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T R A I L S I D E G A L L E R I E S & G E R A L D P E T E R S G A L L E RY P R E S E N T

S E S S I O N I • S E P T E M B E R 15 , 2 017 | S E S S I O N I I • S E P T E M B E R 16 , 2 017


FRO NT C OV E R: LO T 2 4 0 EDGAR PAYNE (1883-1947), Navajo Scouting Party, oil on canvas, 28 x 34 inches, $400,000 – $600,000 B ACK C OV E R : LO T 2 4 3 WILLIAM GOLLINGS (1878-1932), Herald of Trouble, ca. 1911, oil on canvas, 29 ¼ x 20 inches, $150,000 – $250,000 FRO NTI S P I E C E : LO T 2 0 4 BOB KUHN (1920-2007), Closing the Distance, 1977, acrylic on masonite, 24 x 48 inches, $100,000 – $150,000


A N AU C T I O N O F PA S T A N D P R E S E N T MASTERWORKS OF THE AMERICAN WEST


LOT 2 35 EDGAR PAYNE (1883-1947), Blue Shadows, oil on canvas, 42 x 42 inches, $150,000 – $250,000


A N A U C T I O N O F PA S T A N D P R E S E N T MASTERWORKS OF THE AMERICAN WEST

SCHEDULE OF EVENTS

SESSION I All events will be held at the Center for the Arts 265 South Cache, Jackson, Wyoming SESSION I AUC TION PREVIEW Thursday, September 14th | 10:00am – 7:00pm Friday, September 15th | 9:00am – 12:00pm Previews held in the Black Box Theater LIGHT LUNCH

Friday, September 15th | 11:00am SESSION I LIVE AUC TION Friday, September 15th | 12:00pm MDT

SESSION II All events will be held at the Center for the Arts 265 South Cache, Jackson, Wyoming SESSION II AUC TION PREVIEWS Friday, September 15th | 10:00am – 7:00pm Saturday, September 16th | 9:00am – 12:00pm S TA N L E Y M E LT Z O F F A N D T H E H I S T O RY O F B I G - G A M E F I S H I N G Presentation by Mike Rivkin Friday, September 15th | 5:00pm BBQ LUNCHEON Saturday, September 16th | 11:00am SESSION II LIVE AUC TION Saturday, September 16th | 12:00pm MDT

J A C K S O N H O L E A R T A U C T I O N PA R T N E R S Roxanne Hofmann Trailside Galleries trailsidegalleries.com (480) 945-7751

Maryvonne Leshe Trailside Galleries trailsidegalleries.com (307) 733-3186

Gerald Peters Gerald Peters Gallery gpgallery.com (505) 954-5700


JACKSON HOLE ART AUC TION Absentee and phone bidding arrangements must be made by: 5:00pm MDT on September 14th for Session I 5:00pm MDT on September 15th for Session II Telephone bidders are encouraged to leave absentee bids in case of technical difficulties Please direct all inquiries to (866) 549-9278 Register online and view auction results at: www.jacksonholeartauction.com Online Bidding available through Bidsquare

LOT 192 CARL RUNGIUS (1869-1959), At the Deadwater, 1908, oil on canvas, 24 x 32 inches, $125,000 – $175,000


A N A U C T I O N O F PA S T A N D P R E S E N T MASTERWORKS OF THE AMERICAN WEST

P R E S E N T E D BY T R A I L S I D E GA L L E R I E S & G E R A L D P E T E R S GA L L E RY ©


SESSION I LO T 1 – LO T 137 F R IDAY, S E P TE MB E R 15TH 12: 00P M MDT CE N TE R FO R TH E A R TS 265 S O U TH CACH E J ACK S O N , WYO MIN G

P R E S E N T E D BY T R A I L S I D E GA L L E R I E S & G E R A L D P E T E R S GA L L E RY

©


1 BOB KUHN (1920-2007) Lynx conte crayon on paper 5 ½ x 9 inches (sight) signed lower right: Kuhn PROVENANCE: Private Collection, Pinedale, WY $1,500 – $2,500

2 SHERRY SANDER (1941- ) Sunday Brunch

3 SHERRY SANDER (1941- ) Rock Slide Crossing

bronze 9/35 11 ½ x 11 x 9 ½ inches inscribed verso: SSANDER ©85 stamped verso: 9/35

bronze 11/35 16 x 15 x 10 inches inscribed front: SSSANDER 98© 11/35

PROVENANCE: Private Collection, Scottsdale, AZ

PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From the Collection of Ms. Claire McDaniel

$2,000 – $3,000

$1,500 – $2,500

—8—


4 CARL RUNGIUS (1869-1959) Cliff Dwellers etching and drypoint 7 ¾ x 10 ¾ 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, illus. plate 22 $4,000 – $6,000

5 CARL RUNGIUS (1869-1959) Near Long Lake etching and drypoint 7 ½ x 10 ½ 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, illus. plate 17 $4,000 – $6,000

6 CARL RUNGIUS (1869-1959) Stampede etching and drypoint 6 x 8 ¼ inches signed lower right: C. Rungius PROVENANCE: Coeur d’Alene Galleries, Coeur d’Alene, ID (label verso) From an Idaho Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, illus. plate 8 $4,000 – $6,000

—9—


7 CARL BRENDERS (1937- ) European Robin and Blackberries mixed media on illustration board 6 x 8 ½ inches signed lower right: © CBrenders PROVENANCE: Private Collection, Plymouth, MN $3,000 – $5,000

8 CARL BRENDERS (1937- ) Robin and Dandelions mixed media on illustration board 9 x 12 inches signed lower right: © CBrenders88 PROVENANCE: Private Collection, Plymouth, MN $4,000 – $6,000

9 ROBERT BATEMAN (1930- ) Merganser Duckling bronze 29/250 2 ¾ x 5 ¾ x 2 ¾ inches inscribed verso: © R BATEMAN - 83 29/250 PROVENANCE: Private Collection, Paradise Valley, AZ $800 – $1,200

— 10 —


10 CLYDE ASPEVIG (1951- ) Sunlit Glade oil on canvas 16 x 16 inches signed lower left: ©ASPEVIG PROVENANCE: From a Private Collection $5,000 – $7,000

11 ROBERT ABBETT (1926-2015) Ruffed Grouse, 1979 oil on board 20 x 30 inches signed lower left: abbett ©1979 verso: titled, signed, dated PROVENANCE: From a Private Collection $7,000 – $10,000 — 11 —


12 RALPH OBERG (1950- ) Summer in the Tetons oil on canvas 28 x 32 inches signed lower right: Oberg verso: titled, signed, dated PROVENANCE: From the Collection of Mike Johnson $5,000 – $8,000

13 DANIEL SMITH (1954- ) Solitary Snow Goose acrylic on board 30 x 24 inches signed lower right: Smith ©88 PROVENANCE: From a Private Collection $6,000 – $9,000

— 12 —


14 CONRAD SCHWIERING (1916-1986) Highland Highlights oil on board 20 x 30 inches signed lower right: Schwiering© (artist cipher) verso: titled and signed PROVENANCE: From the Collection of Ms. Elaine C. Stauber $7,000 – $10,000

15 BILL SAWCZUK (1945- ) Looking into the Past oil on canvas 30 x 30 inches signed lower left: W.A. SAWCZUK verso: titled, signed, dated PROVENANCE: From a Private Collection $4,000 – $6,000 — 13 —


16 JAMES POULSON (1955- ) Jackson Hole Autumn oil on canvas 48 x 60 inches signed lower left: poulson PROVENANCE: From a Private Collection $8,000 – $12,000

17 OGDEN PLEISSNER (1905-1983) Autumn Hunting watercolor on paper 11 x 14 inches (sight) signed lower right: Pleissner PROVENANCE: From a Private Collection $7,000 – $10,000

— 14 —


18 RICHARD SCHMID (1934- ) Hoarfrost oil on canvas 14 x 24 inches signed lower left: Schmid verso: titled, signed, dated PROVENANCE: From a Private Collection $10,000 – $15,000

19 CURT WALTERS (1950- ) Oak Creek Canyon oil on canvas 20 x 16 inches signed lower left: CURt WAltERS PROVENANCE: Savageau Gallery, Denver, CO, (label verso) Private Collection, Denver, CO $3,000 – $5,000

— 15 —


20 EDWARD NORTON WARD (1928- ) Taos Valley oil on canvas 16 x 20 inches signed lower left: EDWARD NORTON WARD verso: titled and signed PROVENANCE: Private Collection, Paradise Valley, AZ $2,000 – $3,000

21 EDWARD NORTON WARD (1928- ) Acequia and Red Willows oil on board 12 x 16 inches signed lower left: EDWARD NORTON WARD verso: titled and signed PROVENANCE: Private Collection, Paradise Valley, AZ $1,000 – $2,000

22 LINDA ST. CLAIR (1952- ) Bull in Red oil on canvas 30 x 36 inches signed lower right: St CLAIR verso: signed PROVENANCE: From a Private Collection $3,000 – $5,000

— 16 —


23 JOE ABBRESCIA (1936-2005) Wyoming Stream oil on masonite 11 x 14 inches signed lower left: Abbrescia PROVENANCE: Private Collection, Paradise Valley, AZ $800 – $1,200

24 ROD GOEBEL (1946-1993) Cottonwoods oil on canvas 20 x 24 inches signed lower left: ROD GOEBEL verso: signed and dated PROVENANCE: Meinhard Galleries, Houston, TX (label verso) From the Collection of Mr. Richard King IV $2,000 – $4,000

25 BERNARD NEUVILLE (1852-1941) Kittens oil on canvas 24 x 28 inches signed lower right: Bernard Neuville PROVENANCE: Private Collection, Paradise Valley, AZ $2,000 – $3,000

— 17 —


26 GEORGE BROWNE (1918-1958) Pheasants Afield oil on canvas 20 x 24 inches signed lower right: George Browne PROVENANCE: From a Private Collection $6,000 – $9,000

27 WILLIAM HOLLYWOOD (1923-2007) Shelducks oil on canvas 20 x 30 inches signed lower right: Wm Hollywood PROVENANCE: Newman Galleries, Philadelphia, PA (label verso) Private Collection, Boca Raton, FL $3,000 – $5,000

28 JOE ABBRESCIA (1936-2005) Deer oil on canvas 12 x 16 inches signed lower left: Abbrescia © verso: signed PROVENANCE: Private Collection, Paradise Valley, AZ $1,000 – $2,000

— 18 —


29 HOWARD ROGERS (1932- ) Land of the Bison oil on canvas 18 x 30 inches signed lower right: H Rogers© PROVENANCE: The Artist $3,000 – $5,000

30 BONNIE MARRIS (1951- ) Room with a View oil on canvas 9 x 12 inches signed lower right: BLMarris © PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Coral Gables, FL $3,000 – $5,000

— 19 —


31 BONNIE MARRIS (1951- ) Spencer and Kate oil on canvas 10 x 16 inches signed lower left: BLMarris © PROVENANCE: Big Horn Galleries, Cody, WY (label verso) Private Collection, Coral Gables, FL $3,000 – $5,000

32 CLYDE ASPEVIG (1951- ) Mountain Showers oil on canvas 20 x 24 inches signed lower right: © ASPEVIG 80 PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $4,000 – $6,000

— 20 —


33 CLYDE ASPEVIG (1951- ) View from Double Top Mountain oil on linen 20 x 24 inches signed lower left: ASPEVIG verso: titled PROVENANCE: Private Collection, Bozeman, MT $7,000 – $10,000

34 CLYDE ASPEVIG (1951- ) Sheep Shed oil on canvas 12 x 16 inches signed lower left: ASPEVIG verso: titled and signed PROVENANCE: From a Private Collection $4,000 – $6,000

— 21 —


35 MIAN SITU (1953- ) Mountain Beauty oil on canvas 24 x 30 inches signed mid left: Situ Mian PROVENANCE: From a Private Collection $6,000 – $9,000

36 MIAN SITU (1953- ) Mother’s Helper oil on canvas 30 x 24 inches signed lower left: Mian Situ verso: titled and signed PROVENANCE: From a Private Collection $6,000 – $9,000

— 22 —


37 MIAN SITU (1953- ) Friends oil on canvas 24 x 20 inches signed lower left: Mian Situ verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $4,000 – $6,000

38 MIAN SITU (1953- ) Yao Girl oil on canvas 20 x 16 inches signed lower right: Situ Mian PROVENANCE: From a Private Collection $5,000 – $7,000

— 23 —


39 RICHARD SCHMID (1934- ) Untitled (Girl in Garden) oil on board 17 ¼ x 13 ¼ inches signed lower right: Schmid PROVENANCE: From a Private Collection $5,000 – $7,000

40 JOE ABBRESCIA (1936-2005) Ramilette de Flores oil on board 12 x 16 inches signed lower right: Abbrescia © PROVENANCE: Nedra Matteucci Fine Art, Santa Fe, NM (label verso) Private Collection, Paradise Valley, AZ $800 – $1,200

— 24 —


41 ALFRED JACOB MILLER (1810-1874) The Present, 1834 oil on panel 12 x 13 5/8 inches verso: titled, signed, dated PROVENANCE: Zaplin Lampert Gallery, Santa Fe, NM (label verso) Private Collection, Spokane, WA $7,000 – $10,000

42 JOSEPH HENRY SHARP (1859-1953) Water Carrier monotype 6 ½ x 10 ½ inches (sight) signed lower right: JHS PROVENANCE: From a Private Collection $2,000 – $4,000

— 25 —


43 ROBERT W. WOOD (1889-1979) Mount Moran oil on canvas 25 x 30 inches signed lower left: Robert Wood verso: titled PROVENANCE: Private Collection, Mt. Pleasant, SC $5,000 – $7,000

44 JOHN FERY (1859-1934) Glacier Park Elk oil on canvasboard 10 x 16 inches signed lower right: J. Fery PROVENANCE: From an Idaho Collection $4,000 – $6,000

45 KENT ULLBERG (1945- ) Ring of Bright Water II bronze 3/20 38 x 24 ½ x 8 ½ inches inscribed left: © Ullberg 3/20 PROVENANCE: Private Collection, Scottsdale, AZ $7,000 – $10,000

— 26 —


46 ROBERT W. WOOD (1889-1979) Cascade Canyon oil on canvas 24 x 36 inches signed lower left: Robert Wood PROVENANCE: From a Private Collection $8,000 – $12,000

47 JOHN FERY (1859-1934) Mountain Hideout oil on canvas 20 ¾ x 27 ¾ inches signed lower right: J. Fery PROVENANCE: From a California Collection $6,000 – $9,000

— 27 —


48 JOHN SLOAN (1871-1951) Factory Scene charcoal on paper 12 x 15 ½ inches (sight) signed lower left: John Sloan PROVENANCE: From a Private Collection $2,000 – $4,000

49 FREDERICK SHANE (1906-1992) Home Repairs, 1939 oil on canvas mounted on board 18 x 24 inches signed lower right: F. Shane ‘39 verso: titled, signed, dated PROVENANCE: From a Private Collection $2,000 – $4,000

— 28 —


50 ERNEST BLUMENSCHEIN (1874-1960) Ghost in the Galley oil on board 19 x 38 inches signed lower right: E. L. Blumenschein PROVENANCE: Private Collection, Spokane, WA LITERATURE: William MacHarg, The Ghost in the Galley: A Murder Mystery Story, The American Magazine, July 1916, Vol LXXXII, No. 1, illus. p. 28-29 $7,000 – $10,000

51 ANTHONY THIEME (1888-1954) Hauling Nets oil on canvas 25 x 30 inches signed lower left: A Thieme PROVENANCE: From the Collection of Ms. Cindy Harrison King $8,000 – $12,000

— 29 —


52 FRANK STICK (1884-1966) The New World oil on canvas 28 x 20 inches signed lower right: Frank Stick PROVENANCE: Private Collection, Pittsburgh, PA $6,000 – $9,000

53 FRANK STICK (1884-1966) Moonlight oil on canvas 28 x 20 inches signed lower left: Frank Stick PROVENANCE: Private Collection, Pittsburgh, PA $6,000 – $9,000

— 30 —


54 CARL ROTERS (1898-1989) Indian Family, 1976 polymer on board 13 ¼ x 25 ¼ inches (sight) signed lower right: Carl Roters, 1976 PROVENANCE: Private Collection, Mountain View, CA $4,000 – $6,000

55 HARRY JACKSON (1924-2011) The Seeker, 1978 bronze 52/1000 11 ½ x 7 x 5 ½ inches inscribed verso: ©Harry Jackson 1978, S52 stamped verso: WFS Italia PROVENANCE: From a Private Collection $1,500 – $2,500

56 CARL ROTERS (1898-1989) Trappers at Rest, 1968 polymer on board 54 x 18 5/8 inches signed lower right: Carl Roters 1968 verso: titled and signed PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Mountain View, CA $6,000 – $9,000

— 31 —


57 BERT GEER PHILLIPS (1868-1956) Aspen Lane oil on board 21 x 15 inches signed lower left: PHillips. PROVENANCE: From the Collection of Ms. Anne Phillips $7,000 – $10,000

58 WARREN ROLLINS (1861-1962) Pueblo Afternoon oil on masonite 10 ¼ x 18 inches signed lower right: WE Rollins PROVENANCE: From a Private Collection $3,000 – $5,000

— 32 —


59 EDWARD S. CURTIS (1868-1952) Vanishing Race silvertone print 5 ¾ x 7 ½ inches signed lower right: Curtis lower left: 180-04 PROVENANCE: From a Private Collection $4,000 – $6,000

60 JOSEPH HENRY SHARP (1859-1953) Blackfeet Brave

61 CHARLES CRAIG (1846-1931) Smoke Signal, 1904

monotype 10 ¾ x 6 ¾ inches (sight) signed lower left: J.H.SHARP

oil on canvas 16 x 12 inches signed lower right: CHAS. CRAIG. 1904

PROVENANCE: Private Collection, Jamestown, NY

PROVENANCE: From a Texas Collection

$4,000 – $6,000

$3,000 – $5,000 — 33 —


62 CHARLIE DYE (1906-1972) Cowboy on Horse Fighting a Grizzly Bear oil on masonite 23 ¾ x 17 ½ inches signed lower left: Charlie Dye verso: signed PROVENANCE: Seattle Trust & Savings Bank (label verso) Hunter Gallery, San Francisco, CA (label verso) Favell Museum Collection, Klamath Falls, OR (label verso) From a Private Collection $8,000 – $12,000

63 WILL BURLINGAME (1942- ) The Escort oil on masonite 20 x 40 inches signed lower left: WILL BURLINGAME 84 PROVENANCE: Husberg Fine Arts Gallery, Sedona AZ (label verso) From a Private Collection $2,000 – $3,000

— 34 —


64 CLARK KELLEY PRICE (1945- ) Range Telegraph oil on canvas 24 x 48 inches signed lower left: Clark Kelley Price (artist cipher) 82 PROVENANCE: Private Collection, Jackson, WY $8,000 – $12,000

65 WAYNE BAIZE (1943- ) Braggin’ on Their Horses oil on canvas 29 ½ x 35 ½ inches signed lower left: WAYNE BAIZE © 2003 CA PROVENANCE: Cowboy Artists of America, Phoenix Art Museum, Phoenix, AZ, October 18 - November 16, 2003 (label verso) Private Collection, Scottsdale, AZ $8,000 – $12,000

— 35 —


66 DAN MIEDUCH (1947- ) Their Finest Hour oil on masonite 20 x 30 inches signed lower right: © DANMIEDUCH 1990 PROVENANCE: Private Collection, Mt. Pleasant, SC $8,000 – $12,000

67 HARRY JACKSON (1924-2011) The Marshal III, 1979

68 BONNIE MARRIS (1951- ) No Fences

bronze 107/1000 10 ½ x 11 x 4 inches inscribed front left: © Harry Jackson 79 MA III 107/1000 stamped front left: WFS ITALIA

oil on canvas 8 x 10 inches signed lower right: BLMarris ©

PROVENANCE: Private Collection, Brea, CA

PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Coral Gables, FL

$2,000 – $3,000

$2,500 – $3,500 — 36 —


69 FRANK MCCARTHY (1924-2002) Rear Guard, 1976 oil on canvas 14 x 18 inches signed lower right: McCarthy CA © 76 verso: titled and signed PROVENANCE: Troy’s Cowboy Art Gallery, Scottsdale, AZ (label verso) From a Private Collection $7,000 – $10,000

