father's footsteps as an accomplished artist. Source:"Joe Ben Jr.," Garland's Indian Jewelry, Web, 2018

Lot: 43 - Harry Andrew Jackson, American (1924-2011), Pony Express III, 1977, bronze, 9 1/2"H x 10 1/2"W

Harry Andrew Jackson American, (1924-2011) Pony Express III, 1977 bronze mounted on a marble base. Incised signature and date at base, edition 214, WFS Italia foundry stamp. Biography from the Archives of askART Born with the name Harry Shapiro on the South Side of Chicago, Harry Jackson became a well-known 20th-century artists whose wide-ranging work includes painting and sculpture

Lot: 44 - Navajo Native American coil wedding basket with turtle motif by Ramona Johnson 19 1/2"Diam.

Navajo Native American coil wedding basket with turtle motif by Ramona Johnson Provenance: purchased at Twin Rock Trading Post in 5/4/1999

Lot: 45 - Navajo Native American coil wedding basket / duck basket by Betty and Chris Johnson, 18 1/2"Diam.

Navajo Native American coil wedding basket / duck basket by Betty and Chris Johnson Hand-woven circular and flat basket featuring a traditional Native American design with geometric patterns in natural, black, and red colors. Provenance: purchased at Twin Rocks Trading Post on 5/4/1999.

Lot: 46 - Darlene John Navajo Native American Wide Ruin blanket rug weaving 30"H x 24 3/4"W

Darlene John Navajo Native American Wide Ruin blanket rug weaving A handwoven textile with geometric pattern in earth tones. Provenance: purchased from Heard Museum 2/1998.

Lot: 47 - Michele Laughing Navajo Native American banded blanket rug weaving 47 1/2"H x 35"W

Michele Laughing Navajo Native American banded blanket rug weaving

Lot: 48 - Porfirio "Pilo" Mora Mata Ortiz olla pottery jar with maze design 9 1/2"H x 8 1/2"Diam.

Porfirio "Pilo" Mora Mata Ortiz olla pottery jar with maze design incised signature and date under base. A beautifully crafted pottery vase by Pilo Mora, featuring intricate geometric patterns typical of Mata Ortiz pottery. The vase displays a high level of craftsmanship with precise line work and a polished finish.

Lot: 49 - Star Liana York, American (b. 1952), bison, bronze, 9"H x 4 3/4"W

Star Liana York American, (b. 1952) bison bronze mounted on a wooden plinth. Signed with initials on leg, numbered 24/50. Provenance: purchased from Meyer Gallery 2/1998. Biography from the Archives of askART The following information was submitted in July of 2006 by the artist: Star Liana York grew up in Maryland, daughter of a professional ballerina and a talented woodworker. Always displaying a strong affinity for animals as a child, she purchased her first horse as a teenager and began competing in speed events and rodeos. She operated a horse boarding and training business through college (graduating form the University of Maryland in Studio Art) but always dreamed of coming out West. This dream was realized about 20 years ago when she located a casting facility in Santa Fe, New Mexico, moved there and has used the foundry ever since. Only two years after arriving in the Southwest, Star was gaining recognition at art competitions enough for South West Art Magazine to do an article on her work. Since then her sculpture has been on the cover of Southwest Art, Art Talk, New Mexico Magazine and others. She was chosen as one of the 30 most influential artists in Southwest Art's 30 years issue. Several museums have her sculpture in their collections, and in 1999 she was given a one-woman show at the Gilcrease Museum in Tulsa, Oklahoma. Star resides with her husband, Jeff Brock in their horse ranch near Abiquiu, North of Santa Fe, on the Chama River. Their shared passions are raising Quarter horses and creating art. Star feels that working with the horses and sculpting make for the right balance in her life, tho both disciplines require a creative approach, sensitivity and patience to be successful. Star strives to remain open to many unique aspects the region has to offer. "The Southwest is blessed with such rich cultural, aesthetic, and spiritual complexities that inspiration is always at hand. The colorful heritage of the Pueblo and reservation peoples as will as the ranching communities, present timeless themes and subjects. My goal is to capture in bronze the universal humanity reflected in the gesture of a caring Sheppard girl, the sleepy grin of a bobcat or the playfulness of pregnant mare. These subtleties of character, personality, and expression are the most challenging and most rewarding part of my art."

Lot: 50 - Star Liana York, American (b. 1952), Old Thunder Spirit, bronze, 11 1/2"H x 5 1/4"W

Star Liana York American, (b. 1952) Old Thunder Spirit bronze mounted on a wooden plinth. Incised signature on back leg. Biography from the Archives of askART The following information was submitted in July of 2006 by the artist: Star Liana York grew up in Maryland, daughter of a professional ballerina and a talented woodworker. Always displaying a strong affinity for animals as a child, she purchased her first horse as a teenager and began competing in speed events and rodeos. She operated a horse boarding and training business through college (graduating form the University of Maryland in Studio Art) but always dreamed of coming out West. This dream was realized about 20 years ago when she located a casting facility in Santa Fe, New Mexico, moved there and has used the foundry ever since. Only two years after arriving in the Southwest, Star was gaining recognition at art competitions enough for South West Art Magazine to do an article on her work. Since then her sculpture has been on the cover of Southwest Art, Art Talk, New Mexico Magazine and others. She was chosen as one of the 30 most influential artists in Southwest Art's 30 years issue. Several museums have her sculpture in their collections, and in 1999 she was given a one-woman show at the Gilcrease Museum in Tulsa, Oklahoma. Star resides with her husband, Jeff Brock in their horse ranch near Abiquiu, North of Santa Fe, on the Chama River. Their shared passions are raising Quarter horses and creating art. Star feels that working with the horses and sculpting make for the right balance in her life, tho both disciplines require a creative approach, sensitivity and patience to be successful. Star strives to remain open to many unique aspects the region has to offer. "The Southwest is blessed with such rich cultural, aesthetic, and spiritual complexities that inspiration is always at hand. The colorful heritage of the Pueblo and reservation peoples as will as the ranching communities, present timeless themes and subjects. My goal is to capture in bronze the universal humanity reflected in the gesture of a caring Sheppard girl, the sleepy grin of a bobcat or the playfulness of pregnant mare. These subtleties of character, personality, and expression are the most challenging and most rewarding part of my art."

Lot: 51 - Star Liana York, American (b. 1952), caribou, bronze, 12"H x 9"W

Star Liana York American, (b. 1952) caribou bronze mounted on natural stone base. Signed under belly, numbered 14/50. Minor paint loss on one side. Biography from the Archives of askART The following information was submitted in July of 2006 by the artist: Star Liana York grew up in Maryland, daughter of a professional ballerina and a talented woodworker. Always displaying a strong affinity for animals as a child, she purchased her first horse as a teenager and began competing in speed events and rodeos. She operated a horse boarding and training business through college (graduating form the University of Maryland in Studio Art) but always dreamed of coming out West. This dream was realized about 20 years ago when she located a casting facility in Santa Fe, New Mexico, moved there and has used the foundry ever since. Only two years after arriving in the Southwest, Star was gaining recognition at art competitions enough for South West Art Magazine to do an article on her work. Since then her sculpture has been on the cover of Southwest Art, Art Talk, New Mexico Magazine and others. She was chosen as one of the 30 most influential artists in Southwest Art's 30 years issue. Several museums have her sculpture in their collections, and in 1999 she was given a one-woman show at the Gilcrease Museum in Tulsa, Oklahoma. Star resides with her husband, Jeff Brock in their horse ranch near Abiquiu, North of Santa Fe, on the Chama River. Their shared passions are raising Quarter horses and creating art. Star feels that working with the horses and sculpting make for the right balance in her life, tho both disciplines require a creative approach, sensitivity and patience to be successful. Star strives to remain open to many unique aspects the region has to offer. "The Southwest is blessed with such rich cultural, aesthetic, and spiritual complexities that inspiration is always at hand. The colorful heritage of the Pueblo and reservation peoples as will as the ranching communities, present timeless themes and subjects. My goal is to capture in bronze the universal humanity reflected in the gesture of a caring Sheppard girl, the sleepy grin of a bobcat or the playfulness of pregnant mare. These subtleties of character, personality, and expression are the most challenging and most rewarding part of my art."

Lot: 52 - Star Liana York, American (b. 1952), horse, bronze, 10 3/4"H x 11"W

Star Liana York American, (b. 1952) horse bronze mounted on a wooden plinth. Incised signature under belly, numbered 8/50. Biography from the Archives of askART The following information was submitted in July of 2006 by the artist: Star Liana York grew up in Maryland, daughter of a professional ballerina and a talented woodworker. Always displaying a strong affinity for animals as a child, she purchased her first horse as a teenager and began competing in speed events and rodeos. She operated a horse boarding and training business through college (graduating form the University of Maryland in Studio Art) but always dreamed of coming out West. This dream was realized about 20 years ago when she located a casting facility in Santa Fe, New Mexico, moved there and has used the foundry ever since. Only two years after arriving in the Southwest, Star was gaining recognition at art competitions enough for South West Art Magazine to do an article on her work. Since then her sculpture has been on the cover of Southwest Art, Art Talk, New Mexico Magazine and others. She was chosen as one of the 30 most influential artists in Southwest Art's 30 years issue. Several museums have her sculpture in their collections, and in 1999 she was given a one-woman show at the Gilcrease Museum in Tulsa, Oklahoma. Star resides with her husband, Jeff Brock in their horse ranch near Abiquiu, North of Santa Fe, on the Chama River. Their shared passions are raising Quarter horses and creating art. Star feels that working with the horses and sculpting make for the right balance in her life, tho both disciplines require a creative approach, sensitivity and patience to be successful. Star strives to remain open to many unique aspects the region has to offer. "The Southwest is blessed with such rich cultural, aesthetic, and spiritual complexities that inspiration is always at hand. The colorful heritage of the Pueblo and reservation peoples as will as the ranching communities, present timeless themes and subjects. My goal is to capture in bronze the universal humanity reflected in the gesture of a caring Sheppard girl, the sleepy grin of a bobcat or the playfulness of pregnant mare. These subtleties of character, personality, and expression are the most challenging and most rewarding part of my art."

Lot: 53 - Robert Rivera (20th/21st century) Southwestern “Raffia Mask” gourd mask with applied feathers, raffia, beads, shell form pendant, and horse hair, 1997, 42"H x 24"W

Robert Rivera (20th/21st century) Southwestern "Raffia Mask" gourd mask with applied feathers, raffia, beads, shell form pendant, and horse hair, 1997 Signed, titled, and dated verso. Provenance: The Torres Gallery, 2/98 Artist Spotlight from Western Art and Architecture: Robert Rivera was struck by artistic inspiration one foggy autumn day in the early 1970s while he and his wife, Linda,

Lot: 54 - Robert Rivera (20th/21st century) Southwestern “Deer Mask” polychrome gourd mask with applied antlers, leather fringe, and horse hair tassels, 1998 27"H x 14"W

Robert Rivera (20th/21st century) Southwestern "Deer Mask" polychrome gourd mask with applied antlers, leather fringe, and horse hair tassels, 1998 Signed, titled, and dated verso. A handcrafted mask featuring a red face with antler-like extensions and decorative tassels. Provenance: purchased at The Torre Gallery, Santa Fe, 2/98 Artist Spotlight from Western Art and Architecture: Robert

Lot: 55 - Robert Rivera (20th/21st century) Southwestern "Flute Player" gourd vessel, 1992, 7 1/4"H x 6 1/2"Diam.

Robert Rivera (20th/21st century) Southwestern "Flute Player" gourd vessel, 1992 Signed and dated under base. Minor paint chips on bottom.

Lot: 56 - Robert Rivera (20th/21st century) Southwestern polychrome figural gourd sculpture with carved headdress and natural stone jewelry, 1996 11 1/2"H x 4 1/2"Diam.

Robert Rivera (20th/21st century) Southwestern polychrome figural gourd sculpture with carved headdress and natural stone jewelry, 1996 Signed and dated under base. Some cracking on headdress. Provenance: purchased 2/2000 Artist Spotlight from Western Art and Architecture: Robert Rivera was struck by artistic inspiration one foggy autumn day in the early 1970s while he and his wife,

Lot: 57 - Robert Rivera (20th/21st century) Southwestern polychrome figural gourd sculpture with feathers, natural stone earrings, and raffia neck tie, 1992 8 1/2"H x 5 1/$"Diam.

Robert Rivera (20th/21st century) Southwestern polychrome figural gourd sculpture with feathers, natural stone earrings, and raffia neck tie, 1992 Signed and dated under base. Provenance: purchased 7/2010 Artist Spotlight from Western Art and Architecture: Robert Rivera was struck by artistic inspiration one foggy autumn day in the early 1970s while he and his wife, Linda, drove from

Lot: 58 - Robert Rivera (20th/21st century) Southwestern polychrome figural gourd sculpture with elongated ears and beaded necklace 8 1/2"H x 7"Diam.

