Jackson Hole Art Auction 2020 Catalog

Page 1

TRAILSIDE GALLERIES & GERALD PE TERS GALLERY PRESENT

S AT U R DAY, SE P T EM B E R 1 9, 20 20


COVER Lot 194: Thomas Moran (1837–1926) Cascade Falls, Yosemite, 1905, oil on canvas, 30 ¼ x 20 inches Estimate: $750,000–$1,250,000 FRONTISPIECE Lot 264: Howard Terpning (1927–) It’s Been a Long Day, oil on canvas, 24 x 34 inches Estimate: $200,000–$300,000 BACK COVER Lot 193: Carl Rungius (1869–1959) Wyoming Elk, ca. 1910, oil on canvas, 30 x 46 1/4 inches Estimate: $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 MASTERWORK S OF THE AMERICAN WEST


Lot 204: Oscar E. Berninghaus (1874–1952) The Lookout, oil on canvas, 24 x 30 inches Estimate: $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

In light of the current Covid-19 pandemic, and with the health and safety of our buyers, bidders, consignors, and staff at the forefront—this year’s sale will be held virtually! Jason Brooks will serve as auctioneer, and we will present a live stream from the award-winning Center for the Arts, which can be viewed from the comfort of your home. The artwork will be available for preview in person at our offices for a full four weeks prior to the sale. We look forward to welcoming you to Jackson Hole at your convenience and are happy to accommodate after-hours private viewings by appointment. Please note that this sale will offer Telephone, Absentee, and Online bidding only. The Buyer's Premium will be the same for every bidding method, with no additional fee for online bidding. In-person Room bidding will not be available for this sale.

PREVIEW Artwork will be available for preview at our offices, located at 130 E Broadway Ave, Jackson, WY, on the second floor of Trailside Galleries. To schedule a preview appointment please call 866-549-9278.

SCHEDULE Preview Thursday, September 17, 2020 10:00am – 5:00pm Preview Friday, September 18, 2020 10:00am – 5:00pm Preview Saturday, September 19, 2020 9:00am – 11:30am Auction Saturday, September 19, 2020 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 (866) 549-9278

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

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


2020 JACK SON HOLE ART AUCTION Absentee and phone bidding arrangements must be made by: 5:00pm MDT on September 18 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 options:

Jackson Hole Art Auction App in the Apple or Android stores to bid and preview lots on your mobile device! or register at Invaluable.com LiveAuctioneers.com iCollector.com

Lot 180: G. Harvey (1933–2017) Good Wage Wranglers, oil on canvas, 30 x 50 inches Estimate: $125,000–$175,000


PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY



SESSION I LOT 1 – LOT 1 2 3 S AT U R DAY, S E P T EM B E R 1 9 1 2 :00 P M M DT

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY


1 EDWARD BOREIN (1872–1945) The Overland Mail etching and drypoint 4 ½ x 10 inches (plate) signed lower right: Edward Borein remarque lower left verso: titled PROVENANCE: From a Private Collection LITERATURE: John Galvin, The Etchings of Edward Borein, John Howell Books, San Francisco, CA, 1971, example illus. plate 140 Harold G. Davidson, Edward Borein: Cowboy Artist, Gerald Peters Gallery, Santa Fe, NM, 2000, example illus. p. 172 $1,000 – $2,000

2 EDWARD BOREIN (1872–1945) Sitting Pretty No. 1 etching and drypoint 6 ⅞ x 4 ⅞ inches (plate) signed lower right: Edward Borein remarque lower left verso: titled PROVENANCE: From a Private Collection LITERATURE: John Galvin, The Etchings of Edward Borein, John Howell Books, San Francisco, CA, 1971, example illus. plate 65 Harold G. Davidson, Edward Borein: Cowboy Artist, Gerald Peters Gallery, Santa Fe, NM, 2000, example illus. p. 208 $1,500 – $2,500

