ANNUAL LIVE AUCTION SATURDAY, SEPTEMBER 14, 2024
LOT 192: ANSEL ADAMS (1902 – 1984)
The Teton Range and Snake River, Grand Teton National Park, Wyoming, 1942, Estimate: $100,000 – $150,000
FRONTISPIECE
LOT 193: CONRAD SCHWIERING (1916 – 1986)
Tapestry of Time, 1962, Estimate: $30,000 – $50,000
BACK COVER
LOT 218: THÉODORE-CHARLES GRUYÈRE (1814 – 1885)
Seated Indian, 1845, Estimate: $400,000 – $600,000
AN AUCTION OF PAST AND PRESENT MASTERWORKS OF THE AMERICAN WEST
PREVIEWS
All artwork available for preview Monday – Friday, 9am – 5pm Saturday, 11am – 6pm
Jackson Hole Art Auction Showroom
130 East Broadway, Jackson, Wyoming
AUCTION
Luncheon | September 14 at 11am
Live Auction | September 14 at 12pm
Live Auction and Luncheon to be held at Center for the Arts
265 South Cache, Jackson, Wyoming
BIDDING & REGISTRATION
Absentee and phone bidding arrangements must be made by September 13.
Register Absentee and Telephone bids online: jacksonholeartauction.com/registration
Telephone bidders are encouraged to leave absentee bids in the event of technical difficulties.
Online bidding is available through: Jackson Hole Art Auction Live Auctioneers
Invaluable
Please direct all inquiries to (866) 549-9278 and visit jacksonholeartauction.com for more information
ART PICKUP
Sunday, September 15 | 9am – 2pm
Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming
AUCTION PARTNERS
Kevin Doyle, Jackson Hole Art Auction
Maryvonne Leshe, Trailside Galleries
Roxanne Mowery, Trailside Galleries
Gerald Peters, Gerald Peters Gallery
LOT 258: GERARD CURTIS DELANO (1890 – 1972)
Colorado (detail), Estimate: $150,000 – $250,000
LOT 202: CARL RUNGIUS (1869 – 1959)
The Challenge (detail), Estimate: $250,000 – $350,000
18TH ANNUAL LIVE SALE SATURDAY, SEPTEMBER 14 12 PM MDT: LOTS 1 – 344
1 CARL RUNGIUS (1869 – 1959) Siesta
etching on paper
8 ¾ x 11 ⅞ inches signed lower right: C. Rungius
Provenance: From a Private Collection
Literature:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, example illus. plate 27
$2,000 – $4,000
2 CARL RUNGIUS (1869 – 1959)
The Challenge etching on paper
7 x 9 ⅜ inches signed lower right: C. Rungius
Provenance: From a Private Collection
Literature:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, example illus. plate 1
$2,000 – $4,000
3 BOB KUHN (1920 – 2007)
Two Elk conte crayon on paper
7 x 10 ½ inches signed lower left: kuhn
Provenance: From the Collection of Robert & Curtice McCloy
$2,000 – $3,000
4 CARL RUNGIUS (1869 – 1959)
An Old Prospector etching on paper
6 ¾ x 8 ¾ inches
signed lower right: C. Rungius
Provenance: Out of Africa - In Montana, Bozeman, MT (label verso)
Private Collection, Bozeman, MT
Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, example illus. plate 9
$3,000 – $5,000
5 GERALD BALCIAR (1942 – ) Escaped, 1994
bronze, 18/20
18 ¼ x 16 x 10 ¼ inches
inscribed: G Balciar © 1994 18/20
Provenance: From a Private Collection
$2,000 – $4,000
6 BOB KUHN (1920 – 2007)
Two Bears
conte crayon on paper
8 ⅝ x 11 inches
signed lower center: k
Provenance: Settlers West Contemporary Fine Art and Graphics, Tucson, AZ (label verso)
From the Collection of Robert & Curtice McCloy
$2,500 – $4,500
7 CARL RUNGIUS (1869 – 1959)
The Answer from the Barren etching on paper
7 ¾ x 9 ⅞ inches signed lower right: C. Rungius
Provenance: Private Collection, The Woodlands, TX
Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, example illus. plate 4
$2,500 – $4,500
bronze, AP
25 ⅜ x 31 x 13 inches
inscribed: M. Barlow AP
Provenance:
From the Collection of Amber Krisky
$7,000 – $10,000
Moose Head pencil on paper
6 ¼ x 6 ⅞ inches signed lower right: Tucker Smith
Provenance: Out of Africa - In Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT
$2,000 – $4,000
8 MIKE BARLOW (1963 – ) Fighter
9 TUCKER SMITH (1940 – )
10 CLYDE ASPEVIG (1951 – )
Indian Peak Wilderness
oil on canvas laid on board
14 x 18 inches
signed lower left: C. Aspevig
verso: titled
Provenance: From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$4,000 – $6,000
11 TUCKER SMITH (1940 – )
Early Snow, 2000
oil on canvas
20 x 24 inches
signed and dated lower left: Tucker Smith 00
Provenance:
From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$40,000 – $60,000
12 MATT READ SMITH (1960 – ) Rock Creek, 2007
oil on board
19 ¾ x 23 ½ inches
signed lower left: Matt Smith
verso: signed, dated and titled
Provenance: From a Private Collection
$4,000 – $6,000
15 DAVID HALBACH (1931 – 2022)
Taking Heed, 2012
watercolor on paper
19 x 26 inches
signed and dated lower right: David Halbach (artist cipher) © ‘12
Provenance:
Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso)
From the David Halbach Estate
$3,000 – $5,000
13 JAMES REYNOLDS (1926 – 2010) On the Way to Jasper
oil on canvas
30 x 40 inches
signed lower left: James Reynolds verso: titled and signed
Provenance: From a Private Collection
Literature: James Reynolds, The Landscapes of James Reynolds, O’Neil Printing, 2009, illus. p. 26
$15,000 – $20,000
14 FRANCOIS KOCH (1944 – ) Roaming the Territory, 2024
oil on canvas
20 x 30 inches
signed lower right: Francois Koch verso: signed
Provenance: From the Artist
$5,000 – $7,000
16 BRUCE CHEEVER (1958 – )
Sentinel, 2024
oil on linen on board
40 x 36 inches
signed lower right: - Bruce Cheever ©
Provenance: From the Artist
“Sentinel is a work that contrasts both a horizontal and a vertical world, that together, create a powerful balance of Nature. I invite you to enter this painting, to immerse yourself, and imagine your own dreams.” – Bruce Cheever
$15,000 – $25,000
17 BRENT COTTON (1972 – )
Winter Magic, 2021
oil on board
32 x 40 inches
signed lower right: Cotton
verso: titled, dated and signed
Provenance:
Prix de West Invitational, Oklahoma City, OK (label verso)
Scottsdale Art Auction, Scottsdale, AZ (label verso)
Private Collection, The Woodlands, TX
Exhibited:
Prix de West Invitational, National Cowboy Hall of Fame & Western Heritage Museum, Oklahoma City, OK, 2021
$9,000 – $12,000
18 MARTIN GRELLE (1954 – )
Winter Quest, 2000
oil on canvas
42 x 52 inches
signed and dated lower right: Martin Grelle © 00 (artist cipher)
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso)
From a Private Collection
Literature:
Michael Duty, Don Hedgpeth, Cowboy Artists of America, Greenwich Workshop Press, 2002, illus. p. 59
Exhibited:
Prix de West Invitational, National Cowboy Hall of Fame & Western Heritage Museum, Oklahoma City, OK, 2000 Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
Born in 1954 and raised in Clifton, Texas, Martin Grelle still resides on a small ranch near his hometown. His artistic journey began at a young age and his early mentors included two respected members of the Cowboy Artists of America: James Boren and Melvin Warren. Under their tutelage and artistic direction, Grelle had his first solo show at the age of 19 and quickly rose to prominence. Since then he has produced dozens of solo exhibitions and participated in numerous prestigious invitational shows, establishing himself as one of the most respected and influential Western artists of his time.
Grelle joined the Cowboy Artists of American in 1995 and served as President in 2014. His work has been featured in major events such as the Prix de West Invitational at the National Cowboy & Western Heritage Museum, The Masters at the Autry Museum, and the Quest for the West at the Eiteljorg Museum. Among his many accolades are the Prix de West Purchase Award, which he has won twice, and the Legacy Award from The Briscoe Museum.
Grelle’s work often explores themes of survival, tradition, and the deep connection between Native Americans and their environment. Winter Quest depicts a group of Native American figures on a journey through snowy terrain, a common theme in Grelle’s work that highlights the strength of these communities. The winter setting serves as a symbol of both the physical and metaphorical challenges faced by the figures in the painting. The quest itself can be interpreted as a journey of survival, spiritual significance, or a rite of passage.
The composition of Winter Quest is meticulously crafted to draw the viewer into the narrative. Grelle’s use of color and light effectively conveys the harshness and beauty of a winter landscape. The detailed depiction of traditional clothing and gear adds authenticity and highlights the importance of cultural heritage and skills passed down through generations.
Winter Quest captures the spirit and challenges of the American West, paying homage to the resilience and rich cultural heritage of Native American peoples.
$150,000 – $250,000
The Camp Keepers, 1987
oil on canvas
30 x 40 ¼ inches
signed and dated lower left: © ‘87 RDuncan (artist cipher)
Provenance:
From the Collection of Jack and Donna Hunt, Bozeman, MT
$12,000 – $18,000
oil on board
18 x 24 inches
signed lower right: Joni Falk ©
verso: signed
Provenance:
From a Private Collection
$3,000 – $5,000
19 ROBERT DUNCAN (1952 – )
20 JONI FALK (1933 – ) Firelight
oil on canvas laid on board
20 x 30 inches
signed lower left: Whitcomb
Provenance: Private Collection, Denver, CO
Exhibited:
Sea to Shining Sea - A Reflection of America, Smith Kramer Fine Art Services, Kansas City, MO
$2,000 – $4,000
21 DAVE MCGARY (1958 – 2013)
Hearts of Conviction, 1998
bronze, 10/30
40 ½ x 37 x 11 inches
inscribed: Dave McGary 1998 10/30
Provenance: From the Collection of Bob and Virginia Carlson
$10,000 – $20,000
bronze, 29/30
39 x 28 ½ x 12 ½ inches
inscribed: Dave McGary 1997 29/30
Provenance: From the Collection of Bob and Virginia Carlson
$10,000 – $20,000
22 SKIP WHITCOMB (1946 – ) Trail into the Back Country
23 DAVE MCGARY (1958 – 2013) Stronghearts, 1997
Forewarned, 2003
oil on canvas
30 x 40 inches signed lower right: Knepper
Provenance: From the Artist
Exhibited: Coors Western Art Exhibit & Sale, Denver, CO, January 2024
$6,000 – $8,000
watercolor on paper 15 ¾ x 22 ⅜ inches signed and dated lower left: David Halbach (artist cipher) © ‘03
Provenance: From the David Halbach Estate
$1,500 – $2,500
oil on board
32 x 62 inches signed lower right: Michael Coleman ©
Provenance: Private Collection, Wilson, WY
$20,000 – $30,000
24 DAN KNEPPER (1961 – )
The Last Wild Places
25 DAVID HALBACH (1931 – 2022)
26 MICHAEL COLEMAN (1946 – ) Gone Fishin’
27 SCOTT CHRISTENSEN (1962 – )
Weathered Stand
oil on canvas
48 x 60 inches
signed lower right: Christensen ©
Provenance:
Cowboy Hall of Fame, Prix de West Invitational (label verso)
From a Private Collection
Exhibited:
Prix de West Invitational, National Cowboy Hall of Fame & Western Heritage Museum, Oklahoma City, OK Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$15,000 – $25,000
29 DAVID HALBACH (1931 – 2022)
Slow & Still, or A Time For Silence, 1989
watercolor on paper
12 x 24 ½ inches
signed and dated lower right: David Halbach (artist cipher) © ‘89
Provenance:
Hagar’s Gallery & Frame Design, Reno, NV (label verso)
Altermann & Morris Galleries, Dallas & Houston, TX (label verso)
From the David Halbach Estate
$2,000 – $3,000
28 BILL NEBEKER (1942 – )
Bound for Hudson Bay, 1992
bronze, 24/30
6 x 17 x 6 inches
inscribed: © Bill Nebeker (artist cipher) 1992 24/30
Provenance:
From the David Halbach Estate
$2,000 – $4,000
oil on canvas
50 x 70 inches
signed lower right: Cook verso: signed, titled and dated
Provenance: From a Private Collection
$4,000 – $6,000
oil on canvas laid on board
11 ⅞ x 11 ⅞ inches
signed lower right: Jimmy Dyer
Provenance:
From a Private Collection
$2,000 – $4,000
30 JAMES PRINGLE COOK (1947 – )
Blue River Autumn, 2007
31 JIMMY DYER (1956 – ) Teton Ranch
When
oil
24 ⅛ x 36 inches
signed lower left: Ross Stefan verso: titled, signed and dated
Provenance: Private Collection, American Canyon, CA
$3,000 – $5,000
oil on canvas
24 x 36 inches
signed lower left: Eubanks
Provenance: Private Collection, Dallas, TX
$3,000 – $5,000
32 ROSS STEFAN (1934 – 1999)
Stories Get Longer, 1970
on canvas
33 TONY EUBANKS (1939 – ) Santa Fe Snow
34 BILL OWEN (1942 – 2013)
Making Tracks, 1995
oil on linen
18 x 24 inches
signed and dated lower right: © Bill Owen (artist cipher) 1995
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso)
From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
35 CARRIE BALLANTYNE (1956 – )
Wyoming Cowgirl
pencil on velvet paper
12 ⅜ x 11 ⅞ inches
signed lower left: C L Ballantyne
Provenance: From a Private Collection
$2,500 – $4,500
“The term ‘making tracks’ is commonly used among the cowboys who work the vast, arid ranches of the southwest. These cowboys must cover a lot of country to gather a herd for branding. This is a young cowpuncher of the Diamond A’s who, as the sun rises, has already made a lot of tracks.” – Bill Owen
$8,000 – $12,000
36 MARK MAGGIORI (1977 – )
Riders of the Golden Sky Study, 2020
acrylic on paper
14 x 19 inches
signed and dated lower left: Mark Maggiori 2020
Provenance: From a Private Collection
$8,000 – $12,000
37 MARK MAGGIORI (1977 – )
Two Portraits, 2019
oil on canvas
7 ½ x 9 ½ inches
signed and dated lower right: MM 2019
Provenance:
Birdnest Gallery, Gig Harbor, WA (label verso) From a Private Collection
$5,000 – $7,000
38 JIMMY DON COX (1951 – )
Listening for the Herd, 1985
oil on panel
24 x 36 inches
signed and dated lower left: Jimmy Cox (artist cipher) © 1985
Provenance: From the Collection of Ed McMahon
$3,000 – $5,000
oil on board
9 ⅝ x 15 ½ inches
signed lower right: Tom Browning
Provenance:
Studio B, Scottsbluff, NE (label verso)
From a Private Collection
$3,000 – $5,000
39 BRUCE GREENE (1953 – ) On the Banks of the Bosque
bronze, 11/50 15 ¼ x 11 ¾ x 11 ¾ inches
inscribed: 11/50 Bruce R. Greene (artist cipher) stamped: Hoka Hey
Provenance: From a Private Collection
$3,000 – $5,000
Watering Hole, 1972
oil on canvas
24 x 30 inches
signed and dated lower right: Bill Owen s/v 1972
Provenance: From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$15,000 – $25,000
40 TOM BROWNING (1949 – ) Golden Hour
41 BILL OWEN (1942 – 2013)
42 MATT READ SMITH (1960 – )
September’s Glow, 2000
oil on canvas
30 x 40 inches
signed lower right: Matt Smith verso: signed, dated and titled
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso) From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
“I spent several days painting aspen groves on Signal Mountain in Jackson Hole, Wyoming, in September of 2000. I was impressed by the distant blues of the backlit Tetons, in contrast to the golden glow these Autumn trees cast. To me, this was a natural complement.”
– Matt Smith
$8,000 – $12,000
oil on board
35 ½ x 59 ½ inches
signed lower right: Schwiering (artist cipher) ©
Provenance:
From the Collection of Mrs. Conrad Schwiering, Jackson, WY Private Collection, Jackson, WY
Literature:
Robert Wakefield, Schwiering and the West, North Plains Press, 1973, illus. p. 169
“I decided that I wanted to come to Jackson Hole before I was in college… I was completely sold that this was the finest prairie, mountain, and ranch country in the United States–maybe the world. I knew then I wanted to come here and paint...
I am an impressionist and paint moods; I don’t try to paint portraits of the mountains, nor do I try to paint a literal statement of the mountains. I try to paint an impression of the mood of the elements as they play against the mountains.” – Conrad Schwiering
$30,000 – $50,000
43 CONRAD SCHWIERING (1916 – 1986) Mt. Moran
Hangin’ On, 1979
opaque watercolor on illustration board
8 ⅝ x 5 inches
signed and dated lower left: gSnidow © (artist cipher) 1979
Provenance: From the Collection of Bonnie Larivee
$1,000 – $2,000
oil on canvas
30 x 30 inches signed lower right: St Clair
Provenance: From a Private Collection
$4,000 – $6,000
46 GENE ZESCH (1932 – )
I See by Your Outfit That You Are a Cowboy
bronze and wood, AC/50
9 ¾ x 13 x 6 ¾ inches
inscribed: AC/50 © Gene Zesch I See By Your Outfit That You Are A Cowboy
Provenance: From the Collection of Barbara Redmont
$2,000 – $4,000
44 GORDON SNIDOW (1936 – )
45 LINDA ST. CLAIR (1952 – 2019) Carolina
47 GENE ZESCH (1932 – ) My Success Didn’t Come Easy, 2003
wood and wire
14 ¾ x 11 x 8 ¼ inches
inscribed: © Gene Zesch 03 My Success Didn’t Come Easy
Provenance: From the Collection of Barbara Redmont
Literature: Ray Sasser, Texas Brushstrokes: Contemporary Images of the Outdoors, Collectors Covey, Dallas, TX, 1999, illus. p. 173
$2,000 – $4,000
49 GENE ZESCH (1932 – ) Model T / End of the Line, 1982
wood, wire, plastic
6 ⅝ x 16 ½ x 8 ¾ inches
inscribed: © Gene Zesch 4/3/82 (indecipherable) 64
Provenance: From the Collection of Barbara Redmont
$2,000 – $4,000
48 GENE ZESCH (1932 – ) This Ranch Has Made Me What I Am Today
wood and wire
14 ⅝ x 19 x 7 ¼ inches
inscribed: This Ranch Has Made Me What I Am Today © Gene Zesch
Provenance: From the Collection of Barbara Redmont
$2,000 – $4,000
50 GENE ZESCH (1932 – ) No, It’s Not an Antique - I Never Could Afford a New One
wood, wire, plastic, natural fibers
7 ⅛ x 17 x 8 ¼ inches
inscribed: © Gene Zesch No, It’s Not an Antique - I Never Could Afford A New One
Provenance: From the Collection of Barbara Redmont
$2,000 – $4,000
51 TRACY STUCKEY (1977 – )
LV Living Room, 2022
oil on canvas
60 x 48 x 1 ½ inches
verso: signed, titled and dated
Provenance: Visions West Contemporary, Bozeman, MT From a Private Collection
Exhibited: Mountain Standard Time, Visions West Contemporary, Bozeman, MT, 2022
$6,000 – $9,000
52 GIB SINGLETON (1936 – 2014) End of the Day, 1995
bronze, 19/25
21 ¾ x 6 ⅜ x 6 ⅝ inches
inscribed: 19/25 Singleton 1995
Provenance: From a Private Collection
$4,000 – $6,000
53 GIB SINGLETON (1936 – 2014) Buffalo Soldier, 2002
bronze, 19/25
15 ¾ x 15 ½ x 8 inches
inscribed: 19/25 2002 (artist cipher) Singleton
Provenance: From a Private Collection
$5,000 – $7,000
54 WILLIAM HENRY JACKSON (1843 – 1942)
Oregon Trail, 1942
watercolor on paper
7 ⅛ x 10 ¾ inches
signed and dated lower left: W.H. Jackson 1942.
Provenance: Private Collection, Wyoming
$1,500 – $2,500
55 DALE FORD (1934 – ) Butterfield & Company Overland Stagecoach, 2008
mixed media 17 ⅞ x 42 x 12 ¾ inches signed and dated: Dale Ford ‘08
Provenance: Dale Ford Western Art, Redding, CA (label) From a Private Collection
$4,000 – $6,000
56 FRED FELLOWS (1934 – ) Wild Horses, 1998
bronze, 7/15
30 x 107 ½ x 22 ½ inches
inscribed: Fellows CA 98, 7/15 titled: “WILD HORSES” on the base
Provenance: From a Private Collection
The pictured display table measuring 32 ½ x 102 ¾ x 18 ¾ inches accompanies this lot.
$40,000 – $60,000
57 G. HARVEY (1933 – 2017)
Workin’ Em Up, 1975
oil on canvas
30 x 24 inches
signed and dated lower right: G. Harvey 1975 ©
Provenance:
Texas Art Gallery, Dallas, TX (label verso)
Altermann & Morris Galleries, Dallas and Houston, TX, Santa Fe, NM and Hilton Head Island, SC (label verso)
The Owings Gallery, Santa Fe, NM (label verso) From a Private Collection
$50,000 – $75,000
watercolor on paper
19
signed lower right: H·W· Hansen-
Provenance: From a Private Collection
$28,000 – $38,000
58 HERMAN WENDELBORG HANSEN (1854 – 1924)
Pursuit
⅜ x 29 ⅜ inches
59 CHARLES M. RUSSELL (1864 – 1926)
Britzman Super Flit “Tobacco” Mixture
watercolor and pen and ink on paper
6 ½ x 9 ½ inches
unsigned
Provenance: Private Collection, Henderson, NV
A first edition copy of Good Medicine: The Illustrated Letters of Charles M. Russell by Nancy C. Russell, which includes a dedication from Nancy Russell to Mr. and Mrs. H.E. Britzman, accompanies this lot.
$10,000 – $20,000
60 CHARLES M. RUSSELL (1864 – 1926)
Father Time
watercolor on paper
6 ½ x 9 ½ inches
unsigned
Provenance: Private Collection, Henderson, NV
$6,000 – $9,000
61
The Cadillac Ranch, 1981
oil on canvas
58 x 36 ¾ x 1 ½ inches
verso: signed, dated and titled
– )
Provenance: Jackson Hole Art Auction, Jackson, WY, 2018
From a Private Collection
$15,000 – $25,000
pencil on paper
10 ¾ x 8 ¼ inches
signed and dated lower right: MM 2021
Provenance: From a Private Collection
$3,000 – $5,000
BILL SCHENCK (1947
62 MARK MAGGIORI (1977 – ) Faces of the Old West, 2021
63 G. HARVEY (1933 – 2017)
Jackson’s Winter Campaign
oil on canvas
36 x 50 inches
signed lower right: G. Harvey © verso: titled
Provenance: From a Private Collection
G. Harvey’s Civil War paintings do not merely illustrate historical events—they capture the essence of the era, portraying the human elements of the conflict alongside the military aspects. Harvey created impactful works by marrying historical accuracy with emotional resonance. Not glorifying battles, he chose instead to sensitively illustrate the experience of the individual and the quiet everyday moments of the war.