Robert Rivera (20th/21st century) Southwestern polychrome figural gourd sculpture with elongated ears and beaded necklace Signed and dated under base. Provenance: purchased 2/2000 Artist Spotlight from Western Art and Architecture: Robert Rivera was struck by artistic inspiration one foggy autumn day in the early 1970s while he and his wife, Linda, drove from their home in New Mexico to

Lot: 59 - Robert Rivera (20th/21st century) Southwestern polychrome "Flute Players" gourd vessel, 1990 7"H x 7 1/2"Diam.

Robert Rivera (20th/21st century) Southwestern polychrome "Flute Players" gourd vessel, 1990 A hand-painted gourd vessel by Robert Rivera, featuring Southwest-style motifs with figures in traditional attire. The piece is crafted from a natural gourd and painted with earthy tones, reflecting the cultural heritage of the Southwest. Minor paint chips.

Lot: 60 - Navajo Native American Southwestern blanket rug weaving with alternating bands of crosses and diamonds 34 1/2"H x 23 1/4"W

Navajo Native American Southwestern blanket rug weaving with alternating bands of crosses and diamonds This is a handwoven textile featuring a geometric pattern in red, blue, black, and white.

Lot: 61 - Michele Laughing Navajo Native American Chief blanket rug weaving 48"H x 27"W

Michele Laughing Navajo Native American Chief blanket rug weaving with geometric pattern in red, blue, black, and white.

Lot: 62 - Michele Laughing Navajo Native American Wide Ruins blanket rug weaving 39"H x 19 1/2"W

Michele Laughing Navajo Native American Wide Ruins blanket rug weaving The design features traditional geometric patterns typical of Navajo weaving, with a color palette of earthy tones including black, brown, and beige. Provenance: purchased from Michele at the Eiteljorg Indian Market, 6/2000

Lot: 63 - Larry Pirnie, American (b. 1940), Hangin Out, acrylic on canvas, 31 1/2"H x 48"W(sight), 34 1/2"H x 51"W(frame)

Larry Pirnie American, (b. 1940) Hangin Out acrylic on canvas Provenance: purchased from the Sutton West Gallery in 8/94. Biography from the Archives of askART Born in Waterloo, Iowa and growing up on a farm near Bettendorf, Iowa, Larry Pirnie became a sculptor and painter of abstract, highly colorful horses and cowboy figures. His acrylic paintings are loose images in bright hues of

Lot: 64 - Larry Pirnie, American (B. 1940), Running To Daylight, 1994, acrylic on paper, 19 3/4"H x 27 1/4"W(sight), 29 1/4"H x 36 3/4"W(frame)

Larry Pirnie American, (B. 1940) Running To Daylight, 1994 acrylic on paper Signed lower left. Signed and dated verso. Biography from the Archives of askART Born in Waterloo, Iowa and growing up on a farm near Bettendorf, Iowa, Larry Pirnie became a sculptor and painter of abstract, highly colorful horses and cowboy figures. His acrylic paintings are loose images in bright hues of

Lot: 65 - Larry Pirnie, American (B. 1940), Early Morning Start, 1994, acrylic on paper, 19 3/4"H x 27 3/4"W(sight), 29 1/4"H x 37 1/4"W(frame)

Larry Pirnie American, (B. 1940) Early Morning Start, 1994 acrylic on paper Signed lower left. Signed and dated verso. Provenance: purchased from the Sutton West Gallery, 8/94. Biography from the Archives of askART Born in Waterloo, Iowa and growing up on a farm near Bettendorf, Iowa, Larry Pirnie became a sculptor and painter of abstract, highly colorful horses and cowboy figures.

Lot: 66 - Larry Pirnie, American (B. 1940), Saddle Reverie, acrylic on paper, 29 x 37 27 3/4"H x 19 3/4"W(sight), 37"H x 29"W(frame)

Larry Pirnie American, (B. 1940) Saddle Reverie acrylic on paper Signed lower right. Larry Pirnie oil painting Provenance: purchased at the Sutton West Gallery Biography from the Archives of askART Born in Waterloo, Iowa and growing up on a farm near Bettendorf, Iowa, Larry Pirnie became a sculptor and painter of abstract, highly colorful horses and cowboy figures. His acrylic

Lot: 67 - Robert Tolone (20th century) Southwestern folk art carved and painted wood "Coyote" sculpture, 1992 28 1/2"H x 38 1/2"W

Robert Tolone (20th century) Southwestern folk art carved and painted wood "Coyote" sculpture, 1992 Signed and dated under base. A vibrant, hand-painted wood sculpture of a coyote, featuring intricate patterns in bright colors typical of Mexican folk art. This beautiful original handmade wooden sculpture was created by Robert Tolone, artist and professor at Art Center College of Design in Los Angeles. Provenance: purchased at Suzanne Brown Gallery, Scottsdale, in 2/93.

Lot: 68 - Robert Tolone (20th century) Southwestern folk art carved and painted wood "Armadillo" sculpture, 1992, 10"H x 18"W x 5 1/2"D

Robert Tolone (20th century) Southwestern folk art carved and painted wood "Armadillo" sculpture, 1992 Signed, dated, and numbered 40/80 under base. A colorful wooden armadillo sculpture featuring vibrant patterns and a whimsical design. The piece is crafted from wood by Robert Tolone, artist and professor at Art Center College of Design in Los Angeles. Provencance: Suzanne Brown Gallery, Scottsdale, 2/93

Lot: 69 - Felix Vigil, American (20th/21st Century), Raven's Home, 1999, acrylic and mixed media on paper mounted to canvas, 50"H x 18"W

Felix Vigil American, (20th/21st Century) Raven's Home, 1999 acrylic and mixed media on paper mounted to canvas Signed and dated lower right. Biography from Blue Rain Gallery: Felix Vigil is a contemporary painter from the southwestern United States. He was born and raised on the Jemez Pueblo northwest of Albuquerque, New Mexico. Felix, who resides on Jemez Pueblo and is an active member of its community, relates, "Living at Jemez affords me the opportunity to live a very traditional life-style. The language is strong and the ceremonies are still a major part of our lives." Felix has displayed his work in many prestigious exhibitions throughout the country. He recently received a first place ribbon for painting at the 2000 Santa Fe Indian Market. A former instructor at the Institute of American Indian Art in Santa Fe, Felix Vigils paintings are mixed medium collage on canvas. His imagery is based on Native American mythology and themes. Over the years his work has become more esoteric in its symbolism and composition. In addition to the popular imagery of his southwest native culture, Felix has been incorporating motifs of Northwest Coast tribes into some of his paintings. Felix states: "There are many similarities in the philosophy of the designs between the Northwest Coast peoples and the Southwest. Paying homage to the animals is the central theme. The spirit of the animals is where our strength comes from. We emulate their character and pray that we can attain their powers. "Within the scheme of the design there is an interdependency and relationship that exists between each design element and symbol. This speaks of the relationship that is evident in the world around us. Each creature is dependent on another to live and survive. And we, as humans, depend on these creatures to live." From an early age Felix was exposed to the art of his father Francis, whom was a highly regarded Native American painter working in oils, watercolor and later in acrylics. When Felix reached his early twenties he attended the Maryland Institute College of Art in Baltimore, Maryland. He graduated in 1980 with a BFA in painting.

Lot: 70 - Felix Vigil, American (20th/21st Century), Morning Sun at Chaco, 1997, acrylic mixed media on paper mounted to canvas, 35 3/4"H x 27 3/4"W(sight), 37 1/2"H x 29 1/2"W(frame)

Felix Vigil American, (20th/21st Century) Morning Sun at Chaco, 1997 acrylic mixed media on paper mounted to canvas Signed and dated lower right. Provenance: purchased from the artist 6/97

Lot: 71 - Felix Vigil, American (20th/21st Century), Running Song/Spring River Dance, acrylic mixed media on paper mounted to canvas, 48"H x 16 1/4"W

Felix Vigil American, (20th/21st Century) Running Song/Spring River Dance acrylic mixed media on paper mounted to canvas Unsigned. Titled verso? Biography from Blue Rain Gallery: Felix Vigil is a contemporary painter from the southwestern United States. He was born and raised on the Jemez Pueblo northwest of Albuquerque, New Mexico. Felix, who resides on Jemez Pueblo and is an active member of its community, relates, "Living at Jemez affords me the opportunity to live a very traditional life-style. The language is strong and the ceremonies are still a major part of our lives." Felix has displayed his work in many prestigious exhibitions throughout the country. He recently received a first place ribbon for painting at the 2000 Santa Fe Indian Market. A former instructor at the Institute of American Indian Art in Santa Fe, Felix Vigils paintings are mixed medium collage on canvas. His imagery is based on Native American mythology and themes. Over the years his work has become more esoteric in its symbolism and composition. In addition to the popular imagery of his southwest native culture, Felix has been incorporating motifs of Northwest Coast tribes into some of his paintings. Felix states: "There are many similarities in the philosophy of the designs between the Northwest Coast peoples and the Southwest. Paying homage to the animals is the central theme. The spirit of the animals is where our strength comes from. We emulate their character and pray that we can attain their powers. "Within the scheme of the design there is an interdependency and relationship that exists between each design element and symbol. This speaks of the relationship that is evident in the world around us. Each creature is dependent on another to live and survive. And we, as humans, depend on these creatures to live." From an early age Felix was exposed to the art of his father Francis, whom was a highly regarded Native American painter working in oils, watercolor and later in acrylics. When Felix reached his early twenties he attended the Maryland Institute College of Art in Baltimore, Maryland. He graduated in 1980 with a BFA in painting.

Lot: 72 - Veryl Goodnight, American (b. 1947), Toe Jam, 2006, bronze, 9"H x 12"W x 8"D

Veryl Goodnight American, (b. 1947) Toe Jam, 2006 bronze incised signature and date at base, numbered 10/35. Provenance purchased at Goodnight Trail Gallery, 9/2010 Biography from Mark Sublette Modern Veryl Goodnight has been sculpting since 1973. She is one of today's best known sculptors of Western and animal subjects in bronze. Descended from Charles Goodnight, the legendary

Lot: 73 - Veryl Goodnight, American (b. 1947), Mouse on the Menu, 2009, bronze, 10"H x 14"W x 6"D

Veryl Goodnight American, (b. 1947) Mouse on the Menu, 2009 bronze Incised signature and date at base, numbered 12/30. Provenance: purchased at Eiteljorg "Quest" Sale, 9/2009. Biography from Mark Sublette Modern Veryl Goodnight has been sculpting since 1973. She is one of today's best known sculptors of Western and animal subjects in bronze. Descended from Charles Goodnight, the

Lot: 74 - Hopi Native American carved and painted Eagle and Mudhead Kachina figure by Tom Holmes 15 1/4"H x 7 1/2"W x 7"D

Hopi Native American carved and painted Eagle and Mudhead Kachina figure by Tom Holmes Signed to base and under base. Provenance: purchased from Lovena Ohl Gallery, 1/90

Lot: 75 - Hopi Native American carved and painted Ogre kachina figure by Carlton Timms 14 3/4" x 5"W x 4 1/2"D

Hopi Native American carved and painted Ogre kachina figure by Carlton Timms Incised signature under base. Several broken feathers. Provenance: purchased at Secakuku Trading Post.

Lot: 76 - Sheldon Talas, Hopi Pueblo (1937–2010), Clowns Cruising on Turtle, Koshares, Native American polychrome pottery figural group, 7 3/4"H x 4"W x 5 1/2"D

Sheldon Talas Hopi Pueblo, (1937–2010) Clowns Cruising on Turtle, Koshares Native American polychrome pottery figural group Signed under base.