70 JOE GRANDEE (1929- ) US Cavalry Soldier watercolor, gouache, and pen on paper 14 x 11 inches (sight) signed lower right: Joe Grandee ©73 (artist cipher) PROVENANCE: Private Collection, Paradise Valley, AZ $500 – $700

71 JOHN FAWCETT (1952- ) Battle Weary watercolor on paper 17 x 18 inches (sight) signed lower left: FAWCETT ©’97 LL PROVENANCE: Private Collection, Scottsdale, AZ $1,500 – $2,500

— 37 —


72 ROBERT DUNCAN (1952- ) Winter’s Emptiness

73 TRACY BEELER (1958- ) Bird Woman

oil on board 24 x 20 inches signed lower left: RDUNCAN © verso: titled, signed, dated

bronze, 5/35 16 x 4 ½ x 6 ½ inches inscribed verso: Tracy Beeler verso: stamped 5/35 BRONZE

PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Jackson, WY

PROVENANCE: Private Collection, Paradise Valley, AZ

$5,000 – $7,000

$2,000 – $3,000

74 NANCY GLAZIER (1947- ) Free Spirits oil on board 18 x 24 inches signed lower right: N. GlAZiER PROVENANCE: From the Collection of Anthony C. Corcoran $8,000 – $12,000

— 38 —


75 ALFREDO RODRIGUEZ (1954- ) A Warrior’s Prayer, 2016 oil on canvas 36 x 24 inches signed lower right: A. Rodriguez © ‘16 verso: titled, signed, dated PROVENANCE: The Artist $15,000 – $20,000

— 39 —


76 KENNETH RILEY (1919-2015) Pronghorn Portrait acrylic and pen on paper 5 x 4 inches signed lower right: Kenneth Riley CA PROVENANCE: The Artist, by descent $4,000 – $6,000

77 HARRY JACKSON (1924-2011) Sacagawea II, 1991 polychrome bronze 305 18 ¼ x 8 x 6 ½ inches inscribed verso: © Harry Jackson 1980 SAII P305P stamped verso: HJS CODY signed verso: © Harry Jackson 1991 PROVENANCE: Private Collection, Brooklyn, NY $4,000 – $6,000

— 40 —


78 LOGAN MAXWELL HAGEGE (1980- ) The Mesa Shadows oil on linen 24 x 36 inches signed lower left: LOGAN MAXWELL HAGEGE verso: titled, signed, dated PROVENANCE: Private Collection, Milwaukee, WI $20,000 – $30,000

— 41 —


79 MARTIN GRELLE (1954- ) Three to Go oil on canvas 36 x 48 inches signed lower right: MARTIN GRELLE © verso: signed PROVENANCE: Winston Gallery of Fine Arts, Telluride, CO (label verso) Private Collection, Jackson, WY $25,000 – $45,000

— 42 —


80 OLAF WIEGHORST (1899-1988) Eldorado Saloon watercolor on paper 13 ½ x 19 ½ inches (sight) signed lower left: O - Wieghorst (artist cipher) PROVENANCE: Legacy Gallery, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $8,000 – $12,000

81 OLAF WIEGHORST (1899-1988) Mountain Man watercolor on paper 10 ½ x 8 ¾ inches (sight) signed lower left: O - Wieghorst (artist cipher) PROVENANCE: Legacy Gallery, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $5,000 – $7,000

— 43 —


82 GARY NIBLETT (1943- ) Riders on the Plain oil on canvas 30 x 40 inches signed lower right: GARY NIBLETT ‘94 CA verso: titled and signed PROVENANCE: Private Collection, Scottsdale, AZ $8,000 – $12,000

83 DALE FORD (1934- ) Overland Freight Wagon

84 DALE FORD (1934- ) Hearse

hand-painted wood 16 x 20 ½ x 10 ½ inches

hand-painted wood 20 x 27 x 13 inches

PROVENANCE: Private Collection, La Quinta, CA

PROVENANCE: Private Collection, La Quinta, CA

$1,500 – $2,500

$3,000 – $5,000 — 44 —


85 FRED FELLOWS (1934- ) Where it Pays to be Mounted oil on canvas 24 x 36 inches signed lower right: Fellows CA ©80 verso: titled, signed, dated PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $5,000 – $7,000

86 MARTIN GRELLE (1954- ) Near Sundown oil on canvas 14 x 11 inches signed lower right: MARTIN GRELLE © verso: titled PROVENANCE: Overland Gallery, Scottsdale, AZ From a California Collection $6,000 – $9,000

— 45 —


87 SIMON COMBES (1940-2004) The Pursuit oil on canvas 16 x 28 inches signed lower right: Simon Combes PROVENANCE: From a Private Collection $5,000 – $7,000

88 SHERRY SANDER (1941- ) African Courtship bronze 8/35 18 x 15 x 12 inches inscribed left: SSANDER 85© stamped left: 8/35 PROVENANCE: Private Collection, Scottsdale, AZ $3,000 – $5,000

— 46 —


89 SHERRY SANDER (1941- ) Gorillas bronze 16/25 12 ¼ x 14 ½ x 9 inches inscribed verso: SSANDER ©CA stamped verso: 16/25 PROVENANCE: Private Collection, Scottsdale, AZ $1,500 – $2,500

90 DANIEL GIRAUD ELLIOT (1835-1915) Felis Pardus & Felis Bengalensis hand-colored lithographs 21 ¼ x 18 inches (each) PROVENANCE: Private Collection, Alpine, WY $2,000 – $3,000 (for the pair)

— 47 —


91 MORT SOLBERG (1935- ) Along the Continental Divide watercolor and gouache on paper 17 ½ x 29 ½ inches (sight) signed lower right: Morten E. Solberg ©AWS PROVENANCE: From a Private Collection $4,000 – $6,000

92 VERYL GOODNIGHT (1947- ) A Distant Sound bronze 3/21 18 x 23 ½ x 12 inches inscribed verso: Veryl Goodnight 1979© 3/21 PROVENANCE: Trailside Galleries, Scottsdale, AZ From a Private Collection $3,000 – $5,000

93 BOB KUHN (1920-2007) Deer in Winter gouache on paper 13 ¾ x 10 inches (sight) signed lower left: Kuhn PROVENANCE: Private Collection, Jackson, WY $3,000 – $5,000

— 48 —


94 TERRY ISAAC (1958- ) Full Steam Ahead

95 BONNIE MARRIS (1951- ) Little Red Fox

acrylic on masonite 27 x 20 ½ inches signed lower right: ©T. ISAAC

oil on canvas 8 x 10 inches signed lower right: BLMarris ©

PROVENANCE: From a Private Collection

PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Coral Gables, FL

$4,000 – $6,000

$2,500 – $3,500

96 PERSIS C. WEIRS (1942-2016) Fox and Grouse, 1989 oil on canvas 24 x 36 inches signed lower right: PERSIS CLAYTON WEIRS 1989 © PROVENANCE: From the Collection of Ms. Dorothy Ursprung $2,000 – $4,000

— 49 —


97 DONALD DERNOVICH (1942- ) First Snow in the High Country oil on linen 40 x 60 inches signed lower left: DERNOVICH © PROVENANCE: Private Collection, Bozeman, MT $6,000 – $9,000

98 GREG BEECHAM (1954- ) Olympic Daydream oil on canvas 18 x 24 inches signed lower left: g. BEECHAM ©’89 (fish symbol) PROVENANCE: Private Collection, Scottsdale, AZ $3,000 – $5,000

— 50 —


99 GREG BEECHAM (1954- ) Sunset Pond oil on canvas 14 x 42 inches signed lower right: gBEECHAM ©05 NAWA verso: titled and signed PROVENANCE: Astoria Fine Art, Jackson, WY (label verso) From a Private Collection $6,000 – $9,000

100 BONNIE MARRIS (1951- ) Wolves oil on canvas 9 x 12 inches signed lower right: BLMarris © PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Coral Gables, FL $3,000 – $5,000

— 51 —


101 LUKE FRAZIER (1970- ) Denali Colors oil on board 36 x 48 inches signed lower right: L Frazier © 05 PROVENANCE: Private Collection, Jackson, WY $12,000 – $18,000

— 52 —


102 JOHN DEMOTT (1954- ) Lone Bull oil on canvas on board 24 x 18 inches signed lower right: DEMOTT 2012 (artist cipher) verso: signed and dated PROVENANCE: From a Wyoming Collection $3,000 – $5,000

103 GRANT REDDEN (1961- ) Morning Light oil on canvas 24 x 24 inches signed lower right: Redden verso: titled, signed, dated PROVENANCE: From a Wyoming Collection $3,000 – $5,000

— 53 —


104 JOHN SEEREY-LESTER (1946- ) Final Moments - Grizzly acrylic on board 36 x 24 1/3 inches signed lower right: Seerey-Lester © PROVENANCE: Private Collection, Denver, CO $8,000 – $12,000

105 JOHN SEEREY-LESTER (1946- ) Coyote Moon oil on board 9 x 12 inches signed lower right: Seerey-Lester © ‘94 PROVENANCE: From a Private Collection $1,500 – $2,500

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106 JIM WILCOX (1941- ) Mount Moran oil on canvas 30 x 48 inches signed lower right: JIM WILCOX NAWA ©89 verso: titled PROVENANCE: Private Collection, Scottsdale, AZ $7,000 – $10,000

107 LARS JONSSON (1952- ) Regal oil on canvas 18 x 15 inches signed lower right: Lars Jonsson 2003 PROVENANCE: From a Private Collection $4,000 – $6,000

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108 HOWARD ROGERS (1932- ) Headin’ for Home oil on canvas 24 x 36 inches signed lower right: H Rogers© PROVENANCE: The Artist $5,000 – $7,000

109 OLEG STAVROWSKY (1927- ) River Thaw oil on canvas 16 x 36 inches signed lower right: Oleg Stavrowsky verso: titled and signed PROVENANCE: Private Collection, Minneapolis, MN $2,000 – $4,000

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110 NEWMAN MYRAH (1921-2010) Hanging Around the Campfire oil on canvas 22 x 30 inches signed lower left: N. MYRAH PROVENANCE: Private Collection, Minneapolis, MN $5,000 – $7,000

111 OLEG STAVROWSKY (1927- ) Payday...With Two Days Off! oil on canvas 30 x 40 inches signed lower right: Oleg Stavrowsky verso: titled and signed PROVENANCE: Private Collection, Minneapolis, MN $4,000 – $6,000

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112 RICHARD THOMAS (1939- ) Rocky Mountain Passage oil on canvas 24 ⅛ x 34 ¼ inches signed lower right: RICHARD D. THOMAS verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $8,000 – $12,000

113 NEWMAN MYRAH (1921-2010) High Level Discussion oil on canvas 22 x 30 inches signed lower right: N. MYRAH verso: titled PROVENANCE: Private Collection, Minneapolis, MN $4,000 – $6,000

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114 DANIEL METZ (1951- ) Water of Life oil on canvas 30 x 46 inches signed lower right: METZ © verso: titled PROVENANCE: From the Collection of Mr. Kenneth Guddal $10,000 – $15,000

115 ROBERT DUNCAN (1952- ) Sunrise oil on canvas 28 x 40 inches signed lower right: RDUNCAN verso: titled, signed, dated PROVENANCE: From a Private Collection $4,000 – $6,000

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116 GARY LYNN ROBERTS (1953- ) Double Trouble oil on canvas 24 x 36 inches signed lower right: Gary Lynn Roberts © PROVENANCE: From a Private Collection $10,000 – $15,000

117 JOHN DEMOTT (1954- ) Symbol of Wisdom oil on canvas 36 x 24 inches signed lower left: DeMott 1996 © verso: signed and dated PROVENANCE: From a Private Collection $3,000 – $5,000

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118 KEN FLEISCH (1943-2008) Changing America, 1998 oil on canvas 36 x 30 inches signed lower right: KEn FLEiSCH (fish symbol) ©1998 verso: titled, signed, dated PROVENANCE: From a Private Collection $3,000 – $5,000

119 TRACY BEELER (1958- ) Vow Woman bronze 3/35 35 ¼ x 20 ½ x 9 ½ inches inscribed verso: Tracy Beeler 3/35 PROVENANCE: From a Private Collection $3,000 – $5,000 120 M.C. POULSEN (1953- ) Hope for the Future oil on masonite 40 x 30 inches signed lower left: © M.C. Poulsen verso: titled, signed, dated PROVENANCE: Private Collection, Scottsdale, AZ $8,000 – $12,000

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121 DAN MIEDUCH (1947- ) Knee Deep in Cow Heaven oil on board 18 x 24 inches signed lower left: DAN MIEDUCH 1982 © PROVENANCE: Buffalo Trail Fine Art Galleries, Jackson, WY (label verso) From an Idaho Collection $4,000 – $6,000

122 BILL SAWCZUK (1945- ) Waiting for the Haywagon oil on canvas 20 x 34 inches signed lower right: W.A. SAWCZUK verso: titled, signed, dated PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $2,000 – $4,000

123 WAYNE BAIZE (1943- ) Burro oil on canvas 9 x 12 inches signed lower left: WAYNE BAIZE CA © PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Coral Gables, FL $2,000 – $3,000

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124 MARJORIE REED (1915-1996) Crossing the Plains oil on canvas 24 x 36 inches signed lower right: MARJORIE REED PROVENANCE: Private Collection, Rancho Palos Verdes, CA $4,000 – $6,000

125 STEPHEN ELLIOTT (1943- ) Harris Hawk - Organ Pipe Monument watercolor on paper 11 x 15 inches (sight) signed lower right: Stephen C. Elliott PROVENANCE: Private Collection, Paradise Valley, AZ $600 – $900

126 RICHARD MURRAY (1948- ) Coyote oil on board 32 x 50 inches signed lower right: MURRAY verso: titled PROVENANCE: From a Private Collection $4,000 – $6,000

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127 ALFREDO RODRIGUEZ (1954- ) Feeding Time oil on canvas 30 ¼ x 40 ¼ inches signed lower right: A Rodriguez © verso: titled, signed, dated PROVENANCE: From a Private Collection $7,000 – $10,000

128 D. ALANSON SPENCER (1911-1999) Canyon de Chelly watercolor on paper 21 ¾ x 29 inches (sight) signed lower left: D. ALANSON SPENCER AWS PROVENANCE: From a Private Collection $2,000 – $4,000

129 WARREN ROLLINS (1861-1962) Blue Canyon, Arizona oil on linen 20 x 25 inches signed lower right: WE ROllINS verso: titled PROVENANCE: From a Private Collection $4,000 – $6,000

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130 ANDREW PETERS (1954- ) Leyba’s Farm oil on masonite 18 x 24 inches signed lower right: ANDREW PETERS PROVENANCE: Contemporary Southwest Galleries, Dallas, TX, (label verso) From the Collection of Ms. Rebecca McReynolds $4,000 – $6,000

131 RAY STRANG (1893-1957) Breezy oil on canvas 24 x 30 inches signed lower right: STRANG PROVENANCE: Private Collection, Paradise Valley, AZ $3,000 – $5,000

132 HANS PAAP (1894-1966) Pueblo Scene oil on canvas 12 x 15 inches signed lower right: H PAAP verso: signed PROVENANCE: From a Private Collection $800 – $1,200

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133 PAUL CALLE (1928-2010) Indian Family, 1975

134 HARRY JACKSON (1924-2011) Iroquois Guide, 1961

graphite on paper 30 x 40 inches signed lower left: Paul Calle ©1975

bronze 13/40 19 x 13 x 10 inches inscribed verso: ©Harry Jackson 1961, 13. inscribed front: Iroquois Guide

PROVENANCE: Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) From a Private Collection

PROVENANCE: From a Private Collection

$7,000 – $10,000

$3,000 – $5,000

135 ANSEL ADAMS (1902-1984) Mirror Lake gelatin silver print 313 8 x 10 inches signed lower right: Ansel Adams verso: signed and titled PROVENANCE: From a Private Collection $3,000 – $5,000

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136 JOHN PAUL STRAIN (1955-) Blackfoot Winter Fires mixed media on paper 20 x 34 inches signed lower left: John Paul Strain © verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $4,000 – $6,000

137 MICHAEL COLEMAN (1946- ) The Watcher gouache on paper 13 x 10 inches (sight) signed lower right: MICHAEL COLEMAN 1981 © PROVENANCE: Kennedy Galleries, New York, NY (label verso) Private Collection, Denver, CO $2,000 – $3,000

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SESSION II LO T 138 – LO T 367 SATU R DAY, S E P TE MB E R 16TH 12: 00P M MDT CE N TE R F O R TH E A R TS 265 S O U TH CACH E J ACK S O N , WYO MIN G

P R E S E N T E D BY T R A I L S I D E GA L L E R I E S & G E R A L D P E T E R S GA L L E RY

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©


138 CARL RUNGIUS (1869-1959) Goats etching and drypoint 7 ⅞ x 10 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, illus. plate 13 $4,000 – $6,000

139 CARL RUNGIUS (1869-1959) Mule Deer etching and drypoint 7 ⅞ x 10 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, illus. plate 20 $5,000 – $7,000

140 CARL RUNGIUS (1869-1959) Silvertip etching and drypoint 7 ¾ x 10 ¾ 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, illus. plate 25 $4,000 – $6,000

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141 EDWARD BOREIN (1872-1945) Buckskin and Feathers etching 7 x 10 inches signed lower right: Edward Borein lower left: remarque PROVENANCE: From a Private Collection $1,000 – $2,000

142 MAYNARD DIXON (1875-1946) Navajos in a Canyon, 1944 pencil on paper 7 x 9 inches signed lower left: MD 1944 (artist cipher) verso: label of authenticity by Edith Hamlin Dixon, artist’s wife PROVENANCE: The Artist Maynard Dixon Estate Tivoli Gallery, Salt Lake City, UT From the Collection of Tom and Virginia Coblentz RELATED LITERATURE: Wesley M. Burnside, Maynard Dixon: Artist of the West, Brigham Young University Press, Provo, UT, 1974, p. 146 A signed limited edition 37/250 copy of this book will accompany the sale of this lot. $4,000 – $6,000

143 MAYNARD DIXON (1875-1946) Black Bucker, 1944 pencil on paper 10 ¼ x 7 ¾ inches lower left: (artist cipher) 1944 verso: label of authenticity by Edith Hamlin Dixon, artist’s wife PROVENANCE: The Artist Maynard Dixon Estate Tivoli Gallery, Salt Lake City, UT (label verso) From the Collection of Tom and Virginia Coblentz $4,000 – $6,000

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144 NICHOLAS EGGENHOFER (1897-1985) Wagon Master gouache on paper 16 ½ x 13 ½ inches (sight) signed lower right: N. EGGENHOFER PROVENANCE: From an Idaho Collection $5,000 – $7,000

145 HERMAN W. HANSEN (1854-1924) Trailing the Grizzly watercolor on paper 35 x 24 ¾ inches signed lower right: H.W. HANSEN PROVENANCE: {Sotheby’s New York, NY, December, 1994 (label verso)} Private Collection, Jackson, WY $12,000 – $18,000

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146 LAVERNE NELSON BLACK (1887-1938) Two Indians on Horseback pastel and charcoal on paper 11 x 15 inches (sight) signed lower left: LaVerne Nelson Black PROVENANCE: {Scottsdale Art Auction, Scottsdale, AZ, 2011 (label verso)} Private Collection, Menlo Park, CA $5,000 – $7,000

147 LAVERNE NELSON BLACK (1887-1938) Taos Vaquero oil on paper 13 ½ x 12 inches (sight) signed lower right: LaVerne Nelson Black PROVENANCE: Zaplin Lambert Gallery, Santa Fe, NM (label verso) Private Collection, Menlo Park, CA $7,000 – $10,000

148 WINOLD REISS (1886-1953) Untitled pastel 20 x 14 inches (sight) signed lower left: W. signed lower right: R. PROVENANCE: Private Collection, Bozeman, MT $12,000 – $18,000 — 73 —


149 EDWARD S. CURTIS (1868-1952) Lone Tree, Sitting Elk, Medicine Crow, Wolf photogravure 15 ¾ x 11 ¾ (Wolf ) 15 ¾ x 10 ¼ (Lone Tree, Medicine Crow, Sitting Elk) PROVENANCE: Private Collection, Bozeman, MT $10,000 – $15,000 (for the set of four)