Harvey’s use of light in Jackson’s Winter Campaign is captivating. Beams of sunlight stream horizontally across the foreground of the painting, drawing the eye to tracks in the snow and a group of soldiers chatting around a campfire, steam emanating from a coffee pot. Sunlight illuminates the frame of a pitched tent and glints the wheels of a cannon. Pink-tinged early morning clouds contrast with the dun-colored clothing of fatigued soldiers. The combined effect leaves the viewer with an impression of what it was actually like to have been there.
$125,000 – $175,000
64 DON STIVERS (1926 – 2009)
Malvern Hill, 1988
oil on panel
22 x 35 ½ inches
signed and dated lower right: Stivers 1988 ©
Provenance:
From a Private Collection
After the disastrous Seven Days Battles, the 5th United States Artillery saved the Army of the Potomac from being driven into the James River.
$10,000 – $20,000
65 FREDERIC REMINGTON (1861 – 1909)
A Wounded War Pony (Army Horse on Battlefield, altern.), 1890-1891
pen and ink on paper
12 ½ x 15 ½ inches
signed lower left: Frederic Remington.
Provenance:
Gerald P. Peters, Santa Fe, NM (label verso) Mongerson-Wunderlich Galleries, Chicago, IL (label verso)
From a Private Collection
Literature:
Peter H. Hassrick and Melissa J. Webester, Frederic Remington, A Catalogue Raisonne of Paintings, Watercolors and Drawings, Volume I, University of Washington Press, 1996, example Illus. plate 1161, p. 358
Century Magazine, General Miles Indian Campaigns - On The Staked Plains, July 1891, p. 365
$8,000 – $12,000
66 FREDERIC REMINGTON (1861 – 1909)
A Cavalry Officer, 1901
chromolithograph
19 ¼ x 14 ¾ inches
inscribed lower right: Frederic Remington printed lower left: Copyright, 1901, by Howard Russell
Provenance: From a Private Collection
Literature:
Peggy and Harold Samuels, Remington: The Complete Prints, Crown Publishers, New York, 1990, Illus. p. 70
$1,500 – $2,500
oil on canvasboard
25 x 44 inches
signed and dated lower right: Kenneth TRiley NAWA 85 ©
Provenance:
Scottsdale Art Auction, Scottsdale, AZ (label verso) Private Collection, Fort Worth, TX
$45,000 – $65,000
oil on canvas
12 x 16 inches
signed lower right: G. Harvey © verso: titled and signed
Provenance: From a Private Collection
$25,000 – $45,000
67 KENNETH RILEY (1919 – 2015) Evening Landing - Fort Benton, 1985
68 G. HARVEY (1933 – 2017) The Evening Cabbie
oil on canvas
18 x 24 inches
signed lower right: G. Harvey verso: titled, signed and dated
Provenance:
J.R. Mooney Galleries of Fine Art, San Antonio & Austin, TX (label verso)
Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso) From the Marjorie T Hughes Trust Collection
Literature:
G, Harvey, Randy Best & Susan Hallsten McGarry, The Golden Era, The American Dream, Somerset House Publishing, 1992, illus. p. 16
$35,000 – $55,000
70
oil on canvas
48 ⅛ x 60 ⅛ inches
signed lower center: Christensen © verso: titled
Provenance:
– )
National Academy of Western Art (label verso) From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$15,000 – $25,000
69 G. HARVEY (1933 – 2017) City Crowds, 1989
SCOTT CHRISTENSEN (1962
Calm Evening Air
71 ROLAND CLARK (1874 – 1957)
Black Ducks
oil on canvas
20 x 24 ¼ inches
signed lower right: Roland Clark
Provenance:
Abercrombie & Fitch Co., New York, NY (label verso) Copley Fine Art Auctions, Hingham, MA, 2023
From a Private Collection
$10,000 – $20,000
72 ELDRIDGE HARDIE (1940 – 2021)
Winter Point, 2003
oil on canvas
20 x 30 inches
signed lower right: Eldridge Hardie verso: titled, signed and dated
Provenance:
From a Private Collection
$8,000 – $12,000
73
bronze, 17/28
17 ¾ x 23 ½ x 9 ½ inches
inscribed: 1989 Northup 17/28
Provenance: From a Private Collection
$2,000 – $4,000
GEORGE NORTHUP (1940 – 2017) Setters, 1989
A Pointer and a Pheasant
pastel on paper
34 ¾ x 23 inches
signed lower left: * Pater
Provenance: Sotheby’s New York, Sporting Paintings, 2002, lot 164 From a Private Collection
$25,000 – $45,000
Taking Aim
watercolor on paper
21 ¼ x 28 ¾ inches
signed lower right: Brett Smith
Provenance:
From a Private Collection
$5,000 – $7,000
74 ANDRE PATER (1953 – )
75 BRETT JAMES SMITH (1958 – )
oil on canvas
24 x 35 ⅜ inches
signed and dated lower left: John Swan 04 verso: signed and dated
Provenance: From a Private Collection
$12,000 – $18,000
19 ¾ x 27 ¾ inches
signed and dated lower left: A.F. Tait N.A. NY. 1886.
Provenance: Private Collection, Beverly Hills, CA
$8,000 – $12,000
76 JOHN SWAN (1948 – )
The Covey Rise, 2004
77 ARTHUR FITZWILLIAM TAIT (1819 – 1905) Duck Hunter in Blind, 1886
oil on canvas
78 MAYNARD REECE (1920 – 2020)
Scaup over the Point, 1978
oil on canvas
24 x 36 inches
signed and dated lower left: © Maynard Reece 1978
Provenance: From a Private Collection
$5,000 – $7,000
80 WALTER MATIA (1953 – ) Band on the Run, 1999
bronze, 31/36
9 ½ x 6 ⅞ x 6 ⅛ inches
inscribed: Matia 99 31/36
Provenance: From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$2,000 – $3,000
79 MAYNARD REECE (1920 – 2020)
Scaup over the Point Study, 1978
oil on canvasboard
6 ⅜ x 9 ⅝ inches
signed and dated lower right: © Maynard Reece 1978
Provenance: From a Private Collection
$800 – $1,200
81 TUCKER SMITH (1940 – ) Ray’s Day, 1984
oil on canvas
22 x 28 inches
signed and dated lower left: Tucker Smith © 84
Provenance: From a Private Collection
This painting features jockey Ray Sibille riding High Haven, winners of the 1984 Santa Maria Stakes.
$8,000 – $12,000
82 RICHARD SCHMID (1934 – 2021)
Brattleboro Winter, 2001
oil on canvas
12 x 24 inches
signed and dated lower right: Schmid 2001 verso: titled, dated and signed
Provenance:
Jackson Hole Art Auction, Jackson, WY (label verso)
From a Private Collection
Literature:
Richard Schmid, The Landscapes, Stove Prairie Press, LLC, 2009, illus. p. 60
Born in 1934, Richard Schmid had a distinguished career spanning over five decades, during which he held 50 one-man shows and received numerous accolades, including the John Singer Sargent Medal for Lifetime Achievement.
A champion of representational art during the mid to late 20th century when Pop, post-modern, and conceptual art were the major trends, Schmid kept the tradition alive in American art and contributed to its recent resurgence.
“Scenes like this are yet another reason why I live in New England. Nowhere else in America are there so many fascinating old houses from so many periods in our history, and perhaps nowhere else with such dramatic differences in the seasons.”1
1 Richard Schmid, The Landscapes, Stove Prairie Press, LLC, 2009
$25,000 – $45,000
oil on canvas
23 ⅞ x 29 ¾ inches
signed lower right: © Charles Wysocki
verso: titled
Provenance:
Slotin Folk Art, Gainsville, GA From a Private Collection
$25,000 – $35,000
83 CHARLES WYSOCKI (1928 – 2002) Maple Sugaring
verso: signed
Provenance: Gerald Peters Gallery, Santa Fe, NM (label verso) From a Private Collection
$5,000 – $7,000
13 ¾ x 18 ⅝ inches
signed lower left: W
Provenance:
From a Private Collection
$8,000 – $12,000
84 JOHN FELSING (1954 – ) New Horizon, 2008
oil on linen 22 x 19 ⅞ inches
85 WOLF KAHN (1927 – 2020)
The Winchester Farm
pastel on paper
Kahn
Obelisk Gallery, Boston, MA (label verso)
HAROLD GARDE (1923 – 2022)
The work of American painter Harold Garde (1923-2022) is undergoing renewed interest from scholars and collectors, fresh off a successful showing at the Scope art show in early 2024 and an important two-part retrospective at the University of Wyoming Art Museum in Laramie. A prolific, restlessly innovative artist, Garde forged an idiosyncratic synthesis of figuration and abstraction, becoming well known for plumbing the emotional depths of human nature.
A native of New York, Garde initially pursued art studies at the University of Wyoming with Ilya Bolotowsky, George McNeil, and Leon Kelly. Returning to New York, he gained prominence for his colorful palette and the psychological content of his paintings, and for developing the Strappo printing technique.
His works hang in many public and private collections, including the Bibliotèque nationale de France, National Gallery of Art (Washington, DC), Portland Museum of Art, Farnsworth Museum (both ME), and the Museum of Art—DeLand (FL).
Photo © Jack Mitchell
86 HAROLD GARDE (1923 – 2022)
Visionary, 1973
acrylic on board
36 x 48 inches
signed and dated lower left: Garde 73
Provenance:
From the Estate of Harold Garde
Exhibited:
Harold Garde: painting. 50 Years, The Museum of Florida Art (now Museum of Art-Deland), Dec 05, 2008 - Feb 15, 2009
Harold Garde: painting. 50 Years, The University of Wyoming Art Museum, March 27 - August 21, 2010
Harold Garde: Mid-Century to This Century, Orlando Museum of Art, September 26, 2015 - January 3, 2016
Never Too Late, Mount Dora Arts Center Gallery, Mount Dora, FL, March 8th - April 26th, 2019
The meanings of Visionary are not clear, though there does seem to be a correlation between the title and the profusion of flowering, creative energy one might attribute to a visionary spirit. The only thing that is obviously representational is the cascade of foliate forms at the base of the painting, which are characteristic of Garde’s earlier works in that they incorporated a strong sense of line, here in the use of black outlines delineating shapes. The green form at top left might intimate the torso, back and arm of the title character, while below it two ovoid shapes might signal the heads of a couple, or perhaps offspring. Whatever the personal references, what is most palpable is the canvas’s sense of movement, accomplished through Garde’s deft use of color and composition, which guide the eye through the various quadrants of the painting in a circular progression. In addition to being featured at the Museum of Florida Art (now Museum of Art-Deland) in 2009 and the Orlando Museum of Art’s “Harold Garde: Mid-Century to This Century” in 2015 (for which it graced the cover of the catalog), Visionary appeared in the award-winning video series the “Maine Masters Project.”
$30,000 – $50,000
At Pasture, 2006
acrylic on canvas
43 ½ x 55 ½ inches (unframed) verso: titled and dated
Provenance: From the Estate of Harold Garde
Exhibited:
Harold Garde: painting. 50 Years, The Museum of Florida Art (now Museum of Art-Deland), Dec 05, 2008 - Feb 15, 2009
Harold Garde: painting. 50 Years, The University of Wyoming Art Museum, March 27 - August 21, 2010
Harold Garde: Mid-Century to This Century, Orlando Museum of Art, September 26, 2015 - January 3, 2016
Here, Garde seems to revisit two of his major influences from his painting studies at the University of Wyoming: Ilya Bolotowsky and Leon Kelly, while plying his personal blend of abstraction and figuration. The title indicates bucolic calm, yet this is no quaint country scene. There is a discernible horse shape at left, but, like Bolotowsky, Garde breaks the canvas and the equine silhouette into irregular geometric planes using his signature vibrant hues. The muzzle of the horse, enigmatically, also can appear like a mask, recalling some of his more figurative work. Kelly’s surrealism seems to come through in the edgy juxtaposition of white and black udder shapes at right with shapes that appear fang-like or claw-like at right. The presentation of a coexistence of soft comfort and what are jagged, possibly dangerous forms indicates a less pastoral idyll, indicating a fuller picture of nature, where predators are natural elements of life. At Pasture was exhibited in “Harold Garde: Painting. 50 Years” at the Museum of Florida Art (now Museum of Art-Deland) in 2009, and traveled to the University of Wyoming Art Museum the following year. It was also exhibited at the Orlando Museum of Art’s “Harold Garde: MidCentury to This Century” in 2015.
$25,000 – $45,000
87 HAROLD GARDE (1923 – 2022)
88 ANTOINE BLANCHARD (c.1910 – 1988)
oil on canvas
24 x 36 inches
signed lower right: Antoine Blanchard (artist cipher)
Provenance:
From a Private Collection
$7,000 – $10,000
mixed media on canvas
37 x 37 inches
signed lower right: Ace verso: signed and titled
Provenance:
Hidell Brooks Gallery
From a Private Collection
$3,000 – $5,000
)
Arc de Triomphe
89 KATHERINE ACE (1953 –
Unground
90 RICHARD SCHMID (1934 – 2021)
Standing Nude - The Yellow Ribbon, 1964
oil on canvas
48 x 24 inches
signed lower right: Schmid
verso: titled, dated and signed
Provenance:
Blair Galleries Limited, Taos, NM (label verso)
From the Collection of Mr. & Mrs. JM Vandeveer of Dallas, Texas
From the Collection of Steve & Sabra Schray
Literature:
Richard Schmid, Richard Schmid Paints the Figure, Watson-Guptill Publications, 1973, illus. p. 132
$20,000 – $30,000
91 DAN OSTERMILLER (1956 – )
Julie’s Rabbit, 2005
bronze, 11/20
8 x 12 ½ x 6 ⅝ inches
inscribed: 11/20 © Dan Ostermiller 05
Provenance: From a Private Collection
$1,500 – $2,500
oil on board
9 ⅝ x 11 ½ inches
signed and dated lower right: Tucker Smith 87
Provenance: From a Private Collection
$4,000 – $6,000
Provenance:
$15,000 – $25,000
92 TUCKER SMITH (1940 – ) Albanchez de Úbeda, 1987
93 RAY SWANSON (1937 – 2004)
The Stone Mason
oil on canvas
36 x 48 inches
signed lower right: Ray Swanson (artist cipher) ©
Courtesy of Bev Swanson-Aylward (label verso) Private Collection, Prescott, AZ
8 ½ x 11 ½ inches
signed lower left: G. Harvey (artist cipher) verso: titled and signed
Provenance:
Whistle Pik Galleries, Fredericksburg, TX (label verso)
The Owings Gallery, Santa Fe, NM (label verso) From a Private Collection
Exhibited: Masters of the Light / American Masters, Dallas Fine Art Museum L.L.C., Fort Worth, TX, December 2005
$12,000 – $18,000
oil on canvas
16 x 12 inches
signed lower left: G. Harvey © verso: titled and signed
Provenance: Whistle Pik Galleries, Fredericksburg, TX (label verso) From a Private Collection
$35,000 – $55,000
96 SANDY SCOTT (1943 – ) Peace
, 1985
bronze, 12/12
65 x 62 x 62 inches
inscribed: Sandy Scott © 85 12/12
Provenance: From a Private Collection
Literature: Spirit of the Wild Things: The Art of Sandy Scott, Stony Press, 1998, Illus. p. 19
$20,000 – $30,000
94 G. HARVEY (1933 – 2017) Opening Night
oil on canvas
Fountain
95 G. HARVEY (1933 – 2017) Flower Man on Market Street
25
signed and dated lower left: H. Herzog 1862.
Provenance: From a Private Collection
$20,000 – $40,000
97 HERMANN HERZOG (1832 – 1932)
The Old Mill, 1862
oil on canvas
x 37 inches
98 THOMAS HILL (1829 – 1908) Vernal Falls, Yosemite, 1898
oil on canvas
30 x 20 inches
signed and dated lower right: T. Hill (1)898
Provenance: Private Collection, Jackson, WY
$20,000 – $30,000
99 GILBERT DAVIS MUNGER (1837 – 1903) River Landscape, France
oil on board
14 ⅝ x 21 ¾ inches
signed lower left: Gilbert Munger
Provenance: M. Newman Fine Art Dealers, London (label verso) From a Private Collection
$3,000 – $5,000
100 ALFRED JACOB MILLER (1810 – 1874)
Indian Shooting a Cougar
oil on canvas
24 x 19 ⅞ inches
unsigned
Provenance:
John Nicholas Carroll and Mary Thomas Carroll (likely commissioned from the artist), Baltimore, MD
Douglas Gordon Carroll (their son) and Amelie Hack Carroll, Brooklandville, MD
Douglas Gordon Carroll Jr. (their son) and Marguerite Dewey Carroll, Brooklandville, MD
By descent in the family to Private Collection, Brooklandville, MD, ca. 1984
Private Collection, Wyoming
Literature:
Ron Tyler, ed., Alfred Jacob Miller: Artist on the Oregon Trail, with a Catalogue Raisonné by Karen Dewees Reynolds and William R. Johnston, Fort Worth, TX: The Amon Carter Museum, 1981, no. 51, p. 247; cat. no. 146C.
Exhibited:
Alfred Jacob Miller: Artist on the Oregon Trail, The Walters Art Gallery, Baltimore, Maryland, October 16, 1981- January 10, 1982
Alfred Jacob Miller: Artist on the Oregon Trail, The Amon Carter Museum, Ft. Worth, Texas, January 29 - March 14, 1982
Alfred Jacob Miller: Artist on the Oregon Trail, Buffalo Bill Historical Society, Cody, Wyoming, May 1- September 30, 1982
Government House (courtesy of the Maryland Historical Society), Baltimore, Maryland, 1984-88
The Walters Art Museum, Baltimore, Maryland, 2005-2013
In 1837, the Scottish nobleman Captain William Drummond Stewart invited Alfred Jacob Miller to accompany him as the expedition artist on his journey along the Oregon Trail. The journey would take them to the annual rendezvous of fur trappers and traders at Horse Creek, near the banks of the Green River. A native of Baltimore, Maryland, Miller studied at the Ecole des Beaux-Arts in Paris in 1833 and spent time copying Old Master paintings in the Louvre. After traveling through Italy, Miller returned to Baltimore the following year to earn a living as a portrait painter. In late 1836, he left his native city for New Orleans, where he met Stewart, the man who would change the course of his career.
By joining Stewart’s expedition, Miller received the opportunity to travel further on the Oregon Trail than any artist had at that point; allowing him to paint previously unknown subjects and scenery. The American frontier was a continuously changing environment, and several scenes and events that Miller recorded in 1837 had disappeared by the time other artists followed in his footsteps. For example, Miller’s paintings of Fort Laramie record the original wooden structure that was torn down in 1840 and replaced by a new adobe building the next year. The drawings and watercolors that Miller produced while on the trail and afterwards provide rare glimpses into the life of the American Indian and the events that occurred on the American frontier during that period.
In order to provide his patron with a comprehensive pictorial record of the 1837 journey, Miller constantly observed and sketched the daytoday life of the trappers and Indians that the caravan encountered. Theses sketches and the life experiences Miller had while on the Oregon Trail provided him with a lifetime of source material for the oil paintings he completed upon his return. Able to blend his first-hand accounts of the 1837 expedition with his idealized romantic tendencies from his academic training, Miller created an oeuvre that provides viewers today with a rare window into this moment of the American frontier.
On the trail Miller encountered Indians with cougar pelts, and learned first hand of the preciousness of these skins. According to Miller’s own account, “the Indians set a high value on his (the Cougar’s) beautiful hide, in a superstitious view, as grand ‘medicine,’ and in a particular view, as an elegant quiver for arrows,-nothing will induce them to part with an acquisition of this kind. They formed certainly the finest article that came under our view;- but we failed entirely in our trails to purchase one.” Unable to acquire an actual pelt, Miller captured this beautiful and enigmatic creature in oil instead—immortalizing a memory from his travels and owning it in the only way he could.
This work will be included in the forthcoming catalogue raisonné to be done under the supervision of Ron Tyler and Debbie White.
1 Marvin C. Coss, ed., Artists Letters to Alfred Jacob Miller, Typescript, Library, Walters Art Museum.
$300,000 – $500,000
101 THOMAS MORAN (1837 – 1926)
A Deer in a Mountain Landscape
watercolor and pencil on paper mounted on board 10 x 14 inches
monogrammed lower left: TM
Provenance:
Private Collection, Pennsylvania
Private Collection, Santa Fe, New Mexico, 1997
Jackson Hole Art Auction, Jackson, WY (label verso)
Gerald Peters Gallery, Santa Fe, NM (label verso)
Santa Fe Art Auction, Santa Fe, NM, 2016 From a Private Collection
Exhibited:
R.W. Norton Gallery, Shreveport, Louisiana, 2003
Related Literature:
Nancy K. Anderson, Thomas Moran, Washington, D.C.: National Gallery of Art and New Haven: Yale University Press, 1997.
Anne Morand, Thomas Moran: The Field Sketches (1856-1923), Norman and London: University of Oklahoma Press for the Thomas Gilcrease Institute, 1996.
Thomas Moran was one of the artists most responsible for introducing America to its Western frontier. Born in England, Moran immigrated to the United States with his family in 1844. At the age of 16, he began a three-year apprenticeship in a wood-engraving firm in Philadelphia, which provided his only formal training. He was painting on his own at this time, however, and participated in his first public show around 1856, exhibiting six watercolors at the Philadelphia Academy of Design.
In 1862, Moran traveled to England with brother, the marine painter Edward Moran. While Edward studied at the Royal Academy, Thomas studied and copied the J.M.W. Turner paintings at the South Kensington Museum (now the Victoria and Albert Museum). Long familiar with and admiring of Turner’s work through engravings, Moran was even more impressed upon seeing the paintings in person. He was especially taken with their luminosity, which he tried to capture in his copies and emulated in his own work.
In 1870, Scribner’s Magazine commissioned Moran to produce etchings of the Yellowstone region based on descriptions of a surveying trip whose report the magazine published. The artist made his first trip to Yellowstone a year later, accompanying the geological survey led by Dr. Ferdinand Hayden. His sketches and watercolors from this trip appeared in Scribner’s and provided models for the artist in creating oil paintings. When the United States Congress purchased one of these paintings of the Yellowstone’s Grand Canyon to hang in the capital in 1872, Moran became one of this country’s most celebrated Western painters.
In the course of his career, Moran traveled extensively throughout the American West—the Rocky Mountains, the Grand Canyon, Yosemite, the Tetons— eventually recording the splendor of all eight of the newly established national parks. So tied to the National Park system was Moran’s work, Mount Moran in the Teton Range was named for the artist.
Moran did not produce topographically accurate images. He composed his large-scale paintings in his studio, using various elements from minutely detailed sketches he made while in the field. Rather than record a specific sight faithfully, Moran sought to capture the essence of a region. Moran celebrated the beauty and grandeur of the Western landscape to which he returned both physically and artistically throughout his life.
