Native American Highlights

Caroline Dudley (Tennessee, 1802-1832) important watercolor miniature portrait painting, depicting Chickasaw Native American dignitary Kinheche in bright garb and headdress holding a bow and arrow. Inscriptions identifying subject as “Kinhichi”, en verso of interior paper liner, and as “Kinhishee” on the exterior of the back of the frame. Housed in a wooden frame with gilt metal sight edge and oak leaf hanger. Sight: 2 3/4″ H x 2 1/4″ W. Framed: 6″ H x 5″ W. Circa 1830. Note: this portrait was painted in Franklin, Tennessee in August of 1830 during the landmark treaty summit between President Andrew Jackson and the Chickasaw Nation, conducted at the city’s Masonic Hall. Caroline Dudley was the daughter of a prominent Middle Tennessee settler and leader, Guilford Dudley; both were among the spectators invited to witness the treaty event. According to family history, Miss Dudley was so impressed by the appearance of Kinheche or Kin-hee-shee (who according to some accounts may have been a son of the chief), that she was inspired to paint his likeness. Miss Dudley may have been a teacher of art or other similar subjects at the Young Ladies Boarding School run by her mother, Anna Bland Eaton Dudley on the West Harpeth River in Williamson County from 1809-1840 or at Mrs. Long’s School on West Main Street in Franklin, which was run by her sister, Judith from 1826-28 and 1834-37. After Caroline Dudley’s death just two years later at the age of 30, the painting was inherited by her sister Frances and descended in the family to its last private owner, Mary Bright Wilson of Lincoln County, Tennessee. Historical background: “After his Indian Removal Act was passed in May of 1830, President Andrew Jackson invited the Chickasaw Nation to a treaty council to be held the following August in Franklin, Tennessee. During their stay, the Chickasaw delegation met Jackson in the Franklin Masonic Hall, a National Historic Landmark which still stands at 115 2nd Ave South in Franklin. This would be the first treaty negotiation under the Removal Act and a successful outcome was important to the President, who was a charismatic and influential figure among the Chickasaw. Some of the older minkos (chiefs or headmen) had served under Jackson’s command at the Battle of New Orleans and the Creek War, during the War of 1812. They called him “Sharpe Knife”. Jackson appointed John Coffee and John Eaton as treaty commissioners. Coffee was a long time friend who had also served with Jackson in 1812. Eaton, Jackson’s Secretary of War, lived in Franklin. The Chickasaw delegation was led by Levi Colbert – Itawambe Miko (Bench Chief), and included George Colbert, James Colbert, John McLish, Captain William McGilvery, Captain James Brown, Isaac Alberson, Topulka, Ishtayatubbe, Ahtokowa, Hushtatabe, Innewakche, Oaklanayaubbe, Ohekaubbe, Immolasubbe, Immohoaltatubbe, Ishtekieyokatubbe, Ishtehiacha, Inhiyouchetubbe, and Kinheche…” President Jackson met and welcomed the Chickasaw delegation when they arrived in Franklin on August 20, 1830. During the next several days, support for Chickasaw education, Removal expenses, and other related details were worked out. On August 31 the treaty was signed. The Chickasaw agreed to exchange their remaining land in Mississippi and Alabama for land “West of the territory of Arkansaw”, with a stipulation that they could examine the land beforehand. If they didn’t find suitable land, the treaty would be null and void. A supplemental treaty concerning other details was signed the next day, September 1, and “thereupon, the council broke up.” The Chickasaws sent several delegations west of the Mississippi to look for land over the next two years, but nothing suitable was found. In the meantime, the signing of the 1830 Franklin treaty caused a land rush of white squatters anxious to stake their claims before the Chickasaws had even left. By 1832 the Chickasaw Nation was being overrun, even though the Franklin treaty was supposed to prohibit such intrusions. Article 3 extended the protection of the United States to the Chickasaws, but the federal government did nothing to stop the invading squatters – apparently Jackson had let his blade grow dull, at least when it came to protecting Chickasaw land. Since the Chickasaws found no suitable land in the west, the Franklin treaty was considered null and void and was never ratified by Congress. In October, 1832, President Jackson sent John Coffee to the Chickasaw Nation to negotiate a new treaty. Coffee met 65 Chickasaw leaders at the Chickasaw council house on Pontotoc Creek, near present day Tupelo, Mississippi. On October 20, the Chickasaw leaders signed the Treaty of Pontotoc Creek with the United States, agreeing to sell their remaining homeland in Mississippi and Alabama. The Chickasaws became dissatisfied with the Treaty of Pontotoc Creek, believing John Coffee had misrepresented the terms during the negotiations. In 1834 they sent a delegation to Washington, D.C., to amend the treaty. Levi Colbert, then 75 years old, began the journey but became ill and died. Before his death he dictated instructions for the delegation, which included his brother George, who had also been present at the Franklin treaty council. George Colbert and the rest of the delegation then traveled on to Washington and negotiated the desired amendments. In 1837, under the provisions of the Treaty of Doaksville, a treaty between the Chickasaw and Choctaw Nations, the Chickasaw bought a section of Choctaw land in Indian Territory. The people whose allegiance and friendship arguably prevented the destruction of fledgling Nashville and the other Cumberland settlements, and helped shape the map of the southeast to the benefit of the United States, finally left the soil of their birth and removed to the west.” Source: The Native American History Association (http://www.nativehistoryassociation.org/franklin_treaty.php) Note: This portrait miniature was the subject of a 1932 article in the Franklin, TN Review Appeal by Park Marshall, cousin of Mary Bright Wilson. A copy is available on request and we thank Williamson County Historian Rick Warwick for providing it. We also wish to thank Janet Hasson of the Tennessee Sampler Survey for providing information on the Young Ladies Schools operated by Caroline Dudley’s mother and sister.