150 E.S. PAXSON (1852-1919) Interrupted, 1915 oil on board 24 x 18 inches signed lower right: E.S. Paxson -1915 verso: titled PROVENANCE: From the Collection of James Garlington Drummond Gallery, Coeur d’Alene, ID (letter verso) Private Collection, Jackson, WY LITERATURE: William Edgar Paxson, Jr., E.S. Paxson: Frontier Artist, Pruett Publishing Company, Boulder, CO, 1984, p.112 $12,000 – $18,000 — 74 —


151 ROBERT FARRINGTON ELWELL (1874-1962) No Time for Breakfast oil on canvas 30 x 39 inches signed lower right: © R. Farrington Elwell PROVENANCE: From the Collection of Mr. Aaron Moffett $6,000 – $9,000

152 ROSA BONHEUR (1822-1899) Red Deer oil on canvas 26 x 20 inches signed lower right: Rosa Bonheur PROVENANCE: From a California Collection $10,000 – $15,000 — 75 —


153 KEN CARLSON (1937- ) That’s a Stretch oil on masonite 12 x 18 inches signed lower left: CARLSON PROVENANCE: Private Collection, Thunder Bay, Canada $8,000 – $12,000

154 ROBERT BATEMAN (1930- ) Ring-Necked Pheasant Crowing acrylic on board 12 x 16 inches signed lower right: Robert Bateman 2001 © PROVENANCE: Gallery Jamel, Waldorf, MD (label verso) From a Private Collection $8,000 – $12,000

155 LANFORD MONROE (1950-2000) Sunrise oil on masonite 24 x 36 inches signed lower right: Lanford Monroe © verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $8,000 – $12,000

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156 CARL BRENDERS (1937- ) Chipmunks mixed media on illustration board 16 ½ x 20 ¼ inches (sight) signed lower right: © C Brenders 84 PROVENANCE: From the Collection of Mr. Frank E. Beaty LITERATURE: Carl Brenders, Pride of Place, The Art of Carl Brenders, Langford Press, Langtoft, Peterborough, UK, 2007, illus. p. 110 $10,000 – $15,000

157 CARL BRENDERS (1937- ) White Elegance mixed media on illustration board 19 ½ x 13 ½ inches (sight) signed lower right: © C Brenders 85 PROVENANCE: From a Private Collection LITERATURE: Carl Brenders, Wildlife: The Nature Paintings of Carl Brenders, Harry N. Abrams Inc, New York, NY, 1994, illus. p. 78 Carl Brenders, Pride of Place, The Art of Carl Brenders, Langford Press, Langtoft, Peterborough, UK, 2007, illus. p. 81 $12,000 – $18,000

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158 LUKE FRAZIER (1970- ) Quail Hunters, 2017 oil on masonite 24 x 36 inches signed lower left: L. Frazier lower right: ©17 verso: titled, signed, dated “Quail hunting in Texas usually occurs in thick gnarly cover, having good dogs to hunt behind makes all the difference in the world. The relationship between dog and bird is quite an exciting and heart pounding scenario. When a covey blasts out of cover, all hell breaks loose and in a matter of seconds it’s over. Most of the time the quail are triumphant - but on occasion, after the smoke settles, a few feathers hang in the air and a proud and most happy dog holds a warm bird in his mouth.” – Luke Frazier PROVENANCE: The Artist $15,000 – $20,000

159 ELDRIDGE HARDIE (1940- ) Pheasant Hunters watercolor on paper 13 ¾ x 20 ½ inches (sight) signed lower right: Eldridge Hardie verso: titled and signed PROVENANCE: Holland & Holland, New York, NY (label verso) From a Private Collection $4,000 – $6,000 — 78 —


160 DUSTIN VAN WECHEL (1974- ) Hidden Valley Goats, 2017 oil on linen 40 x 30 inches signed lower left: D VAN WECHEL verso: titled, signed, dated “Hidden Valley Goats is a kind of idealized amalgam of places and experiences I’ve collected in my library of reference. While it doesn’t portray a specific location, it authentically reflects those high-altitude environments in which one of my favorite subjects dwell; the mountain goat. I’ve spent much time observing these amazing creatures and few things are more enjoyable for me than relaxing in the sun, among the peaks of the Rocky Mountain West while a herd of mountain goats keep a lazy watch on me, as I record the moment for future paintings.” – Dustin Van Wechel PROVENANCE: The Artist $8,000 – $12,000

161 CHARLES FRITZ (1955- ) Hunters Fording the Tetlin oil on canvas 24 x 32 inches signed lower left: C. FRITZ © PROVENANCE: Private Collection, Helena, MT $10,000 – $15,000 — 79 —


162 BRUCE CHEEVER (1958- ) Guardians of the Firehole, 2017 oil on board 41 x 37 inches signed lower left: -Bruce · Cheever © “When you imagine a wild place that is full of wonder and awe, Yellowstone embodies that vision. The iconic bison that roam the vast Firehole region seem to be inseparable from the legendary thermal features, which cover the area. Nature on a grand scale tells the tale of this magnificent place, and in my painting Guardians of the Firehole, these remarkable beasts become one with nature’s power.” – Bruce Cheever PROVENANCE: The Artist $15,000 – $20,000

163 ADAM SMITH (1984- ) The Huntsman, 2017 acrylic on board 16 x 30 inches signed lower left: ASmith © 17 “Winters can be harsh for many animals but these predators flourish. They have incredible stamina and power. Watching them work together as a unit is fascinating. In the pack, each wolf has a job and it must be done in order to have a successful hunt.” – Adam Smith PROVENANCE: The Artist $6,000 – $8,000

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164 CLYDE ASPEVIG (1951- ) Teton Grandeur oil on canvas 28 x 36 inches signed lower left: © ASPEVIG 1981 PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $15,000 – $25,000

165 LINDA BESSE (1959- ) Call of the Wild oil on board 30 x 50 inches signed lower right: Linda Besse © 2015 PROVENANCE: The Artist $10,000 – $15,000 Rocky Mountain Elk Foundation Featured Piece for 2017

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166 TUCKER SMITH (1940- ) Balsamroots and Grizzly oil on board 10 x 12 inches signed lower right: Tucker Smith 15 PROVENANCE: From a Texas Collection $10,000 – $15,000

167 CONRAD SCHWIERING (1916-1986) Looking Down on Blacktail Ponds oil on board 30 x 36 inches signed lower right: Schwiering © (artist cipher) verso: signed PROVENANCE: From the Collection of Ms. Allison Kelly $8,000 – $12,000

168 PHILIP R. GOODWIN (1881-1935) Calf, 1894 watercolor on paper 4 x 5 inches signed lower left: Philip GOODWIN ‘94 PROVENANCE: The Artist Thomas Raymond Ball, Old Lyme, CT (Artist’s Nephew) By descent in the family to Private Collection, Salt Lake City, UT Thomas Nygard Gallery, Bozeman, MT (label verso) Private Collection, Helena, MT From a Montana Collection LITERATURE: Erin Anderson, Phillip R. Goodwin – The Studies, Thomas Nygard Gallery, Bozeman, MT, 2005, illus. p. 39 $2,000 – $3,000 — 82 —


169 GREG BEECHAM (1954- ) Long Time to Sunrise oil on canvas 36 x 24 inches signed lower left: GBEECHAM (fish symbol) PROVENANCE: Astoria Fine Art, Jackson, WY Private Collection, Ann Arbor, MI $8,000 – $12,000

170 BOB KUHN (1920-2007) Mouser acrylic on board 6 x 11 inches signed lower right: Kuhn PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 144 $12,000 – $18,000 — 83 —


171 JOE BEELER (1931-2006) Crazy Horse

172 KENNETH RILEY (1919-2015) Study for Hidden Eyes

bronze 17/25 34 x 15 x 13 inches inscribed front: Crazy Horse inscribed verso: Joe Beeler CA 17/25 stamped verso: BRONZE SMITH

acrylic and pen on paper 7 x 5 inches signed lower left: Kenneth Riley CA

PROVENANCE: From a Private Collection $15,000 – $25,000

PROVENANCE: The Artist, by descent RELATED LITERATURE: Susan Hallsten McGarry, West of Camelot: The Historical Paintings of Kenneth Riley, Gibbs Smith, Layton, UT, 1993, p. 51 $6,000 – $9,000

173 KENNETH RILEY (1919-2015) Study for General Crook and Geronimo acrylic and pen on paper 4 x 7 inches signed lower right: Kenneth Riley PROVENANCE: The Artist, by descent RELATED LITERATURE: Susan Hallsten McGarry, West of Camelot: The Historical Paintings of Kenneth Riley, Gibbs Smith, Layton, UT, 1993, p.139 $5,000 – $7,000

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174 WILLIAM ACHEFF (1947- ) In Her Footsteps, 2017 oil on canvas 21 ½ x 15 inches signed lower right: Acheff 2017 “I was thinking of ‘Little White Dove is looking for Running Bear’ as in the song. I imagine the mother with her child is looking off into the distance for any sign of her husband’s return from a hunting day. The scene in Maynard Dixon’s painting seems peaceful so I am sure she is not too worried had he been returning from a warring campaign.” – Bill Acheff PROVENANCE: The Artist $20,000 – $30,000

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175 FRANK MCCARTHY (1924-2002) High Traverse, 1989 oil on linen 15 x 30 inches signed lower right: McCarthy CA ©1989 verso: titled, signed, dated PROVENANCE: John Lane Gallery, Poughkeepsie, NY (label verso) Collection of The Vincent and Carol W. Dean Family Charitable Foundation (label verso) {Fredericksburg Art Auction 2015, Fredericksburg, TX (label verso)} Private Collection, Denver, CO EXHIBITED: The Museum of Western Art, Kerrville, TX, 2002-2014 $25,000 – $35,000

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176 CHARLIE DYE (1906-1972) Sun Up oil on canvas 24 x 40 inches signed lower right: Charlie Dye © (artist cipher) PROVENANCE: The Artist O’Brien’s Art Emporium, Scottsdale, AZ (label verso) Private Collection, Newport Beach, CA $50,000 – $75,000

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177 ARNOLD FRIBERG (1913-2010) Uncertain Odds, 1975 oil on canvas 25 x 50 inches signed lower right: © A Friberg RSA Born in Illinois in 1913, Arnold Friberg moved to Arizona with his family three years later. Displaying an early aptitude for art, Friberg began working as a sign painter in his teens. Following high school, Friberg moved to Chicago to study at the Chicago Academy of Fine Art. Throughout the 1930’s Friberg expanded his work as a commercial artist, while continuing his formal artistic education. In 1937 Friberg’s work brought him into contact with the Northwest Paper Company. At that time the paper company was actively seeking artists for their Royal Canadian Mounted Police campaign, and Friberg proved to be the perfect fit. Over the next thirty years Friberg created over three hundred images of Mounties. Striving to improve himself and reach a broader audience, Friberg entered the distinguished Prix de Rome competition in 1940. While Friberg did not win, he traveled to New York City to view the exhibition of entries, including his own, and used the opportunity to further his career in illustration. While in New York Friberg gained access to the Grand Central School of Art, where he studied directly with iconic illustrator Harvey Dunn. Friberg found modest success in New York, securing a freelance assignment to create illustrations for the magazine Liberty. In 1941 the Japanese bombed Pearl Harbor, and everything changed. Like the majority of his contemporaries, Friberg went to war, joining the 86th Infantry Division. Friberg saw active combat in Germany, before being reassigned to occupation duty in the Philippines where his artistic skills were finally utilized in the topographic department. Following the war, Friberg traveled throughout the west, before settling in Utah in 1950. In Utah Friberg found the opportunity to explore religious art, creating a series of twelve iconic images to illustrate the Book of Mormon. These illustrations caught the eye of Hollywood filmmaker Cecil B. Demille, and Friberg went on to create academy award nominated set and costume designs for his major motion picture, The Ten Commandments. During the 1970’s Friberg finally had the opportunity to explore the western subjects he so loved. On this topic Friberg wrote, “I came to realize that the ‘Old West’ didn’t just one day suddenly die. It gradually changed in my lifetime. Yet even now after all these years, you can still see it in some places. Boulders and wild cows and mesquite can still be awfully mean, and if you are caught in the desert without water, your tongue can still swell, and horses are still horses. So I gradually came to realize that although I missed the Indian wars, I still had something bona fide to give to western art.” When viewing Uncertain Odds, Friberg’s bona fide contribution to western art is undeniable. His narrative skill shines through in the overwhelming drama and action of the piece, taking the viewer instantly back to the Old West. PROVENANCE: Husberg Fine Arts Gallery, Sedona, AZ (label verso) From a Private Collection LITERATURE: Ted Schwarz, Arnold Friberg: The Passion of a Modern Master, Northland Press, Flagstaff, AZ, 1985, illus. p. 78 $60,000 – $90,000

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WILLIAM HENRY DETHLEF KOERNER

(1878 -1938)

William Henry Dethlef Koerner was born to a German immigrant family in 1878. The Koerners settled in Clinton, Iowa, in 1880, and the young William displayed a talent for the visual arts from an early age. Koerner moved to Chicago at the age of eighteen to work as a staff artist for the Chicago Tribune. He studied at the Art Institute of Chicago, the Francis Smith Art Academy, and the Art Students League in New York beginning in 1905. After two years at the League Koerner moved to Wilmington, Delaware, to study with Howard Pyle—the man widely considered to be the father of American illustration art. Koerner found great success as an illustrator for The Saturday Evening Post, along with his fellow Art Students League alumnus, Norman Rockwell. When assigned to illustrate the series “Traveling the Old Trails” for the Post, Koerner researched the subject for many long hours in the New York Public Library and the Museum of Natural History before taking to the road with his family to survey the terrain of the American West in person. Koerner died in Interlaken, New Jersey, in 1938, leaving a wealth of paintings, drawings, and sketchbooks, which were preserved by his wife, Lillian. Works from the estate were acquired by many private collections and public institutions beginning in 1964 when Koerner’s daughter, Ruth Ann Koerner Oliver, decided to reintroduce her father’s work to the world. Koerner’s studio, complete with his working materials, furniture, and collection of Western artifacts, is a permanent installation at the Whitney Gallery of Western Art at the Buffalo Bill Center in Cody, Wyoming.

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oil on canvas 28 x 40 inches signed lower left: W.H.D. Koerner 1932 PROVENANCE: The Artist, by descent (label verso) From a Private Collection EXHIBITED: Whitney Gallery of Western Art, Buffalo Bill Center of the West, Cody, WY, 1973 (label verso) Illustration and Imagination: W.H.D. Koerner’s Western Paintings, The Rockwell Museum, Corning, NY, May 16 - September 14, 2014 $75,000 – $125,000

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WILLIAM HENRY DETHLEF KOERNER

178 W.H.D. KOERNER (1878-1938) Sheriff and Citizens of the Law, 1932


WILLIAM HENRY DETHLEF KOERNER

179 W.H.D. KOERNER (1878-1938) Indian Territory Demand for Tribute, 1923 oil on canvas 30 x 36 inches signed lower left: WHD Koerner 1923 PROVENANCE: The Artist, by descent From a Private Collection EXHIBITED: Whitney Gallery of Western Art, Buffalo Bill Center of the West, Cody, WY, 1973 (label verso) Illustration and Imagination: W.H.D. Koerner’s Western Paintings, The Rockwell Museum, Corning, NY, May 16 - September 14, 2014 LITERATURE: Emerson Hough, North of 36, Saturday Evening Post, May 5, 1923, illustrated Michael Stephen Kennedy, The Red Man’s West: True Stories of the Frontier Indians, Hastings House, Winterpark, FL, 1965, p. 269 W.H. Hutchinson, The World, the Work, and the West of W.H.D. Koerner, University of Oklahoma Press, Norman, OK, 1978, illus. p.158 $40,000 – $60,000

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WILLIAM HENRY DETHLEF KOERNER

180 W.H.D. KOERNER (1878-1938) New Horizons, 1932 oil on canvas 36 ¼ x 32 ¼ inches signed lower right: W.H.D. Koerner 1932 PROVENANCE: The Artist, by descent (label verso) From a Private Collection EXHIBITED: Whitney Gallery of Western Art, Buffalo Bill Center of the West, Cody, WY, 1973 (label verso) Reflections of American History: Brandywine River Museum, Chadds Ford, PA, June 5 - September 6, 1976 (label verso) Illustration and Imagination: W.H.D. Koerner’s Western Paintings, The Rockwell Museum, Corning, NY, May 16 - September 14, 2014 $75,000 – $125,000

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WILLIAM HENRY DETHLEF KOERNER


181 W.H.D. KOERNER (1878-1938) The Price of the Old Northwest, 1929 oil on canvas 28 x 40 inches signed lower right: WHD Koerner 1929

A student of the father of American illustration Howard Pyle, W.H.D. Koerner went on to create more than just a name for himself in the world of illustration. Working for such giants as Collier’s, McCall’s, the Ladies Home Journal, American, and many more—it was arguably his relationship with the Saturday Evening Post that most defined Koerner’s career. Koerner created more than half of his illustrative work specifically for the Post, and later in life he worked for them exclusively. Koerner’s sensitivity and ability to bring the written word to life, made him a quick favorite among the top writers of the day, bringing a flood of requests for his work. As W.H. Hutchinson writes, “The collaboration between author and illustrator transcended the field of western illustration to illuminate the entire spectrum of the Golden Age of American Popular Fiction. For most of Koerner’s productive life, reading was the primary amusement of the American people, and nowhere else in the world were there so many magazines of so diverse a clientele of magazine buyers and readers. It can be suggested firmly that, in this period, the mass-circulation magazines, the so-called ‘slicks,’ were the central fixtures of American culture.”1 These periodicals served as the cornerstone of popular culture, and Koerner found himself at the heart of it.  In 1909 Koerner created his first series of illustrations for the Saturday Evening Post, marking the beginning of a nearly thirty year working relationship, until Koerner’s death in 1938. Although he was an illustrator, and the vast majority of the magazines he worked for printed only in black and white, Koerner leaned more and more towards working in full color as his career progressed. From 1922 on, Koerner painted exclusively in color, unless specifically requested to complete a grisaille. As evidenced by these illustrations from the 1920’s and 1930’s like The Price of the Old Northwest, Koerner’s paintings stand alone as complete and telling works of art. 1

W.H. Hutchinson, The World the Work and the West of W.H.D. Koerner, University of Oklahoma Press, Norman, OK, 1978, p. 4.