Lot: 77 - Joe Cajero Jr., Jemez Pueblo (b. 1970), Four Directions, two koshares seated on bench, Native American polychrome pottery figural group

Joe Cajero Jr. Jemez Pueblo, (b. 1970) Four Directions, two koshares seated on bench Native American polychrome pottery figural group Signed on base. Provenance: purchased at Eiteljorg Indian Market, 6/99. Biography from the Archives of askART Joe Cajero, Jr. was born in 1970 in Santa Fe, New Mexico and raised in the Pueblo of Jemez. He is a descendant of a long line of Pueblo

Lot: 78 - Roberta Laidman, American (b. 1943), Duncan, recumbent dog sculpture, ceramic polychrome pottery figure, 15 1/2"H x 15"D x 16 1/2"W

Roberta Laidman American, (b. 1943) Duncan, recumbent dog sculpture ceramic polychrome pottery figure Signed under base. Dog tag marked " A Laidman Dog". Biography from Canton Museum of Art Laidman studied at California State University where she earned her degree in Anthropology in 1965. While earning her degree she also pursued painting and drawing, but this changed in the late 70s when Laidman meet the Dutch ceramic artist, Marijke van Vlaardingen. Laidman became hooked on clay. She started creating human forms, but in 1987 Laidman took another opportunity to work again with Vlaardingen in Holland. Her first work was an abstracted human figure – but by the time she finished it, she had became lonesome for her two dogs – and she has been sculpting dogs since that time. In her own words Laidman talks about her work: "I start with a knowledge of real breeds, but when I finally go to the studio the dogs take on a life of their own. They tell me what they want to be as if I had nothing to say about it. It sounds crazy, but each dog creates its own character. Sometimes they have long noses and at other times their faces are all pushed in. Sometimes they're very serious dogs and at other times frivolous. How that comes about, I don't know. I just make them".

Lot: 79 - Roberta Laidman, American (b. 1943), Biff, reclined dog sculpture, ceramic polychrome pottery figure, 3/96 8"H x 7"W x 11"L

Roberta Laidman American, (b. 1943) Biff, reclined dog sculpture ceramic polychrome pottery figure Provenance: purchased from the Village Gallery, Scottsdale, AZ Biography from Canton Museum of Art Laidman studied at California State University where she earned her degree in Anthropology in 1965. While earning her degree she also pursued painting and drawing, but this changed in the late 70s when Laidman meet the Dutch ceramic artist, Marijke van Vlaardingen. Laidman became hooked on clay. She started creating human forms, but in 1987 Laidman took another opportunity to work again with Vlaardingen in Holland. Her first work was an abstracted human figure – but by the time she finished it, she had became lonesome for her two dogs – and she has been sculpting dogs since that time. In her own words Laidman talks about her work: "I start with a knowledge of real breeds, but when I finally go to the studio the dogs take on a life of their own. They tell me what they want to be as if I had nothing to say about it. It sounds crazy, but each dog creates its own character. Sometimes they have long noses and at other times their faces are all pushed in. Sometimes they're very serious dogs and at other times frivolous. How that comes about, I don't know. I just make them".

Lot: 80 - Gene Zesch, American (b. 1932), Hole in the Wall Gang, bronze, 9"H x 7 3/4"W x 3"D

Gene Zesch American, (b. 1932) Hole in the Wall Gang bronze Incised signature, numbered 19/100. Whistle Pik Galleries, TX label verso. Biography from the Archives of askART Gene Zesch grew up during the Depression on a hard scrabble central Texas ranch working cattle, shoeing and breaking horses, milking cows and building fence in between riding horseback four miles to school. His

Lot: 81 - Gene Zesch, American (b. 1932), Sez Here People Pay Money To Do This, 1992, bronze, 6 1/2"H x 13 1/2"W

Gene Zesch American, (b. 1932) Sez Here People Pay Money To Do This, 1992 bronze Incised signature, numbered 5/50. Gallery label under base. Provenance: purchased at Trailside Galllery, 10/94 Biography from the Archives of askART Gene Zesch grew up during the Depression on a hard scrabble central Texas ranch working cattle, shoeing and breaking horses, milking cows and building

Lot: 82 - Navajo Native American Storm Pattern blanket rug weaving, 28 1/4"H x 20 1/2"W

Navajo Native American Storm Pattern blanket rug weaving geometric design in red, black, gray, and white. Provenance: purchased 8/23

Lot: 83 - Navajo Native American Storm Pattern blanket rug weaving, 42"H x 27 3/4"W

Navajo Native American Storm Pattern blanket rug weaving handwoven textile featuring geometric designs in red, black, white, and gray.

Lot: 84 - Laura Maloney Navajo Native American Storm Pattern blanket rug weaving 31"H x 25 1/4"W

Laura Maloney Navajo Native American Storm Pattern blanket rug weaving A handwoven textile featuring geometric shapes in red, black, white, gray, and brown. Provenance: purchased 4/1988

Lot: 85 - Navajo Native American Southwestern textile rug weaving 47 1/2"H x 13"W

Navajo Native American Southwestern textile rug weaving

Lot: 86 - Fawn Navasie (b. 1959) Hopi Native American pottery jar by with geometric design 5 1/2"H x 13"Diam.

Fawn Navasie (b. 1959) Hopi Native American pottery jar by with geometric design Signature under base is partially visible. A handcrafted pottery piece by Steve Lucas, featuring intricate geometric and tribal designs. The piece is likely inspired by traditional Native American pottery styles, showcasing a blend of cultural motifs and modern craftsmanship. Steve has emerged as one of the premier artists from the Nampeyo family. He has consistently won blue ribbons in the pottery fields.

Lot: 87 - Fawn Navasie (b. 1959) Hopi Native American polychrome vase jar with geometric design, 7 1/4"H x 7 1/2"Diam.

Fawn Navasie (b. 1959) Hopi Native American polychrome vase jar with geometric design signed under base. Very minor nicks. The vase has a wide body with a narrow neck, typical of Southwestern pottery styles.

Lot: 88 - Grace Navasie (b. 1953) Hopi-Tewa Native American polychrome jar, 4"H x 6 1/4"Diam.

Grace Navasie (b. 1953) Hopi-Tewa Native American polychrome jar Signed with frog hallmark and G under base. A traditional Hopi pottery piece by Grace Navasie, daughter of women known as 'Frog Woman'. The piece features polychrome designs typical of Hopi artistry, with geometric patterns in earthy tones. It is a fine example of Native American craftsmanship, reflecting cultural heritage and artistic skill. Provenance: purchased 11/10/1979

Lot: 89 - Native American style painted hide shield with animal / celestial motif and feathers, 1988 30"H x 30"H21 1/4"Diam.

Native American style painted hide shield with animal / celestial motif and feathers, 1988 Signed with initials and dated verso.

Lot: 90 - Native American style "Elk Dreamer" painted hide war shield

Native American style "Elk Dreamer" painted hide war shield Provenance: purchased at Prairie, 4/2003

Lot: 91 - Native American style turtle shell and hide shield adorned with feathers, beads, and textile 46"H x 23"W

Native American style turtle shell and hide shield adorned with feathers, beads, and textile with antler hand-piece. Artist's signature lower right. Provenance: purchased from Prairie Edge

Lot: 92 - Native American style "First Rain" raven and swallows painted hide war shield with feathers, 25"H x 21"Diam.

Native American style "First Rain" raven and swallows painted hide war shield with feathers Purchased from Prairie Edge.

Lot: 93 - Monte Yellowhorse, Native American (20th/21st century), Dawn Breakers, 2004, mixed media porcupine quills and turquoise stone on felt mounted to canvas, 32 1/4"H x 22"W

Monte Yellowhorse Native American, (20th/21st century) Dawn Breakers, 2004 mixed media porcupine quills and turquoise stone on felt mounted to canvas Signed and dated verso. Porcupine quills woven onto felt with turquoise stone and feather pendant. Provenance: purchased from the Eiteljorg Indian Market 6/05.

Lot: 94 - Donald Montileaux, Lakota (b. 1948), The Power of Tatanka (Buffalo), 2006, colored pencil and ink on ledger paper, 14"H x 28 1/2"W(paper measured), 23 3/4"H x 37 1/2"W(frame)

Donald Montileaux Lakota, (b. 1948) The Power of Tatanka (Buffalo), 2006 colored pencil and ink on ledger paper Signed and dated lower right. Artist label verso. Biography from the Archives of askART Don Montileaux, a Lakota painter, carries on the the traditions of his ancestors by translating ancient pictographs and visions of contemporary warriors onto animal hides. Montileaux was raised in Rapid City, Iowa. After graduating from high school he attended the Institute of American Indian Arts in Santa Fe, New Mexico. Once mentored by Herman Red Elk, Montileaux now mentors emerging artists and regularly visits reservations across the Plains. Montileaux's work has been featured in museums across the United States. Source: Southwest Art, August 2003

Lot: 95 - Donald Montileaux, Lakota (b. 1948), Lakota Warrior, 2003, mixed media on paper, 10 1/2"H x 18"W(sight), 16 1/4 24 1/4"W

Donald Montileaux Lakota, (b. 1948) Lakota Warrior, 2003 mixed media on paper Signed and dated lower right and verso. Artist label verso. Provenance: purchased from Prairie Edge, 6/03 Biography from the Archives of askART Don Montileaux, a Lakota painter, carries on the the traditions of his ancestors by translating ancient pictographs and visions of contemporary warriors onto animal hides. Montileaux was raised in Rapid City, Iowa. After graduating from high school he attended the Institute of American Indian Arts in Santa Fe, New Mexico. Once mentored by Herman Red Elk, Montileaux now mentors emerging artists and regularly visits reservations across the Plains. Montileaux's work has been featured in museums across the United States. Source: Southwest Art, August 2003

Lot: 96 - Donald Montileaux, Lakota (b.1948), White Bull, 2002, colored pencil and ink on ledger paper, 8 1/2"H x 13 1/2"W(paper measured), 14 1/4"H x 20 1/4"W(frame)

Donald Montileaux Lakota, (b.1948) White Bull, 2002 colored pencil and ink on ledger paper Signed and dated lower right. Artist label verso. Provenance: purchased at Prairie Edge Fine Arts Gallery, Rapid City, SD, 8/02 Biography from the Archives of askART Don Montileaux, a Lakota painter, carries on the the traditions of his ancestors by translating ancient pictographs and visions of contemporary warriors onto animal hides. Montileaux was raised in Rapid City, Iowa. After graduating from high school he attended the Institute of American Indian Arts in Santa Fe, New Mexico. Once mentored by Herman Red Elk, Montileaux now mentors emerging artists and regularly visits reservations across the Plains. Montileaux's work has been featured in museums across the United States. Source: Southwest Art, August 2003

Lot: 97 - Donald Montileaux, Lakota (b. 1948), Crazy Horse, 2002, colored pencil and ink on ledger paper, 6 1/4"H x 10"W(paper measured), 13 1/4"H x 16 1/4"W(frame)

Donald Montileaux Lakota, (b. 1948) Crazy Horse, 2002 colored pencil and ink on ledger paper Signed and dated lower left. Artist label verso. Provenance: purchased from Prairie Edge 8/02 Biography from the Archives of askART Don Montileaux, a Lakota painter, carries on the the traditions of his ancestors by translating ancient pictographs and visions of contemporary warriors onto animal hides. Montileaux was raised in Rapid City, Iowa. After graduating from high school he attended the Institute of American Indian Arts in Santa Fe, New Mexico. Once mentored by Herman Red Elk, Montileaux now mentors emerging artists and regularly visits reservations across the Plains. Montileaux's work has been featured in museums across the United States. Source: Southwest Art, August 2003

Lot: 98 - Hasting, He Brings Many Horses, colored pencil and ink on ledger paper, 6"H x 15 1/4"W(paper measured), 12 1/2"H x 21 1/2"W(frame)

Hasting He Brings Many Horses colored pencil and ink on ledger paper Provenance: purchased at Eiteljorg Indian Market, 2010.

Lot: 99 - Bill Worrell, American (1936-2021), The Eternal Guardian, 1998, bronze and copper sculpture, 32 1/2"H x 15 1/2"W

Bill Worrell American, (1936-2021) The Eternal Guardian, 1998 bronze and copper sculpture Incised signature and date verso, numbered 41/50. Provenance: purchased at Contemporary Southwest Gallery 8/2001 Biography from the Archives of askART From Art, Texas, Bill Worrell creates art work that reflects images of ancient figures, mystical forms, and a deep reverence for the place of human beings in the universe. His goal is to convey a sense of connection between past and present people, especially those of the Lower Pecos River area. Because he has such deep feelings and extensive ideas about these interrelationships, he often writes extensively on the backs of his canvasses or engraves his bronzes. He lives on scenic ranch land on the banks of the Llany River and works from a studio he built himself. He is a multi-talented man-- sculptor of Indian shamans, painter, jewelry maker, author, and ceramist, and he is also an accomplished musician and gardener. Worrell has a fine-arts degree from North Texas State University and was an art professor there for 18 years. In 1979, while canoeing on the Lower Pecos River, he found traces of an ancient culture including paintings thousands of years old, and this was the defining experience that set his course of expression. Seeing the ancient art, he felt the presence of its creators and a sense of having a bridge to earlier times. He believes his own mission is to keep a sense of those times alive through depictions of contemporary shamans whose roots go far back into tradition. Bill Worrell passed away on April 29th, 2021.