PROVENANCE: Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family.

CONDITION: 1��� separation to upper right edge (near corner), otherwise overall good condition. Frame is old, but may or may not be original. [See more photos →]

San Ildefonso pottery jar by Tony Da (1940-2008) with red body, sgraffito hummingbird and other organic designs, turquoise inserts, two concentric rows of beads around upper shoulder of jar, compressed globular body and conical lid with turquoise inserts around perimeter of lid edge. Base signed “DA”. Overall excellent condition. 6 1/2″ height with lid, 5 1/2″ diameter. Provenance: Knoxville, TN collection. [See more photos →]

Two (2) carved Native American totems. 1st item: Haida carved wood totem. Inscription written en verso in marker: "Josiah Carr Eggleston of Franklin, Tennessee, father of my mother, Elsie Eggleston Beasley, brought this back from one of his three trips to Alaska in the late 1890s – very early 1900s." Also inscribed "Haida Indians / Wrangel (sic) Alaska". 33" H. 2nd item: Carved stone totem, probably argillite. 9 1/4"H.
PROVENANCE: The collection of John and Allison Beasley, Nashville, Tennessee.

CONDITION: 1st item: Inscriptions and later hanging device added verso. Some minor shrinkage and a couple of tiny paint splatters. 2nd item: Several vertical cracks to stone and a chip to lower left base. [See more photos →]

Edward S. Curtis (American, 1868-1952) orotone, “The Three Chiefs.” Image depicts three Native American Blackfoot chiefs on horseback, on a Montana prairie under a clouded sky. Curtis signature in the negative lower right with copyright lower left. Orotone is framed in its original Curtis-designed “batwing” frame, and backed in the frame by an advertising broadside promoting a movie based on Curtis’s North American Indian project. It reads: “Curtis, Author of the North American Indian tells the intimate story of Indian life with Motion Pictures of esoteric rites / Incomparable Art Slides and thrilling musical scenic effects by Mr. Curtis’ Full Orchestra rendering Special Indian Music, arranged by Henry E. Gilbert”. Sight – 10 1/4″ H x 13 1/4″ W. Framed – 15 3/4″ H x 18 3/4″ W. Circa 1910. Note: “The Three Chiefs” is widely regarded as one of Curtis’s most important photographs. He captured the image during a two week stay on a Blackfoot Reservation in Montana during the summer of 1900, and it was published as a photogravure in his documentary venture “The North American Indian”. There, Curtis described this particular image as “Three proud old leaders of their people. A picture of the primal upland prairies with their waving grass and limpid streams. A glimpse of the life and conditions which are on the verge of extinction.” Provenance: Private East Tennessee collection. CONDITION: Orotone and broadside are in excellent condition. Very minor abrasions to frame, primarily to the corners. [See more photos →]

Jim Norton (American, b. 1953) oil on canvas Western painting, titled “Days Gone By,” depicting three Native American Indians on horseback, overlooking a canyon as evening shadows approach. Signed lower left. Custom carved and distressed wood frame with gilt interior molding and linen liner. 31 1/2″ x 23″ sight, 41″ x 33″ framed. Provenance: A Williamson County, Tennessee private collection, acquired from Broschofsky Galleries, Idaho, 1996 (receipt available to successful bidder). Artist biography (courtesy Askart: The Artists’ Bluebook — Jim Norton spent most of his youth in Western Wyoming, where he gained a first hand knowledge of ranch life. He also had an early introduction to painting through his artist grandfather Earl Faussett and artist cousins Lynn and Dean Faussett. Norton studied art under William Whittaker at Brigham Young University and under Conrad Schwiering. In 1989, his skill at depicting real life cowboys, Native Americans, and their horses earned him membership in the Cowboy Artists of America, dedicated to the painting tradition of Charles Russell and Frederic Remington. Condition: Excellent condition. CONDITION: Excellent condition. [See more photos →]

Gilbert Gaul (New York/Tennessee/New Jersey, 1855-1919) oil on canvas painting titled “Indian Camp” depicting the silhouette of a lone figure and two Native American teepees in the dim light of the setting sun. Signed “Gaul” lower left. Cumberland Art Conservation, Nashville, TN label, en verso. Later giltwood frame with beaded rabbet edge. Sight – 17 1/2″ H x 23 1/2″ W. Framed – 23 1/2″ H x 29 3/8″ W. Late 19th century. Biography (courtesy The Johnson Collection): New Jersey born artist Gilbert Gaul studied art with Lemuel E. Wilmarth at the school of the National Academy of Design from 1872 to 1876, and privately with the noted genre painter, J. G. Brown. He continued his training at the Art Students League during 1875 and 1876. Gaul first exhibited his work at the National Academy in 1877. In 1881, he inherited a farm in Van Buren County, Tennessee, from his mother_s family, and lived there four years to fulfill terms of the bequest. In 1885, he returned to New York though he also continued to spend time at the farm in Tennessee. Gaul gained acclaim for his illustration art and portrayals of Civil War scenes. He became a regular exhibitor at the National Academy annuals between 1877 and 1902; in 1882, he was accorded the status of full academician–the youngest artist to attain the honor. He exhibited at the 1889 Paris Exposition; the 1893 World Columbian Exposition in Chicago; and the 1902 Pan-American Exposition in Buffalo, where he was awarded medals. In 1876 Gaul made his first trip to the American West, an area for which he developed a particular affinity. He made numerous western trips in subsequent years, photographing and rendering scenes of Native Americans and the frontier, which he would later work up into paintings in his studios in New York or Tennessee. In 1890, he worked for the United States census on reservations in North Dakota. He also visited Mexico, the West Indies, Panama, and Nicaragua. An account of his travels was published in Century Magazine in 1892. In 1904, he returned to Tennessee and settled in Nashville. The decreasing interest in Civil War subjects resulted in financial hardship for Gaul. He gave private art lessons, and taught at the Watkins Institute, Nashville, and at Cumberland Female College, in McMinnville. He also spent time in Charleston, South Carolina. By 1910, he had moved to Ridgefield, New Jersey, where he continued to paint and live out his remaining years. Provenance: The living estate of Dr. and Mrs. Benjamin H. Caldwell, Nashville, TN. CONDITION: Lined, with overall surface craquelure and several spots of inpainting. Left side of canvas is not completely covered by rabbet edge. Cumberland Art Conservation label records treatment in June/July 2003, with details listed on label (refer to photo). Blacklight reveals scattered craquelure infill painting, along with a 3″ line of inpaint near left edge and a 3″ H-shaped area of inpaint to center, 1 1/2″ p-shaped area of inpaint to center of right side. Small area of tiny paint flakes in a line at upper edge. [See more photos →]