PROVENANCE: The Artist, by descent From a Private Collection EXHIBITED: Illustration and Imagination: W.H.D. Koerner’s Western Paintings, The Rockwell Museum, Corning, NY, May 16 - September 14, 2014 LITERATURE: Hal G. Evarts, Tomahawk Rights, Saturday Evening Post, April 6, 1929, illustrated W.H. Hutchinson, The World, the Work, and the West of W.H.D. Koerner, University of Oklahoma Press, Norman, OK, 1978, illus. p.162 $40,000 – $60,000

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WILLIAM HENRY DETHLEF KOERNER

AN AMERICAN ILLUSTRATOR: W.H.D. KOERNER AND THE SATURDAY EVENING POST


WILLIAM HENRY DETHLEF KOERNER

182 W.H.D. KOERNER (1878-1938) The Bullring, 1929 oil on canvas 28 ½ x 40 inches signed lower left: W.H.D. Koerner 1929 PROVENANCE: The Artist, by descent From a Private Collection EXHIBITED: Illustration and Imagination: W.H.D. Koerner’s Western Paintings, The Rockwell Museum, Corning, NY, May 16 - September 14, 2014 $20,000 – $30,000

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WILLIAM HENRY DETHLEF KOERNER

183 W.H.D. KOERNER (1878-1938) Fly Fishing oil on canvas 24 ¼ x 36 ¼ inches signed lower left: W.H.D. Koerner PROVENANCE: The Artist, by descent From a Private Collection $60,000 – $90,000

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184 JENNESS CORTEZ (1944- ) A New World, 2017 acrylic on mahogany panel 30 x 36 inches signed lower left: CORTEZ ©17 “Starting with the inspiration of Remington’s serene nocturne, I wanted to construct a painting that celebrates both the spirit and brevity of the West’s legendary age of exploration and discovery. The sculptures, clock, and book titles all serve that intention. All the elements of the painting refer to the bounty and possibilities of the New World, and the berries, as a common and widely distributed native delicacy, seemed to me to represent the sweet sustenance American nature provides.” – Jenness Cortez

HOMAGE TO: Frederic Remington (1861-1909) Evening on a Canadian Lake, Collection of William I. Koch, Palm Beach, FL The Mountain Man, bronze, Metropolitan Museum of Art, New York, NY Charles M. Russell (1864-1926) Looking for Bugs, bronze, C. M. Russell Museum, Great Falls, MT Albert Bierstadt (1830-1902) Yellowstone Falls (detail), Buffalo Bill Center of the West, Cody, WY Carl Rungius (1869-1959) Moose in the Mist (detail), Jackson Wildlife Collection, Jackson, WY Photograph of Frederic Remington, Frederic Remington Art Museum, Ogdensburg, NY Photograph of Charles M. Russell, Collection of Ben Chovanak, Great Falls, MT Chiming clock by Ansonia Clock Co., c. 1880, New York, NY

PROVENANCE: The Artist $75,000 – $125,000

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185 Z.S. LIANG (1953- ) The Nor’ Westers, 1815, 2017 oil on linen 48 x 38 inches signed lower left: Z.S. LIANG verso: titled, signed, dated “The North West Company, headquartered in Montreal in 1779, had traders called Nor’ Westers. After bitter trade wars with the Hudson Bay Company, they merged in 1821. Previous to the merger the Nor’ Westers participated in great trading with tribes all along the Columbia River, Saskatchewan River, and Red River. Here is an Assiniboine man enjoying the trading.” – Z.S. Liang PROVENANCE: The Artist $40,000 – $60,000

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186 TUCKER SMITH (1940- ) Mission Creek Bottoms oil on canvas 12 x 16 inches signed lower left: Tucker Smith 10 PROVENANCE: From a Private Collection $10,000 – $15,000

187 TUCKER SMITH (1940- ) Pronghorn oil on canvas 16 x 20 inches signed lower right: Tucker Smith 75 PROVENANCE: Private Collection, Helena, MT $15,000 – $25,000

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188 TUCKER SMITH (1940- ) Packer Creek oil on linen 32 x 40 inches signed lower right: Tucker Smith 03 “Packer Creek is a remote area at the south end of the Gros Ventre Mountains. It is a few miles north of our home. The area has always been known for wildlife, especially elk.” – Tucker Smith PROVENANCE: Private Collection, Jackson, WY LITERATURE: Tucker Smith, The Paintings of Tucker Smith: A Celebration of Nature, Graphic Arts Books, Portland, OR, 2004, illus. p. 197 $60,000 – $90,000

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189 BONNIE MARRIS (1951- ) Courtship, 2017 oil on canvas 30 x 40 inches signed lower right: BLMarris © “I live among red fox in Michigan. They begin a devoted courtship in late fall and quite often remain a couple for life. These two have made their den just as the first snow fell. They play together, chasing, wrestling, and grooming. Little flames in the snow.” – Bonnie Marris PROVENANCE: The Artist $15,000 – $25,000

190 BONNIE MARRIS (1951- ) News and Commentary oil on canvas 15 x 30 inches signed lower left: BLMarris © PROVENANCE: Private Collection, Coral Gables, FL $7,000 – $10,000 — 102 —


191 BOB KUHN (1920-2007) Day Dreaming acrylic on board 8 x 16 inches signed lower right: Kuhn “More than once I’ve made the comment that red fox are very paintable little critters. Having had a young vixen as a boarder one summer many years ago, I feel I have an understanding of their vivacious, complex character. The traits that give them prominence in folklore make them great subjects for the likes of me.” – Bob Kuhn PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 146 $25,000 – $35,000

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192 CARL RUNGIUS (1869-1959) At the Deadwater, 1908 oil on canvas 24 x 32 inches signed lower right: C. Rungius lower left: copyright 1908 Despite being one of the most famous painters of North American wildlife, Carl Rungius was born in Rixdorf near Berlin, Germany, in 1869. Rungius developed an early interest in studying and hunting wild animals, due in large part to the influence of his father and grandfather, both amateur naturalists and taxidermists. At a young age Rungius also showed a talent for drawing, and pursued his formal artistic training in Berlin at the Berlin Art School, the Academy of Fine Arts, and the School of Applied Arts. Following his education, Rungius began his career as a romantic painter in Germany. As fortune would have it, in 1894 Rungius’s uncle invited him to travel to Maine for a hunting trip. It was then that Rungius’s passion for hunting big game and painting truly came together, as he found his inspiration for both in the wildlife of North America. Enchanted, Rungius spent a summer hunting in Wyoming before moving permanently to New York in 1897. Rungius’s studio in New York allowed him easy access to the art scene of New York City as well as the wilderness of the Northeast and the Canadian Rockies. In 1904 Rungius traveled the Yukon with Charles Sheldon, and in 1910 he traveled to Banff, Alberta for the first time. In Banff Rungius found the ideal location for painting and hunting, particularly with the prevalence of the bighorn sheep in the region. Rungius built a studio there in 1921, nicknamed ‘The Paintbox,” and visited annually until his death in 1959. Painted in 1908 At the Deadwater evokes Rungius’ earlier and tighter style of painting while also foreshadowing the looser more impressionistic direction that his career would take—a beautiful combination of both. PROVENANCE: Private Collection, Libby, MT LITERATURE: Catalog of Copyright Entries, Part 4: Works of Art, Etc, New Series, vol. 3 nos. 1-5, Library of Congress, Government Printing Office, Washington, D.C. 1908, p. 178 $125,000 – $175,000

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193 BOB KUHN (1920-2007) Onward and Upward, 1986 acrylic on board 22 x 28 inches signed lower right: Kuhn 86 verso: signed “Painting the wild sheep of the mountains, whatever breed they may be, requires one to come to grips with the postcard backgrounds they live in. I really don’t like to paint mountains. They intimidate me. It’s very tough to reduce them to manageable terms.” – Bob Kuhn PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 127 $75,000 – $125,000

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194 KEN CARLSON (1937- ) Hidden Danger oil on board 10 x 13 inches signed lower right: CARLSON PROVENANCE: From the Collection of Curtice and Bob McCloy $6,000 – $9,000

195 BOB KUHN (1920-2007) Bighorn Sheep conte crayon on paper 8 ½ x 10 ½ inches signed lower left: Kuhn PROVENANCE: Private Collection, Pinedale, WY $2,000 – $4,000

196 KENNETH RILEY (1919-2015) Bighorn Sheep Study acrylic on canvas 12 x 16 inches signed lower right: Kenneth Riley PROVENANCE: The Artist, by descent $8,000 – $12,000

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197 KEN CARLSON (1937- ) Above it All, 2017 oil on board 31 x 28 inches signed lower left: CARLSON “Lofty peaks, craggy heights, and steep terrain with extreme elements typify the domain of the mountain goat—a remarkable animal in an uncompromising environment. They defy gravity from vantage points which helps insure their safety from predators. The ghost-white pelage and regal stature of these mountaineers make them ideal painting subjects.” – Ken Carlson PROVENANCE: The Artist $35,000 – $45,000

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198 KEN CARLSON (1937- ) Gray Morning Mist oil on board 24 x 36 inches signed lower right: Carlson “The Shiras moose in this painting is a smaller cousin to the Alaska-Yukon and Canadian moose and inhabits the western states. My intention in this painting was to convey a mood—the shrouded, early-morning scene before the fog burns off; the tranquility and stillness, accented by occasional creature sounds. The way the moose is looking off into the distance rather than straight ahead at the viewer contributes to the undisturbed scene.” – Ken Carlson PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection LITERATURE: Tom Davis, From the Tundra to Texas: The Art of Ken Carlson, Collectors Covey, Dallas, TX, 1994, illus. p. 92-93 $25,000 – $35,000

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199 CARL BRENDERS (1937- ) New to the Neighborhood mixed media on illustration board 39 ½ x 18 inches (sight) signed lower left: © C Brenders 05 PROVENANCE: Southeastern Wildlife Exposition, Charleston, SC (label verso) From a Private Collection LITERATURE: Carl Brenders, Pride of Place, The Art of Carl Brenders, Langford Press, Langtoft, Peterborough, UK, 2007, illus. p. 111 $20,000 – $30,000

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200 BONNIE MARRIS (1951- ) Born to be Wild, 2017 oil on canvas 36 x 48 inches signed lower right: BLMarris © “I love watching mother bears, especially grizzlies, with their cubs. There is a gentleness, tender concern and a shared enthusiasm in their discoveries of their world. Such a giant and powerful animal with a softer side.” – Bonnie Marris PROVENANCE: The Artist $25,000 – $35,000

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201 JOHN SEEREY-LESTER (1946- ) Softly, Softly - White Tiger acrylic on board 30 x 48 inches signed lower right: Seerey-Lester ©’89 PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $20,000 – $30,000

202 DONALD GRANT (1930-2001) Siberian Tigers oil on canvas 30 x 50 inches signed lower right: Donald Grant PROVENANCE: MacConnal-Mason Gallery, London Private Collection Alan Barnes Fine Art, Dallas TX (label verso) Private Collection, London $10,000 – $15,000

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203 BOB KUHN (1920-2007) Ghost of the Gobi, 2000 acrylic on masonite 14 x 28 inches signed lower left: Kuhn verso: signed and dated “It’s no easy thing to capture in paint an animal as elusive as it is beautiful.” – Bob Kuhn PROVENANCE: From a Private Collection $50,000 – $75,000

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204 BOB KUHN (1920-2007) Closing the Distance, 1977 acrylic on masonite 24 x 48 inches signed lower left: Kuhn verso: signed Born in Buffalo, New York, Bob Kuhn received his artistic training at the Pratt Institute in Brooklyn, where he studied design, anatomy, and life-drawing. For the next thirty years, Kuhn made his living as 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, with many of his wildlife expeditions lasting up to eight weeks. He made countless trips to Africa, six trips to Alaska, and numerous journeys to Canada and the American West. Originally inspired by African wildlife, Kuhn turned to the mammals of North America in later years, while always maintaining a strong interest in African animals. Kuhn worked primarily in acrylic and strove to capture the particular movements and personalities of the wild animals he painted. A member of the Society of Animal Artists in New York, Kuhn had paintings in many prestigious permanent collections including, The John L. Wehle Gallery of Sporting Art at the Genesee Country Museum in Mumford, NY, The National Museum of Wildlife Art in Jackson Hole, WY, and The National Cowboy Hall of Fame in Oklahoma City, OK. Closing the Distance serves not only as an iconic piece within Kuhn’s oeuvre, but also a pivotal moment in his artistic process. Kuhn describes his methodology, writing, “I tried something new with this painting. My habit had been to select a few transparencies from my files and have 8 x 10 prints made of them. These would be spread out on a table and used as reference sources for whatever animal I was painting. In this instance I picked out 40 or 50 slides showing lions in all sorts of gestures and levels of light. Since the poses in the painting were largely from memory, I didn’t dwell on any one slide, but flashed them on and off whenever I needed another dose of lions. I suppose it reinforced what I knew and gave me confidence to see the real thing when my painting grew tentative. I have not gone back to my old method, and that was 12 or more years ago.” The lack of one specific source image or influence clearly comes across in Closing the Distance, rather than a photographic reproduction Kuhn presents here the essence of the lion, the tension of the stalk, and the deeper character of the animal. PROVENANCE: Private Collection, Keswick, VA LITERATURE: Tom Davis, The Art of Bob Kuhn, Briar Patch Press, Camden, SC, 1989, illus. p. 182-183 F. Turner Reuter, Animal & Sporting Artists in America, National Sporting Library, Middleburg, VA, 2008, illus. p. 392 $100,000 – $150,000

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205 BRUCE LAWES (1962- ) Spirit of the Forest, 2017 oil on canvas 40 x 30 inches signed lower right: © B.K. Lawes “When I first saw this painting, The Spirit of the Forest by Bruce Lawes, I was silent, awed. I was back in those days when I could spend hours observing and learning from chimpanzees like Fifi and infant Flirt, whose very essence is depicted here. It captures the magic of the rain forest and is symbolic of all that is most meaningful in my life. And I hope that for you it will open a window into this wonderful world. During my lifetime of exploring and learning from nature I have been saddened by the harm we humans have inflicted everywhere. But nature is amazingly resilient if we give her a chance. We must each play our part to help preserve life on earth – and this painting is just one example of all that Bruce does to bring nature into our lives. Only if we care will we help.” – Jane Goodall, PhD PROVENANCE: The Artist $20,000 – $30,000 All of the proceeds from the sale of this lot will go to the Jane Goodall Institute. The Jane Goodall Institute promotes understanding and protection of great apes and their habitat and builds on the legacy of Dr. Jane Goodall, our founder, to inspire individual action by young people of all ages to help animals, other people and to protect the world we all share

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206 STEVE BURGESS (1960- ) Protective Custody, 2017 oil on board 24 x 36 inches signed lower right: Steve Burgess “Anyone who has seen the BBC TV series The Big Cat Diary, will be familiar with the Marsh Pride of Lions, resident in Kenya’s Masai Mara. This painting was done on return from one of my visits to the Masai Mara and depicts a mother and cub of the Marsh Pride relaxing and taking shelter from the savage midday sun, awaiting the cool of evening when once again the lionesses will set off in search of the next meal for their hungry families.” – Steve Burgess PROVENANCE: The Artist $10,000 – $20,000

207 STEVE BURGESS (1960- ) Child of the Masai, 2017 oil on board 16 x 12 inches signed lower left: Steve Burgess “Each time I visit East Africa I make a point of visiting a Masai village, I always look forward to these visits as you are always made to feel welcome and the colors of the clothing worn by the Masai people are always so vibrant. After each visit I can’t wait to return home so that I can produce a painting or two of the Masai. This particular painting was of a small boy named Ayiokesho, who was more than happy to have his photo taken as I was armed with a large bag of sweets which he and his friends devoured with great gusto as soon as the photo session was over!” – Steve Burgess PROVENANCE: The Artist $3,000 – $5,000 — 118 —


208 BOB KUHN (1920-2007) A Transfer of Spoils acrylic on board 16 x 24 inches signed upper right: Kuhn verso: titled and signed PROVENANCE: From a Private Collection $20,000 – $30,000

209 BOB KUHN (1920-2007) Impala pastel and gouache on board 18 ¼ x 18 ¼ inches signed lower right: Kuhn PROVENANCE: Ambercrombie & Fitch Co., New York, NY (label verso) Gallery Jamel, Waldorf, MD (label verso) From a Private Collection $8,000 – $12,000

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E. MARTIN HENNINGS

(1886 -1956)

Born in 1886, in Pennsgrove, New Jersey, E. Martin Hennings moved to Chicago with his family a few years later. After growing up in the city, Hennings developed an interest in art and attended the Art Institute of Chicago, where he graduated with multiple awards, recognitions, and scholarships—his career off to a promising start. After a few years of working as a commercial artist, Hennings entered the Prix de Rome, coming in second. With a renewed determination to pursue a career as a fine artist, Hennings traveled to Germany where he studied at the Royal Academy in Munich. While there, he joined the American Artists Club where he met future co-members of the Taos Society of Artists Walter Ufer and Victor Higgins. The onset of World War I cut Hennings’ stay in Germany short, and he returned to Chicago. In 1917 prominent art collector Carter H. Harrison took notice of Hennings’ work and offered to sponsor him on a trip to Taos, New Mexico, in exchange for a few paintings.  New Mexico proved to be a strong muse for Hennings; the light, landscape, and Pueblo Indians all inspired him to new artistic heights. In 1921 Hennings moved permanently to Taos, where he became a member of the Taos Society of Artists in 1924. Hennings split his time between Taos, Chicago, and Houston for the remainder of his career. Speaking about his love for New Mexico, Hennings said, “I constantly grew more enthusiastic over the West for I was impressed with the possibilities for landscape and figure composition. New Mexico has almost made a landscape painter out of me, although I believe my strongest work is in figures.”1 This group of drawings, prints, and paintings speaks strongly to Hennings’ skill as both a figural and landscape painter, tracing the trajectory of his career from his early student years in Europe to the pinnacle of his time in Taos. 1

E. Martin Hennings, ca. 1910. Courtesy of the Palace of the Governors Photo Archives (NMHM/DCA), Negative Number 040395.

Reginald Fisher, “E. Martin Hennings, Artist of Taos,” El Palacio, August 1946

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211 E. MARTIN HENNINGS (1886-1956) Female Nude

212 E. MARTIN HENNINGS (1886-1956) Male Nude

213 E. MARTIN HENNINGS (1886-1956) Female Figure Study

charcoal on paper 17 ¾ x 11 inches (sight) unsigned

charcoal on paper 18 x 11 ½ inches (sight) unsigned

charcoal on paper 18 ¾ x 12 ¼ inches (sight) unsigned

pencil on paper 18 x 10 ½ inches (sight) unsigned

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

$600 – $900

$600 – $900

$600 – $900

$300 – $500

214 E. MARTIN HENNINGS (1886-1956) Across the Sage

215 E. MARTIN HENNINGS (1886-1956) The Frozen Stream

lithograph 40/100 8 x 9 inches signed lower right: E. Martin Hennings lower left: 40/100 “Across the Sage”

lithograph 26/100 10 x 10 inches signed lower right: E. Martin Hennings lower left: 26/100 “The Frozen Stream”

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

$1,000 – $2,000

$1,000 – $2,000 — 121 —

E. MARTIN HENNINGS

210 E. MARTIN HENNINGS (1886-1956) Balance (Figure Study)


216 E. MARTIN HENNINGS (1886-1956) Portrait of Young Woman oil on canvas 20 x 17 ¼ inches signed lower right: E. Martin Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

E. MARTIN HENNINGS

$4,000 – $6,000

217 E. MARTIN HENNINGS (1886-1956) Undressed oil on canvas 27 x 19 inches unsigned PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $1,000 – $2,000

218 E. MARTIN HENNINGS (1886-1956) Pensive oil on canvas 20 x 16 inches signed lower left: E. Martin Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $4,000 – $6,000 — 122 —


219 E. MARTIN HENNINGS (1886-1956) Italian Woman - Chioggia oil on canvasboard 14 x 12 inches unsigned verso: titled by Helen Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

E. MARTIN HENNINGS

$6,000 – $9,000

220 E. MARTIN HENNINGS (1886-1956) Old Woman - Chioggia, Italy oil on canvasboard 14 x 12 inches signed lower right: E.M. Hennings verso: titled by Helen Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $8,000 – $12,000

221 E. MARTIN HENNINGS (1886-1956) Pipe Smoke, ca. 1916 oil on board 18 x 14 inches unsigned verso: dated PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $3,000 – $5,000 — 123 —


222 E. MARTIN HENNINGS (1886-1956) At Port oil on board 10 x 14 inches signed lower right: E.M. Hennings. PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

E. MARTIN HENNINGS

$6,000 – $9,000

223 E. MARTIN HENNINGS (1886-1956) Harbor Idyll

224 E. MARTIN HENNINGS (1886-1956) Gloucester Mass., ca. 1919

oil on canvasboard 14 x 10 inches signed lower right: E.M. Hennings.

oil on canvasboard 14 x 10 inches unsigned verso: titled and dated

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $3,000 – $5,000

PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $3,000 – $5,000 — 124 —


E. MARTIN HENNINGS

225 E. MARTIN HENNINGS (1886-1956) Taos Ski Basin, ca. 1917 oil on canvas 10 x 14 inches unsigned verso: titled and dated PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $6,000 – $9,000

226 E. MARTIN HENNINGS (1886-1956) Spanish Occupation of Texas mixed media on paper 16 x 10 ½ inches (sight) unsigned verso: certified by Helen Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $3,000 – $5,000

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227 E. MARTIN HENNINGS (1886-1956) Moroccan Market oil on canvasboard 12 x 14 inches signed lower right: E.M. Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

E. MARTIN HENNINGS

$12,000 – $18,000

228 E. MARTIN HENNINGS (1886-1956) Toledo - Spain oil on canvasboard 14 x 14 inches unsigned verso: titled by Helen Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $10,000 – $15,000

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229 E. MARTIN HENNINGS (1886-1956) Moroccan Street Scene oil on canvasboard 12 x 14 inches signed lower left: E.M. Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection

E. MARTIN HENNINGS

$12,000 – $18,000

230 E. MARTIN HENNINGS (1886-1956) Market Place - Venice oil on canvasboard 14 x 14 inches unsigned verso: titled and certified by Helen Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $6,000 – $9,000

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E. MARTIN HENNINGS

231 E. MARTIN HENNINGS (1886-1956) Taos Pueblo, ca. 1917 oil on canvas 10 ¼ x 14 ⅛ inches signed lower left: E.M. Hennings. verso: titled and dated PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $30,000 – $50,000

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E. MARTIN HENNINGS 232 E. MARTIN HENNINGS (1886-1956) Laguna Pueblo Mission (Study) oil on board 10 x 14 inches signed lower right: E. Martin Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $20,000 – $30,000