$150,000 – $250,000
102 JARED SANDERS (1970 – )
Moran Twilight, 2021
oil on panel 60 x 60 inches
signed lower right: Sanders verso: signed, titled and dated
Provenance:
Altamira Fine Art, Jackson, WY & Scottsdale, AZ (label verso)
From a Private Collection
$10,000 – $20,000
103 ERIC AHO (1966 – )
Second Montague House, 2000
oil on canvas 60 x 60 inches
signed lower center: E Aho
verso: titled, signed and dated
Provenance:
Hidell Brooks Gallery
From a Private Collection
$10,000 – $20,000
104 RUSSELL CHATHAM (1939 – 2019)
San Geronimo Valley on a Summer Evening, 2001
oil on linen laid on board
15 ⅞ x 18 ⅞ inches
signed and dated lower right: (artist monogram) 2001
verso: titled, signed and dated
Provenance: Private Collection, American Canyon, CA
$8,000 – $12,000
105 SHERRY SANDER (1941 – )
Cougars, 2000
bronze, 4/35
17 ⅞ x 21 ¼ x 10 ⅛ inches
inscribed: SS. Sander © 00
Provenance: From a Private Collection
Exhibited: Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
“Released from sleep, their daily game begins; Curvate shapes, long tails tucked low; Golden contours slink through waving grass; Powerful sinew leap atop polished cupolas; Their silent prowess rewarded with sated appetite.” – Sherry Sander (excerpt from the artist’s poem about the sculpture)
$2,500 – $4,500
oil on board
40 ¼ x 30 ¼ inches signed lower left: Michael Coleman ©
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso) From a Private Collection
Exhibited:
Prix de West Invitational, National Cowboy & Western Heritage Museum, Oklahoma City, OK Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$15,000 – $25,000
bronze, 36/75 12 ⅞ x 10 x 13 ¾ inches inscribed: Dave McGary 1994 36/75
Provenance: From a Private Collection
$3,000 – $5,000
106 MICHAEL COLEMAN (1946 – ) Shoshone in the Wind River Mountains
107 DAVE MCGARY (1958 – 2013) Bear’s Nest, 1994
108 DAVE MCGARY (1958 – 2013) “A Matter of Honor” Crow King - June 1876, 1997
bronze, 15/50
22 ⅝ x 17 x 6 inches
inscribed: Dave McGary / 1997 15/50
Provenance: From a Private Collection
$15,000 – $25,000
signed lower right: Robert Wagoner
verso: titled
Provenance: From a Private Collection
$1,000 – $2,000
109 ROBERT WAGONER (1928 – ) Indian Trails
oil on canvas
12 x 24 inches
110 DAVID HALBACH (1931 – 2022)
Wuwuchim, 2013
watercolor on paper
8 ⅜ x 15 ⅝ inches
signed and dated lower left: David Halbach (artist cipher) © ‘13
Provenance: From the David Halbach Estate
$2,000 – $3,000
112 MARION IDA KAVANAGH WACHTEL (1876 – 1954)
Last House at Walpi (Hopi), ca. 1930
oil on canvas
18 x 24 inches
signed lower left: (partial indecipherable portion of Kavanagh) Wachtel (artist cipher)
Provenance: From a Private Collection
$15,000 – $25,000
111 JOHN COLEMAN (1949 – ) Kokopelli, 2001
bronze, 15/50 21 x 9 x 10 ¼ inches inscribed: “Kokopelli” John Coleman (artist cipher) 2001 15/50
Provenance: From a Private Collection
Literature: Michael Duty, Don Hedgpeth, Cowboy Artists of America, Greenwich Workshop Press, 2002, illus. p. 41
$4,000 – $6,000
signed lower right: Kenneth Riley (artist cipher)
Provenance: Scottsdale Art Auction, Scottsdale, AZ (label verso) Private Collection, Fort Worth, TX
$30,000 – $50,000
113 KENNETH RILEY (1919 – 2015) Desert Nomads
oil on canvasboard
20 x 16 inches
114 CYRUS EDWIN DALLIN (1861 – 1944)
Medicine Man, 1897
bronze, 18/18
30 ⅛ x 28 ½ x 8 ¼ inches
inscribed: CED (artist cipher) 1897 Young Fine Art Casting - S.L.C. #18
Provenance: Private Collection, Oceanside, CA
A Certificate of Authentication from the Museum of Fine Arts, Boston, MA accompanies this lot.
$8,000 – $12,000
115 JOE BEELER (1931 – 2006)
The Night Guard
oil on canvas
22 x 16 inches
signed lower right: Joe Beeler © (artist cipher)
Provenance:
Texas Art Gallery, Dallas, TX (label verso)
Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) From a Private Collection
Exhibited:
Grand Opening Exhibit, The Museum of Western Art, Kerrville, TX, April - June 1983
$4,000 – $6,000
116 EARL BISS (1947 – 1998)
Riders in the Mist
oil on canvas
23 ½ x 35 ½ inches signed upper right: Biss
Provenance: From a Private Collection
$8,000 – $12,000
117 HOWARD NORTON COOK (1901 – 1980)
Mountain Twilight
oil on canvas
25 ½ x 48 inches inscribed lower right: Howard Cook
verso: signed and titled
Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Bonhams, California, 2022
Private Collection, Paradise Valley, AZ
$10,000 – $15,000
118 WILLIAM R. LEIGH (1866 – 1955)
Chief Big Eagle, 1918
oil on canvas
28 x 22 inches
signed and dated lower right: W.R. LEIGH 1918
Provenance:
Collection of Mr. and Mrs. Einar Christiansen, Chicago, IL
Thence donated to Grand View College (now Grand View University), Des Moines, IA, 1950
From the Collection of Grand View University
Exhibited:
Des Moines Art Center, October 31 – December 2, 1951
Proceeds from this sale will benefit student scholarships at Grand View University.
William Robinson Leigh was born in Falling Waters, West Virginia, in 1866. Born less than two years after the end of the Civil War, his home county borders Virginia and Maryland and is a short distance from the battle sites at Antietam and Harper’s Ferry. The years of disarray in the South following the Civil War disrupted his early education and strained his family’s finances. Showing an aptitude for art at a young age, his mother, an artist herself, encouraged his art education.1 In 1880, thanks in part to the generosity of relatives and friends, Leigh enrolled at the Maryland Institute in Baltimore, where he studied for three years before moving to Munich, where he studied at the Royal Academy for twelve years.
Upon returning to the United States in 1896, Leigh settled in New York City and worked as an illustrator for prominent magazines such as Scribner’s, Collier’s, and McClure’s. But, he longed to paint the West. This opportunity came in 1906 when the Santa Fe Railroad offered him free passage to the West in exchange for a painting of the Grand Canyon. This trip marked a turning point in his career, leading to the creation of his most significant works and a lifelong fascination with the landscapes and peoples of the Southwest.
Leigh’s primary area of interest was the Hopi, Navajo, and Zuni Tribes. From 1912 to 1926, he spent every summer painting these communities, producing works that vividly depicted their daily lives and cultural practices. He took countless photographs and drew hundreds of sketches in an effort to accurately portray the simplicity and ancient beauty of life in the Southwest.2
Leigh believed that the focus of American artists should be the depiction and preservation of this country’s unique contribution to the western world: the culture of the American West.1 One of the last eyewitnesses of the Southwest Frontier, Leigh felt an urgency in capturing western scenes, customs, and memories of the time before they were lost forever. Leigh ranks with C.M. Russell and Frederic Remington as one of the great painters of the American West. His tenacity and dedication to recording the Old West has left modern Americans with a means of connecting with the past.
“Probably no artist has painted the Old West more faithfully and magnificently than William R. Leigh…He not only lived among cowboys and Indians but did a great deal of work on their equipment and their methods of fighting and hunting. There was a romantic grandeur to all his paintings.”3
1 June DuBois, W.R. Leigh: The Definitive Illustrated Biography, The Lowell Press, 1977
2 D. Duane Cummins, William Robinson Leigh: Western Artist, University of Oklahoma Press, 1980
3 Grand Central Art Galleries Yearbook, 1957
$175,000 – $275,000
Roaming the Land of His People, 2008
oil on canvas panel
16 x 20 inches
signed lower left: G Dean verso: signed, dated and titled
Provenance: From a Private Collection
$3,000 – $5,000
12 x 16 inches
signed lower right: Rod
verso: titled
Provenance:
From a Private Collection
$1,200 – $1,800
25
Provenance: From a Private Collection
$5,000 – $7,000
119 GLENN DEAN (1976 – )
120 ROD GOEBEL (1946 – 1993) Desert Mood
oil on canvas
Goebel
121 JOHN COLEMAN (1949 – ) The Wedding Couple, 2003
bronze, 10/35
x 10 x 8 inches
inscribed: © 03 “The Wedding Couple” John Coleman CA 10/35
122 EDWARD CURTIS (1868 – 1952) Out of the Darkness - Navaho
gelatin silver border print
6 ¼ x 8 ¼ inches signed lower right: Curtis
Provenance: Private Collection, Wyoming
$2,500 – $4,500
124 EDWARD CURTIS (1868 – 1952) Untitled (Child Portrait), 1903
platinum print on paper
7 ⅛ x 5 ¼ inches
signed lower left: Curtis x717 stamped: copyrighted 1903 By E. S. Curtis
Provenance: Private Collection, Wyoming
$1,500 – $2,500
123 EDWARD CURTIS (1868 – 1952) Vash Gon - Jicarilla, 1904
gelatin silver border print 8 ½ x 4 ¾ inches dated lower left: (indecipherable) - 04 signed lower right: Curtis
Provenance: Private Collection, Wyoming
$2,500 – $4,500
125 EDWARD CURTIS (1868 – 1952) The Vanishing Race, 1904
platinum print on paper
6 x 7 ¾ inches
signed and dated lower left: Copyright 1904 By E.S. Curtis signed lower right: Curtis stamped: Copywrighted 1904 By E. S. Curtis
Provenance: Fighting Bear Antiques, Jackson, WY (label verso) Private Collection, Wyoming
Literature: Thomas F. Voight, Stand in the Light, Native Voices Illuminated by Edward S. Curtis, Rio Nuevo Publishers: Tucson, AZ, 2018, example print p. 12
$3,000 – $5,000
126 JOHN FERY (1859 – 1934)
Going to the Sun Mountain, Lake St. Mary, Glacier National Park
oil on canvas
10 x 18 inches
signed lower left: J. Fery
verso: titled (Going to Sun Mt., Glacier Park (indecipherable))
Provenance: Private Collection, American Canyon, CA
$5,000 – $7,000
127 BONNIE
Leaving the Den
oil on board
28 x 40 inches
(1951 – )
signed lower left: BLMarris ©
Provenance:
Husberg Fine Arts Gallery, Scottsdale, AZ (label verso)
From a Private Collection
$15,000 – $25,000
MARRIS
128 GERALD BALCIAR (1942 – ) Canyon King, 1998
Colorado Yule marble
43 ½ x 32 x 17 inches
inscribed: G. Balciar 1998
Provenance:
From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
Born in 1942 in northern Wisconsin, acclaimed sculptor Gerald Balciar’s interest in art and animals was evident from a young age. He spent his formative years observing deer, ducks, and other wildlife in the woods near his home. Grounded in an in-depth knowledge of animals—his extensive library of wildlife material includes photos, magazine clippings, books, and numerous study casts—his sculptures highlight the gentle side of wildlife and evoke a sense of connection between humans and the natural world.
Balciar’s sculptures are characterized by flowing lines, rounded curves, and gentle, often playful, expressions that highlight an animal’s personality. “It is more important to show what animals feel than to show every hair and feather.” 1 His work is also notable for utilizing negative space and possessing a strong silhouette from every angle.
Canyon King is a 1998 commission inspired by Balciar’s most wellknown work, the monumental-sized Canyon Princess in the National Cowboy and Western Heritage Museum in Oklahoma City. Canyon King stands nearly seven feet tall including the base, and the cougar is carved from a single block of Colorado Yule marble. The quarry, near Aspen, produced the marble for the Tomb of the Unknown Soldier and parts of the Lincoln Memorial in Washington DC.
Carved first with a hydraulic chain saw with a diamond-studded chain, Canyon King was refined using silica carbide grinding wheels, disks, and carbide burrs in high-speed rotary air tools. To accomplish the cougar’s smooth finish, Balciar spent countless hours hand-sanding with silica carbide wet/dry paper. 1 The result is exquisite: brilliantly composed and executed—from the cougar’s flawless polish to the meticulously textured crag it rests upon—and sculpturally arresting from every angle.
1 Judy Archibald: “Gerald Balciar: A Master of Marble.” Wildlife Art Magazine, July/August 2006
$50,000 – $75,000
130 J. BRADLEY GREENWOOD (1961 – )
Bison Range Entry Table, 2024
spalted madrone, sycamore, locust, eucalyptus, steel, copper leaf inlay
37 x 57 x 12 ½ inches
inscribed on right-hand corner of tabletop: J Bradley Greenwood / #1131, Livingston, MT
Provenance: From the Artist
129 CHARLES MUENCH (1966 – )
Sunrise in the Land of Giants
oil on canvas
40 ¼ x 50 ⅜ inches
signed lower left: Charles Muench verso: signed and titled
Provenance: From a Private Collection
$12,000 – $18,000
This table features an expertly carved and detailed landscape that reflects the tranquility of the Bison Range (formally the National Bison Range) in western Montana. This historical conservation area of 350-500 American bison is one of the oldest big-game refuges in America. In 2022 it was officially restored to the Confederated Salish and Kootenai Tribes. Utilizing a striking array of California hardwoods, repurposed metals, and meticulous carvings, Greenwood’s hand craftsmanship follows time-honored building techniques inherited from Old World masters. Every aspect provides significant beauty, elite pragmatism, and enduring resilience.
$9,000 – $12,000
131 CLYDE ASPEVIG (1951 – )
Flathead Lake Bird Refuge, 1999
oil on canvas
36 x 60 inches
signed lower left: C. Aspevigverso: titled and signed
Provenance:
Private Collection, Califon, NJ
Literature:
Rockwell Museum of Western Art & Juniper Ridge Studios, Elemental Solitude: The Landscapes of Clyde Aspevig, Billings, MT, 2005, Plate 22, p. 48
A landscape, to Clyde Aspevig, “provokes a story. It’s so powerful an emotion that you can’t help but escape, whether you want to call it romanticism or idealism of a landscape. It provokes an emotional response that is embedded in our psyche as human beings. Landscape is a universal language.”1
Born in northern Montana in 1951, Aspevig has witnessed great change in his home state. As a result he advocates for conservation and responsible land use through his work. “I’ve seen some of the most beautiful places around the world get ruined by too many people loving them to death. I hope that people could learn to appreciate how fragile these places actually are.” 1
The Flathead Valley in Montana contains a variety of habitats, including wetlands, lakes, forests, and grasslands, which attract a wide range of migratory birds. The valley is home to several wildlife refuges. Flathead Lake, the largest natural freshwater lake west of the Mississippi, serves as a crucial resting and feeding ground for migrating birds.
In Flathead Lake Bird Refuge, a great blue heron rests on a driftwood log, its gaze pointed towards the horizon. The interplay of light and coloration conveys a hushed sense of solitude, offering a refuge of sorts to the viewer as well. The cluster of decaying trees in the foreground, strongly rendered against a soft landscape, serves as a reminder that Nature is constantly changing. “The reason I paint these relics is to remind people that we are not permanent here, that things continue to change and that we should recognize that… That’s what these paintings are about: reminding us that Nature is king.” 1
1 Carolyn Kuan: “Nature Is King: The Art and Life of Clyde Aspevig.” On Land, July 2022
$25,000 – $45,000
132 MARK MAGGIORI (1977 – )
Wyoming Spring, 2020
oil on linen mounted on board
27 x 34 inches
signed and dated lower left: Mark Maggiori 2020
Provenance:
From a Private Collection
Born in 1977, the multi-talented Mark Maggiori has been a graphic designer, draftsman, musician, music video director and vocalist; however, in the space of just a few short years—he painted his first cowboy in 2014—he has risen through the ranks to become one of the most recognized and sought after Western painters working today.
The Frenchman – turned American first became inspired by the American West when he was 15, on a family road trip through the US. He vowed to return. He trained in drawing at Paris’ Académie Julian. While in art school, Maggiori’s band, Pleymo, secured a record deal; the budding rock star created their album covers and directed their music videos. After the band went on hiatus in 2007, Maggiori continued to direct music videos, while exploring opportunities to helm documentaries and feature films. However, a 2012 trip to Oklahoma City and the National Cowboy & Western Heritage Museum inspired his future. “It was like I was struck by lightning—the storytelling, the American myth, the lighting, the clothing,
everything about the cowboys in those paintings!” he remembers. He left with one laser-focused goal: “This is something I want to do. I realized there was a whole western art scene. I wanted to be part of it.” So, he says, “I took a big step into unknown territory.” 1
Over the last decade Maggiori has immersed himself in observing the American cowboy and studying classic Western artists, namely Frederic Remington, Maynard Dixon, and members of the Taos Society of Artists.
Wyoming landscapes are rare in Maggiori’s oeuvre, and Wyoming Spring is rarer still for being set against the backdrop of the Tetons. This photo-realistic rendering of a cowboy in the wild reflects Maggiori’s meticulous study—he goes to great lengths to render accurate depictions of cowboys—and imparts a nostalgia for the Old West that can only come from an outsider’s perspective.
Maggiori’s work has been featured in such periodicals as Forbes, Art of the West, and Southwest Art. His work has been exhibited in the Briscoe Western Art Museum in San Antonio, the Eiteljorg Museum of American Indians and Western Art in Indianapolis, the Autry Museum of the American West, the Maxwell Alexander Gallery in Los Angeles and the Couse-Sharp Historic Site in Taos, New Mexico.
1 Norman Klopus. “Mark Maggiori | Lightning Strike.” Southwest Art Magazine, August, 2018
$80,000 – $120,000
133 GLENN DEAN (1976 – ) Day Wrangler
oil on canvasboard
11 ½ x 11 ½ inches signed lower right: GD
Provenance:
Studio B, Scottsbluff, NE (label verso) From a Private Collection
$5,000 – $7,000
134 HARRY JACKSON (1924 – 2011)
Ropin’ a Star, 1982/1991
egg/oil tempera on bronze
27 ¼ x 22 x 8 ¾ inches
inscribed: © Harry Jackson 1982 RSP 7P stamped: EFS ITALIA signed and dated: © Harry Jackson 1991
Provenance: From a Private Collection
$10,000 – $15,000
135 JARED SANDERS (1970 – ) Winter Shadows
oil on canvas
40 x 90 inches
signed lower right: Sanders
Provenance: From a Private Collection
$10,000 – $20,000
136 ED MELL (1942 – 2024)
Standing Orange Rocks, 1983
oil on canvas
54 x 40 inches
signed lower right: Ed Mell verso: signed and dated
Provenance:
Suzanne Brown Gallery, Scottsdale, AZ (label verso)
From a Private Collection
Born in 1942 in Phoenix, Arizona, Ed Mell showed an early interest in drawing and design. He studied to become an art director at the Art Center of College and Design in Los Angeles and later applied his technical skills doing commercial illustration work at prestigious New York City advertising agencies. While in New York in the late 1960s and early 1970s, Mell did illustration work for such clients as TWA, Esquire Magazine, Helena Rubenstein, and National Lampoon.1 “It was an exciting time, but the dream was not quite there for me.” 2
A pivotal moment in Mell’s artistic career came in the summer of 1970, when a friend invited him to teach art classes on the Hopi reservation. Two summers teaching on the reservation rekindled Mell’s connection to the West, and in 1973 he returned to Arizona permanently.
Mell described his painting style as “desert modernism. Not cubism but with cubism’s straight lines to add strength.” His landscapes convey both the reality and the romance of desert vistas, but though some places are immediately recognizable, Mell’s preoccupation was in capturing mood. “Think of driving through an area like Monument Valley. Later … you won’t remember details, but you will have a lasting impression of the forms, colors, and, especially, the mood.” 2
Standing Orange Rocks, painted in 1983, is minimal and modernist, imposing in scale. The architectural rendering of the rocks and clouds carries hints of a city scape—perhaps an oblique nod to Georgia O’Keefe’s city scapes of the 1920s—and reflects both Mell’s appreciation of art deco style and his technical art education. Maynard Dixon’s influence is apparent in Mell’s dramatic use of light and shadow in rendering awe-inspiring rock formations that seemingly project off the canvas.
Today, Ed Mell’s work is included in the permanent collections of many museums, including the Phoenix Art Museum, Booth Museum, Scottsdale Museum of Contemporary Art, and Eiteljorg Museum of American Indians and Western Art. He passed away on February 21st, 2024.
“Ed Mell was a legend. [He] …carved the path for all of us. Broke the rules, opened the doors to the possibles, dropped modernism on western art and took it to the next level.” –Mark Maggiori
1 Mary Nelson: “Ed Mell: Nature’s Impact.” Art of the West, September/October 2014
2 Irene Rawlings: “Desert Magic: The Work of Ed Mell.” The Saturday Evening Post, April 26, 2022
$60,000 – $90,000
137 KIM WIGGINS (1960 – )
End of the Day, 2001
oil on board 14 x 18 inches
signed and dated lower left: Kim Wiggins 01 verso: titled
Provenance: Private Collection, Dallas, TX
$3,500 – $5,500
signed
Provenance: From a Private Collection
$15,000 – $25,000
138 KENNETH RILEY (1919 – 2015)
Extras
oil on canvas
10 x 16 inches
lower right: Kenneth Riley (artist cipher)
140 GARY NIBLETT (1943 – ) Evening Ride
oil on canvas
12 x 16 inches
signed lower left: Gary Niblett (artist cipher)
verso: titled and signed
Provenance:
Nedra Matteucci Galleries, Santa Fe, NM (label verso)
From the Collection of Melchor Moore
$1,500 – $2,500
139 TONY EUBANKS (1939 – ) Red Leggings
oil on canvas 16 x 20 inches
signed lower right: Eubanks
Provenance: From a Private Collection
$2,000 – $4,000
141 KENNETH RILEY (1919 – 2015)
Untitled (Two Dancers)
acrylic on illustration board
4 ½ x 3 ⅞ inches
signed lower left: Kenneth Riley
Provenance: From the Collection of Maria Riley
$3,000 – $5,000
142 KENNETH RILEY (1919 – 2015) Indian Portrait (Bear Claw
acrylic on paper
2 ⅜ x 3 ⅛ inches
signed lower left: KR
Provenance:
From the Collection of Maria Riley
$2,000 – $4,000
143 KENNETH RILEY (1919 – 2015) Guarding the Herd
acrylic on illustration board
3 x 4 ½ inches
signed lower right: KR
Provenance: From the Collection of Maria Riley
$3,000 – $5,000
144 KENNETH RILEY (1919 – 2015) Four Lances Study
acrylic on paper
4 x 3 ½ inches
signed lower left: Kenneth Riley
Provenance:
From the Collection of Maria Riley
$2,500 – $4,500
145 KENNETH RILEY (1919 – 2015) Untitled (Profile with Feather Shield)
acrylic on paper
1 ¾ x 3 ⅜ inches
signed lower right: KR
Provenance: From the Collection of Maria Riley
$1,500 – $2,500
Necklace)
146 JOHN MOYERS (1958 – )
Communing with the Spirits oil on canvas
50 x 40 inches
signed lower right: John Moyers verso: titled and signed
Provenance:
National Academy of Western Art (label verso) From a Private Collection
Exhibited: Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$25,000 – $35,000
147 MARTHA PETTIGREW (1950 – )
The Three Graces, 1999
bronze, AP I/V 17 x 21 ¼ x 20 ¼ inches
inscribed: Martha Pettigrew © 1999 AP I/V
Provenance: From a Private Collection
$2,000 – $4,000
148 KIM WIGGINS (1960 – )
Las Trampas, 2000
oil on canvas 9 x 12 inches
signed and dated lower center: KD Wiggins 00
Provenance: Private Collection, Dallas, TX
$3,000 – $5,000
149 JOSEPH FLECK (1892 – 1977)
Taos Mesa
oil on masonite
20 x 24 inches
signed lower left: J. Fleck.