James Lavadour (Oregon, B. 1951) oil on wood panel abstract landscape painting, titled "Stream", rendered in pale yellows, deep reds, and bright greens depicting a sun-dappled stream to the lower left and a mountain to the upper right under a clear sky. Signed "Lavadour", dated "'09", and titled with an additional printed label with artist, title, medium, dimensions, and numbering, en verso. Unframed. 36" H x 48" W. Biography (adapted from Crow's Shadow Institute of the Arts): James Lavadour, a largely self-trained painter, grew up on the Umatilla Reservation near Pendleton, Oregon, and has been exhibited at The Smithsonian's National Museum of the American Indian, the Eiteljorg Museum, Portland Art Museum, the Heard Museum, and the Institute of American Indian Art in Sante Fe among other. (https://crowsshadow.org/artist/james-lavadour/)

PROVENANCE: The Estate of Russell McAdoo, Murfreesboro, Tennessee.

CONDITION: Overall very good condition. [See more photos →]

Eva Wolfe (North Carolina, 1922-2004) Cherokee double rivercane lidded storage basket, comprised of dyed butternut and bloodroot weavers and woven in the Broken Arrow design. Retains the original Qualla Arts & Crafts Mutual tag and was the 1st place winner of The Cherokee Indian Fall Festival in 1978, ribbon included. 16 1/2″ H x 10 1/2″ W x 10 1/2″ D. 20th century. Signed brochure from the exhibition of Eva Wolfe’s basketry, dated October 28, 1978 accompanies this lot. Provenance: Nancy Walton Collection, Gatlinburg, TN. CONDITION: Overall very good condition, no breaks or fading, light surface grime. [See more photos →]

Eva Wolfe (North Carolina, 1922-2004) large Cherokee double-weave rivercane lidded storage basket, rectangular form, comprised of dyed butternut and bloodroot weavers woven in the Chief's Daughter design. 9 1/4" H x 14 1/2" w x 10" D. 20th century. Note: Retains the original Qualla Arts & Crafts Mutual tag as well as a Cherokee Indian Fall Festival Exhibition program with Eva Wolfe's biography, June 18 – October 28, 1978. The exhibition was organized by the Indian Arts and Crafts Board of the U.S. Dept. of the Interior, in cooperation with Qualla Arts and Crafts Mutual Inc., Cherokee NC. It is not known if this basket was part of this exhibition. CONDITION: Excellent condition. No damage. [See more photos →]

Dine (Navajo) Germantown Eyedazzler blanket or rug with pictorial elements including a fork and knife together with a bow and arrow to one end and three knives to the other end, with arrow borders at each end and arrows to the center. Expertly and tightly woven in colors of red, green, yellow, black, orange and blue with visible spirit lines to each end. 50″ L (w/ fringe) x 33 1/2″ W. Late 19th/Early 20th century.

CONDITION: Overall very good condition. A few scattered areas of minor staining, minor losses to fringe and minor wear to binding. [See more photos →]

James Lavadour (Oregon, b. 1951) oil on wood panel abstract painting, titled "New Platform", rendered in shades of light blue, yellow, orange, and red with a single white fingerprint on a pale blue-green field to the right. Titled, signed, and dated "'12" with an additional printed label with artist, title, medium, dimensions, and numbering, en verso. Unframed. 32" H x 47 7/8" W. Biography (adapted from Crow's Shadow Institute of the Arts): James Lavadour, a largely self-trained painter, grew up on the Umatilla Reservation near Pendleton, Oregon, and has been exhibited at The Smithsonian's National Museum of the American Indian, the Eiteljorg Museum, Portland Art Museum, the Heard Museum, and the Institute of American Indian Art in Sante Fe among others. (https://crowsshadow.org/artist/james-lavadour/)

PROVENANCE: The Estate of Russell McAdoo, Murfreesboro, Tennessee.

CONDITION: Overall good condition with slight scattered wood shrinkage. [See more photos →]

Native American, Mississippian Culture clay effigy figure depicting a kneeling or seated female having a small head with flat broad face, long protruding nose, small puckered mouth and eyes, slanted eyebrows and pierced earlobes. She is wearing a crescent headdress and has a sgraffito line from knee to knee indicating a skirt. M. G. Mock Muncie, Indiana retailer label to the base. Professionally appraised in 1973 by ASA Appraiser Lowell Collins. Appraisal is included with the lot. 6 1/2" H. Middle Mississippi Valley (Indiana area), Circa 1200.

PROVENANCE: Collection of John H. and Carol R. Evans, Farragut, Tennessee.