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E. MARTIN HENNINGS

233 E. MARTIN HENNINGS (1886-1956) Chamisa, ca. 1940 oil on canvasboard 10 x 14 inches unsigned verso: titled, dated, and certified by Helen Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $15,000 – $25,000

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E. MARTIN HENNINGS

234 E. MARTIN HENNINGS (1886-1956) San Francisco de Asis Mission Church oil on board 10 x 12 inches signed lower right: EM. Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $20,000 – $30,000

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235 EDGAR PAYNE (1883-1947) Blue Shadows oil on canvas 42 x 42 inches signed lower right: EDGAR PAYNE PROVENANCE: Goldfield Gallery, Los Angeles, CA (labels verso) From a Private Collection LITERATURE: Edward Goldfield and Nancy Moure, Edgar Payne 1882-1947, Goldfield Publishing Company, Los Angeles, CA, 1987, illus. p.38 $150,000 – $250,000

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236 CARL RUNGIUS (1869-1959) Moose in a Landscape oil on canvas 16 ¼ x 24 ⅛ inches signed lower right: C. Rungius PROVENANCE: Midwestern Galleries, Cincinnati, OH (label verso) From the Collection of William Sommer, Surfside, Florida Estate of the Above {Sotheby’s, New York, NY, 1988} From a Private Collection {Christie’s, New York, NY, 2015 (label verso)} Private Collection, Wyoming EXHIBITED: Home on the Range: American Western Art from a Cincinnati Collection, Taft Museum of Art, Cincinnati, OH, June 17-August 21, 1994 LITERATURE: Taft Museum of Art, Home on the Range: American Western Art from a Cincinnati Collection, exhibition catalogue, Cincinnati, Ohio, 1994, p. 64 $100,000 – $150,000

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237 GERARD CURTIS DELANO (1890-1972) Navajo Night oil on masonite 20 x 24 inches signed lower right: © Delano verso: titled and signed PROVENANCE: Altermann Galleries, Santa Fe, NM (label verso) From a Private Collection $30,000 – $50,000

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238 JOSEPH HENRY SHARP (1859-1953) Indian Encampment, ca. 1900 oil on panel 12 ¼ x 11 ¼ inches signed lower right: JH SHARP PROVENANCE: From a Private Collection $20,000 – $30,000

239 HERMON ATKINS MACNEIL (1866-1947) A Primitive Chant to the Great Spirit, modeled 1901 bronze 24 ½ x 5 ¼ x 8 ¼ inches inscribed left: H.A. MacNeil copyright 1901 inscribed front: A PRIMITIVE CHANT TO THE GREAT SPIRIT stamped back: CIRE PERDUE CAST ROMAN BRONZE WORKS PROVENANCE: Private Collection, New York, NY $25,000 – $35,000

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240 EDGAR PAYNE (1883-1947) Navajo Scouting Party oil on canvas 28 x 34 inches signed lower right: EDGAR PAYNE verso: titled and signed Born in rural Barry County, Missouri, in 1883 Edgar Payne spent his childhood exploring the Ozark Mountains of that region. With an early connection to the wilds of nature, Payne left home at age fourteen, finding work as a sign, house, and set painter until he reached Chicago. While largely self-taught, Payne did briefly enroll in classes at the Art Institute of Chicago. In 1909 Payne took his first life-altering trip to California, where he visited Laguna Beach and met his future wife Elsie Palmer in San Francisco. Over the subsequent years Payne traveled between Chicago and California, gathering acclaim and accolades for his California landscapes. Growing in public esteem, Payne visited the Southwest in the summer of 1916, with travel provided by the Atchison, Topeka & Santa Fe Railway Company, who would later acquire a handful of the paintings that originated from the trip. Those first four months Payne spent traveling the Southwest, and living among the Hopi and Navajo, would prove to be central to his career—second only to his depictions of the High Sierra. In 1917 Payne moved to California, and subsequently took his first trip to the Sierra Nevada, where he spent many of the following summers sketching. While WWI ravaged the nation on an international scale, Payne sought patriotism and reverence in the purity of California’s most formidable mountains. Later dubbed “the God of the Mountains” Payne brought an uncanny American impressionism to the wilds, creating images that were simultaneously tranquil and forceful, which resonated not only with the art community but with the general public as well. After spending much of the early 1920’s traveling across the United States and Europe, Payne returned to Los Angeles and became president of the California Art Club in 1926. He subsequently became a member of the Salmagundi Club and The American Artists Professional League in 1928, and continued exhibiting and traveling widely across the nation. In 1931 Payne returned to the Southwest and proceeded to spend his summers sketching there during the early 1930’s. In 1941 Payne published the first edition of Composition of Outdoor Painting, which is revered today by aspiring artists as the bible of plein air landscape painting. Payne succumbed to cancer in 1947, leaving behind a legacy larger than his life. PROVENANCE: From a Private Collection LITERATURE: Edward Goldfield and Nancy Moure, Edgar Payne 1882-1947, Goldfield Publishing Company, Los Angeles, CA, 1987, illus. p.16 $400,000 – $600,000

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241 VICTOR HIGGINS (1884-1949) Aspens Up Twining Way oil on canvasboard 12 x 13 ⅞ inches signed lower right: V. HIGGINS PROVENANCE: Kennedy Galleries, New York, NY (label verso) Robert E. Peters Gallery, Scottsdale, AZ (label verso) Private Collection, Driggs, ID $75,000 – $125,000

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242 EANGER IRVING COUSE (1866-1936) The Leafy Screen oil on canvasboard 16 x 12 inches signed lower left: EICOUSE verso: titled and signed PROVENANCE: From the Collection of Tom Agnew, Big Timber, MT $40,000 – $60,000

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243 WILLIAM GOLLINGS (1878-1932) Herald of Trouble, ca. 1911 oil on canvas 29 ¼ x 20 inches signed lower right: Gollings © Born in Pierce City, Idaho, in 1878, William E. Gollings had a passion for the west in his veins. After spending his early years in the mining camps of Idaho, Gollings went to Michigan to stay with family after his mother passed away. From there he traveled to Chicago to get a formal education. They may have taken the boy out of the west, but he eagerly studied Frederic Remington’s illustrations in Harper’s Weekly and other publications, furthering not only his love of the old west, but also his interest in art. In 1896 Gollings purchased a train ticket out of Chicago and began traveling through South Dakota and Nebraska, working as a ranch hand and cowboy. During those years of hard labor, Gollings also honed his innate artistic talents, experimenting with paint sets, and refining his craft. In 1905 Gollings returned to Chicago and enrolled in the Academy of Fine Arts, earning a scholarship to continue his studies for a second year. Feeling the pull of the west, Gollings moved to Sheridan, Wyoming, in 1909 where he built a small studio, and made a permanent residence. Drawing upon his years of personal experience working as everything from a ranch hand and cowboy to a gold miner and stagecoach driver, Gollings sought to preserve a west that was quickly disappearing. His proximately to the last of the old west in Wyoming also brought him into contact with other artists who served as mentors and friends; among them Edward Borein, W.H.D. Koerner, Charles M. Russell, and most importantly Joseph Henry Sharp. Sharp served as a key influence for Gollings, assisting him with technique and artistic methods. Gollings spent time on the Cheyenne Reservation in Wyoming, and his Native American work evokes both an authenticity and also a nostalgia for a time already passed. Painted two years after his move to Sheridan, Herald of Trouble displays all the action and drama of the old west, depicting the fraught moment before a direct confrontation between a wagon train and a group of Native Americans. PROVENANCE: From a Wyoming Collection LITERATURE: Catalog of Copyright Entries, Part 4: Works of Art, Etc, New Series, vol. 6 no. 1, Library of Congress, Government Printing Office, Washington, D.C. 1911, p. 392 William T. Ward and Gary L. Temple, Gollings: More of the Story, Patagonia Publishing Company, Argentina, 2009, illus. p. 101 $150,000 – $250,000

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244 EDGAR PAYNE (1883-1947) Navajos at Rest oil on canvas 20 x 24 inches signed lower right: EDGAR PAYNE verso: certificate of authenticity PROVENANCE: Goldfield Galleries, LTD., Los Angeles, CA (label verso) From the Collection of Mr. Christopher Peacock LITERATURE: Edward Goldfield and Nancy Moure, Edgar Payne 1882-1947, Goldfield Publishing Company, Los Angeles, CA, 1987, illus. p.20 $100,000 – $150,000

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245 FREMONT ELLIS (1897-1985) Shadows on Adobe oil on canvas 22 x 30 inches signed lower right: FREMONT F. ELLiS verso: titled and signed PROVENANCE: From a Texas Collection $25,000 – $35,000

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246 ARTHUR FITZWILLIAM TAIT (1819-1905) At Water’s Edge, 1889 oil on canvas 44 ¼ x 36 inches signed lower right: A.F. Tait N.A. Ny. 1889. PROVENANCE: Private Collection, Beverly Hills, CA From a California Collection $30,000 – $50,000

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247 ALBERT BIERSTADT (1830-1902) Untitled (Yosemite) oil on canvas 14 ¼ x 12 ¼ inches signed lower right: AB. PROVENANCE: Goldfield Galleries, Los Angeles, CA Private Collection California $20,000 – $30,000

248 FREDERIC REMINGTON (1861-1909) The Savage, 1905 bronze 19 10 ½ x 6 x 6 inches inscribed verso: Frederic Remington 1905 inscribed right: Copyright Frederic Remington stamped verso: ROMAN BRONZE WORKS NY numbered underneath: no. 19 PROVENANCE: Private Collection, New York, NY Private Collection, Cody, WY $25,000 – $35,000

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249 CHARLES M. RUSSELL (1864-1926) Brave watercolor, gouache, and pencil on paper 15 x 10 ½ inches signed lower left: CMRussell PROVENANCE: George W. Niedringhaus, St Louis, MO Amon Carter Museum, Fort Worth, TX {Coeur D’Alene Art Auction, Reno, NV, 1999} From a Private Collection LITERATURE: Frederic G. Renner, Charles M. Russell: Paintings, Drawings, and Sculpture in the Amon Carter Museum, Abradale Press/Harry N. Abrams, Inc, New York, NY, 1974, illus. p. 62 $90,000 – $120,000 — 146 —


250 FREDERIC REMINGTON (1861-1909) The Cheyenne bronze 68 19 ½ x 24 x 8 inches inscribed top right: copyright by Frederic Remington stamped lower left: ROMAN BRONZE WORKS numbered underneath: 68 PROVENANCE: Kennedy Galleries, Inc, New York, NY Private Collection, Cincinnati, OH From a Private Collection LITERATURE: Michael Edward Shaprio, Cast and Recast: The Sculpture of Frederic Remington, The Smithsonian Institution Press, Washington, D.C., 1981, p. 108 $80,000 – $120,000

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251 FREDERIC REMINGTON (1861-1909) A Trooper, 1894 watercolor and gouache on paper 12 ½ x 7 inches (sight) signed lower right: Frederic Remington titled lower left: A Trooper PROVENANCE: Private Collection, Ogden Dunes, IN {Jackson Hole Art Auction, Jackson, WY, 2015} From a Private Collection LITERATURE: Harper’s Weekly (July 7, 1894), p.632 P.H. Hassrick, M.J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, vol. II, Cody, Wyoming, 1996, illus. p. 510, no. 1831. $40,000 – $60,000 A copy of the Harper’s Weekly will accompany the sale of this lot — 148 —


252 HERMANN HERZOG (1832-1932) Raging Cascade oil on canvas 27 x 41 ½ inches signed lower left: H. Herzog PROVENANCE: From a California Collection $10,000 – $20,000

253 JOHN FERY (1859-1934) Wood Buffaloes in Wyoming oil on canvas 25 x 36 inches signed lower right: J Fery verso: titled PROVENANCE: From the Collection of Ms. Annette Schlie-Farooq $8,000 – $12,000

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254 MAYNARD DIXON (1875-1946) Homestead, 1942 watercolor on paper 8 ½ x 11 inches (sight) signed lower left: MD ‘42 PROVENANCE: From a Private Collection $20,000 – $30,000

255 BERT GEER PHILLIPS (1868-1956) Autumn Glade oil on canvas 18 x 20 inches signed lower left: PHillips PROVENANCE: From the Collection of Ms. Anne Phillips $10,000 – $15,000

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256 VICTOR HIGGINS (1884-1949) Southwest Scene watercolor on paper 11 ½ x 15 ½ inches (sight) signed lower left: VICTOR HIGGINS PROVENANCE: From a Private Collection $15,000 – $25,000

257 HENRY BALINK (1882-1963) Untitled (Portrait) oil on canvas 21 x 16 ¼ inches signed lower right: HENRY C. BALINK PROVENANCE: From a Private Collection $8,000 – $12,000

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258 ROBERT BATEMAN (1930- ) Mating Lions oil on board 20 x 20 inches signed lower right: Robert Bateman 2010 © PROVENANCE: Altermann Galleries and Auctioneers, Santa Fe, NM (label verso) From a Private Collection LITERATURE: Robert Bateman and Nancy Kovac, Bateman New Works, Greystone Books, Vancouver, Canada, illus. p. 67 $15,000 – $25,000

259 MICHAEL COLEMAN (1946- ) Cape Buffalo bronze 3/30 15 x 23 x 9 ¾ inches inscribed: Michael Coleman 3/30 PROVENANCE: Private Collection, Jackson, WY $3,000 – $5,000

260 BOB KUHN (1920-2007) Striding Cheetah, 1994 conte crayon on paper 12 ½ x 18 ½ inches signed lower left: Kuhn ‘94 PROVENANCE: From a Private Collection $4,000 – $6,000

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261 ROBERT BATEMAN (1930- ) A Resting Place - Cape Buffalo oil on board 28 x 48 inches signed lower right: Robert Bateman 1986© “The African or cape buffalo is often mistakenly referred to as a water buffalo. But the cape buffalo is powerful and dangerous; the water buffalo is a slovenly domestic slave that plows the rice paddies of Asia. In A Resting Place – Cape Buffalo I have showed this animal in repose, but there is no mistaking his power. Something has startled him in the middle of chewing his cud and caused one of the cattle egrets to take flight. Wherever you see buffalo in Africa you also see these small white egrets, which feed on the insects stirred up by the hooves.” – Robert Bateman PROVENANCE: From a Private Collection EXHIBITED: The World of Robert Bateman: The Thomas Gilcrease Museum, Tulsa, OK, September 20-November 16, 1986 (label verso) Images of the Wild: Colorado Springs Fine Art Center, Colorado Springs, CO, June 29-July 29 1991 (label verso) Robert Bateman Natural World: The Canadian Embassy, Tokyo, Japan, February 3-March 31, 1992 (label verso) LITERATURE: Robert Bateman, Robert Bateman: An Artist in Nature, Random House, New York, NY, 1990, illus. p.163 $40,000 – $60,000

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262 LINDSAY SCOTT (1955- ) The Dance oil on canvas 24 x 54 inches signed lower right: LINDSAY SCOTT PROVENANCE: Private Collection, Coral Gables, FL EXHIBITED: Birds in Art: The Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin, 1999, (label verso) $15,000 – $25,000

263 GUY COMBES (1971- ) Incroyables, 2017 oil on canvas 40 x 30 inches signed lower right: Guy Combes © verso: titled, signed, dated “Crowned Cranes are the most elegant players in the rhapsody of the savannah. Their movement, color, and sound epitomize Africa for so many. I wanted to combine my usual tight focus on detail with a poetry of movement in the composition, and this is a painting I hope will evoke the magic of my homeland for the viewer in the same way my emotions surge whenever I hear the call of these magnificent birds.” – Guy Combes PROVENANCE: The Artist $12,000 – $18,000 — 154 —


264 LINDSAY SCOTT (1955- ) A Flash of Gold oil on canvas 23 x 34 inches signed lower left: LINDSAY SCOTT PROVENANCE: Private Collection, Coral Gables, FL $10,000 – $15,000

265 PIP MCGARRY (1955- ) Zebra and Egret, 2017 oil on canvas 16 x 20 inches signed lower right: Pip McGARRY -2017“In the north of the Maasai Mara Game Reserve in Kenya, there is an area called ‘Paradise Plain’, where great herds of zebra sometimes congregate. This zebra risks his life to quench his thirst, but is momentarily distracted by the great egret feeding close by. What forces of nature have combined to create the dazzling stripes of this plains zebra?” – Pip McGarry PROVENANCE: The Artist $4,000 – $6,000

266 PIP MCGARRY (1955- ) Leopard in Tree, Botswana, 2016 oil on canvas 30 x 20 inches signed lower right: PIP McGARRY 2016 “The beautiful Leopard in this painting was seen in Moremi Game Reserve in Botswana during my twenty-fifth safari. Often in the heat of the day, African Leopards will climb into the branches of a tree, where it is cooler and they can see without being seen.” – Pip McGarry PROVENANCE: The Artist $6,000 – $9,000 — 155 —


267 BOB KUHN (1920-2007) After the Short Rains, 1993 acrylic on board 20 x 48 inches signed lower right: Kuhn verso: signed and dated “When my wife and I drove up to this group, they were dozing or grooming in the cool shade, and at peace with the world. The new green of their carpet meant the presence of grass-eaters on which they feed, and each member of this small pride had a full belly. Lions within Africa’s game reserves are generally good tempered, so we sat quietly inside the vehicle, almost within the family confines, recording every shift of position, change of expression, everything. It was nothing like watching the thrill of a stalk, but fascinating nonetheless.” – Bob Kuhn PROVENANCE: Private Collection, Jackson, WY Private Collection, California, by descent {Jackson Hole Art Auction, Jackson, WY, 2010 (label verso)} From a Private Collection LITERATURE: Tom Davis, Wild Harvest: The Animal Art of Bob Kuhn, Sporting Classics & Wildlife Art Magazine, Canada, 1997, illus. p. 74-75 $200,000 – $300,000

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STANLEY MELTZOFF

(1917-2006)

There are fish painters, and then there is Stanley Meltzoff. Universally regarded as the finest painter of apex saltwater gamefish, Meltzoff was born in Brooklyn during the climactic year of WWI. He was an early prodigy both in public school and later at City College of New York. During WWII, he served as a correspondent for The Stars and Stripes army newspaper, sitting alongside such luminaries-to-be as two-time Pulitzer Prize winner Bill Mauldin. After the war, Meltzoff taught briefly at New York’s Pratt Institute before mustering the artistic courage to branch out on his own. After that, he never looked back. Beginning in the late 1940s as one of Madison Avenues original “Mad Men,” Meltzoff’s illustration career quickly took off. His work appeared regularly in books, national magazines, corporate annual reports, and advertising materials. Among other things, the artist did cover work for National Geographic, Saturday Evening Post, Scientific American, The Atlantic, and many others. His 64 covers for Scientific American remain a record to this day. Then in 1960, a commission from Sports Illustrated changed Meltzoff’s life. Always an avid diver and by now a celebrated artist, his series of paintings of striped bass conveyed a heretofore unknown degree of realism. Thrilled with the rave reviews, SI commissioned more series of gamefish paintings, as did the entire sporting media. Cover artwork for Field & Stream, Grays Sporting Journal, Sporting Classics, and Sports Afield quickly followed. By the time of his death, Stanley Meltzoff’s artwork had appeared in virtually every major sporting magazine. His death stilled a brush that will never be equaled. Today Meltzoff’s artwork is sought by museums and collectors around the world. His paintings are owned by such institutions as the Getty Museum, National Baseball Hall of Fame, National Geographic Society, National World War II Museum, and the Smithsonian Institution’s National Gallery. A recent series of one-man museum exhibitions has just concluded a three-year nationwide run. Of all the fish painters before or since, there has never been an equal to the late great Stanley Meltzoff. – Mike Rivkin

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STANLEY MELTZOFF 268 STANLEY MELTZOFF (1917-2006) Wahoo 4 oil on board 32 x 32 inches signed lower right: SM verso: titled PROVENANCE: From the Estate of Stanley Meltzoff EXHIBITED: Art of Angling, Newport Harbor Nautical Museum, Newport Beach, CA, August 2011 Stanley Meltzoff: Oceans and Other Worlds, Society of Illustrators, New York, NY, June 6-July 28, 2012 The Lure of the Ocean: The Art of Stanley Meltzoff, Bruce Museum, Greenwich, CT, February 9-June 2, 2013 American Wildlife Art, Allentown Art Museum, Allentown, PA, September 29-December 29, 2013 The Great Sporting Fish, Bell Museum of Natural History, Minneapolis, MN, May 30-August 30, 2015; Coastal Discovery Museum, Hilton Head, SC, October 1-December 31, 2015 Lure of the Ocean: The Art of Stanley Meltzoff, Neville Public Museum, Green Bay, WI, February 20-May 8, 2016 Into the Depths: Marine Paintings by Stanley Meltzoff, Museum of the Earth, Ithaca, NY, October 21, 2016-May 1, 2017 $25,000 – $45,000 — 159 —