Lot: 100 - Bill Worrell, American (1936-2021), Shaman, 1989, bronze sculpture, 32 1/2"H x 18"W

Bill Worrell American, (1936-2021) Shaman, 1989 bronze sculpture Incised signature and date verso. Biography from the Archives of askART From Art, Texas, Bill Worrell creates art work that reflects images of ancient figures, mystical forms, and a deep reverence for the place of human beings in the universe. His goal is to convey a sense of connection between past and present people, especially those of the Lower Pecos River area. Because he has such deep feelings and extensive ideas about these interrelationships, he often writes extensively on the backs of his canvasses or engraves his bronzes. He lives on scenic ranch land on the banks of the Llany River and works from a studio he built himself. He is a multi-talented man-- sculptor of Indian shamans, painter, jewelry maker, author, and ceramist, and he is also an accomplished musician and gardener. Worrell has a fine-arts degree from North Texas State University and was an art professor there for 18 years. In 1979, while canoeing on the Lower Pecos River, he found traces of an ancient culture including paintings thousands of years old, and this was the defining experience that set his course of expression. Seeing the ancient art, he felt the presence of its creators and a sense of having a bridge to earlier times. He believes his own mission is to keep a sense of those times alive through depictions of contemporary shamans whose roots go far back into tradition. Bill Worrell passed away on April 29th, 2021.

Lot: 101 - Bill Worrell, American (1936-2021), Antlered Caped Shaman, 1989, bronze and copper sculpture, 27"H x 14"W

Bill Worrell American, (1936-2021) Antlered Caped Shaman, 1989 bronze and copper sculpture Signed and dated verso. Biography from the Archives of askART From Art, Texas, Bill Worrell creates art work that reflects images of ancient figures, mystical forms, and a deep reverence for the place of human beings in the universe. His goal is to convey a sense of connection between past and present people, especially those of the Lower Pecos River area. Because he has such deep feelings and extensive ideas about these interrelationships, he often writes extensively on the backs of his canvasses or engraves his bronzes. He lives on scenic ranch land on the banks of the Llany River and works from a studio he built himself. He is a multi-talented man-- sculptor of Indian shamans, painter, jewelry maker, author, and ceramist, and he is also an accomplished musician and gardener. Worrell has a fine-arts degree from North Texas State University and was an art professor there for 18 years. In 1979, while canoeing on the Lower Pecos River, he found traces of an ancient culture including paintings thousands of years old, and this was the defining experience that set his course of expression. Seeing the ancient art, he felt the presence of its creators and a sense of having a bridge to earlier times. He believes his own mission is to keep a sense of those times alive through depictions of contemporary shamans whose roots go far back into tradition. Bill Worrell passed away on April 29th, 2021.

Lot: 102 - Bill Worrell, American (1936-2021), We Can Fly, 1995, bronze sculpture, 23"H x 39"W

Bill Worrell American, (1936-2021) We Can Fly, 1995 bronze sculpture Incised signature and date verso. Biography from the Archives of askART From Art, Texas, Bill Worrell creates art work that reflects images of ancient figures, mystical forms, and a deep reverence for the place of human beings in the universe. His goal is to convey a sense of connection between past and present people, especially those of the Lower Pecos River area. Because he has such deep feelings and extensive ideas about these interrelationships, he often writes extensively on the backs of his canvasses or engraves his bronzes. He lives on scenic ranch land on the banks of the Llany River and works from a studio he built himself. He is a multi-talented man-- sculptor of Indian shamans, painter, jewelry maker, author, and ceramist, and he is also an accomplished musician and gardener. Worrell has a fine-arts degree from North Texas State University and was an art professor there for 18 years. In 1979, while canoeing on the Lower Pecos River, he found traces of an ancient culture including paintings thousands of years old, and this was the defining experience that set his course of expression. Seeing the ancient art, he felt the presence of its creators and a sense of having a bridge to earlier times. He believes his own mission is to keep a sense of those times alive through depictions of contemporary shamans whose roots go far back into tradition. Bill Worrell passed away on April 29th, 2021.

Lot: 103 - Nelda Schrupp (b. 1952) Pheasant Rump Nakota Native American sterling silver dance rattle with deer antler handle and horse hair tassels 20 1/4"H x 8 1/4"W

Nelda Schrupp (b. 1952) Pheasant Rump Nakota Native American sterling silver dance rattle with deer antler handle and horse hair tassels Biography from Akta Lakota Museum & Cultural Center: Nelda Schrup was born in 1952 and grew up on the White Bear Indian Reservation in Saskatchewan, Canada. Everything she creates reveals her roots. She earned a Bachelor of Fine Arts in 1990, majoring in Art with a concentration in Ceramics and a minor in Jewelry and Small Sculpture at the University of North Dakota, Grand Forks. The experience enticed her to study metalwork in more detail. In 1993 she entered graduate school at the University of North Dakota, where she received a Master of Fine Arts in Metalsmithing, Jewelry and Small Sculpture. Immediately she began to make her mark in the art world by winning at art shows with her distinctive style and combining her heritage with inspiration from the European masters to create her work. Each shape, color, and material used in her amuletic rattles holds significant meaning: Squares, rectangles and triangle shapes represent the fate of Native Americans "boxed in" on reservations. The circle symbolizes the Circle of Life. Free-flowing shapes represent how the spirit of Native people could not be harnessed or tied down. Deer horns and horsehair extensions honor the animals for their special role in helping Native people persevere and survive. Schrupp's jewelry works are abstract, fluid, miniature renditions of her traditional rattles. Crafted in silver, gold, copper, horsehair, deer antler and semi-precious stones, the pieces truly draw the eye and mind into her world. The youngest of 11 children, Nelda earned her degrees at the University of North Dakota, a BFA in Visual Arts in 1990, with a minor in Anthropology and an MFA with an emphasis in metalsmithing, jewelry and small sculpture in 1993. Schrupp has been honored as part of many exhibitions. She was named a Smithsonian Art Fellow, and her work is included in the permanent collections of the Renwick Gallery in Washington, DC, the Eiteljorg Museum of American Indian and Western Art in Indianapolis, Indiana, the Atká Lakota Museum, at St. Joseph's Indian School and The Heritage Center at Red Cloud Indian School.

Lot: 104 - Nelda Schrupp (b. 1952) Pheasant Rump Nakota Native American sterling silver pendant dance rattle adorned with horse hair tassels, beads, brass thimbles and bell 24 1/4"H x 9 1/4"W

Nelda Schrupp (b. 1952) Pheasant Rump Nakota Native American sterling silver pendant dance rattle adorned with horse hair tassels, beads, brass thimbles and bell Stamped signature. Biography from Akta Lakota Museum & Cultural Center: Nelda Schrup was born in 1952 and grew up on the White Bear Indian Reservation in Saskatchewan, Canada. Everything she creates reveals her roots. She earned a Bachelor of Fine Arts in 1990, majoring in Art with a concentration in Ceramics and a minor in Jewelry and Small Sculpture at the University of North Dakota, Grand Forks. The experience enticed her to study metalwork in more detail. In 1993 she entered graduate school at the University of North Dakota, where she received a Master of Fine Arts in Metalsmithing, Jewelry and Small Sculpture. Immediately she began to make her mark in the art world by winning at art shows with her distinctive style and combining her heritage with inspiration from the European masters to create her work. Each shape, color, and material used in her amuletic rattles holds significant meaning: Squares, rectangles and triangle shapes represent the fate of Native Americans "boxed in" on reservations. The circle symbolizes the Circle of Life. Free-flowing shapes represent how the spirit of Native people could not be harnessed or tied down. Deer horns and horsehair extensions honor the animals for their special role in helping Native people persevere and survive. Schrupp's jewelry works are abstract, fluid, miniature renditions of her traditional rattles. Crafted in silver, gold, copper, horsehair, deer antler and semi-precious stones, the pieces truly draw the eye and mind into her world. The youngest of 11 children, Nelda earned her degrees at the University of North Dakota, a BFA in Visual Arts in 1990, with a minor in Anthropology and an MFA with an emphasis in metalsmithing, jewelry and small sculpture in 1993. Schrupp has been honored as part of many exhibitions. She was named a Smithsonian Art Fellow, and her work is included in the permanent collections of the Renwick Gallery in Washington, DC, the Eiteljorg Museum of American Indian and Western Art in Indianapolis, Indiana, the Atká Lakota Museum, at St. Joseph's Indian School and The Heritage Center at Red Cloud Indian School.

Lot: 105 - Kevin D. Fast Horse (b.1963) Native American geometric beaded leather shoulder bag with turtle amulet and fringe 15"H (including fringe) x 12"W(body), 17 1/2"Strap Drop

Kevin D. Fast Horse (b.1963) Native American geometric beaded leather shoulder bag with turtle amulet and fringe Signed on back of bag. Watermarks present. A handcrafted beaded bag featuring intricate beadwork with geometric patterns in blue, red, yellow, and white. The bag is adorned with fringe and has a strap decorated with beads. It appears to be made from leather and showcases traditional Native American design elements. Provenance: purchased at Prairie Edge, Rapid City, SD

Lot: 106 - Dave and Diane Chambers Native American style beaded hide Bullseye bag with tin cone and horsehair tassels

Dave and Diane Chambers Native American style beaded hide Bullseye bag with tin cone and horsehair tassels A decorative bag featuring intricate beadwork and red tassels. The design includes circular patterns with red, white, and black beads, complemented by red horsehair tassels and metal cones. The bag is likely handcrafted, reflecting Native American artistic influences. Provenance: purchased in Friendship Indiana.

Lot: 107 - Joe Cajero Jr., Jemez Pueblo (b. 1970), Nurtured by Prayer, bronze, 18 3/4"H x 6 1/2"W

Joe Cajero Jr. Jemez Pueblo, (b. 1970) Nurtured by Prayer bronze incised signature at base, numbered 21/30. Biography from the Archives of askART Joe Cajero, Jr. was born in 1970 in Santa Fe, New Mexico and raised in the Pueblo of Jemez. He is a descendant of a long line of Pueblo artists, including his father, a painter, and his mother, Esther, a potter. As a child, Cajero would

Lot: 108 - Pahponee (Kickapoo) "In a Sacred Manner I Walk" bronze vessel with dimensional buffalo, 2000 7"H x 13"Diam.

Pahponee (Kickapoo) "In a Sacred Manner I Walk" bronze vessel with dimensional buffalo, 2000 Incised signature and date, numbered 21/25. Provenance: purchased at Eiteljorg Indian Market-Award Winner in Class, 6/25. Biography from Buffalo Collection Pahponee has been working with clay since the early 1980's. She is a descendant of the Kickapoo and Potawatomi Nations, originally from the

Lot: 109 - Pahponee (Kickapoo) "All My Relations" polychrome glazed bronze vessel with engraved petroglyphs, 2007 9 1/2"H x 8"Diam.

Pahponee (Kickapoo) "All My Relations" polychrome glazed bronze vessel with engraved petroglyphs, 2007 Incised signature and date, numbered 8/50. Biography from Buffalo Collection Pahponee has been working with clay since the early 1980's. She is a descendant of the Kickapoo and Potawatomi Nations, originally from the Great Lakes. Her Kickapoo name, "Pahponee"; translates into Snow Woman.

Lot: 110 - Pahponee (Kickapoo) contemporary studio art pottery vessel with metallic glazed interior, 2006 5"H x 4 1/4"Diam.

Pahponee (Kickapoo) contemporary studio art pottery vessel with metallic glazed interior, 2006 signed and dated under base. Provenance: purchased at Eiteljorg Indian Market 6/26/06. Biography from Buffalo Collection Pahponee has been working with clay since the early 1980's. She is a descendant of the Kickapoo and Potawatomi Nations, originally from the Great Lakes. Her Kickapoo name,

Lot: 111 - Richard Zane Smith (b. 1955) Wyandotte Native American Southwestern pottery vessel with kiva step rim, 1983, 6 1/2"H x 7 1/2"Diam.

Richard Zane Smith (b. 1955) Wyandotte Native American Southwestern pottery vessel with kiva step rim, 1983 Incised signature and date under base. A handcrafted pottery piece by Richard Zane Smith, featuring a unique design with a smooth gradient of earthy tones and an irregular, jagged rim. The piece reflects Smith's signature style, drawing from Wyandotte and Pueblo traditions. Richard Zane Smith was born in Georgia and grew up in St. Louis, Missouri; he has a degree from the Kansas City Art Institute, where he studied ceramics. He is a potter of Wyandot descent whose amazing works are constructed with tiny coils, following the model of the prehistoric, corrugated ware of the Southwest. Provenance: purchased in Scottsdale tourist store in 2/97. This is one of his first pieces.