CONDITION: Very good condition with weathered patina. No visible cracks, chips, or repairs. Fitted with a later circular iron stand. [See more photos →]

Late Classical Phase Navajo man’s wearing blanket consisting of indigo blue, natural ivory and red classic banded design. 44 1/2″ H x 61″ W. Latter half 19th century. Provenance: From a Knoxville, Tennessee Collection. Condition: Some staining, fading and grime. Wear and losses to perimeter with three hole repairs and four other small areas of loss. [See more photos →]

Edward Sheriff Curtis orotone “The Maid of Dreams,” 1909 signed in negative lower right. Retains original Curtis Studio frame and original title label on back. [See more photos →]

San Ildefonso pottery jar by Tony Da (1940-2008) having a blackware body and reddish brown rim with carved Avanyu serpent design to the upper shoulder. Incised "DA" on the base. 3 1/4" H x approx. 4 1/4" dia. Provenance: Purchased in the 1970's. Private East Tennessee collection. Condition: Overall very good condition, white errant mark to the base. [See more photos →]

David McGary (American, b. 1958) patinated and painted bronze sculpture, titled Stronghearts. Depicts a Sioux mother with her baby son and daughter, the surviving family of a Strong Hearts Society warrior who died protecting his family and the tribe. #22 from an edition of 50. 28″ H x 17 1/2″ W x 8 1/2″ D. Provenance: Middle Tennessee collection, acquired directly from artist, 1997. Dave McGary is known internationally for his sculptures depicting Native American Indians. His sculpture “Chief Washakie” is part of the National Statuary Collection, displayed at the U.S. Capitol. A Master Work of the same sculpture is part of the permanent collection of the Smithsonian’s National Museum of the American Indian. This item includes a certificate of authenticity from the artist and a wood shipping crate. CONDITION: Overall very good condition. [See more photos →]

Very large Native American Yokuts polychrome serving basket or tray. Coiled construction with three bands of polychrome rattlesnake diamond design and additional polychrome design elements to rim and center. 22 3/4″ dia x 3 3/4″ H. Turn of the 20th century. Provenance: Property from the estate of Dorothy Louise Luhrs, PhD, (1910-1972), Archaeologist with University of New Mexico/School of American Research Field School, whose studies and research included the Una Via Chaco Canyon, NM, Largo Canyon, NM, Guatemala, Mexico, and the Hoopa Indian Reservation in northern California. Luhrs was also president of the Southwestern Anthropological Association from 1950-51. Condition: A couple of minor wear/frays to weavers on rim. Scattered very minor wear to weavers on body. CONDITION: A couple of minor wear/frays to weavers on rim. Scattered very minor wear to weavers on body. [See more photos →]

Thomas McKenney and James Hall: HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA, Volume One (only). 32 plates present. Front cover, some color plates, and early pages, including title page, are missing. This partially complete single volume appears to be the first edition, published by Edward C. Biddle in Philadelphia in 1837. It retains 32 original plates: War Dance, Red Jacket, Kishkalawa, Pushmataha, Elskwautawaw, Eshtahumleah, Waapashaw, Meetakoosega, Weshcubb, Little Crow, Sequoyah, Nawkaw, Quatawapea, Payta Kootha, Pashepaw, Peamuska, Catahecassa, An Objibway Mother and Child, Okeemakeequid, Waemboeshkaa, Mcintosh, Ongpatonga, Nesouaquoit, Moanahonga, Tahchee, Ancamegishca, Wabishkeepenas, Tshusick, Lappawinsoe, Tishcohan, Shahaka, Tokacon. Sheet size of plates: 15" x 20". Provenance: private Middle Tennessee collection. History: The idea for this landmark book was conceived by Thomas McKenney, head of the U.S. Office of Indian Affairs. Through his job, McKenney had the opportunity to travel and become acquainted with Native American tribes and their leaders. By about 1820 he had become increasingly concerned about the survival of Native American culture in the face of Western expansionism. McKenney believed American Indians should be "looked up on as human beings, having bodies and souls like ours" and wanted to preserve "in the archives of the Government whatever of the aboriginal man can be rescued from the destruction which awaits their race." McKenney began commissioning portraits of American Indians who traveled to Washington, DC to negotiate treaties with the federal government. Charles Bird King and Peter Rindisbacher were among those artists hired to depict Native American chiefs, warriors and squaws, either from life or from watercolors by frontier artists like James Otto Lewis. In 1829, McKenney was dismissed from his post by President Andrew Jackson. McKenney began commissioning lithographs of the paintings in order to reach a wider audience through a subscription-based publishing project, and hired Judge James Hall to write biographies of the sitters and a general history of North American Indians. It became the most elaborate color plate book published in the United States when it was released over a multi-year period from c. 1837-1944. Sadly, all but five of the original paintings were destroyed in a fire at the Smithsonian in 1865. HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA preserves what is considered the best and in some cases the only likenesses of many of the most notable Native Americans of the period. Provenance: by descent in the family of Dr. and Mrs. Lewis Greene Woodson of Birmingham, Alabama. Condition: Front cover missing, rear cover fully detached; significant losses to spine. Some first pages missing (Red Jacket biography is the first attached page present). Pages and plates with varying degrees of foxing and toning but largely intact, except for War Dance, Red Jacket, Kishkalawa and Pushmataha. War Dance – significant toning, edge chipping and losses, 2" tear across title, 4" dampstain across top. Red Jacket – 1 1/2" tear at center edge. 1" tear to top edge. Significant side chipping. Very discolored. Kishkalawa – Edge chipping with narrow losses up to 4"L, 1" tears at top and side edges, corners chipped. Pushmataha – corner losses. Nesouaquoit portrait and biography was removed from binding by previous owner but is present and original to this book. Many plates are still in good condition with dark and bright coloring. [See more photos →]