STANLEY MELTZOFF

269 STANLEY MELTZOFF (1917-2006) Swordfish 3, 1988 oil on board 31 x 47 ½ inches signed lower right: SM verso: titled “By almost every measure, the broadbill swordfish is the king of billfish, a solitary wanderer of all seas that during the daytime is excruciatingly difficult to catch (swordfish taken at night off Florida come with asterisks). Anglers have pulled on broadbill for a dozen hours or more, only to drop in exhaustion when the fish finally tires of the game and decides to depart. These fish are big, tough, and fearless, able to battle on equal terms with nearly every other creature in the sea. Still, there are a few species that will feed on swordfish given the opportunity, including giant squid, mako sharks, and orcas. Makos go for the tail, cutting off the broadbill’s propulsion unit while avoiding their vicious bill. In some ways, makos are the quintessential shark: menacing, streamlined, and bristling with teeth. Despite these credentials, Stanley never painted makos leaping (as they do) or as the target of anglers (which they are). Instead, he drew them from real life examples propped up in his studio and put them in scenes unwitnessed by man. Of his five swordfish pictures four include makos as significant co-stars. Only two of the five were major works, of which Swordfish 3 is one.” – Mike Rivkin PROVENANCE: From the Estate of Stanley Meltzoff EXHIBITED: Art of Angling, Newport Harbor Nautical Museum, Newport Beach, CA, August 2011 Stanley Meltzoff: Oceans and Other Worlds, Society of Illustrators, New York, NY, June 6-July 28, 2012 SHARK!, Ft Lauderdale Museum of Art, Ft. Lauderdale, FL, May 13-November 4, 2013 The Great Sporting Fish, Bell Museum of Natural History, Minneapolis, MN, May 30-August 30, 2015; Coastal Discovery Museum, Hilton Head, SC, October 1-December 31, 2015 Lure of the Ocean: The Art of Stanley Meltzoff, Neville Public Museum, Green Bay, WI, February 20-May 8, 2016 Into the Depths: Marine Paintings by Stanley Meltzoff, Museum of the Earth, Ithaca, NY, October 21, 2016-May 1, 2017 LITERATURE: Stanley Meltzoff and Mike Rivkin, Stanley Meltzoff: Picture Maker, Silverfish Press, Korea, 2010, illus. p.136 $40,000 – $60,000

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oil on board 9 x 15 inches signed lower right: SM verso: titled and signed PROVENANCE: From the Estate of Stanley Meltzoff $8,000 – $10,000

271 STANLEY MELTZOFF (1917-2006) Striped Marlin 11, 2001 oil on board 8 ⅜ x 12 inches signed lower right: SM verso: titled and signed PROVENANCE: From the Estate of Stanley Meltzoff LITERATURE: Stanley Meltzoff and Mike Rivkin, Stanley Meltzoff: Picture Maker, Silverfish Press, Korea, 2010, illus. p.126 $5,000 – $7,000

LOT 270 & LOT 271 EXHIBITED: Art of Angling, Newport Harbor Nautical Museum, Newport Beach, CA, August 2011 Stanley Meltzoff: Oceans and Other Worlds, Society of Illustrators, New York, NY, June 6-July 28, 2012 The Lure of the Ocean: The Art of Stanley Meltzoff, Bruce Museum, Greenwich, CT, February 9-June 2, 2013 (label verso) The Great Sporting Fish, Bell Museum of Natural History, Minneapolis, MN, May 30-August 30, 2015; Coastal Discovery Museum, Hilton Head, SC, October 1-December 31, 2015 Lure of the Ocean: The Art of Stanley Meltzoff, Neville Public Museum, Green Bay, WI, February 20-May 8, 2016 Into the Depths: Marine Paintings by Stanley Meltzoff, Museum of the Earth, Ithaca, NY, October 21, 2016-May 1, 2017

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STANLEY MELTZOFF

270 STANLEY MELTZOFF (1917-2006) Black Marlin 11, 2001


STANLEY MELTZOFF

272 STANLEY MELTZOFF (1917-2006) Striped Marlin 12, 2004 oil on canvas mounted on board 20 ½ x 37 ½ inches signed lower right: SM verso: titled, signed, dated “These [Lot 271 & 272] were Stanley’s last two striped marlin pictures, the former completed in 2001 and the latter in 2004. In some respects, they offer insight into all the fish scenes completed during the autumn of his career. Despite the nearly identical nature of the marlin in the two works, Stanley changed the nudibranch to a jellyfish after being captivated by a display of jellies at the Museum of Natural History in New York. Given the delicate complexity of the jelly in the larger canvas, this was a daring choice. Nonetheless, Stanley was known to obsess about some of the smaller elements in a large composition, once cutting in half a perfectly wonderful painting of a bluefin tuna when he couldn’t quite get the final detail to his satisfaction.” – Mike Rivkin PROVENANCE: From the Estate of Stanley Meltzoff EXHIBITED: Art of Angling, Newport Harbor Nautical Museum, Newport Beach, CA, August 2011 Stanley Meltzoff: Oceans and Other Worlds, Society of Illustrators, New York, NY, June 6-July 28, 2012 The Lure of the Ocean: The Art of Stanley Meltzoff, Bruce Museum, Greenwich, CT, February 9-June 2, 2013 The Great Sporting Fish, Bell Museum of Natural History, Minneapolis, MN, May 30-August 30, 2015; Coastal Discovery Museum, Hilton Head, SC, October 1-December 31, 2015 Lure of the Ocean: The Art of Stanley Meltzoff, Neville Public Museum, Green Bay, WI, February 20-May 8, 2016 Into the Depths: Marine Paintings by Stanley Meltzoff, Museum of the Earth, Ithaca, NY, October 21, 2016-May 1, 2017 LITERATURE: Stanley Meltzoff and Mike Rivkin, Stanley Meltzoff: Picture Maker, Silverfish Press, Korea, 2010, illus. p.127 $25,000 – $35,000

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STANLEY MELTZOFF

273 STANLEY MELTZOFF (1917-2006) Bluefin 37, 2006 oil on board 21 ½ x 25 ½ inches signed lower right: SM verso: titled, signed, dated PROVENANCE: From the Estate of Stanley Meltzoff EXHIBITED: Art of Angling, Newport Harbor Nautical Museum, Newport Beach, CA, August 2011 Stanley Meltzoff: Oceans and Other Worlds, Society of Illustrators, New York, NY, June 6-July 28, 2012 The Lure of the Ocean: The Art of Stanley Meltzoff, Bruce Museum, Greenwich, CT, February 9-June 2, 2013 (label verso) The Great Sporting Fish, Bell Museum of Natural History, Minneapolis, MN, May 30-August 30, 2015; Coastal Discovery Museum, Hilton Head, SC, October 1-December 31, 2015 Lure of the Ocean: The Art of Stanley Meltzoff, Neville Public Museum, Green Bay, WI, February 20-May 8, 2016 Into the Depths: Marine Paintings by Stanley Meltzoff, Museum of the Earth, Ithaca, NY, October 21, 2016-May 1, 2017 LITERATURE: Stanley Meltzoff and Mike Rivkin, Stanley Meltzoff: Picture Maker, Silverfish Press, Korea, 2010, illus. p.107 $25,000 – $45,000

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274 G. HARVEY (1933- ) The Magic of Santa Fe oil on canvas 36 x 30 inches signed lower right: G. Harvey ©1988 verso: titled, signed, dated PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $70,000 – $100,000

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275 RICHARD SCHMID (1934- ) Still Life with Flowers and Oranges oil on canvas 36 x 48 inches signed lower right: Schmid verso: titled, signed, dated PROVENANCE: From a Private Collection $60,000 – $90,000

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276 CLARK HULINGS (1922-2011) Aix Fountain, 1985 oil on canvas 27 x 44 inches signed lower left: Hulings ©1985 While he was born in Florida in 1922, Clark Hulings spent formative early childhood years in Spain, which ingrained in him a love of Europe, with particular interest in the marketplaces, countryside, and daily life. Hulings himself acknowledged the importance of these years, saying, “If it is nostalgia that induces me to paint markets and donkeys and Spanish landscapes, things that were part of my distant childhood, perhaps it is also nostalgia that moves me to search out rustic places with bygone lifestyles.” This element of nostalgia can clearly be seen here in Aix Fountain; the historic square, fountain, and flower market feature prominently in the piece, while the focus is on the people and community—sans the hustle and bustle of modernity. After three years in Spain, Hulings’ father moved the family to New Jersey, where Hulings frequented the Metropolitan Museum of Art whenever possible, drawn to the work of George Innes, John Singer Sargent, and Pierre-Auguste Renoir. Inspired by the masters, Hulings took to copying their work on his own, convincing his father to enlist the tutelage of Sigismund Ivanowski. Following years of training with Ivanowski, Hulings continued his formal art education at the Art Students League in New York. Early in his career Hulings worked as a portrait painter and freelance illustrator, before devoting himself fully to easel painting in the 1960’s. By 1965 Hulings began exhibiting at the Grand Central Galleries, and in 1973 he received the Prix de West award at the National Academy of Western Art. The awards and acclaim continued throughout his long career. Hulings moved to New Mexico permanently in 1957, and continued to paint until his death in 2011. PROVENANCE: Private Collection California {Santa Fe Art Auction, Santa Fe, NM, 2011 (label verso)} From a Private Collection $150,000 – $250,000

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277 MORGAN WEISTLING (1964- ) Heather oil on canvas 24 x 25 inches signed lower right: MORGAN WEistliNG 2002 © verso: titled, signed, dated PROVENANCE: The Artist Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Dallas, TX $25,000 – $35,000

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278 MORGAN WEISTLING (1964- ) Giving Thanks oil on canvas 30 ½ x 22 inches signed lower left: MORGAN WEistliNG 2002 © verso: titled and signed PROVENANCE: Trailside Galleries, Scottsdale, AZ From the Collection of Scott & Bronwen Jones $30,000 – $50,000

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279 CLYDE ASPEVIG (1951- ) Midsummer Evening oil on linen on board 34 x 30 inches signed lower left: C Aspevig 08 verso: titled, signed, dated PROVENANCE: From a Private Collection EXHIBITED: Clyde Aspevig: The National Arts Club, New York, NY, May 5, 2009-May 17, 2009 (label verso) $15,000 – $25,000

280 MORGAN WEISTLING (1964- ) Good Cracker oil on canvas 12 x 9 inches signed lower left: MORGAN WEistliNG PROVENANCE: From a Private Collection $3,000 – $5,000

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281 Red

MORGAN WEISTLING (1964- )

oil on canvas 22 x 40 inches signed lower right: MORGAN WEistliNG PROVENANCE: The Artist Trailside Galleries, Jackson, WY (label verso) Private Collection, Ann Arbor, MI $30,000 – $50,000

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282 ROBERT BATEMAN (1930- ) Big Black acrylic on canvas 36 x 36 inches signed lower right: Robert Bateman 2004 © PROVENANCE: Private Collection, Jackson, WY $40,000 – $60,000

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283 ROBERT BATEMAN (1930- ) Swallow-Tailed Kite acrylic on board 24 x 18 inches signed lower right: Robert Bateman 1994 © PROVENANCE: From a Private Collection $10,000 – $15,000

284 ROBERT BATEMAN (1930- ) Bald Eagle pencil on paper 21 ½ x 29 ½ inches signed lower right: Robert Bateman 2007 © PROVENANCE: From a Private Collection EXHIBITED: American Wildlife Art, Allentown Art Museum, Allentown, PA, September 29-December 29, 2013 $10,000 – $12,000

285 ROBERT BATEMAN (1930- ) Swallow Bank - Fall acrylic on board 24 x 36 inches signed lower right: Robert Bateman PROVENANCE: Beckett Fine Art Ltd., Ontario, Canada (label verso) From a Private Collection LITERATURE: Ramsay Derry, The Art of Robert Bateman, Madison Press Books, Ontario, Canada, 1986, illus. p. 76 $15,000 – $25,000

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286 DANIEL SMITH (1954- ) Resonating Bugle acrylic on board 10 x 18 inches signed lower right: Smith ©10 PROVENANCE: From the Collection of Mr. Stephen Krasemann $4,000 – $6,000

287 GREG BEECHAM (1954- ) Early Snow on Gannett oil on canvas 30 x 50 inches signed lower left: GBEECHAM © (fish symbol) 08 verso: signed PROVENANCE: Astoria Fine Art, Jackson, WY Private Collection, Ann Arbor, MI $15,000 – $25,000

288 VERYL GOODNIGHT (1947- ) Elk Mountain Burn bronze 3/21 21 ¼ x 31 x 20 ½ inches inscribed verso: Veryl Goodnight 1978© 3/21 PROVENANCE: Trailside Galleries, Scottsdale, AZ From a Private Collection $5,000 – $7,000 — 174 —


289 CARL BRENDERS (1937- ) The Good Life mixed media on illustration board 14 x 37 inches (sight) signed lower right: © C Brenders 03 “No human being can enjoy life as much as a cat can. A cat can lie on its back like nobody can ever imitate. A relaxed cat radiates joy of life. Cats know the art of living well. We can learn from them, not only domestic cats but all members of the cat family. One of the American members of the cat family, the cougar is the cat I like to paint best. Its colors fit so well with the colors of nature in the West. The model for my painting made my day when he allowed me to pet his belly. He was a domesticated cougar in a game farm, and I felt I had a wonderful contact with him. Cougar babies can become very tame when they grow up in captivity. Then they make great models for wildlife artists, who would have a hard time doing the same fieldwork in the wild.” – Carl Brenders PROVENANCE: Private Collection, Jacksonville, FL LITERATURE: Carl Brenders, Pride of Place, the Art of Carl Brenders, Langford Press, Langtoft, Peterborough, UK, 2007, illus. p. 90-91 $25,000 – $35,000

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290 MARTIN GRELLE (1954- ) Crossing oil on canvas 12 x 12 inches signed lower left: MARTIN GRELLE © 06 CA verso: titled, signed, dated PROVENANCE: From a Texas Collection $20,000 – $30,000

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291 WILLIAM ACHEFF (1947- ) Many Trails Walked, 2017 oil on canvas 12 x 10 inches signed lower right: Acheff 2017 PROVENANCE: The Artist $10,000 – $15,000

292 HARRY JACKSON (1924-2011) Sacagawea, 1977 bronze 14/40 27 x 12 x 10 inches inscribed verso: ©Harry Jackson 1977, 14. stamped verso: WFS Italy inscribed front: Sacagawea PROVENANCE: From a Private Collection $8,000 – $12,000

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293 R.S. RIDDICK (1952- ) Mountain Blessing Song oil on linen 48 x 58 inches signed lower left: R. Riddick CA 2006 verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $30,000 – $50,000

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294 WILLIAM ACHEFF (1947- ) About Taos oil on canvas 16 x 12 inches signed lower right: © Wm. Acheff 2004 verso: titled, signed, dated PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 34 $12,000 – $18,000

295 HARRY JACKSON (1924-2011) Washakie, 1980 polychrome bronze 10/12 36 x 28 x 16 inches inscribed verso: ©Harry Jackson 1978, WAP 10P signed verso: ©Harry Jackson 1980 inscribed front: Washakie stamped verso: WFS Italia PROVENANCE: From a Private Collection $15,000 – $25,000

296 OLAF WIEGHORST (1899-1988) Along the Timberline oil on canvas 16 x 20 inches signed lower left: O - WiEghorst (artist cipher) lower right: © PROVENANCE: Legacy Gallery, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $12,000 – $18,000

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297 MARK MAGGIORI (1977- ) Riders in the Storm, 2017 oil on linen 34 x 46 inches signed lower right: MARK MAGGIORI 2017 “The idea for this painting was to illustrate the noise and force of a bunch of horses at full gallop among the plains. While visiting my father-in-law in Oklahoma a few years ago, I was struck by the immensity of those plains. I caught myself imagining how it would have been for a group of outlaws, to run wild and free there, in a time when there were no fences and barbed wire. The roar of the horses contrasting with the silence of the vast landscape, a few minutes before the bunch showed up. In addition to the group of riders, I wanted to show a massive threatening cloud, to reinforce the idea of rush, of tension. We don’t know what those riders are after. We don’t know if they just left a scene or if they’re going somewhere special... all we know is that they just cross our vision for a few seconds.” – Mark Maggiori PROVENANCE: The Artist $15,000 – $20,000

298 HARRY JACKSON (1924-2011) Pony Express II, 1980 bronze 74/100 12 ½ x 16 x 9 ½ inches inscribed: © Harry Jackson 1980 PEII 72/100 PROVENANCE: Private Collection, Scottsdale, AZ $7,000 – $10,000

299 KYLE POLZIN (1974- ) The Voyageur oil on board 11 1/3 x 18 ½ inches signed lower left: POLZIN © PROVENANCE: Legacy Gallery, Scottsdale, AZ From a Private Collection $20,000 – $30,000

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300 ANDY THOMAS (1957- ) Night Shot oil on canvas 40 x 30 inches signed lower right: ANDY THOMAS PROVENANCE: From a Private Collection $30,000 – $50,000

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301 BILL ANTON (1957- ) Night Wrangler oil on linen mounted on board 30 x 36 inches signed lower left: Bill Anton verso: titled, signed, dated PROVENANCE: The Artist $18,000 – $24,000

302 BILL NEBEKER (1942- ) Scatterin’ Salt

303 BILL ANTON (1957- ) The Dark Bay Colt

bronze 4/25 19 x 11 x 9 inches inscribed verso: ©Bill Nebeker, 1997, 4/25

oil on linen 16 x 20 inches signed lower right: Bill Anton verso: titled, signed, dated

PROVENANCE: From a Private Collection $6,000 – $8,000

PROVENANCE: The Artist $6,000 – $9,000

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304 TUCKER SMITH (1940- ) Camp Kitchen oil on canvas 24 x 32 inches signed lower left: Tucker Smith ©90 “We were coming to breakfast one morning on a pack trip when I saw this scene. I decided to paint a study of it rather than eat. Unfortunately, meals are often scheduled during the best painting light. Although it wouldn’t have hurt me to miss a meal, Jean saved me some breakfast.” – Tucker Smith PROVENANCE: Colorado Historical Society, Denver, CO (label verso) From a Private Collection LITERATURE: Tucker Smith, The Paintings of Tucker Smith: A Celebration of Nature, Graphic Arts Books, Portland, OR, 2004, illus. p. 81 $25,000 – $35,000

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305 JAMES REYNOLDS (1926-2010) Morning Fog oil on canvas 38 x 48 inches signed lower left: James Reynolds PROVENANCE: Claggett/Rey Gallery, Vail, CO (label verso) From a Private Collection LITERATURE: James Reynolds, The Landscapes of James Reynolds, O’Neil Printing, Phoenix, AZ, 2010, illus. p.115 $15,000 – $25,000

306 GEORGE CARLSON (1940- ) Dancers of Noragachi bronze 16/21 27 x 27 ½ x 28 inches inscribed front: CARLSON 1974 16/21 PROVENANCE: From a Montana Collection $20,000 – $30,000 — 184 —


307 T. ALLEN LAWSON (1963- ) Seeking Shelter, 2017 oil on panel 24 x 20 inches signed lower right: T. ALLEN LAWSON “During the silence of a gray, violet, midOctober snow a distracted calf heads toward the protection of its herd.” – T. Allen Lawson PROVENANCE: The Artist $18,000 – $24,000

308 T. ALLEN LAWSON (1963- ) Fall Creek Winter oil on canvas 18 x 24 inches signed lower left: T. ALLEN LAWSON verso: signed and dated PROVENANCE: From the Collection of Ms. Allison Kelly $7,000 – $10,000

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309 CLYDE ASPEVIG (1951- ) Chamisa in Winter oil on canvas 20 x 24 inches signed lower left: C. ASPEVIG PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $8,000 – $12,000