Lot: 112 - John Lawrence (20th century) "Seer" Native American figure clay sculpture, 1987 21 1/2"H x 13"W

John Lawrence (20th century) "Seer" Native American figure clay sculpture, 1987 Incised signature and date on base. Possible repair at bottom front. See pictures. Provenance: purchased from Ratliff-Williams Gallery,Sedona 4/88

Lot: 113 - Jody Naranjo (b. 1969) Santa Clara Pueblo Native American "Love" sgraffito pottery vessel with animal motif 6"H x 5 1/2"W

Jody Naranjo (b. 1969) Santa Clara Pueblo Native American "Love" sgraffito pottery vessel with animal motif A handcrafted pottery piece by Jody Naranjo, featuring intricate designs with animal motifs. The piece showcases traditional Pueblo pottery techniques with a modern artistic touch. Provenance: purchased at Eiteljorg Indian Market 2006

Lot: 114 - Jody Naranjo (b. 1969) Santa Clara Pueblo Native American “Winged Birds” sgraffito pottery vessel 4 1/4"H x 4 3/4"Diam.

Jody Naranjo (b. 1969) Santa Clara Pueblo Native American "Winged Birds" sgraffito pottery vessel A handcrafted pottery piece by Jody Naranjo featuring intricate designs of winged birds. The piece showcases traditional Native American motifs with a modern twist, highlighting Naranjo's signature style.

Lot: 115 - Jody Naranjo (b. 1969) Santa Clara Pueblo Native American "Hunted Animals" sgraffito pottery vessel depicting birds and fish, 2005 3 1/2"H x 5 3/4"W

Jody Naranjo (b. 1969) Santa Clara Pueblo Native American "Hunted Animals" sgraffito pottery vessel depicting birds and fish, 2005 Incised signature and dated under base. A contemporary etched pottery piece by Jody Naranjo, a renowned Tewa potter from the Santa Clara Pueblo. The piece features intricate designs typical of Naranjo's style, showcasing traditional motifs with a modern twist. Provenance: purchased Eiteljorg Indian Market 2005.

Lot: 116 - John Lawrence (20th century) "Arapaho Chief" Native American figure clay sculpture, 1988 21 1/2"H x 11 1/2"W

John Lawrence (20th century) "Arapaho Chief" Native American figure clay sculpture, 1988 Incised signature and date on base.

Lot: 117 - Lance Grabowski Native American style "Blood quilled shirt" reproduction Blackfoot war shirt 64"W

Lance Grabowski Native American style "Blood quilled shirt" reproduction Blackfoot war shirt Original 1830s blood quilled shirt in Museum of Man, Ottawa, CA. Original shirt included in the Book O Buckskinning I. Shirt included in Bon Jou Nee See catalog, a drawing in Mystic Warrior by T. Mails. Brain tanned, sinew and thread sewn, horsehair. Blood. a division of the Blackfoot Tribe. Provenance: purchased from Lance Grabroski, Santa Fe NM

Lot: 118 - Lance Grabowski Native American style geometric beaded animal hide tobacco or pipe bag 16 1/2"H x 11"W(body), 25"Strap drop

Lance Grabowski Native American style geometric beaded animal hide tobacco or pipe bag Contemporary Native American-style beaded tobacco or pipe bag featuring intricate beadwork with geometric patterns and fringe details. Provenance: purchased from Lance Grabowski

Lot: 119 - Lance Grabowski artisan made dyed animal hide bag adorned with shells and beads 7 3/4"H x 9 1/4"W(body w/out fringe), 9 1/4"Strap drop

Lance Grabowski artisan made dyed animal hide bag adorned with shells and beads A handcrafted bag from Lance Grabowski, a mix of materials, including brass bells and horse hair. The bag has a green and yellow body with red fabric tassels and a braided strap. It is adorned with decorative elements such as shells and beads. Provenance: purchased 2/2010

Lot: 120 - Lance Grabowski Native American style beaded animal hide tobacco bag 34"H x 6 1/4"W

Lance Grabowski Native American style beaded animal hide tobacco bag A handcrafted tobacco bag featuring intricate beadwork with geometric patterns. The bag is adorned with colorful beads in red, blue, green, and yellow, and has a fringe at the bottom. It appears to be made from suede or a similar material. Provenance: purchased from Lance Grabowski, 2/2010

Lot: 121 - Lance Grabowski Native American style fur and animal hide medicine bag with etched and pierced medallion 23"H x 10 1/2"W(body), 13 1/2"Strap drop with knot

Lance Grabowski Native American style fur and animal hide medicine bag with etched and pierced medallion A handcrafted medicine bag. The bag features a fur exterior with a decorative element on the front and leather fringe at the bottom. It is designed to be worn or carried, likely for personal or ceremonial use. Provanence: purchased from Lance Grabowski, 2/1995

Lot: 122 - James Bama, American (1926–2022), Old Saddle in the Snow, 1973, lithograph, 11 1/4"H x 17 1/2"W(sight), 17 3/4"H x 24 1/4"W(frame)

James Bama American, (1926–2022) Old Saddle in the Snow, 1973 lithograph Pencil signed lower right, numbered 1289/1500. Biography from the Archives of askART A native New Yorker, James Bama creates photo-real figures and paintings that capture the old "wild west." He keeps a very tidy studio from where he converts his many photographs into paintings whose surfaces are so smooth and satiny that some people refer to him as the "Vermeer of the West" (McGarry 30). He graduated from New York City's High School of Music and Arts and then served in the military for three years. He attended the Art Students League and became a renowned illustrator in New York, working for Saturday Evening Post, Argosy, and Reader's Digest. He also did over sixty book covers for Doc Savage books of Bantam Press. In 1968, he and his wife moved to Wapiti, Wyoming, near Cody, in the mountains where he continued his illustration work and was not especially interested in western themes. However, attending pow wows, rodeos, and reenactments, he became increasingly interested in the local people and in 1971 gave up illustration. He works from a home studio built by him and his wife. He photographs his subjects in black and white, enlarges the photos, and makes an outline on tracing paper. Source: Susan McGarry, "Covering the West", Southwest Art, July 1995, p. 31

Lot: 123 - Nelson Boren, American (b. 1952), Break Time, lithograph, 34"H X 24"W(sight), 44"H x 34 1/2'W(frame)

Nelson Boren American, (b. 1952) Break Time lithograph Pencil signed lower right, numbered 152/300. Provenance: purchased from the Marcus Gallery, 4/26/94.

Lot: 124 - Fritz Scholder, American , Indian Cowboy and Horse, Lithograph, 24 1/4"H x 21"W(sight), 25"H x 21 3/4"W(frame)

Fritz Scholder American Indian Cowboy and Horse Lithograph Framed gallery poster of the artwork "Indian Cowboy and Horse" signed by Fritz Scholder. The poster features a bold, expressionist depiction of a cowboy and horse against a vibrant background, characteristic of Scholder's unique style. 24 1/4"H x 21"W(sight), 25"H x 21 3/4"W(frame)

Lot: 125 - Sally "South Eagle Woman" Thielen (1938-2025) Chippewa Native American “Albert Dancing” painted porcelain raku ceremonial mask with applied feathers and fur, 1988 12"H x 12"W

Sally "South Eagle Woman" Thielen (1938-2025) Chippewa Native American "Albert Dancing" painted porcelain raku ceremonial mask with applied feathers and fur, 1988 Signed with initials, dated, and numbered 88024 verso. Provenance: purchased at Gifted Hands Gallery 4/1998 Biography from Art in Embassies: Sally Thielen, "South Eagle Woman", is of Chippewa descent. Her family's Indian name is Mashue (May-zhu). Sally is recognized as an accomplished artist in many media, but is perhaps best known for her raku porcelain masks. She uses only Native Americans as models, and when the masks are finished, she preserves her models' identities by referring to them only by their first names. In order to remain faithful to the Chippewa traditions, Thielen spends hours researching historical and contemporary patterns and designs. Sally Thielen creates art with a harmony and balance between both ancient and contemporary ideas.

Lot: 126 - Sally "South Eagle Woman" Thielen (1938-2025) Chippewa Native American painted porcelain raku ceremonial mask with applied feathers and fur, 1999 37"H x 27 1/2"W

Sally "South Eagle Woman" Thielen (1938-2025) Chippewa Native American painted porcelain raku ceremonial mask with applied feathers and fur, 1999 Signed with initials, dated, and numbered 90163 verso.

Lot: 127 - Sally "South Eagle Woman" Thielen (1938-2025) Chippewa Native American “Diagonal Forces” painted porcelain raku ceremonial mask with applied antlers, fur, and feathers

Sally "South Eagle Woman" Thielen (1938-2025) Chippewa Native American "Diagonal Forces" painted porcelain raku ceremonial mask with applied antlers, fur, and feathers Numbered 88043 verso. Provenance: purchased at Gifted Hands Gallery, 4/1998 Biography from Art in Embassies: Sally Thielen, "South Eagle Woman", is of Chippewa descent. Her family's Indian name is Mashue (May-zhu). Sally is recognized as an accomplished artist in many media, but is perhaps best known for her raku porcelain masks. She uses only Native Americans as models, and when the masks are finished, she preserves her models' identities by referring to them only by their first names. In order to remain faithful to the Chippewa traditions, Thielen spends hours researching historical and contemporary patterns and designs. Sally Thielen creates art with a harmony and balance between both ancient and contemporary ideas.

Lot: 128 - Austin Real Rider (1941–2022) Sioux/Pawnee Native American Plains Indian painted raku mask with applied feathers, fur, and beaded decoration, 1993, 18"H x 6"W (width of face mask)

Austin Real Rider (1941–2022) Sioux/Pawnee Native American Plains Indian painted raku mask with applied feathers, fur, and beaded decoration, 1993 Incised signature and date verso. A handcrafted ceremonial mask featuring a painted face with black vertical lines, purple fabric, and a metal disc embellishment. Eyes follow you as you walk by. Provenance: purchased 6/93.

Lot: 129 - Phillip Martinez Taos Pueblo Native American painted hide drum with buffalo hunting scene 20 1/2"Diam.

Phillip Martinez Taos Pueblo Native American painted hide drum with buffalo hunting scene Signed verso. Provenance: purchased at Eiteljorg Indian Market, 2003

Lot: 130 - Phillip Martinez Taos Pueblo Native American painted hide drum with three deer figures 19"H x 16 1/2"Diam.

Phillip Martinez Taos Pueblo Native American painted hide drum with three deer figures Signed verso. Provenance: purchased at Eiteljorg Indian Market , 2003

Lot: 131 - Pueblo Native American painted hide over wood framed drum with stylized bird design, 1993, 15 1/2"H (with handle), 14"Diam.

Pueblo Native American painted hide over wood framed drum with stylized bird design, 1993

Lot: 132 - Native American style dance sticks or rattles 19 1/2"H x 5"W

Native American style dance sticks or rattles A pair of Native American-style dance sticks or rattles featuring carved wood handles, decorated with rawhide, painted designs, and feathers. These items are typically used in ceremonial dances.

Lot: 133 - Native American style wooden Flute 12"H x 33 3/4"W

Native American style wooden Flute A Native American-style ceremonial staff featuring decorative elements such as feathers, beads, and leather. The staff is painted in various colors and appears to have symbolic or ceremonial significance. Purchased at Prairie Edge, Rapid City, SD

Lot: 134 - Contemporary Native American style carved wood flute and stand with turtle motif 22 1/2"L (flute), 10 3/4"H x 10"W x 5 1/2"D (width and depth measure base, height measures stand with flute)

Contemporary Native American style carved wood flute and stand with turtle motif

Lot: 135 - Hopi Native American carved and painted Warrior Maiden Kachina figure by Rick James, 1997 11 3/4"H x 4"W x 3 1/2"D

Hopi Native American carved and painted Warrior Maiden Kachina figure by Rick James, 1997 Signed and dated under base. Provenance: purchased at Secakuku Trading Post, 5/99

Lot: 136 - Hopi Native American carved and painted Warrior Maid Kachina figure signed C. Carl M. 10"H x 3"W x 4 1/2"D

Hopi Native American carved and painted Warrior Maid Kachina figure signed C. Carl M.

Lot: 137 - Hopi Native American carved and painted Squash Kachina figure by Ron Honyumptewa 9"H x 4 1/2"W x 3"D

Hopi Native American carved and painted Squash Kachina figure by Ron Honyumptewa Signed under base.

Lot: 138 - Hopi Native American carved and painted Long Hair Kachina figure by Orvin C. Hoyungowa 12 1/4"H 4 3/4"W x 4 1/4"D

Hopi Native American carved and painted Long Hair Kachina figure by Orvin C. Hoyungowa Signed under base. Provenance: purchased at Lovena Ohl Gallery 4/88

Lot: 139 - Hopi Native American carved and painted Left-Handed Hunter Kachina figure by Davis Yaiva 10"H x 4"W x 3"D

Hopi Native American carved and painted Left-Handed Hunter Kachina figure by Davis Yaiva Signed under base.