Native American Navajo sterling silver concho belt, comprised of 6 large oval (4 x 4 1/4") and 7 small rectangular (4 x 1 3/4") links or plaques attached to a leather belt. Each link contains 2 rows of circular needle point turquoise. The belt is marked "sterling" and signed "IH" for Ivan Howard. 47" L, gross weight of 1427.8 grams. Provenance: The Estates of Ora and Eleanor Eads, Nashville, TN. Condition: Overall good condition with normal use wear. [See more photos →]

Large Native American Acoma Olla having polychrome stylized red and black geometric designs on white with checkerboard pattern around neck. Signed and numbered on the base. 10 1/4″ H. The diameter of the mouth is 5 1/4″. The circumference around the fullest point of the body is approx. 36 1/2″. Early 20th century. CONDITION: Overall very good condition with moderate wear to paint decoration. [See more photos →]

Two (2) cabinet card portrait prints of the Bedonkohe Apache leader Geronimo (1829-1909). 1st item: Cabinet card depicting Geronimo wearing a Western hat and black suit coat draped with a Native American blanket. Titled in the lower image margin "Geronimo" and "Copyright H.W. Wyman 1904 Colorado Springs, Colo." Additionally imprinted in the lower left legend "Murillo" and the lower right, "1314 Olive St. St. Louis". Signed by Geronimo in pencil, en verso along the lower edge. 6 1/2" H x 4 1/4" W. Note: This photo by Wyman was likely taken of Geronimo at the 1904 St. Louis World's Fair, and was likely developed and mounted for Geronimo by the St. Louis photography studio Murillo. Note: Family oral history states that this card was given by Geronimo to a Knoxville, TN family in gratitude for providing funds for him to set up a booth at the St. Louis World's Fair. 2nd item: Cabinet card depicting Geronimo seated wearing traditional Native American dress and horned hat with his right hand gripping a revolver in his belt, mounted on a cabinet card, by the photographer William E. Irwin. Photographer's imprint and the imprint "Chickasha, Ind. Ter." along the lower margin. Period writing, en verso reading "Gerinomore (sic) notorious (sic) out law now a Prisnor (sic) of War at Ft. Sill". Later added writing in pen. 7 3/8" H x 5 1/4" W. Late 19th century. Note: William E. Irwin was born in Red Oak, Missouri, in 1871. It is believed he learned photography in Indian Territory or Texas in the early 1890s. Irwin operated photography studios first in Chickasha, Indian Territory, and later in Silver City and Bisbee, Arizona, where he operated a studio from 1904 to 1922. In 1922 he opened a studio in Douglas, Arizona, which he operated until his death in 1935. (Source: Mautz, Carl. Biographies of Western Photographers. Nevada City, Calif.: Carl Mautz Publishing, 1997.)

CONDITION: 1st item: Photograph in overall good condition with some very minor losses to upper margin, lower left corner and above the right shoulder. Scattered minor losses to edge of card. 2nd item: Losses to upper left corner and wear to perimeter of card. Photo with very slight scattered losses along the perimeter, some to upper right corner. [See more photos →]

1st item: Cherokee single weave rivercane wastebasket by Edmund Youngbird (b. 1922) woven in the Chain and Diamond pattern with walnut and bloodroot dyed weavers. A 1976 note states that this basket won the 2nd Grand Prize of a four day festival held at the Qualla Arts & Crafts Center in Cherokee, NC. Basket retains the original Qualla Arts & Crafts tag. 12" H x 14 1/2" W. Note: Born in 1922, Youngbird learned to weave rivercane baskets from his grandmother. He is one of the few Cherokee male weavers. 2nd item: Cherokee single weave rivercane tray woven in the Eye of the Sacred Bird pattern with walnut and bloodroot dyed weavers. 4 1/4" H x 8 3/4" square. Both baskets 20th century.

PROVENANCE: Private Nashville, TN Collection.

CONDITION: Both baskets overall very good condition. [See more photos →]

Large Native American Cherokee double-woven rivercane storage basket with lid by Rowena Bradley (1922-2003), square form with walnut and bloodroot dyed weavers. Retains the original Qualla Arts and Crafts Mutual tag. 13 1/2" H x 10" W. 20th century. Biography (courtesy of West Carolina University Hunter Library): "Rowena Bradley (1922-2003) was the third generation of known basket weavers in her family. Both her grandmother, Mary Dobson and her mother, Nancy Bradley were accomplished at making baskets. Bradley is often cited as one of only a handful of Cherokee basket weavers who carried on the complex double weave technique in the 1930s and 1940s. Her baskets won numerous awards at the annual Cherokee Indian Fairs and an exhibition of her work was held at Qualla Arts and Crafts Mutual in Cherokee, North Carolina, in 1974." (https://www.wcu.edu/library/digitalcollections/cherokeetraditions/people/Baskets_RowenaBradley.html)

CONDITION: Overall very good condition with nice old patina. [See more photos →]

Large mounted collection of Native American points and other related Indian tools/artifacts, 129 total, catalogued and numbered by the McClung Museum of Natural History and Culture, Knoxville Tennessee. One item of note is a Clovis point, #52, from the Paleoindian period. A complete inventory of all items with dates is provided within the photos. 18 1/8″ H x 35 1/8″ W. Provenance: Collection was assembled by George Perrin, the consignor’s great-great grandfather on his farm located North of Dayton, Ohio. CONDITION: All items in as-found condition. Each item mounted on a board backing and secured by wire. Two holes to board are a result of prior mounting. [See more photos →]

Native American Hopi polychrome decorated pottery jar by Dawn Navasie. Polychrome bird and geometric designs. Signed Dawn Navasie on the base. 1st prize winner of the Inter-Tribal Indian Ceremonial, Gallup, New Mexico, 1997. 8 1/2″ H x approx. 15″ W at largest point. 20th century. Provenance: A Williamson County, Tennessee private collection. Condition: Overall excellent condition. CONDITION: Overall excellent condition. [See more photos →]