Provenance:
Private Collection, New Mexico
Santa Fe Art Auction, NM (label verso)
Private Collection, Paradise Valley, AZ
$5,000 – $7,000
150 CARL VON HASSLER (1887 – 1969)
Fall in Rural New Mexico
watercolor and gouache on paper 14 ⅛ x 20 inches
signed lower left: Von Hassler
Provenance:
Nedra Matteucci Galleries, Santa Fe, NM (label verso)
Santa Fe Art Auction, Santa Fe, NM (label verso)
Private Collection, Paradise Valley, AZ
$1,500 – $2,500
151 JAMES SWINNERTON (1875 – 1974)
Agathla Needle, Monument Valley, Arizona, 1956
oil on canvas
26 ⅛ x 19 ⅞ inches
signed lower right: Swinnerton
verso: dated and titled
Provenance:
Gretchen Swinnerton, wife of the artist, October 7, 1956
Camelback Gallery, Scottsdale, Arizona
Mrs. George Peabody, Phoenix, Arizona
Phoenix Art Museum, Phoenix, Arizona, acquired 1961
Butterfields, Los Angeles, California and American Paintings, June 13, 2001, lot 5155
Private Collection
Bonhams California, 2021, lot 194
Private Collection, Paradise Valley, AZ
$4,000 – $6,000
oil on canvas
16 x 22 inches
signed and dated lower left: Charles Barrows ‘34
Provenance:
Auction in Santa Fe, 2009
Private Collection, Paradise Valley, AZ
$2,500 – $4,500
153 MERRILL MAHAFFEY (1937 – )
Edge of the Plains (Garden of the Gods)
watercolor on paper
22 ¼ x 34 ¼ inches
signed lower right: Merrill Mahaffey
Provenance: From a Private Collection
$800 – $1,200
152 CHARLES BARROWS (1903 – 1988)
Adobe Near Sun Mountain, 1934
154 ED MELL (1942 – 2024)
Afternoon / Lake Powell (Study)
pastel on paper
21 ¾ x 15 ⅝ inches
signed lower left: Ed Mell
Provenance:
Suzanne Brown Gallery, Scottsdale, AZ (label verso) From a Private Collection
$10,000 – $15,000
155 MERRILL MAHAFFEY (1937 – )
Afternoon, Grand Canyon, 1998
acrylic on canvas
64 x 46 x 1 ⅜ inches (unframed) signed lower right: Merrill Mahaffey verso: signed, titled and dated
Provenance: From a Private Collection
$3,000 – $5,000
156 MERRILL MAHAFFEY (1937 – ) Canyon River Landscape
acrylic on canvas
27 ¼ x 39 ⅜ inches signed lower left: Merrill Mahaffey
Provenance: From a Private Collection
$1,500 – $2,500
157 CURT WALTERS (1950 – )
Last Light: Canyon de Chelley, 1984
oil on canvas
20 x 40 inches
signed lower left: - Curt Waltersverso: titled (Last Moments)
Provenance: From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$10,000 – $20,000
158 CLYDE ASPEVIG (1951 – ) Utah Desert
oil on canvas laid on board 24 x 30 inches
signed lower left: C. Aspevig
verso: titled and signed
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso) From a Private Collection
Exhibited:
Prix de West Invitational, National Cowboy Hall of Fame & Western Heritage Museum, Oklahoma City, OK
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$8,000 – $12,000
159 G. RUSSELL CASE (1966 – ) Autumn Rains, 2021
oil on canvas laid on board 11 x 14 inches
signed lower right: (artist cipher) G. Russell Case verso: titled, signed and dated
Provenance: Private Collection, The Woodlands, TX
$2,000 – $3,000
160 CURT WALTERS (1950 – )
Winter Grandeur Revealed, 1998
oil on canvas
40 x 60 inches
signed lower left: Curt Walters
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso) From a Private Collection
Exhibited:
Prix de West Invitational, National Cowboy Hall of Fame & Western Heritage Museum, Oklahoma City, OK, 1998
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
In describing the memorable evening he accepted the 1998 Prix de West Buyers Choice Award for Winter Grandeur Revealed, Curt Walters said:
“Following the sale and right before the banquet was to begin, 1,200 of us were suddenly ushered to the basement because of a tornado warning. When the danger had passed we all sat down to cold steaks and warm salads and what seemed like the light of a 60-watt bulb.
To my great surprise it was announced I was the winner…My heart began to race as I thought about how many years it had taken me to get into this room. I made my way through the dark so I could deliver my acceptance speech by megaphone…
I wish I could have expressed how important this moment was for me. Even to this day, this is my most treasured award.” 1
1 Curt Walters. “Painting the Air: The Life and Art of Curt Walters (Video).” YouTube, 2019
$40,000 – $60,000
161 DUNCAN ALANSON SPENCER (1911 – 1999)
The Crown, 1976
watercolor on paper
19 ⅞ x 28 ¾ inches
signed and dated lower right: D. Alanson Spencer. AW.S. 76 verso: titled and signed
Provenance:
From the Marjorie T Hughes Trust Collection
$1,500 – $2,500
162 BILL ANTON (1957 – ) No Turning Back, 2019
oil on canvasboard
12 x 16 inches
signed lower right: Bill Anton verso: titled, signed and dated
Provenance: From a Private Collection
$4,000 – $6,000
163 TONY EUBANKS (1939 – ) Sun,
32 x 46 inches
signed lower right: Eubanks
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso)
Private Collection, Dallas, TX
$6,000 – $9,000
Wind, & Sky
oil on canvas
164 RAY SWANSON (1937 – 2004)
Stopping to Visit, 1988
oil on board
32 x 41 ⅞ inches signed and dated lower right: Ray Swanson (artist cipher) © 88’
Provenance:
From a Private Collection
$10,000 – $15,000
165 GEORGE CARLSON (1940 – ) The Winnowers, 1989
bronze, 1/12
48 ½ x 43 x 26 inches inscribed: Carlson 1989 © 1-12
Provenance:
From a Private Collection
$30,000 – $50,000
mixed media on paper
22 ¾ x 29 ½ inches
signed lower right: Kevin Red Star ©
Provenance: From a Private Collection
$2,500 – $3,500
oil on canvas
30 x 40 inches
signed lower right: Ray Swanson (artist cipher)
verso: titled, signed and dated
Provenance: From the Collection of Barbara Redmont
$8,000 – $12,000
166 KEVIN RED STAR (1943 – ) Crow Man
167 RAY SWANSON (1937 – 2004)
Shonto Goat Herder, 1999
168 WALT WOOTEN (1939 – ) American Scout / Apache
oil on canvas
45 x 54 inches
signed lower left: Wooten verso: titled and signed
Provenance: From a Private Collection
$3,000 – $5,000
169 JOE BEELER (1931 – 2006) Scout for the Longknives
bronze, 11/40
21 ½ x 9 x 11 inches
inscribed: Joe Beeler (artist cipher) stamped: 11/40
Provenance:
From a Private Collection
Literature: Don Hedgpeth, Joe Beeler: Life of a Cowboy Artist, Diamond Tail Press and Claggett-Rey Gallery, Vail, CO, 2004, illus. p. 204
$4,000 – $6,000
170 JOHN DEMOTT (1954 – ) Symbol of Broken Promises, 1998
oil on canvas
36 x 24 inches
signed and dated lower left: DeMott 1998 © verso: signed and dated
171 JOE BEELER (1931 – 2006) Speaker of the House
bronze, 22/40
17 ⅝ x 9 ¾ x 10 inches
inscribed: Joe Beeler (artist cipher) stamped: Bronze Smith
Provenance: From a Private Collection
Provenance: Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso) From a Private Collection
$4,000 – $6,000
Literature: Don Hedgpeth, Joe Beeler: Life of a Cowboy Artist, Diamond Tail Press and Claggett-Rey Gallery, Vail, CO, 2004, illus. p. 228
$4,000 – $6,000
172 PAUL PLETKA (1946 – )
Mohtawas (Meaning - Without a Lock of Hair on the Forehead)
acrylic on canvas
54 ¼ x 46 x 1 ½ inches
signed lower right: Pletka verso: titled
Provenance: From a Private Collection
$25,000 – $45,000
173 KIM WIGGINS (1960 – )
Lower Canyon Road, 1997
oil on canvas
18 x 24 inches
signed and dated lower right: KD Wiggins 97
Provenance:
Altermann & Morris Galleries, Dallas and Houston, TX (label verso)
Private Collection, Dallas, TX
$5,000 – $7,000
174 JOHN NIETO (1936 – 2018)
His Own Cavalry
acrylic on canvas
36 x 24 inches
signed lower right: nieto
verso: titled, signed and dated
Provenance: From a Private Collection
$12,000 – $18,000
Jacket, 2010
acrylic on canvas
9 ⅞ x 8 inches
signed upper right: Nieto verso: titled, signed and dated
Provenance: From a Private Collection
$3,000 – $5,000
bronze, 15/35
19 ½ x 13 x 14 ⅞ inches
inscribed: Joe Beeler stamped: 15/35
Provenance:
Cowboy Artists of America 25th Annual Sale & Exhibition, Best of Show Gold Award, Phoenix Art Museum, October 19-November 18, 1990
From a Private Collection
Literature:
Don Hedgpeth, Joe Beeler: Life of a Cowboy Artist, Diamond Tail Press and Claggett-Rey Gallery, Vail, CO, 2004, illus. p.140
$10,000 – $20,000
176
Voices in the Wind
bronze, 28/35
30 ½ x 13 x 8 ⅞ inches
inscribed: Joe Beeler (artist cipher) 28/35
Provenance: From a Private Collection
Literature: Don Hedgpeth, Joe Beeler: Life of a Cowboy Artist, Diamond Tail Press and Claggett-Rey Gallery, Vail, CO, 2004, illus. pp. 102-103
$6,000 – $9,000
mixed media on canvas
11 ⅞ x 11 ⅞ x 1 ½ inches signed upper right: Pletka
Provenance: From a Private Collection
$1,200 – $1,800
JOE BEELER (1931 – 2006)
177 JOE BEELER (1931 – 2006)
Chief Goes to Washington
175 JOHN NIETO (1936 – 2018)
Self Portrait, 2010
178 PAUL PLETKA (1946 – ) Native Portrait
179 FRANK MCCARTHY (1924 – 2002)
A Crooked Trail, 1987
oil on canvas
35 ¾ x 14 inches
signed and dated lower right: McCarthy (artist cipher) © 1987
verso: titled, dated and signed
Provenance:
From a Private Collection
Literature:
Elmer Kelton, The Art of Frank C. McCarthy, Greenwich Workshop, Inc.,1992, Illus. p. 38
“Dwarfed beneath a high slickrock formation, an Apache kneels to study the ground for a telltale overturned rock or crushed grass stems that might indicate someone else has been here before him. Indians were quick to learn the use of articles acquired in trade or taken in battle, like the white man’s saddle and bridle.” – Elmer Kelton, The Art of Frank C. McCarthy, Greenwich Workshop, Inc.,1992
$15,000 – $25,000
180 GEORGE CARLSON (1940 – ) Dancers of Norogachi, 1974
bronze, 16/21
28 x 25 x 28 inches
inscribed: Carlson 1974 16 /21
Provenance: From a Private Collection
$10,000 – $20,000
181 GARY NIBLETT (1943 – ) Trail of Many Soldiers
oil on canvas
36 x 48 inches
signed lower right: Gary Niblett (artist cipher)
verso: titled and signed
Provenance:
Cowboy Artists of America 39th Annual Sale & Exhibition, Phoenix Art Museum, (label verso)
Bennett Galleries, Nashville, TN (label verso)
Jackson Hole Art Auction, Jackson, WY, 2022
From a Private Collection
Preliminary pencil on paper drawings–signed, mounted, and framed–accompany this lot.
$15,000 – $25,000
–
oil on canvas
12 ⅛ x 10 ⅛ inches
signed lower left: (artist cipher) Ziegler
Provenance:
Private Collection, American Canyon, CA
$3,000 – $5,000
184 PAUL DYCK (1917 – 2006) The Flag Chief, 1979
mixed media on board
30 x 40 inches
signed lower right: Paul Dyck
verso: titled, signed and dated
Provenance: Wollheims’ Rosequist Galleries, Tucson, AZ (label verso) Private Collection, Scottsdale, AZ
$4,000 – $6,000
–
oil on canvas
12 ⅛ x 10 ⅛ inches
signed lower left: (artist cipher) Ziegler
Provenance:
Private Collection, American Canyon, CA
$3,000 – $5,000
185 HARRY JACKSON (1924 – 2011) Dog Soldier, 1983/1985
egg/oil tempera on bronze
24 ⅜ x 25 x 18 inches
inscribed: DS 12P © Harry Jackson 1983 stamped: WRS ITALIA signed and dated: © H. Jackson 1985
Provenance: From a Private Collection
$10,000 – $15,000
182 EUSTACE PAUL ZIEGLER (1881
1969) Old Woman, Tanana, Alaska
183 EUSTACE PAUL ZIEGLER (1881
1969) Kobuk Native, Alaska
186 CHARLIE DYE (1906 – 1972) Cheyenne Challenge
oil on canvas
20 x 24 inches
signed lower left: Charlie (artist cipher) Dye ©
Provenance:
O’Brien’s Art Emporium, Scottsdale, AZ (label verso)
From a Private Collection
Literature:
Paul Weaver, Charlie Dye: One Helluva Western Painter, Peterson Prints, Los Angeles, 1981, illus. p. 15
$30,000 – $50,000
oil on canvas mounted on board
15 ⅞ x 12 inches
signed lower left: C. Apevig verso: titled and signed
Provenance:
Thomas Nygard, Inc., Bozeman, MT (label verso)
From a Private Collection
$3,000 – $5,000
oil on canvas
19 ½ x 23 ½ inches
signed lower left: M - Albrechtsen
Provenance:
From a Private Collection
$2,000 – $4,000
187 CLYDE ASPEVIG (1951 – ) Autumn Trees
188 MICHAEL ALBRECHTSEN (1962 – ) Solitude
oil on canvas
16 x 12 inches
signed lower left: G. Harvey © verso: titled, signed and dated
Provenance:
From a Private Collection
$30,000 – $50,000
189 G. HARVEY (1933 – 2017)
High Meadows, 1994
190 RICHARD D. THOMAS (1939 – 2019)
Blackfeet Passage, 1991
oil on canvas
36 x 48 inches
signed and dated lower right: © Richard D. Thomas ‘91
verso: titled, signed and dated
Provenance:
Altermann Galleries & Auctioneers, Santa Fe, NM (label verso)
Private Collection, Fort Worth, TX
$15,000 – $25,000
191 BEV DOOLITTLE (1947 – ) Pack on the Move
watercolor on paper
18 ⅛ x 18 ⅛ inches
signed lower right: Bev Doolittle
verso: painting 17 ⅞ x 18
Provenance: Art Encounter, Las Vegas, NV (label verso) Private Collection, Henderson, NV
$3,000 – $5,000
192 ANSEL ADAMS (1902 – 1984)
The Teton Range and Snake River, Grand Teton National Park, Wyoming, 1942
gelatin silver print mounted on board, printed c. 1973-1977 15 ½ x 19 ¼ inches
signed in pencil on the mount, lower right: Ansel Adams titled and dated: ‘1942’ on photographer’s Carmel credit [BMFA Stamp 11] in ink (mount, verso)
Provenance:
The Ansel Adams Gallery
Christie’s New York, Photographs from the Collection of Sir Elton John, October 14, 2004
Private Collection, Wyoming
Literature:
Mary Street Alinder, Ansel Adams Letters and Images, 1916-1984, A New York Graphic Society Book/Little, Brown and Company, Boston, 1988, p. 331. Stillman, Ansel Adams: 400 Photographs, Little, Brown and Company, New York, 2007, cover and p. 205
Alinder and Szarkowski, Ansel Adams: Classic Images, Little, Brown and Co., Boston, 1985, p. 35
Stillman and Turnage, Ansel Adams: Our National Parks, Little, Brown and Co., Boston, 1992, p. 31 and cover
“No matter how sophisticated you may be, a granite mountain cannot be denied - it speaks in silence to the very core of your being.”
– Ansel Adams, Sierra Club Bulletin, 1932
This Grand Tetons view is the most sought after of Ansel Adams’s iconic images. This print was collected by Sir Elton John, who is noted not only as a great photography collector but a collector who brought a connoisseur’s eye to each print he purchased. Eye candy for the well-schooled collector, it delights the viewer with its incandescent light and tone.
To paraphrase Ansel Adams, “the negative is the score and the print is the performance,” and here we have a transcendent performance.
The Mural Project
In 1941, Secretary of the Interior Harold Ickes hired Adams to photograph the lands and Native Americans under his department’s jurisdiction. Adams’s goal was to produce thirty-six photographic murals to hang on the walls of the Department of the Interior in an emotionally progressive sequence intended to positively influence congressmen, lobbyists, and government officials. His job description read “Photographic Muralist, Grade FCS-19” and he received a daily compensation of $22.22 (the highest rate then paid to a consultant), plus $0.04 a mile and $5 per diem for room and board. The contract, specifying that he was to work no more than 180 days, was in effect from October 14, 1941, to July 2, 1942.1
On June 11, 1942, Ansel Adams wrote to Nancy Newhall that he was heading to Billings, Montana, “then to Yellowstone, then to Glacier, then on west to Rainier and Crater Lake, then home.” That summer, Franklin Delano Roosevelt and the National Park Service were in a furious battle with Jackson Hole ranchers over young John D. Rockefeller Jr.’s secret purchase of local land using the Snake River Land Company as a front. Rockefeller intended to give his huge parcel of Teton Valley to the National Park Service. Local cattlemen and politicians, Wyoming congressmen and senators, and the U.S. Forest Service all objected. Film actor and valley resident, Wallace Beery, led an armed posse and a herd of cattle across park land. Fortunately, the National Park
Service ignored the opera bouffé gesture and no shootouts occurred. With this heated conflict brewing, it appears that Ansel Adams detoured from Yellowstone into Jackson Hole and made his photograph The Tetons and the Snake River, Grand Teton National Park, which included much of land Rockefeller intended to grant for park expansion. Taken during a rainstorm, it was a majestic photograph that clearly touted the vast emptiness of unspoiled nature. Was it also meant as one of Interior Secretary Ickes’s public appeal weapons in the war with the ranchers and the Forest Service over which he had no control? 2
Making the Negative and Print
On a stormy afternoon in mid-June, Adams set up his 8 x 10-inch Ansco Commercial View camera and attached a 12-inch, slightly long-focus, Goerz Dagor lens to gently compact space, with a Wratten K2 yellow filter to minimize haze. Since his goal was to make murals, he used Kodak’s very fine grained Panatomic-X sheet film developed in Ansco 12. The fine grain would allow for enlargement to mural proportions.
Later, Adams remembered that when he made The Tetons and the Snake River, the scene before him was physically gray, but his emotions were anything but, soaring as high as the fantastic mountains before him. He knew when he returned home and made a print, it would resonate with thunderous power. Ibid.
The Tetons negative holds a range of extreme contrasts, from Zone II (almost pure black) along its left edge to a blinding Zone VIII (almost detail-less white) in the patches of glinting sunlight on the river’s surface. Creating his visualization of the Tetons that would communicate the desired impact meant a virtuoso darkroom performance of burning (giving more exposure) and dodging (less exposure) to localized areas in each and every print. So much tonal manipulation proved essential that he realized that great care had to be taken so that the tonal values he captured on each paper’s surface remained believable.
Ansel Adams’s Grand
Style
Rebecca Senf, the leading Ansel Adams scholar, notes how this view exemplified Adams’s grandest style:
“Around 1941, Adam’s photographic style shifted dramatically. The drama grandeur and awe conveyed in his 1927 Monolith, the Face of Halfdome , … became typical…. This shift, to what is considered his mature style, coincided with his work for the UD Department of the Interior… The job resonated so strongly with him because … he knew who his audience was. … The American people… He understood what he wanted to communicate: that the National Parks were an American Treasure, a gift from the nation to its people, from the past and present to the future, and a place of incomparably profound experience. He knew how to say it: by depicting the awesome views of protected lands through a powerful, direct, and operatic style.
This signature, or mature, style includes a number of facets, … which function together to heroize the landscape and emotionally engage the viewers to share Adam’s vision of nature as transformative. These facets encompass technical choices: a panoramic perspective with emphasis on a distant landscape, an omnipresent viewpoint, the inclusion of dramatic light and weather effects, and a balanced inclusion of a wide range of gray tones” seen in his iconic views such as The Teton Range and Snake River, Grand Teton National Park, Wyoming 3
$100,000 – $150,000
1 “Masterpieces: The Tetons and the Snake River by Ansel Adams” on this image in The Art of Craft: The Newsletter of the Edward Carter Gallery, pp.9-11. 1999
2 This would explain Adams’s change of itinerary, See Ansel Adams, Letters and Images 1916-1984 (Boston: Little, Brown and Co., 1988), p. 135; and Betts, Along the Ramparts, Chapter 18; for Beery’s action, see p. 209. Also see Righter, Crucible for Conservation, passim, especially pp. 114-115. https://www.nps.gov/parkhistory/online_books/grte2/hrs18n.htm
3 Rebecca Senf Making a Photographer: The Early Work of Ansel Adams, 2020. Yale. P. 199-200.
193 CONRAD SCHWIERING (1916 – 1986)
Tapestry of Time, 1962
oil on panel
48 x 48 inches
signed lower left: Schwiering (artist cipher) © verso: titled and dated
Provenance:
From the Collection of The First National Bank of Rawlins, WY
From a Private Collection
Literature:
Robert Wakefield, Schwiering and the West, North Plains Press, 1973, illus. p. vii
Beloved Wyoming artist, Conrad Schwiering is best known for his captivating paintings of the Teton mountain range. Tapestry of Time was painted from the same vantage point as Ansel Adams’s iconic The Teton Range and Snake River, 20 years after. Commissioned by the Bank of Rawlins in 1962, Tapestry of Time’s vivid color is a dramatic counterpoint to Adams’s moody photograph, but both present an image of grandeur that has become an emblem of Grand Teton National Park.
Schwiering played a crucial role in shaping the public’s perception and appreciation of the Teton landscape through his visual representations. He is often mentioned alongside other notable painters, such as Harrison R. Crandall, who have captured the beauty of Grand Teton National Park. 1
He had an uncanny ability to capture the ever-changing light and atmosphere of the landscape, a deep connection forged by plein air painting many hours a day, day in and day out, over the course of many decades. Still highly sought-after, the enduring appeal of Schwiering’s paintings speaks to their timeless quality and his ability to evoke the spirit of the Teton landscape.