Lot: 140 - Hopi Native American carved and painted Kachina figure by Leon Lalo 9 1/4" x 3 1/4"W x 2 1/2"D

Hopi Native American carved and painted Kachina figure by Leon Lalo Signed under base. One broken feather.

Lot: 141 - Hopi Native American carved and painted Eagle Dancer Kachina figure signed Silas

Hopi Native American carved and painted Eagle Dancer Kachina figure signed Silas Incised signature under base. Chipped and broken feathers.

Lot: 142 - Hopi Native American carved and painted Kachina figure with feather headdress by Ron Silas 12"H x 5 1/2"W x 5"D

Hopi Native American carved and painted Kachina figure with feather headdress by Ron Silas Signed under base. Damage to foot.

Lot: 143 - Hopi Native American carved and painted Kachina figure by Ron Silas with feathers and horse hair fringe 9"H x 2 3/4"W x 2 1/4"D

Hopi Native American carved and painted Kachina figure by Ron Silas with feathers and horse hair fringe Signed under base.

Lot: 144 - Terry L. Slonaker Native American "Plains Woman with Pot" figural pottery sculpture, 1988, 15 1/2"H x 6 1/2"W

Terry L. Slonaker Native American "Plains Woman with Pot" figural pottery sculpture, 1988 Incised signature and date on base. Numbered 967. Pottery on left pigtail is loose. Provenance: purchased from El Prado Gallery, Sedona, AZ 4/88.

Lot: 145 - Terry L. Slonaker Native American "Plains Warrior" figural pottery sculpture, 1988 17 1/2"H x 6 1/2"W

Terry L. Slonaker Native American "Plains Warrior" figural pottery sculpture, 1988 Incised signature and date on base, numbered 968. Loose pottery piece on right pigtail.

Lot: 146 - Polychrome studio art pottery pit fired raku vessel with crackle glaze 15 1/2"H x 14 1/2"Diam.

Polychrome studio art pottery pit fired raku vessel with crackle glaze Signed. Provenance: purchased from Compositions Gallery, San Francisco, CA, 6/83.

Lot: 147 - Rick Dillingham (1952–1994) studio art pottery earthenware pit fired raku vase, 1977 14 3/4"H x 7 1/2"Diam.

Rick Dillingham (1952–1994) studio art pottery earthenware pit fired raku vase, 1977 Provenance: purchased from the Hand & Spirit Crafts Gallery, Scottsdale, AZ, 3/78. Biography from Smithsonian American Art Working in New Mexico, Rick Dillingham found a source of inspiration for his ceramics in the ancient Mimbres culture. Excavations of Mimbres sites in southern New Mexico have produced beautifully painted low-fired pottery punctured with holes; archaeologists believe these pieces were ritually "killed" in order to release the inherent life force that would otherwise have been trapped in the clay or decoration. In his mature work, Dillingham would break and reassemble his ceramic forms, creating objects with a patchwork appearance.

Lot: 148 - Phil Mundt (1933-2015) studio art pottery pit fired raku vase with applied faces and horse hair tassel 15 1/2"H x 3 3/4"Diam.

Phil Mundt (1933-2015) studio art pottery pit fired raku vase with applied faces and horse hair tassel Incised signature

Lot: 149 - Christina Davis (American, 20th/21st century) studio art pottery pit fired raku vessel with crackle glaze and pierced sides 7"H x 9"Diam.

Christina Davis (American, 20th/21st century) studio art pottery pit fired raku vessel with crackle glaze and pierced sides Signed with initials under base. A decorative pot featuring a geometric cut-out design with a crackle glaze finish. The pot has a modern aesthetic with a combination of neutral colors. Provenance: purchased at the Indpls Art Ctr on 1/30/1990. From the artist's website: I hold a Bachelor's degree from Indiana University. While my college years were spent studying various art forms, I learned the Raku process at the Indianapolis Art Center and now work exclusively in Raku. Since then, I have been participating in regional art fairs for a number of years. I am also a founding member of Art In Hand, a cooperative art gallery in Zionsville, Indiana established in 2000.

Lot: 150 - Navajo Native American Mother Earth and Father Sky pictorial blanket rug weaving 35 1/4"H x 35"W

Navajo Native American Mother Earth and Father Sky pictorial blanket rug weaving Provenance: purchased 7/2000.

Lot: 151 - Robert Benally Navajo Native American Tree of Life pictorial textile rug weaving 19 1/2"H x 20"W

Robert Benally Navajo Native American Tree of Life pictorial textile rug weaving Provenance: purchased at a Four Corners Gallery during Eiteljorg Patron tour in 2001.

Lot: 152 - Geometric diamond pattern textile weaving with fringe, abalone shell and copper penny embellishments 32"H x 31 1/2"W (with fringe)

Geometric diamond pattern textile weaving with fringe, abalone shell and copper penny embellishments

Lot: 153 - John Herrick “Talisman 12” contemporary wood sculpture with center medallion, suspended textile and beaded feathers 32"H x 31"W

John Herrick "Talisman 12" contemporary wood sculpture with center medallion, suspended textile and beaded feathers

Lot: 154 - Jay Lewis (20th century) Horus Collar adorned with feathers, patinated metal, buttons, scarab and eye of Rah beads 19"H x 32"W

Jay Lewis (20th century) Horus Collar adorned with feathers, patinated metal, buttons, scarab and eye of Rah beads Some loose feathers present.

Lot: 155 - Native American ceremonial Object 32"L (beak to tip of horse hair), 16"L (not including horse hair)

Native American ceremonial Object This is a Native American ceremonial object featuring a carved wooden handle with a bird-like head, adorned with feathers and fur. The object likely serves a ritualistic or symbolic purpose. Provenance: purchased from Prairie Edge

Lot: 156 - Native American ceremonial fan 26"H x 9 1/2"W

Native American ceremonial fan A Native American ceremonial fan featuring a collection of feathers, likely used in traditional rituals or ceremonies. The fan includes a colorful beaded handle, indicative of Native American craftsmanship.

Lot: 157 - Gerald Balciar, American (b. 1942), My Pad, Your Pad, 2010, bronze, 8 x 12 x 7

Gerald Balciar American, (b. 1942) My Pad, Your Pad, 2010 bronze Incised signature and dated, numbered 36/45. Provenance: purchased at Eiteljorg "Quest" 9/2010. Biography from Big Horn Galleries Born in northern Wisconsin on August 28, 1942, Gerald Balciar had an early interest in art beginning back in grade school. His art is noted for its readily identifiable artistic style which is grounded in an in-depth knowledge of animals. For reference he works from his extensive library of wildlife material which includes photos, magazine clippings, books, and numerous study casts and measurements. He also uses live models as an invaluable aid in his sculptures and receives excellent cooperation from zoologists and wildlife organizations. Balciar is involved in the creative process of bronze making from the beginning to end. He works his original sculpture in wax or clay and then personally makes his own molds and chases his own waxes. Once the bronze is cast at the foundry, he does the welding and metal chasing and then applies the patina and finishing touches to each bronze. While doing an 18' bronze elk in 1982, he devised a point up system that revolutionized the traditional enlargement process. His largest sculpture to date is a 20' bronze moose, Centennial, which was installed at Mooseheart, Illinois, to commemorate the 100th anniversary of the Loyal Order of Moose in 1988. His largest marble carving is an 18', 16,000 lb. cougar, Canyon Princess, which was installed at the Cowboy Hall of Fame in Oklahoma City in June, 1995. He is a fellow of the National Sculpture Society and a member of the Society of Animal Artists, Allied Artists of America and Northwest Rendezvous Group. He has won several awards, including nine from the National Sculpture Society, and is listed in the Who's Who in American Art, Who's Who in the West and the Directory of American Sculptors. He has taught at the Scottsdale Artists School, Art Students League of Denver, and Loveland Academy of Fine Arts. Balciar's most prestigious award is the Prix de West received in 1985 from the National Academy of Western Art at the Cowboy Hall of Fame in Oklahoma City for his marble, River Companions. Balciar resides with his wife, Bonnie, in Colorado.

Lot: 158 - Gerald Balciar, American (b. 1942), Sonoran Bobcat, 2010, bronze, 16 3/4"H x 14 1/2"W

Gerald Balciar American, (b. 1942) Sonoran Bobcat, 2010 bronze Incised signature and date, numbered 5/45. Biography from Big Horn Galleries Born in northern Wisconsin on August 28, 1942, Gerald Balciar had an early interest in art beginning back in grade school. His art is noted for its readily identifiable artistic style which is grounded in an in-depth knowledge of animals. For reference he works from his extensive library of wildlife material which includes photos, magazine clippings, books, and numerous study casts and measurements. He also uses live models as an invaluable aid in his sculptures and receives excellent cooperation from zoologists and wildlife organizations. Balciar is involved in the creative process of bronze making from the beginning to end. He works his original sculpture in wax or clay and then personally makes his own molds and chases his own waxes. Once the bronze is cast at the foundry, he does the welding and metal chasing and then applies the patina and finishing touches to each bronze. While doing an 18' bronze elk in 1982, he devised a point up system that revolutionized the traditional enlargement process. His largest sculpture to date is a 20' bronze moose, Centennial, which was installed at Mooseheart, Illinois, to commemorate the 100th anniversary of the Loyal Order of Moose in 1988. His largest marble carving is an 18', 16,000 lb. cougar, Canyon Princess, which was installed at the Cowboy Hall of Fame in Oklahoma City in June, 1995. He is a fellow of the National Sculpture Society and a member of the Society of Animal Artists, Allied Artists of America and Northwest Rendezvous Group. He has won several awards, including nine from the National Sculpture Society, and is listed in the Who's Who in American Art, Who's Who in the West and the Directory of American Sculptors. He has taught at the Scottsdale Artists School, Art Students League of Denver, and Loveland Academy of Fine Arts. Balciar's most prestigious award is the Prix de West received in 1985 from the National Academy of Western Art at the Cowboy Hall of Fame in Oklahoma City for his marble, River Companions. Balciar resides with his wife, Bonnie, in Colorado.

Lot: 159 - James Wille Faust, Indiana (b. 1949), Apocalyptic Blaze, 1998, arylic on canvas, 32"H x 48"W

James Wille Faust Indiana, (b. 1949) Apocalyptic Blaze, 1998 arylic on canvas Signed and dated lower right and verso. Provenance: purchased 2/99. Indiana artist James Wille Faust received a BFA in Sculpture from the Herron School of Art and Design in 1971 and an MFA in painting from the University of Illinois, Champaign-Urbana in 1974. Faust has exhibited extensively across the nation and his recent permanent public commissions include the Indianapolis Art Center, Herron School of Art and Design, and the new Indianapolis Airport.

Lot: 160 - Paul J. Sweaney, Indiana (1927–2009), Orchid Composition, 1988, watercolor on paper, 21 1/4"H x 15 3/4"W(sight), 30 1/4"H x 24 1/2"W(frame)

Paul J. Sweaney Indiana, (1927–2009) Orchid Composition, 1988 watercolor on paper Signed and dated lower right. Provenance: purchased from the artist. Artist label verso. Biography from the Juniper Art Gallery: Paul J Sweany (1927-2009) was a multi-talented renaissance man. In 1951, he received his B.F.A. from John Herron School of Art (Indianapolis, IN). He was a prolific artist, best known for his watercolor paintings. His career included over 75 solo exhibitions, more than 200 awards, with artwork in private collections the world over. He was an enthusiastic instructor and taught art and art history at John Herron School of Art, Marian College, and the Indianapolis Arts Center (IAC). For nearly 40 years of summers, Paul led art tours throughout Europe, sharing his extensive knowledge and passion for the Italian Renaissance with his fellow-travelers. In 2001, the IAC held a lifetime multi-media retrospective of Paul's work which included watercolors, oils, ceramics, enamel jewelry, intaglio, lithography, pen & ink, pencil, dry brush ink, silkscreen, photography and a book of his poetry. Paul was an avid nature lover and environmentalist. He saw beauty in even the most-subtle and overlooked details which were depicted skillfully in his intricate watercolor paintings.