Large San Ildefonso Blackware covered pottery Jar by Blue Corn, with traditional feather design wrapping around body, geometric designs around neck and concentric ring designs on upper base. Contains a silver lid with geometric designs and a turquoise carved floral finial, lid marked inside “KJB”. Signed Blue Corn/ San Ildefonso Pueblo, height 11″. Excellent condition. This jar won third prize in the Inter-Tribal Indian Ceremonial, Gallup, New Mexico, 1982. [See more photos →]

Northwest coast carved wooden totem pole. Painted in colors of red and black and featuring four figures. Appears to retain the original surface. 17 1/4″ H. Late 19th/Early 20th century. Provenance: estate of Homer A. Jones Jr., Tennessee. Condition: Overall very good with minor scattered paint loss. [See more photos →]

Large Native American Cherokee single weave rivercane storage basket, attributed to Lottie Queen Stamper (1907-1987). Tall tapering form with square base, woven in the Chief's Daughters or Star on the Mountain pattern, with walnut-dyed weavers. 16 1/2" H x approx. 15" dia. 20th century. Note: While the maker of this basket is unknown, it is identical to known examples by the master weaver Lottie Queen Stamper. She learned basket-making from her husband's family and began teaching basket-making in 1937 at the Cherokee School. For a nearly identical example see: https://www.wcu.edu/library/digitalcollections/cherokeetraditions/ArtsAndCrafts/pattern-index/pattern_chiefsdaughter_staronthemountain.html

CONDITION: A couple of areas of loss to weavers around the upper section, otherwise overall very good condition. Base fitted with cross-stretchers to reinforce the base, in the making. [See more photos →]

Rondina Huma (Hopi, b. 1947) pottery bowl with intricate polychrome geometic decoration. Signed on the base in faded script “Rondina Huma/Tewa Village/Polacca, AZ”. 3 1/4″ H x 6 1/2″ dia. 20th century. Provenance: The Estate of Larry Casey, Jackson, Tennessee. CONDITION: A couple of areas of slight wear to body near the base. Overall very good condition. [See more photos →]

Frederick F. Schafer (Germany/California, 1839-1927) oil on canvas laid to Masonite painting depicting Oregon's Columbia River with the sunlit Beacon Rock–then called Castle Rock–rising in the distance, late 19th century. Fisherman, possibly American Indians, in a canoe or other small boat on float near the shore. Signed "F. Schafer," lower right. Housed in a silvered and gilt wood frame. Sight: 23 1/3" H x 15 1/8" W. Frame: 27 3/4" H x 19 3/4" W. <br/><br/>Biographical Note: Born in Braunschweig, Germany in 1839. Schafer may have studied art in D&uuml;sseldorf since his paintings resemble those of other D&uuml;sseldorf-trained artists; however, he is believed to have been self-taught. He came to the U.S. in 1876 and arrived in San Francisco in 1880. After establishing a studio, he began exhibiting regularly with the local art association and the Mechanics' Institute Fairs. A peripatetic painter, he made regular sketching trips throughout the Northwest including Montana, Wyoming, Colorado, Idaho, Oregon, Washington, British Columbia, and Alaska. <br/><br/>During his last years he painted theatrical scenery in San Francisco and Oakland theaters. Schafer had a home in Oakland from 1880 until his death on July 18, 1927. His landscapes, which often include Native Americans, were mostly done before 1890 and number about 500. (Adapted from askART)

PROVENANCE: Private Knoxville, Tennessee collection.

CONDITION: Very good condition with craqueleure, especially to upper right quadrant, and scattered retouching. [See more photos →]

Native American Cree or Crow presentation tomahawk, iron blade with incised and colored decoration, handle with an all over carved relief floral and leaf design in colors of red, yellow, blue and green. Lower edge of handle inscribed "AEG Montgomery" for Sgt. Albert Ernest Garland Montgomery. 24" L with blade x 9 1/2" W, blade. Late 19th century. Provenance: Oral history states that this tomahawk was given to Sgt. Albert Ernest Garland Montgomery, Royal Canadian Mounted Police, 1890. Sgt. Montgomery participated in the 1885 Frog Lake Massacre, which was part of the Cree uprising during the North-West Rebellion in Western Canada. Sgt. Montgomery later died from injuries when thrown from his horse while on parade in Prince Albert, Saskatchewan. CONDITION: Minor chip to blade edge, handle with overall general wear, some scratching to handle base. [See more photos →]

Extremely scarce O. B. Buell (1844 – 1910) cabinet card photograph of Crowfoot, Chief of Blackfoot Tribe, 1885, on a mount printed "Compliments of Prof. Buell." Overall – 8" x 5". One of only two examples of this image are known to have been offered for sale at auction in the last 15 years; the other, a cabinet card from the John Painter collection, sold at Cowan''s in 2015.

Crowfoot (c. 1830-1890) was a noted warrior who had taken part in 19 battles before the age of 20 but seldom went to war once he reached manhood. He became involved with raising horses, and his leadership in tribal matters resulted in him being made chief of his tribe in 1870. He eventually made peace with his Cree neighbors and welcomed the Northwest Mounted Police to Blackfoot Territory.

Professor Oliver or Otto B. Buell was born in Henry County, Illinois in 1844. He was known for his photographs of the Riel Rebellion and trial, and views of the Canadian landscape taken during the construction of the Canadian Pacific Railway in the early 1880s. He appears to have used both first names or at some point changed his first name from Otto to Oliver.

PROVENANCE: Private Southern collection.