“Many people who paint mountains try so hard to get the anatomy, size, and shape of the mountains that they don’t think about what the mountains really stand for. A painting has got to be more than just a picture of a mountain. It’s got to have a message about how awesome and how powerful the mountain is. When I paint I try to convey that feeling, to make the viewer feel a little bit humble before the greatness of the mountains and the forces of nature.” 1
When asked if he ever got tired of painting the Tetons, Schwiering proclaimed, “No, how could I? In just a short time, you can see a thousand different moods. They’re always changing; every hour, every day, every season, every year…You have to live with these mountains every day to know and understand their moods. You have to be outside and feel them, smell them, and hear them. No, I never grow tired of the mountains…I think of them as my good friends” 2
1 William H. Goetzmann: “Picturing Jackson Hole and Grand Teton National Park.”
A Place Called Jackson Hole: A Historic Resource Study of Grand Teton National Park, National Park Service
2 Dean Krakel: “Painter of the Tetons.” Art of the West Magazine
$30,000 – $50,000
194 GREG SCHEIBEL (1961 – )
Teewinot from the North Fork
oil on canvas laid on board
36 x 36 inches
signed lower right: Scheibel
verso: titled and signed
Provenance:
Astoria Fine Art, Jackson, WY (label verso)
From a Private Collection
$4,000 – $6,000
195 JAMES REYNOLDS (1926 – 2010)
Ten Mile Creek
oil on canvas
34 x 40 inches
signed lower left: James Reynolds
Provenance:
From a Private Collection
$15,000 – $20,000
196 WALT GONSKE (1942 – )
Sangre de Cristo Mountain Range
oil on canvas
16 x 30 inches
signed lower left: Gonske
verso: signed and titled
Provenance: Soulis Auctions
From a Private Collection
$2,500 – $4,500
197 TUCKER SMITH (1940 – )
Rams Being Rams, 2009
oil on canvas 18 x 15 inches
signed and dated lower left: Tucker Smith 09
Provenance: From a Private Collection
$20,000 – $40,000
198 RICHARD LOFFLER (1956 – ) Out on the Terrace, 1995
bronze, 1/15
16 ⅞ x 22 ⅞ x 14 ¼ inches inscribed: R. Loffler ‘95 “Out on the Terrace”
Provenance: From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
“I created this piece after watching a program about Bighorn sheep in the Canadian Rockies. I wanted to convey their gentleness and tender touch. I used the title as a play on words to bring this idea closer to our own homes. The ram and ewe are gently touching but yet looking away from each other in that coy game of love.” – Richard Loffler
$4,000 – $6,000
199 CARL RUNGIUS (1869 – 1959) Alarmed
etching and drypoint on paper
6 ⅞ x 9 inches
signed lower right: C. Rungius
Provenance:
Arthur H. Harlow & Co, New York, NY (label verso) From a Private Collection
Literature:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, example illus. plate 6
$2,000 – $4,000
200 CARL RUNGIUS (1869 – 1959)
The Stranger
etching on paper
8 ⅞ x 11 ⅛ inches
signed lower right: C. Rungius
Provenance:
Out of Africa - In Montana, Bozeman, MT (label verso) Private Collection, Bozeman, MT
Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, example illus. plate 14
$3,000 – $5,000
201 TOM BEECHAM (1926 – 2000)
High Country Stones (Bighorns), 1986 oil on canvas
24 x 36 inches
signed and dated lower left: TBeecham © ‘86
Provenance: FNAWS Convention, Hawaii (label verso)
Out of Africa - In Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT
$3,000 – $5,000
202 CARL RUNGIUS (1869 – 1959)
The Challenge
oil on canvas
30 ⅜ x 46 ⅜ inches signed lower right: C. Rungius
Provenance:
Private Collection, Colombia Falls, MT Jackson Hole Art Auction, Jackson, WY, 2014
From a Private Collection
Widely recognized as the premier painter of North American wildlife, Carl Rungius was born in Germany in 1869 and classically trained at the Royal Academy of Arts in Berlin. He first came to North America in 1894 on a hunting trip to Maine and stayed on to spend the following summer hunting in Wyoming.
An avid hunter and outdoorsman, Rungius spent considerable time in the wilderness studying animal anatomy and behavior firsthand. Direct observation lent his work a sense of authenticity and immediacy that set it apart from many of his contemporaries.
Rungius’s approach to wildlife painting was groundbreaking for his time. He was among the first artists in early 20th century North America to merge wildlife and landscape painting, situating animals within their natural environments. He presented wildlife in a setting seemingly untouched by mankind, projecting an image of the West as unspoiled, remote, and wild.
By the turn of the 20th century, about when The Challenge was painted, long gone were the days of wagon trains. Thirty years had passed since the first transcontinental railroad ushered in Westward Expansion. In Wyoming, the likely setting for this painting, Yellowstone National Park was well-established and Buffalo Bill’s Wild West Show was in its second decade running. Within this context, The Challenge was a reminder that there was still wild in the West.
A mature bull elk bugles in the foreground to an equally sized adversary in the distance. The animal’s raw power is apparent in the outstretched neck, the whites of his eyes, and the mist from his bugle. The bull adversary, cows, trees and much of the landscape are rendered impressionistically, heightening the detailed rendering of the main subject. A moment of tension preceding an uncertain outcome.
This work will be included in the forthcoming Catalogue Raisonné, currently being prepared by Adam Duncan Harris, Ph.D., Grainger/Kerr Director of the Carl Rungius Catalogue Raisonné, an independent project of the National Museum of Wildlife Art.
$250,000 – $350,000
203 BOB KUHN (1920 – 2007)
Outdoor Life
acrylic on board
10 ¾ x 7 ⅞ inches
signed lower right: Kuhn
Provenance:
From a Private Collection
$9,000 – $12,000
Accompanying this lot is a framed copy of the November 1965 issue of Outdoor Life magazine.
204 BOB KUHN (1920 – 2007)
Bull of the Woods, Study for Remington’s 150th Anniversary Calendar, 1966
gouache on paper
9 ¾ x 13 ½ inches
verso: dated, titled and signed
Provenance:
From a Private Collection
Literature:
Tom Davis, The Art of Remington Arms, Sporting Classics & Remington Arms Co., 2003, Illus. table of contents
$12,000 – $18,000
205 BOB KUHN (1920 – 2007)
Rogue Grizzly, Study for Remington’s 150th Anniversary Calendar, 1966
gouache on paper
9 ¾ x 13 ⅜ inches
verso: dated and signed
Provenance:
From a Private Collection
Literature:
Tom Davis, The Art of Remington Arms, Sporting Classics & Remington Arms Co., 2003, Illus. p.57
$12,000 – $18,000
206 HENRY MERWIN SHRADY (1871 – 1922)
Bull Moose, 1900
bronze
19 ⅞ x 17 ½ x 11 inches
inscribed: Copyright Theodore B. Starr H.M. Shrady 00 Roman Bronze Works NY
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ
From a Private Collection
Henry Merwin Shrady was born in New York City in 1871. The son of a prominent physician, Shrady studied law at Columbia University but was unable to complete his degree due to illness. He studied animal anatomy as an undergraduate and sketched animals at the Bronx Zoo as a hobby; when he began sculpting, he was largely self-taught.
Bull Moose is notable for its anatomical accuracy: the proportions, musculature, and texture of the fur and paddles are a testament to the depth of Shrady’s anatomical studies. Remarkably, Bull Moose was one of Shrady’s first sculptures, cast in 1900 along with Monarch of the Plains and The Empty Saddle. Shrady would go on to create eight monumental animal sculptures for the 1901 Pan-American Exposition in Buffalo, New York.
Though most well-known for the Ulysses S. Grant Memorial, one of the most significant monuments in Washington DC, Shrady’s animal sculptures continue to be sought-after for their artistic excellence. Casts of Bull Moose are included in the collections of the Metropolitan Museum of Art in New York and the Gilcrease Museum in Tulsa, Oklahoma.
$60,000 – $90,000
208 TUCKER SMITH (1940 – ) Morning Fog Study, 1999
oil on canvas
12 x 16 inches
signed and dated lower right: Tucker Smith 99
verso: titled
Provenance:
From the Collection of Robert & Curtice McCloy
Literature:
Tom Davis: Patrons Without Peer the McCloy Collection, Collectors Covey: Dallas, TX, 2009, Illus. p. 195
$15,000 – $25,000
The Next Generation
oil on board
24 x 36 inches
signed lower left: Carlson
Provenance:
J.N. Bartfield Galleries (label verso) From a Private Collection
$30,000 – $50,000
210 BOB KUHN (1920 – 2007)
Three Big Rams, 1985
acrylic on board
14 ½ x 18 ½ inches
signed and dated lower right: Kuhn 85
verso: signed and dated
Provenance:
From a Private Collection
Literature:
Tom Davis, The Art of Bob Kuhn, Briar Patch Press, Camden, SC, 1989, illus. frontispiece
$75,000 – $100,000
209 KEN CARLSON (1937 – )
211 JAMES REYNOLDS (1926 – 2010)
High Water (on the Snake)
oil on canvas
30 x 36 inches
signed lower right: James Reynolds (artist cipher) verso: titled and signed
Provenance: From a Private Collection
Literature: James Reynolds, The Landscapes of James Reynolds, O’Neil Printing, 2009, illus. p. 116
$10,000 – $20,000
212 CARL BRENDERS (1937 – )
Ursa Major, 2023
mixed media on board
28 x 37 inches
signed and dated lower right: © CBrenders 2023
Provenance: From a Private Collection
Exhibited: Southeastern Wildlife Exposition, Charleston, SC, February 2024
“Creating Ursa Major was a concept I had of the tranquil presence of a grizzly bear swimming peacefully....seeking comfort in cooling off. I aimed to capture the serene power and quiet strength of this mighty creature. The bear, immersed in a peaceful swim, gazes directly at the viewer, establishing an almost innocent connection. The painting represents the harmony between power and calm of one of nature’s most ferocious beings.” – Carl Brenders
$40,000 – $60,000
213 BOB KUHN (1920 – 2007)
Distant Sounds, 2006
acrylic on board
25 ⅝ x 30 inches
signed lower right: Kuhn verso: signed and dated
Provenance:
From a Private Collection
Few artists can capture the majesty and raw power of wild animals in vivid detail. Far fewer can leave a lasting legacy. Bob Kuhn did both. His love for wildlife and art inspired generations of artists, hunters, and anglers. Born in Buffalo, New York, Bob Kuhn attended the Pratt Institute in Brooklyn, New York, where he studied design, anatomy, and life-drawing. For the next 30 years, he was one of the most popular wildlife illustrators in America before turning to easel painting full time in 1970. Kuhn traveled around the world to obtain inspiration and made countless trips to Africa, six trips to Alaska, and numerous forays into Canada and the American West.
Kuhn’ s first love was perhaps African wildlife art, but in later years he concentrated on North American wildlife. Kuhn described wolves as “among the most animated and interesting of the wild creatures,” though they are a rare subject in his oeuvre. In the charged stillness of Distant Sounds, the alertness of the subjects is palpable, from the focused gaze to the stance poised for action.
While animals were Kuhn’s vessel for expressing artistic ideas and social commentary, he chafed at the notion of painting pretty pictures. His signature style featured simple backgrounds with horizontal bands of color and light, a dynamic flow of his subject matter and a delight with playing mischievousness against mortal danger. He worked primarily in acrylic and was well known for his ability to paint the particular movements and personalities of wild animals. He mastered the illusion of motion, orchestrating the deadly contest between predator and prey. His works were true to life and authentic, yet he wasn’t a documentarian. Instead, he carefully wrought poetry from his paintbrush. He liked to say that good painting was like watching a good skier in action: “He doesn’t simply get from the top of the hill to the bottom. He hits the moguls, carves some beautiful turns, and throws in a lot of fancy stuff.”
There is inexplicable magic in a Kuhn painting. It never grows tired. With every viewing, there are new discoveries. He is considered by patrons and art historians alike to be the pre-eminent wildlife artist of his generation. It has often been said he was simply without peer.
Kuhn was a member of the Society of Animal Artists in New York, and his works are featured in permanent museum collections from coast to coast, including The John L. Wehle Gallery of Sporting Art at the Genesee Country Museum in Mumford, NY, The National Cowboy Hall of Fame in Oklahoma City, OK, with the largest body of work on display at the National Museum of Wildlife Art in Jackson Hole, WY.
$180,000 – $250,000
214 BOB KUHN (1920 – 2007)
The Rustle of the Mice
acrylic on board
12 ½ x 18 inches
signed lower left: kuhn
verso: signed
Provenance:
Ponderosa Art Gallery, Hamilton, MT (label verso)
Coeur d’Alene Art Auction
From a Private Collection
“One of the little devices that I frequently use is a little casual application of a Wolff pencil, which is a carbon pencil, simply to emphasize hair textures. I don’t like to overdo it, but there are times when just a little sense of the roughness of the hair is all you need. And rather than take a tiny little brush, which I don’t own, and going picky picky, to me it has a little more spontaneity if you simply take this charcoal thing and make your little accents and let it go with that.”
– Bob Kuhn. “The Tuscon 7.” Friends of Western Art, 1997. Interview
$75,000 – $100,000
Survival, 1983
oil on canvasboard
16 x 24 inches
signed and dated lower right: Tucker Smith 83 verso: titled
Provenance: From a Private Collection
$20,000 – $30,000
In Distress oil on canvas
25 ⅛ x 36 ⅛ inches signed lower right: Philip R. Goodwin
Provenance: From a Private Collection
$15,000 – $25,000
216 TUCKER SMITH (1940 – )
217 PHILIP RUSSELL GOODWIN (1881 – 1935)
218 THÉODORE-CHARLES GRUYÈRE (1814 – 1885)
Seated Indian, 1845
marble
43 ¼ x 28 x 35 inches
inscribed: T.C. Gruyere - 1845
Provenance:
Private Collection, South America
Private Collection, acquired from the above
Sotheby’s New York, American Paintings, Drawings and Sculpture, November 30, 2000, lot 129
From a Private Collection
Exhibited:
Whitney Western Art Museum, Cody, WY, 2001-2006
Théodore-Charles Gruyère was born in Paris in 1814, the son of an ornamentalist, or decorator. In 1830 he attended Ecole des Beaux Arts, in 1836 he began studying with Augustin-Alexandre Dumont, and in 1837, at 23 years old, he opened his own Paris studio. One can speculate that such a coup at a young age may have been engineered by a doting father or a generous patron. Carrara marble, highly valued for its purity and used only for prestigious projects, was costly due to quarrying labor and transportation tariffs. On the face of it, Carrara marble is not a material used by fledgling sculptors. All that is known is that Gruyère was a prodigy with connections.
From his earliest years, Gruyère won accolades, beginning with the prestigious Prix de Rome award in 1839. This pivotal achievement brought him considerable notoriety and established his reputation as a skilled artist. Commissions followed, several for highly romanticized classical sculptures to adorn significant public spaces: the Palais de Louvre, l’Opera Garnier, l’Hotel de Ville de Paris, and le Gare du Nord. Gruyère also executed at least five commissions for churches in Paris, most notably the Église Saint-Augustin. In 1866 he was conferred with the title, Chevalier de la Legion d’Honeur.
Throughout his career, Gruyère created a diverse body of work that showcased his versatility as a sculptor. His oeuvre included busts, religious and secular sculptures, architectural sculptures, and bas-relief, ranging from small intimate pieces to large-scale public monuments. While not all of Gruyère’s works have survived wars, occupation, civil unrest, and the insults of time and urban pollution, a few endure.
Little is known about Gruyère’s dabbling with subjects outside the confines of classicism. Only Seated Indian remains. Its execution reflects Parisian society’s infatuation with the American Indian at the time, inspired in large part by the work of Swiss artist Karl Bodmer, a member of Prince Maximilian of Prussia’s 1832-34 expedition to what is now North Dakota and Montana. Bodmer’s paintings, illustrations, and prints first appeared in 1841 with the publication of his journal, Travels in the Interior of North America. Later, his Native American portraits were exhibited in Paris and other European capitals. His large body of work captured the everyday lives of the Hidatsa, Mandan, Sioux, Omaha, Assiniboine, and Piegan Blackfeet, many in ceremonial beads, lavish headdresses, and animal hides. Their facial expressions were alternately stern, noble, and tragic. In French salons, style-setters were drawn to the romance of life on the plains of North America.
By the late 18th century, Jean-Jacques Rousseau had popularized the concept of the “noble savage,” the uncivilized figure uncorrupted by Western civilization. As European nations were on the cusp of colonizing massive swathes of Africa, the literati did not look south but west for this ideal figure, applying Rousseau’s reasoning to the Plains Indians. This romanticized notion portrayed Native Americans as bold, noble, innocent, and free, a counterpoint to what some saw as the corrupting influences of modern civilization.
As the artistic stage was about to be filled by the works of George Catlin, Charles Bird King, as well as with the romantic novels of Karl May (who never left Germany), Théodore-Charles Gruyère attached his name and reputation to this Native American love story. This magnificent marble beautifully captures the introversion and romance of the American Indian through the European gaze of the time.
Although many questions about Seated Indian persist—the identity of Gruyère’s model, whether it was a commission, what sources he consulted to create such a masterwork—the abiding certainty is that Gruyère evoked the passion of his times. He framed a philosophical proposition into one handsome human, enshrining an ideal into a work of art that shall endure for the ages.
$400,000 – $600,000
219
Water Lilies, 2015
DEDECKER (1951 – )
oil on canvas
30 x 40 inches
signed lower right: Thomas deDecker
verso: titled, dated and signed
Provenance: From a Private Collection
$3,000 – $5,000
30 x 30 inches
signed lower left: R Moore
verso: titled and signed
Provenance: From a Private Collection
$2,500 – $4,500
220 JIM
Forever Mates, 2007
(1947 – )
oil on canvas laid on board
24 x 36 inches
signed and dated lower right: Jim Morgan © 07 verso: signed and dated
Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) From a Private Collection
$7,000 – $10,000
THOMAS
MORGAN
221 ROBERT MOORE (1957 – ) The Glade
oil on canvas
222 DAVID HOCKNEY (1937 – )
Kyoto 24 April 1993, 1993
color laser prints on six sheets of paper, mounted on archival board, 38/38
16 x 63 inches
titled and signed lower right: Kyoto 24 April 1993 / David Hockney numbered lower left: 38/38
Provenance:
Richard Gray Gallery, Chicago, IL (label verso)
From a Private Collection
$7,000 – $10,000
223 G. HARVEY (1933 – 2017) Springtime Showers
oil on board
12 x 9 inches
lower right: G. Harvey (artist cipher)
verso: titled and signed
Provenance:
The Legacy Gallery, Scottsdale, AZ (label verso)
J.R. Mooney Galleries of Fine Art, San Antonio, TX (label verso) From a Private Collection
$15,000 – $25,000
224 THOMAS DEDECKER (1951 – )
Pond Summer Colors, 2024
oil on board
23 ¾ x 30 inches
signed lower left: Thomas deDecker
verso: titled and signed
Provenance: From the Artist
$1,800 – $2,400
225 DENNIS DOHENY (1956 – )
Gold on Silver, 2008
oil on linen
30 x 36 inches
signed and dated lower right: Dennis M Doheny 08 verso: signed, dated and titled
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso)
From a Private Collection
Exhibited:
Prix de West Invitational, National Cowboy Hall of Fame & Western Heritage Museum, Oklahoma City, OK
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$15,000 – $25,000
226 FRANK PAUL SAUERWEIN (1871 – 1910)
Grand Canyon
oil on canvas
20 x 29 ½ inches
signed lower left: F.P. Sauerwein titled lower right: (Gran Canon)
Provenance:
Private Collection, Germany
Santa Fe Art Auction, Santa Fe, NM (label verso)
Private Collection, Paradise Valley, AZ
$6,000 – $9,000
227 WILSON HURLEY (1924 – 2008)
Santa Fe Peak
oil on canvas
30 x 48 inches
signed lower left: Wilson Hurley
Provenance:
Concetta D. Gallery, Albuquerque, NM (label verso)
From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$25,000 – $45,000
228
Second Phase Navajo Chief’s Blanket, ca. 1850 –1875
wool
55 x 73 inches
Provenance: James D. Julia Inc, March 2007 From a Private Collection
Navajo Second Phase chief’s blankets represent an important evolution in Navajo weaving that occurred around the third quarter of the 19th century. They built upon the simple striped design of First Phase blankets by incorporating distinctive rectangular elements. Second Phase blankets were highly valued trade items, prized by wealthy individuals and leaders of various Native American tribes across the Southwest and Great Plains. Their tight weave made them practical as well as beautiful, serving as warm, water-resistant garments.
The hand-spun and raveled wool is in natural ivory, variegated brown, indigo blue, and three shades of cochineal-dyed red. The pattern features the twelve rectangular design elements and an expanded color palette characteristic of Second Phase blankets.
Dye analysis reports are available upon request.
$40,000 – $60,000
229 THOMAS MOLESWORTH (1890 – 1977)
Keyhole Chair with ‘saddle’ motif, ca. 1936
tulip poplar, inland fir, leather, brass tacks
35 ¾ x 16 ⅛ x 21 ⅛ inches
Provenance: Emery Hotel, Thermopolis, WY
Private Collection, Wyoming
$6,000 – $9,000
230 THOMAS MOLESWORTH (1890 – 1977) Loveseat, ca. 1945
burled fir, leather, brass tacks, Chimayo weavings
33 x 60 x 36 inches
Provenance: From a Santa Diego, CA estate
Private Collection, Wyoming
$20,000 – $40,000
oil on canvas
16 ⅛ x 13 ⅞ inches
signed and dated lower right: © Wm Acheff 2008 verso: signed and dated
Provenance:
Scottsdale Art Auction, Scottsdale, AZ (label verso)
Jackson Hole Art Auction, Jackson, WY (label verso) From a Private Collection
$15,000 – $20,000
gouache on board
12 x 9 inches
signed and dated lower right: Snidow 2000 ©
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso) From a Private Collection
Exhibited:
Prix de West Invitational, National Cowboy Hall of Fame & Western Heritage Museum, Oklahoma City, OK Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$2,000 – $4,000
acrylic and graphite on illustration board
6 ⅜ x 4 ⅞ inches
signed lower right: Kenneth Riley
Provenance:
Settlers West Galleries, Tucson, Arizona, 1992
Private Collection, Taos, New Mexico
Private Collection, Los Angeles, CA
$5,000 – $7,000
234 ALLAN
Sheltered
bronze, 6/20
14 ¾ x 5 ¼ x 3 inches
(1914 – 1994)
inscribed: Allan Houser 6/20 S
Provenance: From the Collection of Mike Peterson
$10,000 – $20,000
231 WILLIAM ACHEFF (1947 – )
Up North, 2008
232 KENNETH RILEY (1919 – 2015) Apache Man and White Horse
233 GORDON SNIDOW (1936 – ) Summer Camp, 2000
HOUSER
235 DAN NAMINGHA (1950 – )
Mourning Kachina, 1975
bronze, 10/12
10 ¼ x 5 ⅜ x 3 ½ inches
inscribed: Namingha 10/12 © ‘75
Provenance:
From the Collection of Valerie Banks
$3,000 – $5,000
237 WILLIAM ACHEFF (1947 – ) Feast Day, 1998
oil on canvas
20 x 14 inches
signed and dated lower left: © Wm. Acheff 1998 verso: signed, dated and titled
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso) From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$8,000 – $12,000
236 PATRICIA DOBSON (1947 – ) Hopi - 1800 & 1940, 1996
oil on panel 14 x 11 inches
signed lower right: Patricia Dobson © 96 AICA
Provenance: From the Marjorie T Hughes Trust Collection
$1,500 – $2,500
238 HARRY JACKSON (1924 – 2011) Sacagawea Modified II, 2003/2005
fat egg tempera on bronze 19 ⅝ x 7 ¾ x 8 ¾ inches
inscribed: Harry Jackson 2003 SAMIIP 8P stamped: © Harry Jackson 2005 HJS Cody
Provenance: From the Collection of Barbara Redmont
$2,500 – $4,500
239 JOHN NIETO (1936 – 2018)
Grizzly Bear, 2012
acrylic on canvas
20 x 23 ⅞ x 1 ⅝ inches
signed lower left: nieto
verso: titled, signed and dated
Provenance: From a Private Collection
$7,000 – $10,000
240 JOHN NIETO (1936 – 2018)
Friendship (Wolves), 2012
acrylic on canvas
19 ⅞ x 23 ⅞ x 1 ½ inches
signed lower left: Nieto
verso: titled, signed and dated
Provenance:
From a Private Collection
$7,000 – $10,000
241
Jack Rabbit
acrylic on canvas
30 x 30 inches
signed lower right: Furlow
verso: titled and signed
Provenance: From a Private Collection
$1,500 – $2,500
– )
MALCOLM FURLOW (1946
242 EDWARD BURTYNSKY (1955 – )
Bonneville #1, Bonneville Salt Flats, Utah, USA, 2008
digital chromogenic color print, 1/6
47 ⅝ x 59 ½ inches
verso: signed
Provenance:
Hasted Hunt Kraeutler, New York, NY (label verso)
From a Private Collection
$8,000 – $12,000
243 OLIVO BARBIERI (1954 – )
Alps, Geographies, and People #16, 2012
archival pigment print on paper, 4/6
61 ¼ x 81 ¼ inches
Provenance:
Yancey Richardson Gallery, New York, NY (label verso)
From a Private Collection
Olivo Barbieri photographed this image from a helicopter using a large format camera with a tilt-shift lens, resulting in a grand view seemingly reduced to the scale of a model. Here he asks the viewer to consider the relationship between reality and representation. A landscape once regarded from afar with awe, he reflects on the entertaniment value we now ascribe to natural phenomena.