310 GERALD BALCIAR (1942- ) Canyon Princess

311 TUCKER SMITH (1940- ) Penny Lake

bronze 15/45 57 x 22 x 15 inches 92 x 36 x 32 (with base) inscribed lower left: G. Balciar ©1996 15/45

oil on canvas 20 x 24 inches signed lower left: Tucker Smith 05

PROVENANCE: Private Collection, Scottsdale, AZ $10,000 – $15,000

PROVENANCE: Private Collection, Helena, MT $15,000 – $25,000

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312 KEN CARLSON (1937- ) Bull Elk oil on board 15 x 22 inches signed lower right: CARLSON PROVENANCE: From a Texas Collection $12,000 – $18,000

313 KEN CARLSON (1937- ) One with the Rock oil on board 13 x 18 inches signed lower right: CARLSON PROVENANCE: The Artist From a Wyoming Collection $10,000 – $15,000

314 KEN CARLSON (1937- ) Lynx oil on board 10 x 13 inches signed lower right: CARLSON PROVENANCE: From the Collection of Curtice and Bob McCloy From a Wyoming Collection $5,000 – $7,000

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315 MARIE LAURENCIN (1883-1956) Femme en Jupe Multicolore oil on canvas 36 ¼ x 24 inches unsigned Born in Paris in 1883, Marie Laurencin began her formal artistic training in porcelain painting, before later transitioning to drawing and oil painting. Laurencin pursued her art education at the Académie Humbert, where she met Georges Braque. In 1907 she held her first solo show, which brought her into contact with the iconic cubist painter Pablo Picasso. Laurencin quickly became a central figure in the Paris avant-garde, exhibiting with the cubists and romantically linked to poet Guillaume Apollinaire—widely credited as his muse. In 1908 she completed one of her most famous works, Group of Artists, which featured Apollinaire, Picasso, Picasso’s mistress Fernande Oliver, and Laurencin herself. The work was purchased by none other than Gertrude Stein, cementing her place within the Parisian artist circle. In 1913 Laurencin parted ways with Apollinaire, and entered into a professional relationship with art dealer Paul Rosenberg, who also represented Picasso, Matisse, and Braque. A year later she married German artist and Baron, Otto von Waetjen. With the onset of World War I, Laurencin found herself exiled from France by association with her German husband, and spent the subsequent years in Spain. In 1921 Laurencin divorced von Waetjen and returned to Paris. During the 1920’s she continued to paint, but also worked as a set and costume designer for the Ballets Russes, among others. She gained popularity as a portrait painter, painting the likes of Coco Chanel, Helena Rubinstein, Lady Cunard, and Madame André Derain. World War II brought further turmoil to Paris, and Laurencin’s apartment was requisitioned by the Germans. She continued to work through it all, teaching at art schools and illustrating books, until her death in 1956. While Laurencin exhibited with the cubists, her work shows the softer influence of fauvism as well. Drawn to female subjects, ethereal lines, and magical animal metamorphism, Laurencin explored the theme of femininity throughout her career as evidenced here in Femme en Jupe Multicolore. PROVENANCE: From a Private Collection $70,000 – $100,000

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316 JULIAN ALDEN WEIR (1852-1919) Woman in White Reading (Mrs. Weir), 1909 oil on canvas 30 x 25 inches unsigned PROVENANCE: From a Private Collection EXHIBITED: J. Alden Weir - A Place of His Own, The William Benton Museum of Art, Storrs, CT, June, 4 - August 18, 1991 (label verso) $15,000 – $25,000

317 ERNEST LAWSON (1873-1939) Zoo in Central Park oil on canvasboard 20 x 24 inches signed lower left: E LAWSON PROVENANCE: Hirschl & Adler Galleries, New York, NY (label verso) From a Private Collection EXHIBITED: Ernest Lawson, The University of Arizona Museum of Art, Tucson, AZ, February - March 1979. $15,000 – $25,000

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318 HERMANN HERZOG (1832-1932) Deer in a Clearing oil on canvas 34 x 55 inches signed lower right: H. Herzog PROVENANCE: From a California Collection $15,000 – $25,000

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319 W.H.D. KOERNER (1878-1938) The Long Distance Message, 1921 oil on canvas 36 ¼ x 30 ¼ inches signed lower right: W. H. D. Koerner 21 PROVENANCE: From a Texas Collection EXHIBITED: The Madonnas of the Prairie: Depictions of Women in The American West, Panhandle-Plains Historical Museum, Canyon, TX, April 12-August 30, 2014; National Cowboy & Western Heritage Museum, Oklahoma City, OK, February 6-May 10, 2015 (label verso) $15,000 – $25,000

320 NORMAN ROCKWELL (1894-1978) The Night Before Christmas (Study), 1923 oil on board 10 inches diameter signed lower right: NORMAN ROCKWELL PROVENANCE: From a Private Collection LITERATURE: Study for cover illustration, The Literary Digest, December 22, 1923 $12,000 – $18,000

321 HENRY EDMUND OSTHAUS (1858-1928) Cocker Spaniel, 1910 watercolor on paper 9 x 12 inches (sight) signed lower left: Edmund Osthaus May 18th 1910 PROVENANCE: Walter Kimball & Co, Boston, MA (label verso) From the Collection of Ms. Caroline Masters $4,000 – $6,000 — 192 —


322 EDOUARD CORTES (1882-1969) Cafe de la Paix, Ave. oil on canvas 10 ¾ x 13 ¾ inches signed lower left: EDOUARD CORTES PROVENANCE: From a Private Collection $12,000 – $18,000

323 VICTOR MANUEL (1897-1969) Untitled oil on canvas 20 x 16 inches signed lower right: VICTOR MANUEL PROVENANCE: Private Collection, Corsicana, TX $18,000 – $24,000

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324 EDWARD MITCHELL BANNISTER (1828-1901) Pastoral Landscape with Cattle, 1896 oil on canvas 32 x 46 inches signed lower right: EM Bannister 96 PROVENANCE: Private Collection, Corsicana, TX $25,000 – $45,000

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325 WILLIAM MERRITT CHASE (1849-1916) Portrait of a Lady, ca. 1915 oil on canvas 28 ¼ x 24 ¼ inches signed upper right (posthumously): CHASE PROVENANCE: M. Knoedler & Co., New York, NY, (label verso) From a Private Collection LITERATURE: Ronald G. Pisano, William Merritt Chase: Portraits in Oil, vol 2, Yale University Press, New Have, CT, 2006, illus. p. 269 $20,000 – $30,000

326 JOSEPH HENRY SHARP (1859-1953) Portrait of Marian McFarlan pastel on canvas 33 x 25 inches signed lower left: J.H. Sharp PROVENANCE: Nedra Matteucci Galleries, Santa Fe, NM (label verso) Lockwoods Midwestern Galleries, Inc., Cincinnati, OH (label verso) Texas Art Gallery, Dallas, TX (label verso) Private Collection, Scottsdale, AZ $7,000 – $10,000

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327 RICHARD SCHMID (1934- ) Cristobal Street oil on canvas 12 x 16 inches signed lower right: Schmid 1973 verso: titled, signed, dated, numbered PROVENANCE: Private Collection, New York, NY $7,000 – $10,000

328 CLYDE ASPEVIG (1951- ) After the Tilling oil on canvas 26 x 30 inches signed lower left: C. ASPEVIG verso: titled and signed PROVENANCE: From a Wyoming Collection $8,000 – $12,000

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329 ROBERT LOUGHEED (1910-1982) A Village in Puy de Dome oil on masonite 12 x 24 inches signed lower right: RE LOUGHEED LA ROCHE BLANC verso: titled and signed PROVENANCE: From a Texas Collection $8,000 – $12,000

330 RICHARD SCHMID (1934- ) Wheeling Gulls oil on canvas 14 x 24 inches signed lower right: Schmid verso: titled, dated, numbered PROVENANCE: Private Collection, Inverness, IL $8,000 – $12,000

331 JAMES REYNOLDS (1926-2010) In the Midst of Sedona oil on canvas 36 x 30 inches signed lower right: James Reynolds CA verso: signed PROVENANCE: From a Texas Collection $10,000 – $15,000 — 197 —


332 RUSSELL CASE (1966- ) Slide Rock, Canyon de Chelley oil on canvas 36 x 48 inches signed lower right: G. Russell Case (artist cipher) verso: titled, signed, dated PROVENANCE: Gerald Peters Gallery, Santa Fe, NM (label verso) From the Collection of Mr. Joe Bennett $15,000 – $25,000 333 MICHAEL STACK (1947- ) April in the Wetstones oil on canvas 24 x 36 inches signed lower right: MICHAEL STACK verso: titled and dated PROVENANCE: Private Collection, Jackson, WY $12,000 – $18,000

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334 LOGAN MAXWELL HAGEGE (1980- ) Desert Meeting oil on linen 30 x 50 inches signed upper right: LOGAN MAXWELL HAGEGE verso: titled, signed, dated PROVENANCE: The Artist From a Private Collection $30,000 – $50,000

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335 MARTIN GRELLE (1954- ) Two for Town oil on canvas 30 x 48 inches signed lower right: MARTIN GRELLE ©1991 verso: titled PROVENANCE: Overland Gallery, Scottsdale, AZ From a California Collection $20,000 – $30,000

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336 MARTIN GRELLE (1954- ) Stayin’ In oil on canvas 11 x 14 inches signed lower left: MARTIN GRELLE © verso: titled PROVENANCE: Overland Gallery, Scottsdale, AZ From a California Collection $6,000 – $9,000

337 CYNTHIA RIGDEN (1943- ) Hope Springs Eternal bronze 6/15 20 x 39 x 18 inches inscribed verso: 6/15 Cynthia Rigden PROVENANCE: Private Collection, Scottsdale, AZ $4,000 – $6,000

338 DAVID HALBACH (1931- ) Home for the Holidays watercolor and gouache on paper 10 x 20 inches (sight) signed lower left: DAVID HALBACH © CA PROVENANCE: Overland Trail Fine Art Gallery, Scottsdale, AZ (label verso) Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Paradise Valley, AZ $4,000 – $6,000

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339 OLAF WIEGHORST (1899-1988) The Wrangler oil on canvas 20 x 24 inches signed lower left: O - WiEghorst (artist cipher) lower right: © PROVENANCE: Private Collection, Scottsdale, AZ $20,000 – $30,000

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340 JIM WILCOX (1941- ) High Noon at String Lake oil on canvas 60 x 47 inches signed lower right: JIM WILCOX verso: titled PROVENANCE: Private Collection, Jackson, WY $15,000 – $25,000

341 OLAF WIEGHORST (1899-1988) Restin’ bronze 17/20 8 x 10 ½ x 3 ¾ inches inscribed right: O Wieghorst (artist cipher) 17/20 inscribed back: ROMAN BRONZE WORKS INC PROVENANCE: Legacy Gallery, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $3,000 – $5,000

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342 ANDY THOMAS (1957- ) Horse Thief oil on canvas 24 x 36 inches signed lower right: ANDY THOMAS PROVENANCE: From a Private Collection $25,000 – $35,000

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343 OLEG STAVROWSKY (1927- ) Cross Fire oil on canvas 34 ¼ x 54 inches signed lower right: Oleg Stavrowsky PROVENANCE: Private Collection, Minneapolis, MN $10,000 – $15,000

344 FRANK MCCARTHY (1924-2002) High Noon, 1980 oil on board 24 x 12 inches signed lower left: McCarthy CA ©1980 PROVENANCE: Private Collection, Menlo Park, CA $10,000 – $15,000

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345 KYLE SIMS (1980- ) Rich Land oil on canvas 32 x 48 inches signed lower right: k sims PROVENANCE: Private Collection, Bozeman, MT $15,000 – $25,000

346 LANFORD MONROE (1950-2000) Reverie oil on canvas 32 x 48 inches signed lower right: Lanford Monroe PROVENANCE: Private Collection, Jackson, WY LITERATURE: R.E.C. Thompson, Homefields: The Art of Lanford Monroe, Sporting Classics & Islet Bay Press, Canada, 2007, illus. p.134-135 $20,000 – $30,000 — 206 —


347 CYRUS AFSARY (1940- ) Fire in the Hole, 2017 oil on linen 30 x 40 inches signed lower left: Cyrus Afsary “How can anyone not be struck by the scenes of bison slowly roaming and seeming oblivious, yet aware of their surroundings, being able to detect smells for miles ahead. I have watched these amazing massive animals that can be over six feet high and weigh over a ton—growing to these enormous sizes on vegetation. These interesting animals roam for miles while calmly eating their way across the plains. I am thankful they survived some of the very harsh decisions made many years ago. They are my inspiration for this painting.” – Cyrus Afsary PROVENANCE: The Artist $25,000 – $35,000

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348 JOHN CLYMER (1907-1989) The Loner oil on masonite 9 ⅞ x 20 inches signed lower right: John Clymer CA verso: titled PROVENANCE: Grand Central Art Galleries, New York, NY (label verso) From a Private Collection $12,000 – $18,000 349 JOHN CLYMER (1907-1989) The Caribou Hunter, 1956 oil on canvas 30 x 28 inches signed lower left: J Clymer PROVENANCE: From a Private Collection LITERATURE: Cover illustration for True, the Man’s Magazine, March 1956 $15,000 – $25,000

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350 KRYSTII MELAINE (1963- ) Rascals, Rebels, and Rogues, 2016 oil on Belgian linen on panel 32 x 46 inches signed lower right: Krystii Melaine verso: titled, signed, dated PROVENANCE: The Artist $15,000 – $25,000

351 VERYL GOODNIGHT (1947- ) Paint Mare & Filly bronze 42/45 15 x 21 x 6 ½ inches inscribed verso: Veryl Goodnight 1985© 42/45 PROVENANCE: Private Collection, Scottsdale, AZ $3,000 – $5,000

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352 BRETT JAMES SMITH (1958- ) Victory, 2017 oil on canvas 30 x 36 inches signed lower right: Brett James SMITH© verso: titled and signed PROVENANCE: The Artist $8,000 – $12,000

353 DAVE MCGARY (1958-2013) Symphonies of the Heart, 2000

354 AMY RINGHOLZ (1978- ) Head Honcho, 2017

polychromed bronze 10/60 26 x 22 x 13 inches inscribed verso: Dave McGary 2000 10/60

oil on canvas 36 x 48 inches signed lower right: RINGHOLZ verso: titled, signed, dated

PROVENANCE: Private Collection, North Potomac, MD $8,000 – $12,000

“I loved painting this big boar grizzly bear. I thought that the warm colors with lots of reds would elude to his strength and power. I enjoy using earth colors alongside of bright cadmium reds and aquas. The eyes have a human-like quality to give my animals character and each piece is able to tell a story of its own.” – Amy Ringholz PROVENANCE: The Artist $10,000 – $15,000 — 210 —


355 DAN MIEDUCH (1947- ) Dance by the Light of the Moon, 2017 oil on board 18 x 24 inches signed lower left: © -DAN MIEDUCH- 2017 “Young warriors of the horse cultures of the American Plains were expected to go forth and prove their valor and cultivate their courage through war acts against rival tribes. Their adventure would include hand to hand combat with an enemy, stealing his prize horse, or humiliating him by a tap with a coup stick. The drama of the adventure would be enhanced by carrying it out at night and the protagonist always had a ‘sidekick’ to bear witness to his deeds and back up the story.” – Dan Mieduch PROVENANCE: The Artist $7,000 – $10,000

356 JEREMY WINBORG (1979- ) Big Sister, 2017 oil on canvas 40 x 20 inches signed lower right: J. Winborg “Big Sister portrays a young girl ready to drum. She is wrapped in a crimson wool blanket and has a sweet, shy demeanor. Her drum skills have been passed down to her through the elders of the tribe.” – Jeremy Winborg PROVENANCE: The Artist $6,000 – $8,000

357 JEREMY WINBORG (1979- ) Little Brother, 2017 oil on canvas 40 x 20 inches signed lower right: J. Winborg “Little Brother takes his role in the tribe seriously. He is just old enough to start hunting. He does not yet have to provide for a family but he knows that he will have that responsibility in the future. Using his bow is a fun task for him at this age but the skill he gains through his practice will prove to be invaluable in the future.” – Jeremy Winborg PROVENANCE: The Artist $6,000 – $8,000 — 211 —


358 JIM NORTON (1953- ) Bringing in Lonesome oil on masonite 18 x 24 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated PROVENANCE: Cowboy Artists of America, Phoenix Art Museum, Phoenix, AZ (label verso) Private Collection, Scottsdale, AZ $5,000 – $7,000

359 CHARLES BENSCO (1894-1960) Arizona Rider oil on canvas 25 x 30 inches signed lower right: CHARLES BENSCO CB PROVENANCE: First Federal Savings, Phoenix, AZ Private Collection, Paradise Valley, AZ $2,000 – $3,000

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360 PAUL MANN (1955- ) Ready for the Roundup oil on canvas 24 x 36 inches signed lower right: Paul Mann 86 PROVENANCE: Private Collection, Gallatin, TX $3,000 – $5,000

361 HARRY JACKSON (1924-2011) Lone Hand, 1961 bronze 35/40 16 x 14 x 6 inches inscribed verso: ©HJackson '61, 35. stamped verso: WFS Italy PROVENANCE: From a Private Collection $4,000 – $6,000

362 CHARLES BENSCO (1894-1960) Canyon Trail oil on masonite 21 ½ x 18 inches signed lower right: CHARLES BENSCO CB PROVENANCE: First Federal Savings, Phoenix, AZ (label verso) Private Collection, Paradise Valley, AZ $1,000 – $2,000

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363 JOE BEELER (1931-2006) New Mexico Incident - Hooker Ranch 1885 oil on canvas 24 x 36 inches signed lower left: JOE BEELER verso: titled and signed PROVENANCE: Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) From a Texas Collection $7,000 – $10,000

364 OLAF WIEGHORST (1899-1988) Navajo Portrait oil on board 12 x 10 inches signed lower left: O-WiEghorst (artist cipher) lower right: © PROVENANCE: From a Private Collection $5,000 – $7,000

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365 STAN DAVIS (1942- ) Wisdom’s Beauty

366 SCOTT CHRISTENSEN (1962- ) Fall at Blacktail Butte

oil on canvas 36 x 30 inches signed lower right: 1990© davis

oil on canvas 20 x 24 inches signed lower right: CHRISTENSEN © verso: titled

PROVENANCE: Private Collection, Jackson, WY $4,000 – $6,000

PROVENANCE: From a Wyoming Collection $4,000 – $6,000

367 HERBERT HERGET (1885-1950) Indian Artist oil on board 9 ¼ x 15 ½ inches signed lower left: HHERGET PROVENANCE: From a Wyoming Collection $4,000 – $6,000

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A N A U C T I O N O F PA S T A N D P R E S E N T MASTERWORKS OF THE AMERICAN WEST

THANK YOU FOR PARTICIPATING IN THE JACKSON HOLE ART AUCTION

WE ARE CURRENTLY SEEKING QUALITY CONSIGNMENTS FOR THE 2018 AUCTION

SAVE THE DATE! SEPTEMBER 14 & 15, 2018

F O R A N O - O B L I G AT I O N A U C T I O N E S T I M AT E C O N TA C T M A D I S O N W E B B , A U C T I O N C O O R D I N AT O R 8 6 6 - 5 4 9 - 9 2 7 8 , C O O R D I N AT O R @ J A C K S O N H O L E A R TA U C T I O N . C O M V I S I T U S AT W W W. J A C K S O N H O L E A R TA U C T I O N . C O M

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MAP OF DOWNTOWN JACKSON HOLE

TRAILSIDE GALLERIES JACKSON HOLE ART AUCTION (Gallery and Office)

CENTER FOR THE ARTS PREVIEWS & LIVE AUCTIONS SESSION I & SESSION II

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INDEX SESSION I: LOTS 1-137 SESSION II: LOTS 138-367

ABBETT, ROBERT Ruffed Grouse, 11 ABBRESCIA, JOE Deer, 28 Ramilette de Flores, 40 Wyoming Stream, 23 ACHEFF, WILLIAM About Taos, 294 In Her Footsteps, 174 Many Trails Walked, 291 ADAMS, ANSEL Mirror Lake, 135 AFSARY, CYRUS Fire in the Hole, 347 ANTON, BILL The Dark Bay Colt, 303 Night Wrangler, 301 ASPEVIG, CLYDE After the Tilling, 328 Chamisa in Winter, 309 Midsummer Evening, 279 Mountain Showers, 32 Sheep Shed, 34 Sunlit Glade, 10 Teton Grandeur, 164 View from Double Top Mountain, 33 BAIZE, WAYNE Braggin’ on Their Horses, 65 Burro, 123 BALCIAR, GERALD Canyon Princess, 310 BALINK, HENRY Untitled (Portrait), 257 BANNISTER, EDWARD MITCHELL Pastoral Landscape with Cattle, 324 BATEMAN, ROBERT Bald Eagle, 284 Big Black, 282 Mating Lions, 258 Merganser Duckling, 9 A Resting Place - Cape Buffalo, 261 Ring-Necked Pheasant Crowing, 154 Swallow Bank - Fall, 285 Swallow-Tailed Kite, 283 BEECHAM, GREG Early Snow on Gannett, 287 Long Time to Sunrise, 169 Olympic Daydream, 98 Sunset Pond, 99