Lot: 161 - Rob O'Dell, Indiana (1938–2017), December Days, watercolor on paper diptych, 11/85 10 1/4"H x 13 3/4"W(sight), 16 1/4"H x 17 1/4"W(frame)

Rob O'Dell Indiana, (1938–2017) December Days watercolor on paper diptych Signed lower right. Purchased from Editions Limited, Keystone Crossing, Indpls. Biography from the Archives of askART: "Watercolor artist Rob O'Dell earns Slodounik award, by Donnette Beckett, Herad & Review, newspaper, Decatur, Illinois, July 5, 2017 DECATUR — For more than 40 years, Rob O'Dell has been creating images of quiet, rural life in his watercolor paintings. His work has earned him numerous awards, which now include the Herb Slodounik Artistic Merit Award. The annual award is given to local patrons, teachers or students of the arts in memory of Slodounik, an award-winning Herald & Review photographer who passed away July 23, 1998. Educated at the American Academy of Art in Chicago, O'Dell worked as a commercial artist following art school and showed his paintings on the weekends. He found more success after taking the leap to painting full time. Jamie Rutherford, executive director for Gallery 510, said he has become the standard by which other area watercolor artists are compared. "He really is one of the main figures that comes to mind when thinking of Decatur-area artists," she said. Artist Rob O'Dell has a way of capturing all of the details in something as simple as a watercolor of an old door and brick wall. O'Dell's paintings have been featured in galleries throughout Decatur, including the Madden Arts Center, Rock Springs Nature Center and Gallery 510. He also has been a special feature during the annual Arts in Central Park in September. His paintings remain popular because of the realistic images of nature and simplicity. In a 2011 interview with Herald & Review Staff Writer Jim Vorel, O'Dell explained the influence behind his work. "I like to paint weathered objects particularly," he said. "I'm fascinated by how things deteriorate, the patina that forms. It tells a story. I think a barn has all of the elements and shapes of a good painting in it, with the added bonus of the seasons. The same barn looks completely different in the winter than in the spring." Rutherford said O'Dell will not be able to travel to Decatur to receive his award due to health problems. A Decatur native, O'Dell has lived in a 200-year-old farmhouse in Ladoga, Indiana, for nearly 50 years. He began his career as a catalog designer for Sears, but decided to become a professional painter shortly after arriving in Indiana. He often visits Decatur during the openings of his exhibits. He was the featured artist for Gallery 510's May show. "Distance has not made much of a difference to his reputation as an excellent artist and as a gracious down-to-earth Decatur native," Rutherford said. "Rob has no qualms about sharing his watercolor secrets, his humor or his friendship."

Lot: 162 - Garo Antreasian, Indiana, New Mexico (1922-2018), abstract from Silver Suite II, 1968, lithograph, 21 1/2"H x 19 1/2"W(paper measured), 27"H x 24 3/4"W(frame)

Garo Antreasian Indiana, New Mexico, (1922-2018) abstract from Silver Suite II, 1968 lithograph Pencil signed and dated lower right, artist proof. Provenance: Purchased while the artist was teaching at the Heron School of Art, Indianapolis. My mother was one of his students. Biography from the Archives of askART: Garo Antreasian, born February 16, 1922 in Indianapolis, Indiana has been involved with lithography since the age of seventeen. He was first introduced to the medium by discovering a deserted hand press at Arsenal Technical High School in his hometown of Indianapolis. He received his formal art education at the Herron in Indianapolis, receiving his BFA degree in 1948. He also studied printmaking with Will Barnet in New York at the Art Students League, and Stanley William Hayter at Atelier 17 in the late forties. During the 1950s, while working as an instructor at the Herron School of Art, he began to create color lithographs. In 1960, he was invited to be the first technical director of the new Tamarind Lithography Workshop in Los Angeles, which moved to the University of New Mexico in 1970. During this time he worked to promote the art of lithography among American artists. Antreasian's paintings and prints incorporated innovative materials and techniques such as printing on metal foil, using metallic inks, embossing the print surface, and collaging. His work evolved from romantic, semi-abstract imagery of the 1950s and 1960s, through Abstract Expressionism, to an increasingly non-representational and Minimal mode in the 1970s. In the 1980s, he returned to painting after a long break. His works inspired by Constructivist and diagrammatic fundamentals using geometric linear configurations with colored fields and shapes. Awards include a Senior Artists Grant by the National Endowment for the Arts and an Honorary Doctor of Fine Arts Degree from Purdue University. He exhibited at the U.S. Pavilion at the Venice Biennale, and the 14th International Biennale of Graphic Art, Ljubljana, Yugoslavia. Antreasian is represented in the collections of the Metropolitan Museum of Art and Museum of Modern Art, New York City.

Lot: 163 - Ruth Rodman, American (b. 1945), Evening Sounds IV, Mauve Series, carborundum etching, 35"Diam.(paper), 45 1/2"H x 45 1/4"W(frame)

Ruth Rodman American, (b. 1945) Evening Sounds IV, Mauve Series carborundum etching Pencil signed. Water stain on mat. Provenance: purchased at the John Miller Galleries, Carmel, CA. 6/18/83 Biography from Artsy Ruth Rodman is a contemporary Boston sculptor and printmaker whose work is inspired by nature. She has exhibited her art throughout the United States and Europe and exhibits regularly with the Boston Printmakers. She has had special exhibitions at Associated American Artists in New York and the New York State College Museum. Rodman's work is found at the Worcester Art Museum, the Honolulu Institute of Fine Arts, the Boston Public Library, the Danforth Museum, the Minneapolis Museum of Art, the New York Public Library, and the New York Graphics Society, as well as in the corporate collections of Disney and Royal Crown Cola.

Lot: 164 - Peggy and Joe Henderson Pagoda basket, Hickory Hill Baskets, Brown County, IN, 2001 16"H x 14 1/2"Diam.

Peggy and Joe Henderson Pagoda basket, Hickory Hill Baskets, Brown County, IN, 2001 Cherry walnut, hand-dyed reed, philodendron, shell, beads, feathers, palm.

Lot: 165 - James Roybal, American (b. 1952), Shut Eye, recumbent wolves, 1993, bronze, 5"H x 8 1/2"W

James Roybal American, (b. 1952) Shut Eye, recumbent wolves, 1993 bronze Artist plaque on base, numbered 2/30. Biography from the Archives of askART Painter and sculptor James Roybal is known for his realistic depictions of Native American figure, animals and the landscape of his home state of New Mexico. Roybal began sculpting at the young age of 12 under the supervision of his teacher, Earnest Badyinski. While still in high school he exhibited at the New Mexico Arts and Crafts Fair (1971 and 1973). Roybal attended both Highlands University and New Mexico State University on art scholarships. After college he worked in foundries until 1983 when he became a full time artist. Source: www.jamesroybal.com

Lot: 166 - Bradley Foster Civil War Napoleon cannon 1/16 scale model, historic artillery model 3/4"H x 6 1/2"W x 9 3/4"D (board)

Bradley Foster Civil War Napoleon cannon 1/16 scale model, historic artillery model on wooden base. Bradley Foster was a highly skilled, nationally recognized scale ship model builder from the Indianapolis area, best known for his incredible historic ship replicas and his authority on the USS Indianapolis. His completed USS Indianapolis replica was put on display at the Indiana State Museum.

Lot: 167 - Bradley Foster Civil War Napoleon cannon 1/16 scale model, historic artillery model 3/4"H x 6 1/2"W x 9 3/4"D (board)

Bradley Foster Civil War Napoleon cannon 1/16 scale model, historic artillery model brass barrel and painted wheels on wooden base. Bradley Foster was a highly skilled, nationally recognized scale ship model builder from the Indianapolis area, best known for his incredible historic ship replicas and his authority on the USS Indianapolis. His completed USS Indianapolis replica was put on display at the Indiana State Museum.

Lot: 168 - Bradley Foster Civil War Napoleon cannon 1/16 scale model, historic artillery model 3/4"H x 6 1/2"W x 8 1/2"D (board)

Bradley Foster Civil War Napoleon cannon 1/16 scale model, historic artillery model brass barrel and painted wheels on wooden base. Bradley Foster was a highly skilled, nationally recognized scale ship model builder from the Indianapolis area, best known for his incredible historic ship replicas and his authority on the USS Indianapolis. His completed USS Indianapolis replica was put on display at the Indiana State Museum.

Lot: 169 - Bradley Foster 1914 French 75mm field gun scale model, cast metal and brass 3 1/4"H x 7 3/4"W

Bradley Foster 1914 French 75mm field gun scale model, cast metal and brass on oak base. Purchased 2000. Bradley Foster was a highly skilled, nationally recognized scale ship model builder from the Indianapolis area, best known for his incredible historic ship replicas and his authority on the USS Indianapolis. His completed USS Indianapolis replica was put on display at the Indiana State Museum.

Lot: 170 - Bradley Foster Revolutionary War 18 lb field cannon on carriage scale model, brass and oak, 2000 3"H x 5"W x 7 1/2"D

Bradley Foster Revolutionary War 18 lb field cannon on carriage scale model, brass and oak, 2000 Bradley Foster was a highly skilled, nationally recognized scale ship model builder from the Indianapolis area, best known for his incredible historic ship replicas and his authority on the USS Indianapolis. His completed USS Indianapolis replica was put on display at the Indiana State Museum.

Lot: 171 - William S. Phillips, American (b. 1945), Next Time Get Em All, 1986, lithograph, 31 1/4"H x 22 1/4"W(sight), 38 3/4"H x 30 3/4"W(frame)

William S. Phillips American, (b. 1945) Next Time Get Em All, 1986 lithograph Pencil signed by artist lower center, numbered 896/1500. Countersigned by ten survivingFlying Tiger pilots. Greenwich Workshop print.

Lot: 172 - William S. Phillips, American (b. 1945), Confrontation at Beachy Head, 1984, lithograph, 17"H x 23"W(sight), 25 1/4"H x 31 1/2"W(frame)

William S. Phillips American, (b. 1945) Confrontation at Beachy Head, 1984 lithograph Pencil signed and numbered 692/1000 lower left. Greenwich Workshop print.

Lot: 173 - William S. Phillips, American (b. 1945), Range Wars, 1987, lithograph, 17"H x 25 1/4"W(sight), 23 3/4"H x 32"W(frame)

William S. Phillips American, (b. 1945) Range Wars, 1987 lithograph Pencil signed and numbered 624/1000. Greenwich Workshop print.

Lot: 174 - Bradley Foster 1917 US Navy Subchaser 1:84 scale ship model, historical WWI naval vessel model 10 3/4"H x 21"W

Bradley Foster 1917 US Navy Subchaser 1:84 scale ship model, historical WWI naval vessel model Built from mahogany, poplar, brass, and steel. Mounted to wooden base and housed in clear acrylic case. Bradley Foster was a highly skilled, nationally recognized scale ship model builder from the Indianapolis area, best known for his incredible historic ship replicas and his authority on the USS Indianapolis. His completed USS Indianapolis replica was put on display at the Indiana State Museum.

Lot: 175 - Victorian British artillery officer's leather dress pouch with gilt embroidery featuring the royal coat of arms 1 1/4"H x 7"W x 4"D

Victorian British artillery officer's leather dress pouch with gilt embroidery featuring the royal coat of arms It includes a central embroidered Royal Arms, a gilt metal cannon, and the motto "Quo Fas Et Gloria Ducunt". Historically used for ceremonial dress.

Lot: 176 - French military leather sabretache with brass artillery emblems, 13 3/4"H x 10 3/4"W

French military leather sabretache with brass artillery emblems

Lot: 177 - French military leather artillery cartridge box with flaming grenade emblem, c: 1914 3 1/2"H x 7"W x 2 3/4"D

French military leather artillery cartridge box with flaming grenade emblem, c: 1914 A vintage French military cartridge box made of leather, featuring a decorative emblem on the front. The box is likely used for holding ammunition and has a historical military design.

Lot: 178 - Pair US Army captain epaulet shoulder knots with metallic braiding and '6' insignia 1 1/2D x 4"W x 7"H

Pair US Army captain epaulet shoulder knots with metallic braiding and '6' insignia A pair of US military captain epaulets featuring intricate gold braiding and the number '6'. These epaulets are likely from a historical military uniform, possibly indicating rank or unit.

Lot: 179 - Pair US Colonel epaulets with silver bullion fringe and embroidered eagle insignia 4"D x 6"W x 7"D

Pair US Colonel epaulets with silver bullion fringe and embroidered eagle insignia A pair of US military colonel epaulets featuring gold embroidery with an eagle emblem. These epaulets are typically used as shoulder insignia to denote the rank of colonel in the military. The design includes metallic thread and decorative fringe.

Lot: 180 - Replica Civil War era Union cavalry hat by Bounty Hunter with stand, Size 7 1/4 size 7 1/4

Replica Civil War era Union cavalry hat by Bounty Hunter with stand, Size 7 1/4 A replica of a Civil War era Union cavalry hat, produced by Bounty Hunter. The hat features a blue felt material with a decorative emblem and a silver cord. It is accompanied by a stand for display purposes.