$10,000 – $20,000
244 JOHN FAWCETT (1952 – )
Hard Working Gray, 1999
watercolor on paper
21 ⅞ x 17 inches
signed and dated lower right: Fawcett © ‘99
Provenance:
The Legacy Gallery, Scottsdale, AZ & Jackson Hole, WY (label verso) From a Private Collection
$1,500 – $2,500
245 FRED FELLOWS (1934 – ) No Easy Way Out
bronze, 33/50
36 ¼ x 23 ⅞ x 19 ½ inches
74 x 29 ½ x 19 ½ inches (including base)
inscribed: Fred Fellows CA 33/50
Provenance: From a Private Collection
Literature: Michael Duty, Don Hedgpeth, Cowboy Artists of America, Greenwich Workshop Press, 2002, illus. p. 53
$20,000 – $30,000
Bull Rush, 2008
graphite on rag paper
42 ½ x 72 ¼ inches
signed and dated lower right: © WBlagg 08
Provenance:
Valley Fine Art, Aspen, CO
From a Private Collection
Woodrow Blagg (1946 – 2023) was a renowned American artist best known for his large-scale, masterful graphite drawings depicting ranch life. Although born and raised in Pennsylvania, Blagg was captivated by the vast landscapes of Texas. The large scale of his works is meant to convey the immensity of his experiences while traveling through Texas: the sense of openness in the landscape, the intensity of cattle drives, the largerthan-life personalities of people he met.
Blagg’s artwork has been exhibited across Texas and the United States. His talent earned him recognition at the highest levels, including an invitation to the White House in 1982 to present a large drawing to President Ronald Reagan. His works are part of numerous corporate and private collections.
$20,000 – $40,000
oil on canvas
24 x 36 inches
signed and dated lower left: Dan Mieduch 1981 ©
Provenance: Altermann & Morris Galleries, Dallas and Houston, TX (label verso)
From a Private Collection
$6,000 – $9,000
246 WOODROW BLAGG (1946 – 2023)
247 DAN MIEDUCH (1947 – ) Young Deadeye, 1981
248 GARY LYNN ROBERTS (1953 – )
Storm Crossing
oil on canvas
13 ½ x 17 ½ inches
signed lower left: Gary Lynn Roberts ©
Provenance: From a Private Collection
$2,500 – $4,500
249 JAMES REYNOLDS (1926 – 2010)
Low Water on the Athabasca
oil on canvas
34 x 40 inches
signed lower left: James Reynolds verso: titled and signed
Provenance: From a Private Collection
Literature:
James Reynolds, The Landscapes of James Reynolds, O’Neil Printing, 2009, illus. p. 108
$12,000 – $18,000
250 GARY LYNN ROBERTS (1953 – )
The Family Business oil on canvas
12 x 17 ⅞ inches
signed lower left: Gary Lynn Roberts ©
Provenance: From a Private Collection
$3,000 – $5,000
251 CONRAD SCHWIERING (1916 – 1986)
Going to the High Country, 1983 oil on board
29 ½ x 39 ½ inches
signed and dated lower right: Schwiering (artist cipher) © 1983
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) Private Collection, Jackson, WY
$20,000 – $30,000
252 RICHARD D. THOMAS (1939 – 2019)
Face-off, 2000
oil on canvas
20 ¼ x 16 ¼ inches
signed lower right: Richard D. Thomas
verso: titled, signed and dated
Provenance: From a Private Collection
$1,800 – $2,400
253 BRUCE GREENE (1953 – ) From Juniper and Pine oil on canvas
25 ¾ x 30 inches
signed lower right: Bruce R. Greene CA © verso: titled and signed
Provenance: From a Private Collection
$4,000 – $6,000
254 CLARK HULINGS (1922 – 2011) Barnyard with Chickens, 2008
oil on canvas
16 x 24 inches
signed and dated lower left: Hulings © 2008
Provenance:
Charleston Art Auction, Hilton Head, SC (label verso) Everard Auctions & Appraisals, Savannah, GA (label verso) From a Private Collection
$12,000 – $18,000
255 GARY LYNN ROBERTS (1953 – ) Ranch in Llano County, TX
oil on canvas
24 x 36 inches
signed lower right: Gary Lynn Roberts (artist cipher) ©
Provenance: From a Private Collection
$4,000 – $6,000
oil on canvas
40 x 60 inches
signed and dated lower left: Wilson Hurley 1971
Provenance:
Concetta D. Gallery, Albuquerque, NM (label verso)
From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
Wilson Hurley, one of the most celebrated Western landscape artists of the 20th century, was born in Tulsa, OK in 1924. Although he showed an early aptitude for art, he did not become a full-time artist until 1965, at the age of 41. After graduating from West Point in 1945, Hurley served as a pilot in the U.S. Army Air Corps and Air Force during World War II, then moved on to successful careers in law, engineering, and banking.
Hurley was already a successful artist by the time he had his first solo show in 1971, the year Grand Tetons was painted. As a landscape painter, Hurley was committed to capturing the richness of reality. Characterized by meticulous attention to light, color, and atmospheric effects, his works capture fleeting moments of natural beauty. The late summer sun in Grand Tetons illuminates the foreground foliage, drawing the viewer into the grand mountain vista, and acts as a reminder that summer in those mountains is brief but glorious.
In 1984, the National Cowboy and Western Heritage Museum awarded Hurley the prestigious Prix de West Award, and a few years later the Museum would commission what is widely regarded as Hurley’s magnum opus: the Windows to the West triptychs. Five triptychs, each measuring 18 by 45 feet, depicting iconic Western landscapes are on permanent display at the National Cowboy and Western Heritage Museum in Oklahoma City.
$50,000 – $75,000
oil on board
18 x 24 inches
signed lower right: Lanford Monroe verso: titled, signed and dated
Provenance: From a Private Collection
$7,000 – $10,000
256 WILSON HURLEY (1924 – 2008) Grand Tetons, 1971
257 LANFORD MONROE (1950 – 2000) Yampa Valley Spring, 1995
258 GERARD CURTIS DELANO (1890 – 1972)
Colorado
oil on canvas
30 x 36 inches
signed lower right: .Gerald Curtis Delano. verso: titled and signed
Provenance: The artist
Palmer Hoyt, gift from the above Hoyt Family Collection, by descent
Trailside Galleries, Jackson, Wyoming, circa 1980
Owings Gallery, Santa Fe, New Mexico (label verso)
Heritage Auctions, Dallas, Texas, 2015 (Sold as Property from a Corporate Collection, Fort Worth, Texas) (label verso) Private Collection, Fort Worth, TX
Literature:
R. Bowman, Walking with Beauty: The Art and Life of Gerard Curtis Delano, Denver, 1990, illus. p. 65
When Delano was commissioned to do this painting for The Denver Post’s collection of Western art, he was free to choose subject and title. The following caption appeared on the reverse side of the painting:
“Life on the high ranch empire of his adopted state inspired this painting. The cowboy, his dog, and the steers are heading down from lush pastures near timberline, toward home and the corral in the valley. The approach of a rain squall does not affect their pace, for like most mountain rains, it will last only a few minutes and the sun will dry both clothing and skin in a twinkling.”
The scene might have been many decades ago or it could even be today, for the world and the work of the mountain ranchman have not changed much over the years. The rider could be a neighboring homesteader, or perhaps even Delano himself. 1
1 R. Bowman, Walking with Beauty: The Art and Life of Gerard Curtis Delano, Denver, 1990, illus. p. 65
$150,000 – $250,000
259 HELMUTH NAUMER (1907 – 1990)
Adobe House & Cottonwoods
pastel on board 21 ⅜ x 27 ⅜ inches
signed lower right: Naumer (artist cipher) verso: titled and signed
Provenance: Nedra Matteucci Galleries, Santa Fe, NM (label verso) Private Collection, Paradise Valley, AZ
$2,500 – $4,500
260 CLARK HULINGS (1922 – 2011)
Apple Time at Tesuque, 1977
oil on canvas
24 x 36 inches
signed and dated lower left: Hulings 1977 ©
Provenance: From a Private Collection
Exhibited: Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$30,000 – $50,000
261 FRANCOIS KOCH (1944 – )
oil on linen
36 ¼ x 48 inches
signed lower right: Francois Koch
verso: signed and titled
Provenance:
From the Artist
“The beauty and power of rushing water is always an inspiration to me.” – Francois Koch
$12,000 – $18,000
263 MARY REGAT (1943 – )
bronze, 36/75
15 ¾ x 17 ¾ x 5 ¾ inches
inscribed: © 2003 36/75 M. Regat
Provenance: From a Private Collection
$1,000 – $2,000
262 WALTER MATIA (1953 – ) A Question of Balance, 1999
bronze, 8/36
17 ¾ x 13 ⅜ x 8 ½ inches
inscribed: Matia 99 8/36
Provenance: From a Private Collection
Exhibited: Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$2,000 – $4,000
oil on canvas
20 x 30 inches
signed lower right: Jim Wilcox - © verso: titled
Provenance:
National Cowboy Hall of Fame, Prix de West Invitational (label verso) From a Private Collection
Exhibited: Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$3,000 – $5,000
Rushing Waters, 2023
Otter, 2003
264 JIM WILCOX (1941 – ) Sundown at West Thumb
265 BRUCE LAWES (1962 – ) In the Land We Love
oil on linen laid on board
30 x 45 inches
signed lower left: © B. K. Lawes
Provenance: From the Artist
$18,000 – $24,000
266 AMY LAY (1972 – ) Autumn Romantic, 2024
oil on canvas
48 x 36 inches
signed and dated lower right: Amy Lay 2024
Provenance: From the Artist
$6,000 – $9,000
267 WILHELM KUHNERT (1865 – 1926) Elephant & Buffalo (pair)
colored pencil on paper
Elephant: 6 x 5 ⅝ inches
Buffalo: 5 ⅞ x 5 ⅜ inches
Elephant: signed and dated lower right: Willy. Kuhnert (indecipherable)
1922 Buffalo: signed lower left: Willy. Kuhnert
Provenance: From a Private Collection
$5,000 – $8,000
268 MOPHO GONDE (1968 – ) Buffalo Study, 2000
carved African leadwood
20 ¾ x 39 ½ x 15 ½ inches
inscribed: M.GONDE
Provenance:
Native Visions Gallery, Fort Lauderdale, FL From the Gene Worrell Collection
$3,000 – $5,000
269 WILHELM KUHNERT (1865 – 1926) Lion Study
pencil on paper
10 ⅛ x 14 inches
signed lower left: Willy. Kuhnert
Provenance: From a Private Collection
$5,000 – $8,000
watercolor, gouache and pencil on paper
16 x 11 inches signed and dated lower left: Kuhn 77
Provenance: Private Collection, Houston, TX
$15,000 – $25,000
carved African leadwood
28 ¼ x 25 ¾ x 21 ¼ inches
inscribed: M.GONDE
Provenance: Native Visions Gallery, Fort Lauderdale, FL From the Gene Worrell Collection
$4,000 – $6,000
carved African ironwood
24 ½ x 17 ½ x 10 ½ inches inscribed: M.GONDE. 001.
Provenance: Native Visions Gallery, Fort Lauderdale, FL From the Gene Worrell Collection
$1,200 – $1,800
oil on canvas
14 x 18 inches signed lower right: -David Shepherd -
Provenance: Private Collection, Houston, TX
$15,000 – $25,000
270 BOB KUHN (1920 – 2007)
Lion in the Grass, 1977
271 MOPHO GONDE (1968 – ) Sable Study, 2000
272 MOPHO GONDE (1968 – ) Kudu Study, 2002
273 DAVID SHEPHERD (1931 – 2017) Kudu in Brush
oil on canvas
9 x 16 inches
signed lower right: - David Shepherd -
Provenance: Private Collection, Houston, TX
$4,000 – $6,000
274 DAVID SHEPHERD (1931 – 2017)
Zebra Foal, 1968
oil on canvas
19 ⅜ x 27 ⅜ inches
signed and dated lower right: - David Shepherd - ‘68
Provenance: Private Collection, Houston, TX
$10,000 – $20,000
275 KENNETH BUNN (1938 – 2020)
Elephant
bronze, 15/21
21 x 23 ⅜ x 13 ⅛ inches
inscribed: © Bunn 15/21
Provenance: Private Collection, McCall, ID
$8,000 – $12,000
276 DAVID SHEPHERD (1931 – 2017) Tiger Cubs
277 BOB KUHN (1920 – 2007) Protecting the Flanks
acrylic on board
26 ¼ x 47 ¾ inches
signed lower right: Kuhn
Provenance:
From a Private Collection
$60,000 – $90,000
watercolor on board
36 x 57 ¼ inches
signed lower right: Renso Tamse
Provenance: Trailside Galleries, Scottsdale, AZ & Jackson, WY
From a Private Collection
$10,000 – $20,000
278 RENSO TAMSE (1974 – ) Tribute
280 ANTOINE-LOUIS BARYE (1976 – 1875)
Pair of Panther Plaques, 1831
bronze
3 x 5 9/16 x ⅜ inches (each) inscribed: BARYE 1831
Provenance:
Graham Gallery. New York, NY (label verso)
From a Private Collection
$1,000 – $2,000
279 BOB KUHN (1920 – 2007)
Very Good Friends
acrylic on board
7 ⅞ x 13 ½ inches
signed center right: Kuhn
Provenance:
From a Private Collection
Jackson Hole Art Auction, Jackson, WY
Copley Fine Art Auctions (label verso)
From a Private Collection
$20,000 – $30,000
281 DAVID SHEPHERD (1931 – 2017)
A Quiet Place, 2009
oil on canvas
23 x 44 inches
signed and dated lower right: David Shepherd 09 verso: dated and titled
Provenance:
The Tryon Galleries, St. James, London, UK (label verso)
From a Private Collection
“You can always build another steam engine, but you can never build another tiger.” – David Shepherd
David Shepherd, the internationally renowned British wildlife artist, was well known for his paintings of elephants, tigers, and other wild animals of Africa and Asia, which he generally rendered in a straightforward, naturalistic style. His love of painting wildlife led him to become a leading conservationist as well, establishing the foundation which bears his name, the David Shepherd Wildlife Foundation, in 1984.
The two tigers featured in A Quiet Place appear content in their environment, taking a respite from the midday heat near a secluded pool. While one stands guard with a watchful eye, the other luxuriously relaxes. The viewer is drawn into their private panorama, the sense of seclusion accentuated by the abstract rendering of moss and grass around the edges of the canvas.
$60,000 – $80,000
acrylic on panel
11 ⅞ x 29 ⅞ inches signed lower left: Kuhn
Provenance:
Waldgrave Galleries LTD., Reno, NV (label verso) From a Private Collection
$50,000 – $75,000
Undercover Cougar, 2000
bronze, 5/35
9 ¾ x 30 ¾ x 8 inches
inscribed: 2000 © Bunn 5/35
Provenance: From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
“The cougar is a master of the stalk, selecting cover and terrain that allows it to approach its quarry unnoticed. Several hours may be spent maneuvering closer in a silent, stealthy, fluid motion. The adage - patience is a virtue - aptly describes my sculpture.” – Kenneth Bunn
$8,000 – $12,000
282 BOB KUHN (1920 – 2007) Lioness
283 KENNETH BUNN (1938 – 2020)
284 SHERRY SANDER (1941 – ) Gorilla, 1988
heroic size bronze, 4/8
49 x 77 x 30 inches inscribed on base/at back: ©88 SSANDER 4/8
Provenance: From a Private Collection
“I had always seen gorilla sculptures done on all fours with that mean posture and attitude. They are not at all like that. Although they do have a formidable look on their faces and sculpture can’t get around that, they are not in the least bit aggressive. They are a passive, kind, shy introverted animal...I made a real conscious effort to design the Gorilla so that kids would not fear it and would climb on it and sit on its lap. I wanted it to lie in quiet repose.” – Sherry Sander
Other editioned pieces are located, owned, and/or displayed at/by the following locations:
• Benson Park Sculpture Garden, Loveland, Colorado
• The Denver Zoo, Denver, Colorado
• Oklahoma City Zoo, Oklahoma City, Oklahoma
• National Wildlife Art Museum, Jackson, Wyoming (Maquette)
The purchaser of this lot is responsible for transportation costs from its current location in Santa Fe, NM. Refer to our online catalog for additional images and information.
$10,000 – $20,000
285 ROBERT BATEMAN (1930 – ) Ibex at Masada, 1999
acrylic on panel
29 x 39 inches
signed and dated lower right: Robert Bateman 1999 ©
Provenance:
Royal Ontario Museum, 1999 (gala benefit)
From the Collection of Peter and Joan Andrews
Literature: Robert Bateman, Bateman: New Works, D&M Publishers Inc., 2010, illus. p. 126
Robert Bateman is a teacher, naturalist, and artist whose extraordinary love of nature leads him to depict the world in a way that encourages the viewer to admire and protect its intrinsic beauty. Born in Toronto, Canada in 1930 he began drawing and painting at a young age but viewed the arts as a hobby and not a career. He attended the University of Toronto, earning an honors degree in geography and going on to obtain a degree to teach high school art and geography. Bateman painted throughout his 20-year teaching career but never expected to earn a living from it. However, from his first solo exhibition, a sold out first night at the Alice Peck Gallery in Burlington, Ontario, it became clear that he could make a living from his painting.
The wildlife paintings of Robert Bateman have a powerful impact that photography cannot equal and that few other painters can achieve. “Art is an adventure for the eye. Although I care about scientific accuracy, I also look upon feather and fur as pattern, color, rhythm – elements of design.” 1
“Inspiration comes from life, and ideas often take me by surprise. The idea for Ibex at Masada came from a trip to Israel with the director of Israel’s reserves. Israel is one of the best places on the planet for nature protection, and the ibex is the symbol of the Nature and Natural Parks Authority.” 1
This painting was sold at the Royal Ontario Museum’s gala benefit in 1999; the proceeds funded Israel’s park system. It has been in the same collection ever since.
1 Robert Bateman, Bateman: New Works, D&M Publishers Inc., 2010
$25,000 – $45,000
oil
canvas 26 x 40 inches signed lower right: McCarthy © verso: titled and signed
Provenance: Scottsdale Art Auction, Scottsdale, AZ (label verso) Private Collection, Fort Worth, TX
$50,000 – $75,000
286 FRANK MCCARTHY (1924 – 2002)
The Hunt
on
287 BOB KUHN (1920 – 2007)
Where the Deer and the Antelope Play, 1996
acrylic on board
18 ¼ x 33 ⅜ inches signed lower left: Kuhn verso: signed and dated
Provenance:
Picture Rocks Workshop, Tucson, AZ (label verso)
Tucson Museum & Historic Block, Tucson, AZ (label verso) National Cowboy Hall of Fame, Prix de West (label verso) Coeur d’Alene Art Auction, Reno, NV, 2021 Out of Africa - In Montana, Bozeman, MT (label verso) Private Collection, Bozeman, MT
Literature:
Bob Kuhn, Tom Davis, Wild Harvest, The Animal Art of Bob Kuhn, Sporting Classics & Wildlife Art Magazine, 1997, Illus. p. 106-107
“A sweep of western landscape without pods of white pronghorn rumps randomly dotting the panorama is, to me, the essence of emptiness. There seems to be great swings in antelope numbers these days as game departments try to balance the demands of the hunting fraternity with a genuine concern among ranchers for keeping pronghorn populations in check. The job of achieving that balance tests the wisdom of diplomacy of a lot of dedicated wildlife management people. The long-range stake in all of this is the continuing and reassuring presence, on those vast western plains, of little pods of flashing, snowy white pronghorn rumps.” 1
Each spring and fall, hundreds of pronghorn antelope migrate between their summer habitat in Grand Teton National Park to their winter range in the Green River Valley of southwestern Wyoming via the Path of the Pronghorn—a popular name for the long-distance migration of the Sublette Pronghorn Herd—the first delineated corridor designated by the state of Wyoming. The pronghorns’ 200-mile migration route is the longest land migration in the lower 48 states, and one of the most difficult. Part of one of the most studied ungulate migration routes in North America, the Path of the Pronghorn is so named because it represents a “bottleneck,” an area wedged between areas of rural development and landscape features. Not only must the animals traverse rough terrain, scaling heights and crossing bodies of water, but they also must cross subdivisions, highways, and private ranchland.
Fortunately, these icons of the American West persist in their seasonal migration, to delight anyone fortunate enough to catch a glimpse of those white rumps spiriting over the sagebrush plains. This present work exemplifies Kuhn’s mastery of wildlife articulation and composition.