CONDITION: Overall very good condition. Some very faint spotting affecting background and subject''s jaw line, visible in raking light. Some wear to mount at upper left corner and lower right edge. Later collection label adhered to reverse. [See more photos →]

Large Navajo Ganado rug having a double terraced diamond central design on a red field with zigzags and other geometric shapes on the inner border. 116 1/2″ L X 72″ W. Mid 20th century. Condition: Some brown staining, primarily to one corner and some in the center. A few slight areas of color run to brown color. [See more photos →]

Panamint (Timbisha Shoshone) coiled basket, bottleneck form and wove from willow, Joshua tree root and devil’s claw root with repeating stair pattern to the sides and sun-burst pattern on the base. 4 3/8″ H x 6 3/4″ dia. Inyo County, California near the Nevada border, circa 1930-1940. Note: Basketmaker unattributed but in the tradition of Grandma Ness, Isobel Hanson and Mary Wrinkle. Provenance: The estate of Martha Goldsmith, Clarksville, TN. CONDITION: Very good condition. [See more photos →]

Crystal Navajo rug, similar to J. B. Moore designs, having an orange field with joined and stepped diamonds interspersed with serrated diamonds and mirrored sides in colors of purple, green, orange, yellow and natural, with stripe borders, top and bottom, in purple and natural. 33″ x 47 3/8″. 1st quarter 20th century. Provenance: Collection of Charles and Ann Wells, Nashville, Tennessee, ex-Dick Spas, Southwestern Arts, Taos, NM. CONDITION: Scattered minor moth damage, repairs to one end, some wear to one side border. [See more photos →]

California Mission Indian pictorial basket, large coiled bowl form comprised of juncus and sumac with ten (10) polychrome horse figures encircling the rim.16 1/4″ diameter x 5″ H. Circa 1915. Note: The term “Mission Indians” refers to members of a number of tribes of indigenous peoples of California who lived in Southern California and were forcibly relocated from their traditional homes to live and work at Franciscan missions in the Southern California region. Purchased from David Cook, Native American Trading Company, Denver, Colorado, 1985. Copy of original receipt is available to winning bidder.

PROVENANCE: The Estate of Raymond White, Nashville, Tennessee.

CONDITION: Some light fading to horse figures, scattered losses to stitching throughout body and rim. [See more photos →]

Large Navajo wool rug or blanket, Two Grey Hills pattern with crosses. Woven in colors of brown, cream and tan. 81 1/2" H x 62" W. 1st half 20th century. Private East Tennessee collection. Condition: Overall good condition for age. Some scattered stains, wear and losses to edges. [See more photos →]

Randy Miller Native American/Cherokee turquoise inlaid lidded pottery jar, tall ovoid form. Signed on the base “RANDY”. 12″ H x 9″ DIA. 20th Century. Provenance: The Estate of Larry Casey, Jackson, Tennessee. Provenance: The Estate of Larry Casey, Jackson, Tennessee. CONDITION: Very good condition. [See more photos →]

Three (3) Native American Navajo sterling silver and turquoise jewelry items, including one (1) squash blossom necklace, one (1) cuff bracelet, and one (1) ring. 1st item: Sterling silver Navajo squash blossom necklace with 12 turquoise blossoms between double strand silver beads and a naja containing 4 rows of turquoise. The necklace is marked "sterling" and signed "JW" for Juliana Williams. The necklace is 32" L and has a gross weight of 239.2 grams. 2nd item: Sterling silver Navajo cuff bracelet featuring circular rows of turquoise. The bracelet is marked "sterling" and signed "DLW" for Danny L. Wauneka. the bracelet is 6 1/2" and has a gross weight of 58.6 grams. 3rd item: Sterling silver ring featuring a circular row of turquoise. The ring tests sterling and is unsigned. The ring is size 8 and has a gross weight of 8.7 grams. Gross weight of the lot is 306.5 grams. Provenance: The Estates of Ora and Eleanor Eads, Nashville, TN. Condition: All pieces in overall very good condition with expected general wear. [See more photos →]

Two (2) Native American Santa Clara pottery items. 1st item: Mida Tafoya (b. 1931) blackware pottery vase, with carved serpent decoration below the rim. Signed on the base "Mida Tafoya Santa Clara Pueblo". 5 1/4" H x 7 1/4" dia. Note: Purchased in the 1970's. 2nd item: Pottery bowl, signed in script on the base "Lela" , possibly for Lela Gutierrez. Blackware ground with orange polychrome geometric decoration around the upper shoulder. 4 1/4" H x 8 3/8" dia. 20th century. Note: A 1976 "Special Award" ribbon from the Phoenix Indian Arts & Crafts Show accompanies this bowl. Private East Tennessee collection. Condition: 1st item: Overall very good condition. 2nd item: Shallow chip to the rim and a few scattered minor areas of glaze flakes to polychrome decoration. [See more photos →]

Kenojuak Ashevak (Kenoyouk, Canadian, 1927-2013) Inuit stone cut print titled "Rudu in My Dreams", depicting two birds. Signed "Kenoyouk, 1962, Cape Dorset N.W.T., 1/50". Secured to off white mat with old masking tape and housed under glass in a silver and black wood frame. Sight – 22 1/4" H x 29" W. Sheet – 24 1/4" H x 32 3/4" W. Framed – 29 3/4" H x 35 3/4" W. CONDITION: Overall good condition. Has toning. [See more photos →]

Large Zuni "Mudhead" Katsina bolo comprised of silver with multi stone channel inlay, attached to a braided leather tie with silver drum tips. Partially stamped on the back "E Z". Possibly Eddie Beyuka (1920-2002). 5 1/4" H. Circa 1970s-1980s. Provenance: The Estates of Ora and Eleanor Eads, Nashville, TN. Condition: Overall very good condition. [See more photos →]

Navajo rug, Crystal Storm pattern rug, 115″ x 66″, woven in colors of red, gold, ivory, beige and brown, center geometric design with whirling logs at corners and border of water beetles. 9’5″ x 5’5″. Second quarter of the 20th century. Provenance: Private Oak Ridge, TN estate. CONDITION: Recently professionally cleaned. Minor fraying on one side, 2″ L. [See more photos →]

Native American double weave lidded rivercane basket by Rowena Bradley (1922-2003), rectangular lidded form woven in the "Eye of the Sacred Bird" pattern with dyed walnut weavers. 6 3/4" H x 8 1/2" W x 6 3/8" D. 20th century. Note: This basket was purchased in 1991 from Rowena Bradley at the Frank McClung Museum located in Knoxville, TN.