Lot: 181 - Men’s cowboy hat by Bounty Hunter; Size 7 1/4 Size 7 1/4

Men's cowboy hat by Bounty Hunter; Size 7 1/4 A men's cowboy hat by Bounty Hunter, featuring a classic western style with a wide brim and a light-colored band. The hat appears to be made from a durable material, likely felt or wool, and is designed for both style and functionality. Comes with wood stand

Lot: 182 - Buffalo Bill's Wild West Sells Floto Circus lithograph poster 43 1/2"H x 30"W(frame)

Buffalo Bill's Wild West Sells Floto Circus lithograph poster Stains and spots on upper right portion. This is a framed, vintage-style reproduction lithograph print featuring Buffalo Bill for the Sells Floto Circus. The image depicts Buffalo Bill on horseback, dressed in traditional Wild West attire.

Lot: 183 - Many Classics Illustrated comic books 10 1/4"H x 7 1/4"W (one book measured)

Many Classics Illustrated comic books Many Classic comic books from #

Lot: 184 - Child's black leather Western cowboy boots with diamond pattern and decorative stitching 11"H

Child's black leather Western cowboy boots with diamond pattern and decorative stitching A pair of black Western-style child boots with decorative stitching and yellow diamond-shaped accents on the upper part. The boots have a traditional cowboy boot design with a low heel and pointed toe.

Lot: 185 - Michael "Hap" Hapner (b. 1953) hand painted Western cowboy boots with polka dot and cow print motif, 2001/02, 13 1/2"H

Michael "Hap" Hapner (b. 1953) hand painted Western cowboy boots with polka dot and cow print motif, 2001/02 Signed and dated on bottom. Scuff on toe of boot. A pair of vibrant, hand-painted boots by midwest artist, Michael Hapner . The boots feature a colorful design with intricate patterns and bold colors, including red, blue, green, and yellow. The detailing includes polka dots and abstract shapes, making them a unique and artistic fashion statement. Provenance: purchased at the Eiteljorg Museum Buckaroo Bash, 10/2002

Lot: 186 - Men's Tony Lama for Hyer black leather Western cowboy boots with red scroll inlay 14"H

Men's Tony Lama for Hyer black leather Western cowboy boots with red scroll inlay A pair of Tony Lama black and red Western boots featuring intricate red stitching and design on black leather. Known for their craftsmanship and style, these boots are a classic representation of Western footwear. Provenance: purchased at Arizona West Gallery 2/93

Lot: 187 - Men's vintage Lucchese brown leather Western cowboy boots with decorative stitching, 14 1/2"H

Men's vintage Lucchese brown leather Western cowboy boots with decorative stitching Marked 10D. Scuffs present. A pair of men's Western-style boots made from brown leather with intricate stitching patterns. The boots feature a classic cowboy boot design with a pointed toe and a stacked heel.

Lot: 188 - Men's vintage Lucchese black cherry leather Western cowboy boots with decorative stitching, 14 1/4"H

Men's vintage Lucchese black cherry leather Western cowboy boots with decorative stitching Marked 10D. A pair of men's western boots with a classic design featuring intricate stitching patterns. The boots appear to be made of leather with a dark cherry finish, showing signs of wear consistent with age and use.

Lot: 189 - Men's vintage M. L. Leddy’s black leather Western cowboy boots with decorative stitching, 13"H

Men's vintage M. L. Leddy's black leather Western cowboy boots with decorative stitching A pair of M L Leddy's Western boots, featuring classic black leather with intricate stitching patterns. These boots are handmade, showcasing traditional craftsmanship associated with M L Leddy's brand, known for high-quality Western footwear.

Lot: 190 - Men's vintage Larry Mahan black leather cowboy boots with classic Western stitching pattern on toe 14"H

Men's vintage Larry Mahan black leather cowboy boots with classic Western stitching pattern on toe A pair of Larry Mahan black leather Western boots. These boots feature a classic cowboy boot design with a pointed toe and a stacked heel. The leather appears to be in good condition with minimal wear. size 10????

Lot: 191 - Cased Gold Scales 14"H x 13"W x 6 1/4"D

Cased Gold Scales An antique cased gold balance scale featuring a wooden base with a drawer and two metal pans suspended by chains. The scale is likely from the 19th century and was used for precise measurements, possibly in an apothecary or for weighing gold.

Lot: 192 - Variety of Antique Candle Snuffers 7"Long x 2 3/4"W (one larger snuffer measured)

Variety of Antique Candle Snuffers A collection of various antique candle snuffers, featuring different designs and materials. The snuffers are made of metal, with some showing signs of use and wear.

Lot: 193 - Edward S Curtis, American (1868–1952), White and Yellow Cow-Atsina, Photogravure, 9"H x 6"W(sight), 18"H x 14 3/4"W(frame)

Edward S Curtis American, (1868–1952) White and Yellow Cow-Atsina Photogravure Framed Photogravure is a portrait of a Native American man titled "White and Yellow Cow - Atsina," taken by photographer Edward S. Curtis around 1908. The image captures the subject in traditional attire, showcasing Curtis's renowned ability to document Native American culture. Missing COA. 9"H x 6"W(sight), 18"H x 14 3/4"W(frame)

Lot: 194 - Edward S Curtis, American (1868–1952), Walvia (Medicine Root) - Taos, Photogravure, 9 1/4"H x 6 3/4"W(sight), 18'H X 14 3/4"W(frame)

Edward S Curtis American, (1868–1952) Walvia (Medicine Root) - Taos Photogravure Framed portrait of an original photogravure titled Walvia (Medicine Root) - Taos, photographed by Edward S. Curtis. The image depicts a portrait of a Native American woman wrapped in a patterned shawl. It is framed and matted, showcasing Curtis's signature style of capturing indigenous peoples. 9 1/4"H x 6 3/4"W(sight), 18'H X 14 3/4"W(frame)

Lot: 195 - Edward S Curtis, American (1868–1952), Ahlahlemila - Flathead, Photogravure, 9"H x 6 1/4"W(sight), 18"H x 14 3/4"W(frame)

Edward S Curtis American, (1868–1952) Ahlahlemila - Flathead Photogravure Framed photo of an orginal photogravure titled "Ahlahlemila - Flathead by Edward S. Curtis. It depicts a portrait of a Native American individual, showcasing Curtis's renowned photographic style. 9"H x 6 1/4"W(sight), 18"H x 14 3/4"W(frame)

Lot: 196 - Edward S Curtis, American (1868–1952), Oksoy-Apiw (Raw Eater Old-Man Blackfoot), Photogravure

Edward S Curtis American, (1868–1952) Oksoy-Apiw (Raw Eater Old-Man Blackfoot) Photogravure Framed photo of an original photogravure entitled "Oksoy-Apiw ('Raw-eater Old-man') (Blackfoot)" taken by Edward S. Curtis. The image features a Blackfoot elder and is part of Curtis's extensive work documenting Native American tribes.

Lot: 197 - Edward S Curtis, American (1868–1952), Buffalo Dancer - Mandan, Photogravure, 9"H x 6 1/2"W(sight), 18"H x 14 3/4"W(frame)

Edward S Curtis American, (1868–1952) Buffalo Dancer - Mandan Photogravure Framed photo of an original photogravure titled "Buffalo Dancer - Mandan" by photographer Edward S. Curtis. The image captures a Native American figure in traditional attire, showcasing Curtis's signature style of documenting indigenous cultures. 9"H x 6 1/2"W(sight), 18"H x 14 3/4"W(frame)

Lot: 198 - Edward S Curtis, American (1868–1952), Atsina Crazy Dance - The Flight of Arrows, Photogravure, 7 1/4"H x 8 3/4"W(sight), 15 3/4"H x 17"W(frame)

Edward S Curtis American, (1868–1952) Atsina Crazy Dance - The Flight of Arrows Photogravure Framed Photogravure titled "Atsina Crazy Dance - The Flight of Arrows" by photographer Edward S. Curtis. This piece captures a dynamic scene of the Atsina people engaged in a ceremonial dance, with participants holding arrows aloft. The work is framed and matted, showcasing Curtis's signature style of documenting Native American cultures. 7 1/4"H x 8 3/4"W(sight), 15 3/4"H x 17"W(frame)

Lot: 199 - Native American style dyed animal hide pipe bag with geometric design and fringe 22 1/2"H x 8 1/4"W(bag body), 5 3/4"Strap drop

Native American style dyed animal hide pipe bag with geometric design and fringe

Lot: 200 - Contemporary handmade Native American style crossbody bag 10 1/2"H x 11"W(body), 25"Strap drop

Contemporary handmade Native American style crossbody bag A contemporary handmade Native American style crossbody bag featuring a fur flap and a beaded design. The strap is made from a suede-like material.

Lot: 201 - Contemporary Native American floral beaded moose hide hunting bag, 11 1/2"H x 7"W(body), 22"Strap drop

Contemporary Native American floral beaded moose hide hunting bag A traditional hunting bag made from moose hide, featuring intricate beadwork and embroidery. The bag displays a combination of red and yellow hues with heart and floral motifs, and is bordered with decorative stitching. It includes a strap for carrying.

Lot: 202 - Contemporary Native American floral beaded felt and leather bandolier bag with yarn tassels 15 3/4"H x 9 1/2"W(body measured), 27 1/2"Strap drop

Contemporary Native American floral beaded felt and leather bandolier bag with yarn tassels A handcrafted bag featuring intricate beadwork with vibrant colors. The design includes geometric and floral patterns with tassels at the bottom.

Lot: 203 - "Indiana Chief" wood carving by Leland Holiday 43 1/2"H x 5 3/4"W

"Indiana Chief" wood carving by Leland Holiday A vibrant wood carving by Leland Holiday, featuring a stylized face with bold geometric patterns and colors. The piece is characterized by its striking use of red, black, and blue, with intricate detailing and a unique form. Purchased at Beasley's Fine Art, Farmington, NM, 5/99

Lot: 204 - Margaret Wheeler Chickasaw Native American “Drum Piercer Mahota” carved wood figural sculpture wrapped in woven textile, 1998 41 1/2"H x 5 1/4"Diam.

Margaret Wheeler Chickasaw Native American "Drum Piercer Mahota" carved wood figural sculpture wrapped in woven textile, 1998 Signed and dated under base.

Lot: 205 - Folk art polychrome terracotta pottery dog figurine with handle 4 3/4"H x 2"W x 4 1/4"D

Folk art polychrome terracotta pottery dog figurine with handle

Lot: 206 - "Floral Leaf Mask" from Venice 11 1/2"H x 12"W

"Floral Leaf Mask" from Venice A decorative mask featuring a floral and leaf motif with gold accents. The mask is adorned with dried flowers and leaves, giving it a natural and artistic appearance. It includes green ribbons for wearing. Purchase on vacation in Venice.

Lot: 207 - "Jester Face" Venetian Masquerade Mask 14"H x 15"W

"Jester Face" Venetian Masquerade Mask A Venetian masquerade mask featuring a jester design with red and black coloration. The mask includes playing card motifs and gold trim, typical of traditional Venetian carnival masks. Purchased on vacation in Venice Mask store.

Lot: 208 - V. Manzini handmade Venetian mask 12"H x 10 1/2"W

V. Manzini handmade Venetian mask A handmade Venetian mask by V. Manzini, featuring a striking design with one half painted red and the other gold. The mask is adorned with a red velvet hat and gold trim, typical of traditional Venetian craftsmanship. Bought on vacation to Venice.

Lot: 209 - A South American mola handcrafted textile artwork. 17"H x 17"W(sight), 24"H x 24"W(frame)

A South American mola handcrafted textile artwork. This is a framed textile artwork featuring a vibrant, symmetrical design with bold colors, likely created using traditional techniques. The piece appears to be a mola, a form of reverse applique textile art from the Kuna people of Panama. Minor stains throughout.

Lot: 210 - vintage Kuna molas from Panama

vintage Kuna molas from Panama A framed collection of vintage Kuna molas from Panama, featuring vibrant, hand-stitched designs typical of the Kuna people. The molas depict various abstract and figurative motifs in bright colors, showcasing traditional craftsmanship. Inherited from Sarah Hurt

Lot: 211 - Aboriginal Tiwi island tribal art polychrome carved wood Bima figure, 19 1/2"H x 4 1/2"Diam.

Aboriginal Tiwi island tribal art polychrome carved wood Bima figure Signed "258 JA" under base. A hand-carved wooden figure with intricate painted patterns, likely representing tribal art. The figure features a stylized face with bold geometric designs and vibrant colors.

Lot: 212 - Pre-Columbian Ecuador Manabi Bahai culture terracotta figure, c. 250 BC 13"H x 4 1/2"W

Pre-Columbian Ecuador Manabi Bahai culture terracotta figure, c. 250 BC

Lot: 213 - Inuit green serpentine soapstone carved seal sculpture 2 1/2"H x 4"W x 7 1/2"D

Inuit green serpentine soapstone carved seal sculpture