1 Bob Kuhn, Tom Davis, Wild Harvest, The Animal Art of Bob Kuhn, Sporting Classics & Wildlife Art Magazine, 1997
$100,000 – $150,000
oil on canvas
20 x 30 inches
signed lower right: N. Glazier
Provenance: Tilting at Windmills, Manchester, VT (label verso) From a Private Collection
$8,000 – $12,000
289 CONRAD SCHWIERING (1916 – 1986) Moran Meadows, 1985
oil on board
20 x 30 inches
signed and dated lower left: Schwiering © (artist cipher) 1985
verso: dated, titled and signed
Provenance:
From the Marjorie T Hughes Trust Collection
Literature:
The American Landscapes of Conrad Schwiering, Thomas Gilcrease Institute of American History and Art, Tulsa, OK, Sept 21- Nov 27, 1985
$7,000 – $10,000
288 NANCY GLAZIER (1947 – ) Montana Skies
290 LANFORD MONROE (1950 – 2000)
Broken Bough
oil on canvas
30 x 40 inches
signed lower right: Lanford Monroe
Provenance:
From a Private Collection
Literature:
R.E.C. (Chipper) Thompson, Homefields The Art of Lanford Monroe, Sporting Classics, pg. 198
Related Literature:
R.E.C. (Chipper) Thompson, Homefields: The Art of Lanford Monroe, Sporting Classics
Gussie Fauntleroy. “Perspective: A Meditation.” Western Art & Architecture, September/October 2022
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
Lanford Monroe was born in Bridgewater, Connecticut in 1950 and raised in an artistic family. Her artistic journey was deeply rooted in her upbringing and environment: she was greatly influenced by her parents, illustrator C.E. Monroe and portraitist Betty Monroe, as well as family friends, John Clymer, Bob Kuhn, and Eric Sloane. Monroe completed her
first commission at the age of six. She received the Hallmark Scholarship in Fine Art and began her formal art education at the Ringling School of Art in Sarasota, FL. 1
Monroe traveled extensively throughout North America, settling in many places for short periods of time. She ultimately settled in Taos, New Mexico. While Monroe’s early work primarily utilized watercolor, she eventually transitioned to oil painting, which allowed her to develop the impressionistic style characteristic of her later works. Inspired by landscapes and wildlife, her paintings often depict animals in soft focus within the greater context of atmospheric and meditative landscapes, reflecting how one glimpses animals in the wild. The subjects appear fleeting, yet perfectly at home in their environment.2
Though Monroe’s life was tragically cut short by a heart attack in 2000, her work is included in numerous corporate collections and museums, including the Leigh Yawkey Woodson Museum of Wildlife Art in Wausau, MN, the Massachusetts Audubon Society, the Southern Bell Collection, and the National Museum of Wildlife Art in Jackson, WY. In 2001, the first annual Lanford Monroe Award was presented in memory of her life and artistic accomplishments at the National Museum of Wildlife Art’s Western Visions Show and Sale in association with Trailside Gallery in Jackson, WY.
1 R.E.C. (Chipper) Thompson, Homefields: The Art of Lanford Monroe, Sporting Classics
2 Gussie Fauntleroy. “Perspective: A Meditation.” Western Art & Architecture, September/October 2022.
$18,000 – $24,000
292 TUCKER SMITH (1940 – ) Timber Edge Study, 2001
oil on canvas
10 x 12 inches
signed and dated lower left: Tucker Smith 01
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso)
Heritage Auctions
From a Private Collection
Literature:
Tucker Smith, John A. Murray, The Paintings of Tucker Smith: A Celebration of Nature, Graphic Arts Books, 2004, illus. p. 170
$9,000 – $12,000
291 BOB KUHN (1920 – 2007) Shore Patrol, 1986
acrylic on board
20 x 32 inches
signed center right: K verso: signed and dated
Provenance: The Artist
Private Collection, Alaska
Santa Fe Art Auction, Santa Fe, NM
Private Collection, Fort Worth, TX
$75,000 – $100,000
293 WALTER MATIA (1953 – ) Blueberry Baron - Grizzly Bear
bronze, 23/36
10 ¼ x 9 ¼ x 3 ¾ inches
inscribed: Matia (artist cipher) 23/36
Provenance: From a Private Collection
$1,800 – $2,400
oil on board
9 x 18 inches signed lower right: Carlson
Provenance: Private Collection, Anchorage, AK
Jackson Hole Art Auction, Jackson, WY (label verso) From a Private Collection
$8,000 – $12,000
oil on canvasboard
6 ⅛ x 18 ⅛ inches
signed and dated lower left: Tucker Smith 92 verso: titled
Provenance: From the Collection of Robert & Curtice McCloy
Literature:
Tom Davis: Patrons Without Peer the
$12,000 – $18,000
,
294 KEN CARLSON (1937 – ) Bull Moose
295 TUCKER SMITH (1940 – ) His Harem, 1992
McCloy Collection
Collectors Covey: Dallas, TX, 2009, Illus. p. 205
296 BOB KUHN (1920 – 2007)
They Don’t Eat Post Toasties, 2005
acrylic on panel
15 ⅞ x 20 inches
signed lower right: Kuhn
verso: signed and dated
Provenance:
From the Collection of Robert & Curtice McCloy
Literature:
Tom Davis: Patrons Without Peer the McCloy Collection, Collectors Covey: Dallas, TX, 2009, Illus. p. 147
“I have a theory that… and I really believe this… that realism is honored in the breach. By that I mean, I think where you cheat on the facts is where you become an artist, not where you record the facts. Anybody can record the facts, but when you have your facts in front of you and you say, ‘I know that’s the way it is, but that’s not the way I want it in my painting’ and then you do something that augments the color or the texture or the excitement of the painting, then you’re functioning as an artist. If you’re simply putting down what you see, you may be a great craftsman, but you ain’t an artist.” – Bob Kuhn. “The Tuscon 7.” Friends of Western Art, 1997. Interview
$60,000 – $90,000
297 BOB KUHN (1920 – 2007)
Study, 1998
acrylic on canvasboard
9 ½ x 10 inches
signed and dated lower left: kuhn / 98
Provenance: From the Collection of Robert & Curtice McCloy
Literature:
Tom Davis: Patrons Without Peer the McCloy Collection, Collectors Covey: Dallas, TX, 2009, Illus. p. 139
$30,000 – $50,000
oil on board
24 x 42 inches
signed lower right: Carlson
Provenance:
$30,000 – $50,000
Bobcat
298 KEN CARLSON (1937 – ) Great Plains Pronghorn, 2015
The Artist Jackson Hole Art Auction, Jackson, WY (label verso) Private Collection, Fort Worth, TX
conte crayon
8
signed
Provenance:
From the Collection of Robert & Curtice McCloy
$2,000 – $3,000
299
oil on canvas
27 ¼ x 37 ¼ inches
signed and dated center right: N. Glazier © ‘94
Provenance:
Private Collection, Jackson, WY
Jackson Hole Art Auction, Jackson, WY (label verso)
From a Private Collection
$15,000 – $25,000
oil on board
38 x 32 inches
signed and dated lower right: Gene Dodge © 81
Provenance: From a Private Collection
$2,000 – $4,000
NANCY GLAZIER (1947 – ) Canyon Moon, 1994
300 BOB KUHN (1920 – 2007) Two Rams
on paper
¾ x 11 ⅜ inches
lower right: kuhn
301 GENE DODGE (1942 – ) Bighorn Sheep, 1981
302 MICHAEL COLEMAN (1946 – )
Grizzly Bear - Ripe Elk
gouache on paper
11 ⅜ x 8 ⅜ inches
signed lower right: © Michael Coleman
Provenance: Kennedy Galleries, INC., New York, NY (label verso)
From a Private Collection
$2,500 – $4,500
303 MARY REGAT (1943 – ) Bear, 2003
bronze
9 ⅝ x 14 ¼ x 6 ⅛ inches
inscribed: © 2003 86/100 M. Regat
Provenance: From a Private Collection
$1,000 – $2,000
304 JOHN SEEREY-LESTER (1946 – 2020) Making Tracks, 1998
acrylic on panel
40 x 30 inches
signed and dated lower right: Seerey Lester © 98
Provenance: From a Private Collection
$10,000 – $20,000
305 CARL BRENDERS (1937 – )
High Adventure - Black Bear Cubs, 1987
mixed media on board
28 ¾ x 19 ½ inches
signed lower right: © C Brenders
Provenance:
Coeur d’Alene Art Auction, 2001 From a Private Collection
Literature:
Carl Brenders, Wildlife: The Nature Paintings of Carl Brenders, Harry N. Abrams, Inc./Mill Pond Press, 1994, p.12
“Young black bears exemplify play in every way, and I decided to create a painting based on them. When I learned in my reference books that both cinnamon and black bear cubs can occur in the same litter, all the elements were there to do this painting. Observation in the wild was not completely at the source of this painting; it was also imagination, coupled with a particular empathy for this most American of all bears, whose scientific name is Ursus americanus.” 1
One of the world’s most accomplished nature painters, Belgian artist Carl Brenders in no way neglects the natural settings in which animals and birds live. Meticulously realistic, brilliantly observed and exquisitely composed, Brender’s paintings are nearly impossible to discern from a photograph.
“Why do I paint like a maniac, so realistically? I sometimes ask this question when I think about the paintings of Carl Rungius, Robert Kuhn, Richard Friese or Wilhelm Kuhnert, wildlife artists whose work has a loose, impressionistic style. But whether it is impressionistic or realistic painting, in the end it is the vision of the individual that matters. For me it is not crazy to paint all those little rocks and fallen pine needles, because the vibration of their textures makes an aesthetic whole of the animal, the plant life, and the landscape in the painting.” 1
1 Carl Brenders, Harry N. Abrams, Inc./Mill Pond Press, Wildlife The Nature Paintings of Carl Brenders, 1994
$50,000 – $75,000
306
Deep Lake, Wind River Range
oil on canvas
60 ¼ x 60 ¼ inches
signed lower right: Christensen ©
Provenance: From a Private Collection
$30,000 – $50,000
acrylic on board
10 x 10 inches
signed and dated lower right: A Smith © 14
Provenance:
Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso)
From a Private Collection
$1,500 – $2,500
signed and dated lower right: Smith © 07
Provenance: From a Private Collection
$4,000 – $6,000
SCOTT CHRISTENSEN (1962 – )
307 ADAM SMITH (1984 – ) Near the Peak, 2014
308 DANIEL SMITH (1954 – ) Into the Sun, 2007
oil on canvasboard
10 x 10 inches
309 MIAN SITU (1953 – )
Ready for Rendezvous - Wyoming 1835, 2016
oil on canvas
30 x 40 inches
signed lower left: Mian Situ
Provenance:
The Artist
Jackson Hole Art Auction, Jackson, WY (label verso)
Private Collection, Fort Worth, TX
$20,000 – $30,000
310 WILLIAM J. KOELPIN, SR. (1938 – 1996)
Rocky Mountain High, 1993
bronze, 1/24
15 ⅜ x 15 ⅝ x 6 inches
inscribed: Wm. J. © 93 1/24 stamped: (artist cipher)
Provenance: Private Collection, Bozeman, MT
$8,000 – $12,000
36 x 64 inches
signed and dated lower right: © Carson 2024
verso: titled and signed
Provenance: From the Artist
“The crossing of the Bitterroot Mountains: of all the parts of their amazing 4,000-mile journey across the continent, from the mouth of the Missouri to the Pacific, this was the one that challenged Lewis and Clark like no other. Lewis called it ‘the most formidable part…over tremendous mountains which for 60 miles are covered with eternal snow.’ The Bitterroot Range is subrange of the Rocky Mountains that runs along the border of present-day Montana and Idaho. In 1805, the Corps of Discovery, led by Meriwether Lewis and William Clark and aided by Sacajawea of the Shoshone tribe, on horses that Sacajawea had negotiated for them from her Shoshone people, completed the nearly impossible crossing. In 1806, they retrieved their horses from the Nez Perce and waited until June for the snow to melt to cross the rugged Bitterroot Range once again on their return to St. Louis.” – Jim Carson
$7,000 – $10,000
24 x 32 inches
signed lower left: C. Fritz ©
Provenance: From a Private Collection
$7,000 – $10,000
311 JIM CARSON (1942 – )
Deep Winter in the Bitterroots, 2024
oil on canvas
312 CHARLES FRITZ (1955 – ) Hunters Fording the Tetlin
oil on canvas
313 MARTIN GRELLE (1965 – )
Soaked, 1994
oil on canvas 14 x 18 inches
signed lower right: + Martin Grelle ©
Provenance:
Overland Gallery of Fine Art, Scottsdale, AZ (label verso) Private Collection, Phoenix, AZ
$10,000 – $20,000
Silver Mounted Saddle, Bridle & Martingale, ca. 1930–1950
hand tooled leather, sterling silver, wool 50 x 31 x 18 inches
silver bit: stamped: MARSH BROS.
Provenance:
March in Montana, Great Falls, MT, 2011, lot 134 Private Collection, Vail, CO
The pictured saddle stand accompanies this lot.
$6,000 – $9,000
314 OLSEN NOLTE
315
oil on canvas
30 x 48 inches
signed and dated lower right: Jimmy Cox © 1984
Provenance: From the Collection of Ed McMahon
$4,000 – $6,000
316
watercolor on paper
13 ⅞ x 25 ¾ inches signed lower left: Carl Oscar Borg
Provenance:
Property of a Prominent Texas Collector Heritage Auctions (tag verso) Private Collection, Paradise Valley, AZ
$2,000 – $4,000
317
oil on canvas
24 x 40 inches
signed and dated lower right: Jimmy Cox © 1984
Provenance: From the Collection of Ed McMahon
$4,000 – $6,000
JIMMY DON COX (1951 – ) Strollin’ Along, 1984
CARL OSCAR BORG (1879 – 1947) Wagon Train
JIMMY DON COX (1951 – ) Arizona Cowboys, 1984
318 DARO FLOOD (1954 – 2017)
Goat Round Up
bronze, 4/30
24 ¼ x 20 ¼ x 16 inches inscribed: Daro (artist cipher) 4/30 ©
Provenance: From a Private Collection
$2,000 – $4,000
oil on board
10 ½ x 8 ½ inches
signed and dated lower left: F Tenney Johnson 1925
Provenance:
Kennedy Galleries, Inc., New York, NY (label verso)
From a Private Collection
$15,000 – $25,000
oil on board
21 ¼ x 29 ¼ inches
signed lower right: Eric Sloane verso: signed and titled
Provenance: Altermann Galleries, Santa Fe, NM (label verso)
Private Collection, Paradise Valley, AZ
$8,000 – $12,000
319 FRANK TENNEY JOHNSON (1874 – 1939) Night Rider, 1925
320 ERIC SLOANE (1905/10 – 1985) Taos Canyon Showers
– 1942)
Rainstorm from Top of Kenosha Pass; Storm across South Park, 1897
oil on canvas
24 x 36 ⅛ inches
signed and dated lower left: Charles · Partridge · Adams ‘97
Provenance:
From the Western Museum of Mining & Industry Collection
$10,000 – $20,000
322 GEORGE SMITH (1944 – ) Edge of the Front, A Storm Brewin’, 2005
oil on panel
6 x 14 ½ inches
signed lower left: George D. Smith
verso: titled, dated and signed
Provenance:
From a Private Collection
$800 – $1,200
oil on linen
24 x 36 inches
signed lower right: Rob t. C. Rishell
Provenance: Zantman Art Galleries, Carmel, CA (label verso)
From a Private Collection
$1,000 – $2,000
321 CHARLES PARTRIDGE ADAMS (1858
323 ROBERT CLIFFORD RISHELL (1917 – 1976) The Lull
324 HARVEY OTIS YOUNG (1840 – 1901)
Burros Carrying Firewood, 1899
oil on canvasboard
17 ⅜ x 25 ⅜ inches
signed and dated lower right: Harvey Young 99
Provenance: From the Western Museum of Mining & Industry Collection
$1,500 – $2,500
325 DAVID SHEPHERD (1931 – 2017)
Old Windsor Oak, 1954
oil on canvas
20 x 24 inches
signed and dated lower right: - David Shepherd - ‘54
Provenance: Private Collection, Houston, TX
$4,000 – $6,000
326 JACK SWANSON (1927 – 2014)
Grub-Line Rider, 1979
oil on panel 9 x 12 inches
signed lower left: J.N. Swanson
verso: titled, signed and dated
Provenance: From a Private Collection
$1,000 – $2,000
327 GIB SINGLETON (1936 – 2014)
49’ers, 1998
bronze, 8/48
16 ½ x 9 ⅝ x 5 inches
inscribed: Singleton © 1998 8/48
Provenance:
From a Private Collection
$3,000 – $5,000
oil on linen
18 ¼ x 25 ⅛ inches
signed lower left: H. Herzog
Provenance: From a Private Collection
$8,000 – $12,000
329 MARK
(1973 – )
The Eventual Impermanence of All Things, 2024
oil on canvas
29 x 40 inches
Provenance: From the Artist
$15,000 – $25,000
328 HERMANN HERZOG (1832 – 1932)
Gold Mine in the Rockies
BOEDGES
The Navajo Madonna, 1986
bronze, 3/10
23 x 22 ⅛ x 11 ½ inches inscribed: O·Wieghorst (artist cipher) © 86 3/10 stamped: Heritage Bronze Inc.
Provenance: Private Collection, San Diego, CA
$10,000 – $20,000
23 ⅞ x 14 inches
signed lower right: Joe Beeler (artist cipher)
Provenance: From a Private Collection
$4,000 – $6,000
11 ⅜ x 23 ½ inches
signed lower left: © Dave Powell (artist cipher)
verso: titled and signed
Provenance: From a Private Collection
$2,000 – $4,000
330 OLAF CARL WIEGHORST (1899 – 1988)
331 JOE BEELER (1931 – 2006) Dog Soldier
oil on canvas
332 DAVE POWELL (1954 – )
Commanchero Two Step
oil on board
333 DAVE MCGARY (1958 – 2013)
American Horse, 1992
bronze, 3/30
35 ½ x 20 x 11 inches
inscribed: Dave McGary 1992 3/30
Provenance: From the Collection of Bob and Virginia Carlson
$8,000 – $12,000
334 DON BAKER (20th century) Southern Cheyenne Chief
bronze and polychrome, 4/40
32 ¾ x 21 ¾ x 14 inches
inscribed: 4/40 Don Baker polychrome: Ann Baker
Provenance: From a Private Collection
$4,000 – $6,000
335 DAN MIEDUCH (1947 – ) Curious Treasures, 2019
oil on board
30 x 40 inches signed and dated lower left: © Dan Mieduch 2019
Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) Private Collection, The Woodlands, TX
$7,000 – $10,000
337 DAN MIEDUCH (1947 – )
Fired Upon, 1990
oil on board
16 x 20 inches
signed and dated lower left: © Dan Mieduch 1990
Provenance:
Ponderosa Art Gallery, Hamilton, MT (label verso)
Jackson Hole Art Auction, Jackson, WY (label verso)
From a Private Collection
$7,000 – $10,000
336 JIM CARSON (1942 – )
The Attack, 2024
oil on canvas
48 x 58 inches
signed and dated lower right: © Carson 2024
verso: titled and signed
Provenance: From the Artist
“Once-friendly western tribes watched with mounting anger as emigrants helped themselves to Indian land and game. “The Platte valley is ours, and we do not intend to give it away. We have let the Whiteman have it so that he could pass, but he has gone over it so often now that he claims it and thinks he owns it. But it is still ours, and always has been ours.” Most of the overland trail traffic ended in 1869 with completion of the transcontinental railroad, which provided a faster, safer way west.” – Jim Carson
$8,000 – $12,000
338 OLEG STAVROWSKY (1927 – 2020) Run for Safe
oil on canvas
36 x 48 inches
signed lower right: Oleg Stavrowsky
verso: titled and signed
Provenance:
The Russell: Sale to Benefit the CM Russell Museum, 2012, lot 198 Private Collection, Vail, CO
$15,000 – $25,000
339
oil on canvas
18 x 14 inches
signed and dated lower right: Phelps (artist cipher) © 2011
Provenance: Evergreen Fine Arts, Evergreen, CO (label verso)
From a Private Collection
$3,000 – $5,000
340 JOE BEELER (1931 – 2006)
Range Partners bronze, 10/30 13 x 14 ⅝ x 9 inches inscribed: 10/30 ss Joe Beeler (artist cipher)
Provenance: From the Collection of Ryan Bresler
$1,500 – $2,500
oil on board
30 x 48 inches
signed and dated lower left: © Dan Mieduch 1986
Provenance: From a Private Collection
$10,000 – $15,000
JOHN PHELPS (1949 – ) Bronco, 2011
341 DAN MIEDUCH (1947 – ) Who’s Robbin’ This Train Enyway?, 1986
342 HARRY JACKSON (1924 – 2011)
Ropin’ (bas-relief), 1979/1984
bronze
11 ½ x 11 ⅝ x ⅞ inches
inscribed: © H. Jackson 1979 c J6 stamped: WFS Italia verso: stamped: WFS 1984 FB GF MG AD WWON
Provenance: From a Private Collection
$1,500 – $2,500
343 WILLIAM GOLLINGS (1878 – 1932)
Trailing, 1928
etching on paper
5 ¾ x 7 ½ inches signed lower right in the etching: Gollings (artist cipher) signed and dated in pencil in the lower right: E.W. Gollings 1928 (artist cipher)
Provenance: The Veerhoff Galleries, Washington D.C. (label verso) From a Private Collection
Literature: William T. Ward and Gary L. Temple, Elling William “Bill” Gollings A Cowboy Artist, Patagoina Publishing Company, 2007, Illus. page 225
$1,500 – $2,500
344 HERB MIGNERY (1937 – ) Potato Lady, 1998
bronze, 2/9
19 ¾ x 11 ½ x 11 ½ inches
inscribed: Mignery (artist cipher) 1998 2/9
Provenance: From a Private Collection
$2,000 – $4,000
ACE, KATHERINE
Unground, 89 ACHEFF, WILLIAM
Feast Day, 237
Up North, 231 ADAMS, ANSEL
The Teton Range and Snake River, Grand Teton National Park, Wyoming, 192 ADAMS, CHARLES PARTRIDGE
Rainstorm from Top of Kenosha Pass; Storm across South Park, 321 AHO, ERIC
Second Montague House, 103 ALBRECHTSEN, MICHAEL Solitude, 188 ANTON, BILL
No Turning Back, 162 ASPEVIG, CLYDE
Autumn Trees, 187
Flathead Lake Bird Refuge, 131 Indian Peak Wilderness, 10 Utah Desert, 158 BAKER, DON
Southern Cheyenne Chief, 334 BALCIAR, GERALD
Canyon King, 128 Escaped, 5 BALLANTYNE, CARRIE
Wyoming Cowgirl, 35 BARBIERI, OLIVO
Alps, Geographies, and People #16, 243 BARLOW, MIKE Fighter, 8 BARROWS, CHARLES
Adobe Near Sun Mountain, 152 BARYE, ANTOINE-LOUIS
Pair of Panther Plaques, 280 BATEMAN, ROBERT
Ibex at Masada, 285 BEECHAM, TOM
High Country Stones (Bighorns), 201 BEELER, JOE
Chief Goes to Washington, 177
Dog Soldier, 331
Range Partners, 340 Scout for the Longknives, 169 Speaker of the House, 171
The Night Guard, 115 Voices in the Wind, 176 BISS, EARL Riders in the Mist, 116 BLAGG, WOODROW
Bull Rush, 246 BLANCHARD, ANTOINE
Arc de Triomphe, 88 BOEDGES, MARK
The Eventual Impermanence of All Things, 329 BORG, CARL OSCAR
Wagon Train, 316 BRENDERS, CARL
High Adventure - Black Bear Cubs, 305
Ursa Major, 212 BROWNING, TOM Golden Hour, 40 BUNN, KENNETH
Elephant, 275
Undercover Cougar, 283 BURTYNSKY, EDWARD
Bonneville #1, Bonneville Salt Flats, Utah, USA, 242 CARLSON, GEORGE
Dancers of Norogachi, 180
The Winnowers, 165 CARLSON, KEN
Bull Moose, 294
Great Plains Pronghorn, 298
The Next Generation, 209 CARSON, JIM
Deep Winter in the Bitterroots, 311
The Attack, 336 CASE, G. RUSSELL
Autumn Rains, 159 CHATHAM, RUSSELL
San Geronimo Valley on a Summer Evening, 104 CHEEVER, BRUCE Sentinel, 16 CHRISTENSEN, SCOTT
Calm Evening Air, 70
Deep Lake, Wind River Range, 306
Weathered Stand, 27 CLARK, ROLAND
Black Ducks, 71 COLEMAN, JOHN Kokopelli, 111
The Wedding Couple, 121 COLEMAN, MICHAEL Gone Fishin’, 26 Grizzly Bear - Ripe Elk, 302 Shoshone in the Wind River Mountains, 106 COOK, HOWARD NORTON
Mountain Twilight, 117 COOK, JAMES PRINGLE
Blue River Autumn, 30 COTTON, BRENT
Winter Magic, 17 COX, JIMMY DON
Arizona Cowboys, 317
Listening for the Herd, 38 Strollin’ Along, 315 CURTIS, EDWARD
Out of the Darkness - Navaho, 122
The Vanishing Race, 125 Untitled (Child Portrait), 124
Vash Gon - Jicarilla, 123
DALLIN, CYRUS EDWIN
Medicine Man, 114 DEAN, GLENN
Day Wrangler, 133
Roaming the Land of His People, 119 DEDECKER, THOMAS
Pond Summer Colors, 224
Water Lilies, 219 DELANO, GERARD CURTIS Colorado, 258 DEMOTT, JOHN
Symbol of Broken Promises, 170 DOBSON, PATRICIA
Hopi - 1800 & 1940, 236 DODGE, GENE
Bighorn Sheep, 301 DOHENY, DENNIS
Gold on Silver, 225
DOOLITTLE, BEV
Pack on the Move, 191 DUNCAN, ROBERT
The Camp Keepers, 19 DYCK, PAUL
The Flag Chief, 184
DYE, CHARLIE
Cheyenne Challenge, 186
DYER, JIMMY
Teton Ranch, 31
EUBANKS, TONY
Red Leggings, 139
Santa Fe Snow, 33 Sun, Wind, & Sky, 163
FALK, JONI
Firelight, 20 FAWCETT, JOHN
Hard Working Gray, 244
FELLOWS, FRED
No Easy Way Out, 245 Wild Horses, 56 FELSING, JOHN
New Horizon, 84 FERY, JOHN
Going to the Sun Mountain, Lake St. Mary, Glacier National Park, 126 FLECK, JOSEPH Taos Mesa, 149 FLOOD, DARO
Goat Round Up, 318 FORD, DALE
Butterfield & Company Overland Stagecoach, 55 FRITZ, CHARLES
Hunters Fording the Tetlin, 312 FURLOW, MALCOLM
Jack Rabbit, 241 GARDE, HAROLD
At Pasture, 87 Visionary, 86 GLAZIER, NANCY
Canyon Moon, 299 Montana Skies, 288 GOEBEL, ROD
Desert Mood, 120 GOLLINGS, WILLIAM Trailing, 343 GONDE, MOPHO
Buffalo Study, 268 Kudu Study, 272 Sable Study, 271 GONSKE, WALT
Sangre de Cristo Mountain Range, 196 GOODWIN, PHILIP RUSSELL
In Distress, 217 GREENE, BRUCE
From Juniper and Pine, 253
On the Banks of the Bosque, 39 GREENWOOD, J. BRADLEY
Bison Range Entry Table, 130 GRELLE, MARTIN
Soaked, 313 Winter Quest, 18 GRUYÈRE, THÉODORE-CHARLES
Seated Indian, 218 HALBACH, DAVID Forewarned, 25
Slow & Still, or A Time For Silence, 29 Taking Heed, 15 Wuwuchim, 110 HANSEN, HERMAN WENDELBORG Pursuit, 58 HARDIE, ELDRIDGE Winter Point, 72 HARVEY, G. City Crowds, 69 Flower Man on Market Street, 95 High Meadows, 189 Jackson’s Winter Campaign, 63 Opening Night, 94 Springtime Showers, 223 The Evening Cabbie, 68
Workin’ Em Up, 57 HERZOG, HERMANN Gold Mine in the Rockies, 328 The Old Mill, 97
HILL, THOMAS
Vernal Falls, Yosemite, 98
HOCKNEY, DAVID
Kyoto 24 April 1993, 222
HOUSER, ALLAN
Sheltered, 234 HULINGS, CLARK
Apple Time at Tesuque, 260
Barnyard with Chickens, 254
HURLEY, WILSON
Grand Tetons, 256
Santa Fe Peak, 227 JACKSON, HARRY
Dog Soldier, 185
Ropin’ (bas-relief), 342
Ropin’ a Star, 134
Sacagawea Modified II, 238 JACKSON, WILLIAM HENRY
Oregon Trail, 54 JOHNSON, FRANK TENNEY
Night Rider, 319
KAHN, WOLF
The Winchester Farm, 85 KNEPPER, DAN
The Last Wild Places, 24 KOCH, FRANCOIS
Roaming the Territory, 14
Rushing Waters, 261
KOELPIN SR., WILLIAM J.