CONDITION: Overall excellent condition. [See more photos →]

Native American Chitimacha double weave rivercane lidded trinket basket, meandering or alligator entrails design to the body with a background design of diagonal dyed red and dark brown weavers. 6" H x 4 1/2" square. 20th century.

CONDITION: Overall very good condition. [See more photos →]

1st item: Cherokee rivercane "purse" basket woven in a geometric pattern with walnut and bloodroot weavers having two wood handles attached to the rim. 7 1/2" H x 11 1/8" W x 6 3/4" D. Note: Hand written note attributes the basket to Mollie Lossiah. 2nd item: Cherokee double weave rivercane storage basket, woven by Rowena Bradley (1922-2003). Small round form with squared base woven in the Flowing Water 2 pattern with walnut and bloodroot dyed weavers. Retains the original Qualla Arts tag. 4" H x 6" dia. 3rd item: Cherokee lidded honeysuckle and white oak sewing basket by Lucy Nola George (1897-1978), with walnut dyed weavers. Retains the original Qualla Arts tag. 9" H x 10 1/2" dia. All baskets 20th century.

PROVENANCE: Private East Tennessee collection.

CONDITION: All baskets in overall very good condition. [See more photos →]

Three (3) Native American Navajo sterling and turquoise jewelry items 1st item: Sterling silver squash blossom necklace with 10 blossoms, each featuring a unique shape of boulder turquoise, between double row silver beads and a naja with 5 unique shaped boulder turquoise. The necklace tests sterling and is unsigned. The necklace is 26" L and has a gross weight of 238.2 grams. 2nd item: Sterling silver cuff bracelet featuring a rectangular boulder turquoise. The cuff is marked "sterling" and signed "M". The bracelet is 7" and has a gross weight of 102.9 grams. 3rd item: Sterling silver ring featuring a rectangular boulder turquoise. The ring tests sterling and in unsigned. The ring is size 10 1/4 and has a gross weight of 30.19 grams. Gross weight of the lot is 371.29 grams. Provenance: The Estates of Ora and Eleanor Eads, Nashville, TN. Condition: All pieces in good condition with overall general wear. [See more photos →]

Susan Kliewer (Arizona, b. 1940) cold painted bronze sculpture titled "Way of the People" depicting a mature Native American figure holding baby cradle riding a donkey with child. Signed, dated, and numbered verso "Susan Kliewer / (copyright) / 2002 / 36/45". Raised upon a natural walnut wooden swivel stand with gilt metal placard affixed indicating the title and artist. Includes certificate of authenticity from the studio of Susan L. Kliewer. Overall with stand: 23" H x 15" W x 7 1/2" D. Weight: 40 lbs. Note: The original Mountain Trails Galleries receipt, COA, and additional documentation is available to the winning bidder. Artist biography: Born and raised in southern California, Susan Kliewer prepared sculptures for bronze casting at a foundry for many Arizona sculptors such as John Hampton, Joe Beeler, and Buck McCain. In 1988, she began creating her own sculptures and won the People's Choice Award in 1991 at the National Sculpture Walk in Sedona, Arizona. Her work depicts the Navajo people whom she has lived beside and been inspired by for the past forty years.

PROVENANCE: Estate of Robert Christie, Knoxville, Tennessee.

CONDITION: Overall excellent condition. [See more photos →]

Native American Pomo (California) coiled basketry bowl having flared rim and quail top-knot designs . 5 7/8″ H x 12 5/8″ dia. Early part of the 20th century, 1910-1940. Provenance: Property from the estate of Dorothy Louise Luhrs, PhD, (1910-1972), Archaeologist with University of New Mexico/School of American Research Field School, whose studies and research included the Una Via Chaco Canyon, NM, Largo Canyon, NM, Guatemala, Mexico, and the Hoopa Indian Reservation in northern California. Luhrs was also president of the Southwestern Anthropological Association from 1950-51. Condition: Overall very good condition with scattered minor wear/breaks to rim weavers and sides. CONDITION: Overall very good condition with scattered minor wear/breaks to rim weavers and sides. [See more photos →]

Steven Lang (California, b. 1960) oil on canvas painting titled "The Suitor" depicting a Native American man offering gifts or dowry to the family of a young woman, surrounded by women and children with teepees in the background. Signed "(copyright) Lang" lower right. Placard with title and artist name affixed to center bottom frame. Label with printed artist note on subject en verso. Housed in a natural wood frame with linen liner and gilt fillet. Sight: 23 1/2" H x 29 3/4" W. Framed: 35" H x 41" W. Note: A copy of the original purchase receipt from Mountain Trails Gallery, Sedona, AZ is available with the purchase of this work. Artist biography: Descended from Pawnee and Cherokee ancestors, Steven Lang has always been interested in Native American subject matter. Through his love of period reenactments and all things Western as well as his paintings, Lang seeks to depict the legacy of America''s western heritage. Lang was recognized as an Oil Painters of American Master signature member in 2002 and has been commissioned by the National Park Service to depict the 1868 Battle of the Washita among other national organizations. (adapted from the artist''s website langart.com)
PROVENANCE: Estate of Robert Christie: Knoxville, TN.

CONDITION: Overall very good condition. [See more photos →]