BEELER, JOE Crazy Horse, 171 New Mexico Incident - Hooker Ranch 1885, 363 BEELER, TRACY Bird Woman, 73 Vow Woman, 119

CASE, RUSSELL Slide Rock, Canyon de Chelley, 332 CHASE, WILLIAM MERRITT Portrait of a Lady, 325 CHEEVER, BRUCE Guardians of the Firehole, 162

BENSCO, CHARLES Arizona Rider, 359 Canyon Trail, 362

CHRISTENSEN, SCOTT Fall at Blacktail Butte, 366

BESSE, LINDA Call of the Wild, 165

CLYMER, JOHN The Caribou Hunter, 349 The Loner, 348

BIERSTADT, ALBERT Untitled (Yosemite), 247 BLACK, LAVERNE NELSON Taos Vaquero, 147 Two Indians on Horseback, 146 BLUMENSCHEIN, ERNEST Ghost in the Galley, 50 BONHEUR, ROSA Red Deer, 152 BOREIN, EDWARD Buckskin and Feathers, 141 BRENDERS, CARL Chipmunks, 156 European Robin and Blackberries, 7 The Good Life, 289 New to the Neighborhood, 199 Robin and Dandelions, 8 White Elegance, 157 BROWNE, GEORGE Pheasants Afield, 26 BURGESS, STEVE Child of the Masai, 207 Protective Custody, 206

COLEMAN, MICHAEL Cape Buffalo, 259 The Watcher, 137 COMBES, GUY Incroyables, 263 COMBES, SIMON The Pursuit, 87 CORTES, EDOUARD Cafe de la Paix, Ave., 322 CORTEZ, JENNESS A New World, 184 COUSE, EANGER IRVING The Leafy Screen, 242 CRAIG, CHARLES Smoke Signal, 61 CURTIS, EDWARD S. Lone Tree, Medicine Crow, Sitting Elk, Wolf, 149 Vanishing Race, 59 DAVIS, STAN Wisdom’s Beauty, 365 DELANO, GERARD CURTIS Navajo Night, 237

BURLINGAME, WILL The Escort, 63 CALLE, PAUL Indian Family, 133

DEMOTT, JOHN Lone Bull, 102 Symbol of Wisdom, 117

CARLSON, GEORGE Dancers of Noragachi, 306

DERNOVICH, DONALD First Snow in the High Country, 97

CARLSON, KEN Above it All, 197 Bull Elk, 312 Gray Morning Mist, 198 Hidden Danger, 194 Lynx, 314 One with the Rock, 313 That’s a Stretch, 153

DIXON, MAYNARD Black Bucker, 143 Homestead, 254 Navajos in a Canyon, 142 DUNCAN, ROBERT Sunrise, 115 Winter’s Emptiness, 72

— 218 —


INDEX SESSION I: LOTS 1-137 SESSION II: LOTS 138-367

DYE, CHARLIE Cowboy on Horse Fighting a Grizzly Bear, 62 Sun Up, 176 EGGENHOFER, NICHOLAS Wagon Master, 144 ELLIOT, DANIEL GIRAUD Felis Pardus & Felis Bengalensis, 90 ELLIOTT, STEPHEN Harris Hawk - Organ Pipe Monument, 125 ELLIS, FREMONT Shadows on Adobe, 245 ELWELL, ROBERT FARRINGTON No Time for Breakfast, 151 FAWCETT, JOHN Battle Weary, 71 FELLOWS, FRED Where it Pays to be Mounted, 85 FERY, JOHN Glacier Park Elk, 44 Mountain Hideout, 47 Wood Buffaloes in Wyoming, 253 FLEISCH, KEN Changing America, 118 FORD, DALE Hearse, 84 Overland Freight Wagon, 83 FRAZIER, LUKE Denali Colors, 101 Quail Hunters, 158 FRIBERG, ARNOLD Uncertain Odds, 177 FRITZ, CHARLES Hunters Fording the Tetlin, 161 GLAZIER, NANCY Free Spirits, 74 GOEBEL, ROD Cottonwoods, 24 GOLLINGS, WILLIAM Herald of Trouble, 243 GOODNIGHT, VERYL A Distant Sound, 92 Elk Mountain Burn, 288 Paint Mare & Filly, 351 GOODWIN, PHILIP R. Calf, 168

GRANDEE, JOE US Cavalry Soldier, 70 GRANT, DONALD Siberian Tigers, 202 GRELLE, MARTIN Crossing, 290 Near Sundown, 86 Stayin’ In, 336 Three to Go, 79 Two for Town, 335 HAGEGE, LOGAN MAXWELL Desert Meeting, 334 The Mesa Shadows, 78 HALBACH, DAVID Home for the Holidays, 338 HANSEN, HERMAN W. Trailing the Grizzly, 145 HARDIE, ELDRIDGE Pheasant Hunters, 159 HARVEY, G. The Magic of Santa Fe, 274 HENNINGS, E. MARTIN Across the Sage, 214 At Port, 222 Balance (Figure Study), 210 Chamisa, 233 Female Figure Study, 213 Female Nude, 211 The Frozen Stream, 215 Gloucester Mass., 224 Harbor Idyll, 223 Italian Woman - Chioggia, 219 Laguna Pueblo Mission (Study), 232 Male Nude, 212 Market Place - Venice, 230 Moroccan Market, 227 Moroccan Street Scene, 229 Old Woman - Chioggia, Italy, 220 Pensive, 218 Pipe Smoke, 221 Portrait of Young Woman, 216 San Francisco de Asis Mission Church, 234 Spanish Occupation of Texas, 226 Taos Pueblo, 231 Taos Ski Basin, 225 Toledo - Spain, 228 Undressed, 217

HIGGINS, VICTOR Aspens Up Twining Way, 241 Southwest Scene, 256 HOLLY WOOD, WILLIAM Shelducks, 27 HULINGS, CLARK Aix Fountain, 276 ISAAC, TERRY Full Steam Ahead, 94 JACKSON, HARRY Iroquois Guide, 134 Lone Hand, 361 The Marshal III, 67 Pony Express II, 298 Sacagawea, 292 Sacagawea II, 77 The Seeker, 55 Washakie, 295 JONSSON, LARS Regal, 107 KOERNER, W.H.D. The Bullring, 182 Fly Fishing, 183 Indian Territory Demand for Tribute, 179 The Long Distance Message, 319 New Horizons, 180 The Price of the Old Northwest, 181 Sheriff and Citizens of the Law, 178 KUHN, BOB After the Short Rains, 267 Bighorn Sheep, 195 Closing the Distance, 204 Deer in Winter, 93 Day Dreaming, 191 Ghost of the Gobi, 203 Impala, 209 Lynx, 1 Mouser, 170 Onward and Upward, 193 Striding Cheetah, 260 A Transfer of Spoils, 208 LAURENCIN, MARIE Femme en Jupe Multicolore, 315 LAWES, BRUCE Spirit of the Forest, 205 LAWSON, ERNEST Zoo in Central Park, 317

HERGET, HERBERT Indian Artist, 367

LAWSON, T. ALLEN Fall Creek Winter, 308 Seeking Shelter, 307

HERZOG, HERMANN Deer in a Clearing, 318 Raging Cascade, 252

LIANG, Z.S. The Nor’ Westers, 1815, 185

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INDEX SESSION I: LOTS 1-137 SESSION II: LOTS 138-367

LOUGHEED, ROBERT A Village in Puy de Dome, 329

MURRAY, RICHARD Coyote, 126

REED, MARJORIE Crossing the Plains, 124

MACNEIL, HERMON ATKINS A Primitive Chant to the Great Spirit, 239

MYRAH, NEWMAN Hanging Around the Campfire, 110 High Level Discussion, 113

REISS, WINOLD Untitled, 148

MAGGIORI, MARK Riders in the Storm, 297 MANN, PAUL Ready for the Roundup, 360 MANUEL, VICTOR Untitled, 323 MARRIS, BONNIE Born to be Wild, 200 Courtship, 189 Little Red Fox, 95 News and Commentary, 190 No Fences, 68 Room with a View, 30 Spencer and Kate, 31 Wolves, 100 MCCARTHY, FRANK High Noon, 344 High Traverse, 175 Rear Guard, 69 MCGARRY, PIP Leopard in Tree, Botswana, 266 Zebra and Egret, 265 MCGARY, DAVE Symphonies of the Heart, 353 MELAINE, KRYSTII Rascals, Rebels, and Rogues, 350 MELTZOFF, STANLEY Black Marlin 11, 270 Bluefin 37, 273 Striped Marlin 11, 271 Striped Marlin 12, 272 Swordfish 3, 269 Wahoo 4, 268 METZ, DANIEL Water of Life, 114 MIEDUCH, DAN Dance by the Light of the Moon, 355 Knee Deep in Cow Heaven, 121 Their Finest Hour, 66

NEBEKER, BILL Scatterin’ Salt, 302 NEUVILLE, BERNARD Kittens, 25 NIBLETT, GARY Riders on the Plain, 82 NORTON, JIM Bringing in Lonesome, 358 OBERG, RALPH Summer in the Tetons, 12 OSTHAUS, HENRY EDMUND Cocker Spaniel, 321 PAAP, HANS Pueblo Scene, 132

REMINGTON, FREDERIC The Cheyenne, 250 The Savage, 248 A Trooper, 251 REYNOLDS, JAMES In the Midst of Sedona, 331 Morning Fog, 305 RIDDICK, R.S. Mountain Blessing Song, 293 RIGDEN, CYNTHIA Hope Springs Eternal, 337 RILEY, KENNETH Bighorn Sheep Study, 196 Pronghorn Portrait, 76 Study for General Crook and Geronimo, 173 Study for Hidden Eyes, 172 RINGHOLZ, AMY Head Honcho, 354

PAXSON, E.S. Interrupted, 150

ROBERTS, GARY LYNN Double Trouble, 116

PAYNE, EDGAR Blue Shadows, 235 Navajo Scouting Party, 240 Navajos at Rest, 244

ROCKWELL, NORMAN The Night Before Christmas (Study), 320

PETERS, ANDREW Leyba’s Farm, 130 PHILLIPS, BERT GEER Aspen Lane, 57 Autumn Glade, 255 PLEISSNER, OGDEN Autumn Hunting, 17

RODRIGUEZ, ALFREDO Feeding Time, 127 A Warrior’s Prayer, 75 ROGERS, HOWARD Headin’ for Home, 108 Land of the Bison, 29 ROLLINS, WARREN Blue Canyon, Arizona, 129 Pueblo Afternoon, 58 ROTERS, CARL Indian Family, 54 Trappers at Rest, 56

POLZIN, KYLE The Voyageur, 299 POULSEN, M.C. Hope for the Future, 120 POULSON, JAMES Jackson Hole Autumn, 16

MILLER, ALFRED JACOB The Present, 41

PRICE, CLARK KELLEY Range Telegraph, 64

MONROE, LANFORD Reverie, 346 Sunrise, 155

REDDEN, GRANT Morning Light, 103

RUNGIUS, CARL At the Deadwater, 192 Cliff Dwellers, 4 Goats, 138 Moose in a Landscape, 236 Mule Deer, 139 Near Long Lake, 5 Silvertip, 140 Stampede, 6 RUSSELL, CHARLES M. Brave, 249

— 220 —


INDEX SESSION I: LOTS 1-137 SESSION II: LOTS 138-367

SANDER, SHERRY African Courtship, 88 Gorillas, 89 Rock Slide Crossing, 3 Sunday Brunch, 2 SAWCZUK, BILL Looking into the Past, 15 Waiting for the Haywagon, 122 SCHMID, RICHARD Cristobal Street, 327 Hoarfrost, 18 Still Life with Flowers and Oranges, 275 Untitled (Girl in Garden), 39 Wheeling Gulls, 330 SCHWIERING, CONRAD Highland Highlights, 14 Looking Down on Blacktail Ponds, 167 SCOTT, LINDSAY The Dance, 262 A Flash of Gold, 264 SEEREY-LESTER, JOHN Coyote Moon, 105 Final Moments - Grizzly, 104 Softly, Softly - White Tiger, 201 SHANE, FREDERICK Home Repairs, 49 SHARP, JOSEPH HENRY Blackfeet Brave, 60 Indian Encampment, 238 Portrait of Marian McFarlan, 326 Water Carrier, 42 SIMS, KYLE Rich Land, 345 SITU, MIAN Friends, 37 Mother’s Helper, 36 Mountain Beauty, 35 Yao Girl, 38

SMITH, TUCKER Balsamroots and Grizzly, 166 Camp Kitchen, 304 Mission Creek Bottoms, 186 Packer Creek, 188 Penny Lake, 311 Pronghorn, 187 SOLBERG, MORT Along the Continental Divide, 91 SPENCER, D. ALANSON Canyon de Chelly, 128 ST. CLAIR, LINDA Bull in Red, 22 STACK, MICHAEL April in the Wetstones, 333 STAVROWSKY, OLEG Cross Fire, 343 Payday...With Two Days Off!, 111 River Thaw, 109

WEIR, JULIAN ALDEN Woman in White Reading (Mrs. Weir), 316 WEIRS, PERSIS C. Fox and Grouse, 96 WEISTLING, MORGAN Giving Thanks, 278 Good Cracker, 280 Heather, 277 Red, 281 WIEGHORST, OLAF Along the Timberline, 296 Eldorado Saloon, 80 Mountain Man, 81 Navajo Portrait, 364 Restin’, 341 The Wrangler, 339 WILCOX, JIM High Noon at String Lake, 340 Mount Moran, 106

STICK, FRANK Moonlight, 53 The New World, 52

WINBORG, JEREMY Big Sister, 356 Little Brother, 357

STRAIN, JOHN PAUL Blackfoot Winter Fires, 136

WOOD, ROBERT W. Cascade Canyon, 46 Mount Moran, 43

STRANG, RAY Breezy, 131 TAIT, ARTHUR FITZWILLIAM At Water’s Edge, 246 THIEME, ANTHONY Hauling Nets, 51 THOMAS, ANDY Horse Thief, 342 Night Shot, 300 THOMAS, RICHARD Rocky Mountain Passage, 112

SLOAN, JOHN Factory Scene, 48

ULLBERG, KENT Ring of Bright Water II, 45

SMITH, ADAM The Huntsman, 163

VAN WECHEL, DUSTIN Hidden Valley Goats, 160

SMITH, BRETT JAMES Victory, 352

WALTERS, CURT Oak Creek Canyon, 19

SMITH, DANIEL Resonating Bugle, 286 Solitary Snow Goose, 13

WARD, EDWARD NORTON Acequia and Red Willows, 21 Taos Valley, 20

— 221 —


GRAND TETON MUSIC FESTIVAL

Creating exhilarating musical experiences all year long in Jackson Hole THE METROPOLITAN OPERA: LIVE IN HD November 2017 – May 2018 THE 2018 WINTER FESTIVAL January 31 – February 3 THE 2018 SUMMER FESTIVAL July 2 – August 18

Tickets and Information

gtmf.org 307.733.1128

MUSIC DIRECTOR DONALD RUNNICLES


— 223 —


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An Exhibition and Sale to Benefit the C.M. Russell Museum March 15-17, 2018 | Mansfield Convention Center | Great Falls, Montana

Charles M. Russell (1864–1926), Following the Buffalo Run, c. 1894, oil, 23 1⁄8 x 35 inches, The Russell 2017, sold at auction for $1.1 million

Three days of the most exciting Western art, the most passionate patrons, and the most casually elegant fun all combine to make The Russell the premier event of Western Art Week in Great Falls, Montana. You won’t want to miss a moment. Proudly Sponsored by

400 13th Street North, Great Falls, Montana | 406.727.8787 | cmrussell.org


VISIT THE WORLD’S PREMIER

September 8 – October 8

w w w.Wil d li fe A r t . o r g | 2 8 2 0 Ru n g i u s Ro a d , J a ck s o n , Wyo m ing L o c a t e d 2 . 5 m i l e s f r o m t h e To w n o f J a c k s o n .


CENTER YOUR HAPPY PLACE

THE CENTER PRESENTS AN EVENING WITH ANDERS OSBORNE, JACKIE GREENE + HAYES CARLL 01.15.17 | THE CENTER THEATER

P: 307.734.8956 (MAIN) / 307.733.4900 (BOX OFFICE) E: INFO@JHCENTERFORTHEARTS.ORG A: 265 SOUTH CACHE, JACKSON, WY 83001 W: JHCENTERFORTHEARTS.ORG


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 catalogue. 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 the Jackson Hole Art Auction as agent for the consignors, unless the catalogue 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. The 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. The 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 catalogue or description, including, but not limited to, the authenticity, the 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 catalogue, 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 catalogue 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.

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 by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 17% of the final bid price of each lot up to and including $500,000, 15% of the excess of the final bid price above $500,000, 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, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price for each lot up to and including $500,000, 18% of the excess of the final bid price above $500,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges.

4.

The 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 catalogue.

6.

The 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, the Jackson Hole Art Auction’s sale record shall be final and conclusive. The 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, the 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 the 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, wire transfer, Visa, MasterCard, or American Express. (See, paragraph 3 above: “If paying by credit card . . .”) In addition to other remedies available to us by law, the 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 herein. 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

— 228 —


remedies available to the 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, the 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 the Jackson Hole Art Auction or its agents and consignors or any of their affiliated companies, and the Jackson Hole Art Auction may retain and apply such property or money as collateral security for the obligations due. The 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 the 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 the Jackson Hole Art Auction shall have collected good funds. The 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 of the consignor. In such instances, the Jackson Hole Art Auction may implement the reserve by bidding on behalf of the consignor. In instances where the Jackson Hole Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. The Jackson Hole Art Auction, or its agents or consignors, may also bid upon other property listed in this catalogue.

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 the 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. The 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 the Jackson Hole Art Auction shall have no liability for any loss or damage to such items.

b.

A $100 packaging, handling, and shipping deposit will be included on purchase invoice. The balance of the packaging, handling and shipping charges will be billed after services are completed. Please allow 4-6 weeks for shipping.

15. Results are sent to buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders four weeks after the sale. 16. Bidding increments will be as follow but may vary at the auctioneer’s discretion Under $2,000 $2,000 - $5,000 $5,000 - $10,000 $10,000 - $20,000 $20,000 - $50,000 $50,000 - $100,000

$100 $250 $500 $1000 $2,500 $5,000

over $100,000

$10,000

— 229 —


NOTES

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NOTES

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Auction Coordinator: Madison Webb Auction Registrar: Marie McKinley Photography: Madison Webb, Marie McKinley, John Peelle Catalog Design: Maryvonne Leshe Catalog Essays: Madison Webb Graphic Design: Shane Mieske Printing: O’Neil Printing, AZ Binding: Roswell Bookbinding, AZ Auctioneer: Jason Brooks Jackson Hole Art Auction, LLC 130 East Broadway, Jackson WY 83001 | Post Office Box 1568 Tel 866 JH WY ART (866-549-9278) | Fax 307-732-1600 www.jacksonholeartauction.com © 2017 Jackson Hole Art Auction Limited Co.


LIV E AUC T ION , SEPTEM B ER 15 & 16, 2017 | 12: 00 PM M DT CEN T ER F OR T H E A RTS | 265 SOU TH C AC HE, JAC K SON, WYOM ING JACKSON H O L E A RT AUC T ION | 130 EAST B ROADWAY, JAC K SON, WY 83001 | PO B OX 1568 T EL EP H O N E 8 6 6 -5 4 9 -9 2 7 8 | FAX 307-732-1600 | JAC K SONHOLEAR TAU C TION. C OM © 2017 J AC K SON HOLE AR T AU C TION, L. L. C .

2017 Jackson Hole Art Auction  

Session I: September 15, 2017 Session II: September 16, 2017 www.jacksonholeartauction.com

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