Rocky Mountain High, 310 KUHN, BOB
Bobcat Study, 297
Bull of the Woods, Study for Remington’s 150th Anniversary Calendar, 204
Distant Sounds, 213
Lion in the Grass, 270
Lioness, 282
Outdoor Life, 203
Protecting the Flanks, 277
Rogue Grizzly, Study for Remington’s 150th Anniversary Calendar, 205
Shore Patrol, 291
The Rustle of the Mice, 214
They Don’t Eat Post Toasties, 296
Three Big Rams, 210
Two Bears, 6
Two Elk, 3
Two Rams, 300
Very Good Friends, 279
Where the Deer and the Antelope Play, 287
KUHNERT, WILHELM
Elephant & Buffalo (pair), 267
Lion Study, 269
LAWES, BRUCE
In the Land We Love, 265
LAY, AMY
Autumn Romantic, 266 LEIGH, WILLIAM R.
Chief Big Eagle, 118
LOFFLER, RICHARD
Out on the Terrace, 198
MAGGIORI, MARK
Faces of the Old West, 62
Riders of the Golden Sky Study, 36
Two Portraits, 37
Wyoming Spring, 132
MAHAFFEY, MERRILL
Afternoon, Grand Canyon, 155
Canyon River Landscape, 156
Edge of the Plains (Garden of the Gods), 153
MARRIS, BONNIE
Leaving the Den, 127 MATIA, WALTER
A Question of Balance, 262
Band on the Run, 80
Blueberry Baron - Grizzly Bear, 293 MCCARTHY, FRANK
A Crooked Trail, 179
The Hunt, 286 MCGARY, DAVE
“A Matter of Honor” Crow King - June 1876, 108 American Horse, 333 Bear’s Nest, 107 Hearts of Conviction, 21 Stronghearts, 23 MELL, ED
Afternoon / Lake Powell (Study), 154
Standing Orange Rocks, 136 MEUNCH, CHARLES
Sunrise in the Land of Giants, 129 MIEDUCH, DAN
Curious Treasures, 335 Fired Upon, 337
Who’s Robbin’ This Train Enyway?, 341 Young Deadeye, 247 MIGNERY, HERB
Potato Lady, 344 MILLER, ALFRED JACOB
Indian Shooting a Cougar, 100 MOLESWORTH, THOMAS
Keyhole Chair, with ‘saddle’ motif, 229 Loveseat, 230 MONROE, LANFORD
Broken Bough, 290 Yampa Valley Spring, 257 MOORE, ROBERT
The Glade, 221 MORAN, THOMAS
A Deer in a Mountain Landscape, 101 MORGAN, JIM
Forever Mates, 220 MOYERS, JOHN
Communing with the Spirits, 146 MUNGER, GILBERT DAVIS
River Landscape, France, 99 NAMINGHA, DAN
Mourning Kachina, 235 NAUMER, HELMUTH
Adobe House & Cottonwoods, 259 NAVAJO
Second Phase Navajo Chief’s Blanket, 228 NEBEKER, BILL
Bound for Hudson Bay, 28 NIBLETT, GARY
Evening Ride, 140 Trail of Many Soldiers, 181 NIETO, JOHN
Friendship (Wolves), 240 Grizzly Bear, 239
His Own Cavalry Jacket, 174
Self Portrait, 175 NOLTE, OLSEN
Silver Mounted Saddle, Bridle & Martingale, 314 NORTHUP, GEORGE
Setters, 73 OSTERMILLER, DAN
Julie’s Rabbit, 91 OWEN, BILL
Making Tracks, 34
Watering Hole, 41
PATER, ANDRE
A Pointer and a Pheasant, 74 PETTIGREW, MARTHA
The Three Graces, 147 PHELPS, JOHN Bronco, 339 PLETKA, PAUL
Mohtawas (Meaning - Without a Lock of Hair on the Forehead), 172
Native Portrait, 178
POWELL, DAVE
Commanchero Two Step, 332 RED STAR, KEVIN Crow Man, 166
REECE, MAYNARD
Scaup over the Point, 78 Scaup over the Point Study, 79
REGAT, MARY Bear, 303 Otter, 263
REMINGTON, FREDERIC
A Cavalry Officer, 66
A Wounded War Pony (Army Horse on Battlefield, altern.), 65
REYNOLDS, JAMES
High Water (on the Snake), 211
Low Water on the Athabasca, 249
On the Way to Jasper, 13
Ten Mile Creek, 195
RILEY, KENNETH
Apache Man and White Horse, 232 Desert Nomads, 113 Evening Landing - Fort Benton, 67 Extras, 138
Four Lances Study, 144 Guarding the Herd, 143
Indian Portrait (Bear Claw Necklace), 142
Untitled (Profile with Feather Shield), 145
Untitled (Two Dancers), 141
RISHELL, ROBERT CLIFFORD
The Lull, 323
ROBERTS, GARY LYNN
Ranch in Llano County, TX, 255 Storm Crossing, 248
The Family Business, 250 RUNGIUS, CARL Alarmed, 199
An Old Prospector, 4 Siesta, 1
The Answer from the Barren, 7
The Challenge, 2
The Challenge, 202
The Stranger, 200
RUSSELL, CHARLES M. Britzman Super Flit “Tobacco” Mixture, 59
Father Time, 60
SANDER, SHERRY
Cougars, 105 Gorilla, 284
SANDERS, JARED
Moran Twilight, 102 Winter Shadows, 135
SAUERWEIN, FRANK PAUL
Grand Canyon, 226
SCHEIBEL, GREG
Teewinot from the North Fork, 194 SCHENCK, BILL
The Cadillac Ranch, 61 SCHMID, RICHARD
Brattleboro Winter, 82 Standing Nude - The Yellow Ribbon, 90
SCHWIERING, CONRAD
Going to the High Country, 251 Moran Meadows, 289 Mt. Moran, 43
Tapestry of Time, 193 SCOTT, SANDY
Peace Fountain, 96 SEEREY-LESTER, JOHN Making Tracks, 304 SHEPHERD, DAVID
A Quiet Place, 281 Kudu in Brush, 273 Old Windsor Oak, 325 Tiger Cubs, 276 Zebra Foal, 274 SHRADY, HENRY MERWIN
Bull Moose, 206 SINGLETON, GIB 49’ers, 327 Buffalo Soldier, 53 End of the Day, 52 SITU, MIAN
Ready for Rendezvous - Wyoming 1835, 309 SLOANE, ERIC
Taos Canyon Showers, 320 SMITH, ADAM Near the Peak, 307 SMITH, BRETT JAMES Taking Aim, 75 SMITH, DANIEL Into the Sun, 308 SMITH, GEORGE DEE
Edge of the Front, A Storm Brewin’, 322 SMITH, MATT READ Rock Creek, 12 September’s Glow, 42 SMITH, TUCKER Albanchez de Úbeda, 92 Early Snow, 11 His Harem, 295 Moose Head, 9 Morning Fog Study, 208 Rams Being Rams, 197 Ray’s Day, 81 Survival, 216 Timber Edge Study, 292 SNIDOW, GORDON Hangin’ On, 44 Summer Camp, 233 SPENCER, DUNCAN ALANSON
The Crown, 161 ST. CLAIR, LINDA Carolina, 45 STAVROWSKY, OLEG Run for Safe, 338 STEFAN, ROSS
When Stories Get Longer, 32 STIVERS, DON Malvern Hill, 64 STUCKEY, TRACY LV Living Room, 51 SWAN, JOHN
The Covey Rise, 76 SWANSON, JACK Grub-Line Rider, 326 SWANSON, RAY Shonto Goat Herder, 167 Stopping to Visit, 164
The Stone Mason, 93 SWINNERTON, JAMES
Agathla Needle, Monument Valley, Arizona, 151
TAIT, ARTHUR FITZWILLIAM
Duck Hunter in Blind, 77 TAMSE, RENSO Tribute, 278 THOMAS, RICHARD D. Blackfeet Passage, 190 Face-off, 252 VON HASSLER, CARL Fall in Rural New Mexico, 150 WACHTEL, MARION IDA KAVANAGH
Last House at Walpi (Hopi), 112 WAGONER, ROBERT Indian Trails, 109 WALTERS, CURT
Last Light: Canyon de Chelley, 157 Winter Grandeur Revealed, 160 WHITCOMB, SKIP Trail into the Back Country, 22 WIEGHORST, OLAF CARL The Navajo Madonna, 330 WIGGINS, KIM
End of the Day, 137 Las Trampas, 148 Lower Canyon Road, 173 WILCOX, JIM Sundown at West Thumb, 264 WOOTEN, WALT
American Scout / Apache, 168
WYSOCKI, CHARLES Maple Sugaring, 83 YOUNG, HARVEY OTIS Burros Carrying Firewood, 324 ZESCH, GENE
I See by Your Outfit That You Are a Cowboy, 46 Model T / End of the Line, 49 My Success Didn’t Come Easy, 47 No, It’s Not an Antique - I Never Could Afford a New One, 50 This Ranch Has Made Me What I Am Today, 48
ZIEGLER, EUSTACE PAUL Kobuk Native, Alaska, 183 Old Woman, Tanana, Alaska, 182
DESIGN STUDIO AND INTERIORS
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Photo: Bradly J. Boner
130 East Broadway (Showroom and Office)
Preview and Art Pickup
CENTER FOR THE ARTS
265 South Cache Live Auction
JACKSON HOLE ART AUCTION
TERMS AND CONDITIONS
The following Terms and Conditions of Sale constitute Jackson Hole Art Auction, LLC’s (“Jackson Hole Art Auction”) and its agents’ and consignors’ entire agreement with prospective bidders, bidders and purchasers relative to the property listed in this catalog. These Terms and Conditions of Sale and all other contents of this catalog are subject to amendment during or before the sale. The property will be offered by Jackson Hole Art Auction as agent for the consignors, unless the catalog indicates otherwise.
1. Jackson Hole Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. Jackson Hole Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein.
a. All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. Jackson Hole Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalog or description, including, but not limited to, the authenticity, physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalog, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalog are subject to change or supplementation before or during the sale, including the sale of any lot.
2. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored. Note, primary (unframed) catalog images should be used for color matching.
3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying Jackson Hole Art Auction directly by cash, check or bank wire, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price of each lot up to and including $1,000,000 and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, there is a credit card processing fee on the total purchase price including any applicable sales tax, shipping and handling charges. Bids placed through online platforms may incur additional buyer’s premium and service fees, which will be listed in the terms & conditions on the respective website.
4. Jackson Hole Art Auction reserves the right to withdraw any property before or during the sale and shall have no liability whatsoever for such withdrawal.
5. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalog.
6. Jackson Hole Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or to reoffer and resell the article in dispute. If any dispute arises after the sale, Jackson Hole Art Auction’s sale record shall be final and conclusive. Jackson Hole Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, Jackson Hole Art Auction is not responsible for any errors or omissions in connection therewith.
7. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the article offered, he or she may reject the same and withdraw the article from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.
8. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the terms and conditions set forth herein and is immediately obligated to pay the full purchase price or such parts thereof as Jackson Hole Art Auction may then require. All sales are final, and there shall be no exchanges or returns. Payment shall be made by cash, check, bank wire, Visa, MasterCard, or American Express. (See, paragraph 3 above: “If paying by credit card . . .”) In addition to other remedies available to us by law, Jackson Hole Art Auction reserves the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth.
a. All property must be removed by the purchaser at his or her expense not later than (10) business days following the sale, and if it is not so removed, (i) a handling charge of 1% of the total purchase price per month from the tenth day after the sale (until its removal) will be payable to us by the purchaser, with a minimum of 5% of the total purchase price due for any property not so removed within 60 days after the sale, and (ii) we may send the purchased property to a public warehouse for the account, at the risk and expense of the purchaser.
b. If any applicable conditions herein are not complied with by the purchaser, the purchaser will be in default, and in addition to any and all other remedies available to Jackson Hole Art Auction and its agents and consignors by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, including all fees, charges, and expenses set forth herein, Jackson Hole Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser, or (ii) resell the purchased property, whether at auction or by private sale, or (iii) effect any combination thereof. The purchaser will be liable for any deficiency, any and all costs, handling charges, late charges, expenses, and commissions of both sales, legal fees, and expenses, collection fees, and incidental damages. In addition, a defaulting purchaser will be deemed to have granted and assigned the property or money to Jackson Hole Art Auction or its agents and consignors or any of their affiliated companies, and Jackson Hole Art Auction may retain and apply such property or money as collateral security for the obligations due. Jackson Hole Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the Wyoming Uniform Commercial Code. The purchaser of each lot agrees that each lot is unique and that Jackson Hole Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such purchaser fail to pay the total purchase price. Payment will not be deemed to have been made in full until Jackson Hole Art Auction shall have collected good funds. Jackson Hole Art Auction reserves the right to hold all purchases pending collection of the total purchase price.
9. All lots are subject to a reserve, which is the confidential minimum price acceptable to the consignor. In such instances, Jackson Hole Art Auction may implement the reserve by bidding on behalf of the consignor. In instances where Jackson Hole Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. Jackson Hole Art Auction, or its agents or consignors, may also bid upon other property listed in this catalog.
10. Jackson Hole Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by Jackson Hole Art Auction.
11. Unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. It is the purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price.
12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Wyoming, without regard to Wyoming rules concerning conflicts of law.
13. Prospective bidders and purchasers agree that, in the event of any controversy or claim arising out of or relating to a sale of property, the party asserting such controversy or claim shall provide written notice thereof to the other party, and that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including any controversy or claim arising from or relating to the sale, or to these Terms and Conditions of Sale, including the terms of this paragraph, shall be resolved and settled by binding arbitration in Jackson Hole, Wyoming, or such other place upon which the parties may agree, in writing; such arbitration shall be pursuant to the commercial arbitration rules of the American Arbitration Association then in effect; the award, which shall include costs of arbitration and an award of reasonable attorneys’ fees to the prevailing party, shall be final, and the judgment on the award may be entered in any court having jurisdiction.
14. Jackson Hole Art Auction may, in its discretion and at a purchaser’s request, package and ship items as directed by the purchaser. In such event, purchaser agrees to the following conditions:
a. All such packaging, handling and shipping is at the sole risk of the purchaser, and Jackson Hole Art Auction shall have no liability for any loss or damage to such items.
b. Please allow 4-6 weeks for shipping.
15. Auction Results are posted on the various bidding platforms.
16. Bidding on any item indicates your acceptance of these terms and all other terms announced at the time of sale, whether bidding in person, by phone, absentee, online, or through a representative.
17. Bidding increments are as follow but may vary at the auctioneer’s discretion:
Under $1,000: $50
$1,000 - $2,000: $100
$2,000 - $5,000: $250
$5,000 - $10,000: $500
$10,000 - $20,000: $1,000
$20,000 - $50,000: $2,500
$50,000 - $100,000: $5,000
$100,000 - $200,000: $10,000
$200,000 - $500,000: $25,000
$500,000 - $1,000,000: $50,000
$1,000,000 and up: $100,000
SALES TAX
Jackson Hole Art Auction has met the threshold for an economic nexus, and is therefore required to collect sales tax, in the following states: Alabama, Arizona, Colorado, Connecticut, Florida, Idaho, Kansas, Nevada, Massachusetts, New Mexico, North Carolina, Oklahoma, Tennessee, Texas, Utah, Wisconsin, Washington and Wyoming. If the purchaser is shipping to any of these states, Jackson Hole Art Auction is required by law to add the appropriate state and local sales tax to the purchaser’s invoice.
The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result Jackson Hole Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon.
Due to the variable nature of auction sales, and the small window in which they occur, Jackson Hole Art Auction does not yet know if the states not listed above will require sales tax collection, as that will be determined by the total dollar amount sold into each state—which cannot be predicted. Jackson Hole Art Auction will strive to inform the purchaser at the time of invoicing if sales tax collection is required; however, it may be necessary to invoice for sales tax post-sale if the threshold for an economic nexus in the purchaser’s state is met after the purchaser has paid.
Even if Jackson Hole Art Auction is not required to collect sales tax from the purchaser’s state, unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax per the terms and conditions.
If the purchaser has a valid resale certificate, the purchaser will not be required to pay sales tax. Please provide a copy of this certificate at the time of registration for tax compliance.
CREDITS
Auction Director: Kevin Doyle
Auction Coordinator: Christina Frey
Auction Registrar: Laura Marturano
Photography: Emerson Jessup
Catalog Design: Shane Mieske
Catalog Layout: Laura Marturano & Kevin Doyle
Catalog Essays: Laura Marturano & Christina Frey, with contributions from Andrew Smith and Jorge Arango Auctioneer: Jason Brooks
Printer: O’Neil Printing, Phoenix, AZ
PREVIEWS
All artwork available for preview
Monday – Friday, 9am – 5pm
Saturday, 11am – 6pm
Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming
AUCTION
Luncheon | September 14 at 11am
Live Auction | September 14 at 12pm
Live Auction and Luncheon to be held at Center for the Arts
265 South Cache, Jackson, Wyoming
BIDDING & REGISTRATION
Absentee and phone bidding arrangements must be made by September 13.
Register Absentee and Telephone bids online: jacksonholeartauction.com/registration
Telephone bidders are encouraged to leave absentee bids in the event of technical difficulties.
Online bidding is available through: Jackson Hole Art Auction Live Auctioneers
Invaluable
Please direct all inquiries to (866) 549-9278 and visit jacksonholeartauction.com for more information
ART PICKUP
Sunday, September 15 | 9am – 2pm
Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming
Jackson Hole Art Auction, LLC
130 East Broadway, Jackson WY 83001 | Post Office Box 1568
Tel 866 JH WY ART (866-549-9278) | jacksonholeartauction.com
© 2024 Jackson Hole Art Auction Limited Co.