3 EDWARD BOREIN (1872–1945) Going to the Wagon, No. 1 etching and drypoint 7 ¾ x 9 ¾ inches (plate) signed lower right: Edward Borein verso: titled PROVENANCE: From a Private Collection LITERATURE: John Galvin, The Etchings of Edward Borein, John Howell Books, San Francisco, CA, 1971, example illus. plate 44 Harold G. Davidson, Edward Borein: Cowboy Artist, Gerald Peters Gallery, Santa Fe, NM, 2000, example illus. p. 200 $1,500 – $2,500 — 8 —


4 EDWARD BOREIN (1872–1945) Going to Town, No. 1 etching and drypoint 7 x 8 ⅞ inches (plate) signed lower right: Edward Borein remarque lower left verso: titled PROVENANCE: From a Private Collection LITERATURE: John Galvin, The Etchings of Edward Borein, John Howell Books, San Francisco, CA, 1971, example illus. plate 22 $1,500 – $2,500

5 EDWARD BOREIN (1872–1945) Little Bucking Horse etching and drypoint 5 x 4 inches (plate) signed lower right: Edward Borein remarque lower left verso: titled PROVENANCE: Albert Roullier Art Galleries, Chicago, IL (label verso) From a Private Collection LITERATURE: John Galvin, The Etchings of Edward Borein, John Howell - Books, San Francisco, CA, 1971, example illus. plate 64 Harold G. Davidson, Edward Borein: Cowboy Artist, Gerald Peters Gallery, Santa Fe, NM, 2000, example illus. p. 210 $1,000 – $2,000

6 ROBERT SHUFELT (1935– ) Wildlife of the American West pencil on paper 10 x 12 inches (sight) signed lower right: SHOOFLY 1990 titled lower center: “WILDLIFE OF THE AMERICAN WEST” PROVENANCE: Private Collection, Jackson, WY $1,000 – $2,000

— 9 —


7 JAMES BOREN (1921–1990) The Fence Rider, 1987 watercolor and gouache on paper 13 ⅞ x 20 ⅞ inches (sight) signed lower left: JAMES BOREN © 1987 CA verso: titled PROVENANCE: From a Private Collection $3,000 – $5,000

8 JAMES BOREN (1921–1990) On a Foggy Morning, 1988 watercolor on paper 14 ⅞ x 21 ⅞ inches (sight) signed lower right: JAMES BOREN CA ©1988 PROVENANCE: From a Private Collection $3,000 – $5,000

9 TOM BROWNING (1949– ) Dawn of a New Day (Study) oil on canvas 24 x 16 inches signed lower left: Tom Browning verso: titled PROVENANCE: From a Private Collection $3,000 – $5,000 — 10 —


10 WAYNE BAIZE (1943– ) Wide, Open Spaces oil on canvas 24 x 30 inches signed lower right: WAYNE BAIZE © CA PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $4,000 – $6,000

11 BRUCE GREENE (1953– ) An Air of Ability oil on canvas 36 x 24 inches signed lower right: Bruce R. Greene CA 11© PROVENANCE: From a Private Collection $5,000 – $7,000

— 11 —


12 BRUCE GREENE (1953– ) Sound, Solid, and Sunny Yellow oil on canvas 24 x 36 inches signed lower right: Bruce R. Greene CA © PROVENANCE: From a Private Collection $5,000 – $7,000

13 BRIAN ASHER (1959– ) Sixes Remuda pencil on paper 11 x 26 inches signed lower right: Brian Asher © 2013 PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $1,500 – $2,500

14 BRIAN ASHER (1959– ) Where’s Whiplash? pencil on paper 14 x 20 inches signed lower right: Brian Asher © 2012 PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $1,500 – $2,500

— 12 —


15 JIM NORTON (1953– ) Golden Cottonwoods oil on board 12 x 16 inches signed lower right: Jim C. Norton © CA verso: titled, signed, dated PROVENANCE: From a Private Collection $3,000 – $5,000

16 BRUCE GREENE (1953– ) Somewhere West of Wall Street bronze 58/75 14 ½ x 11 x 11 ½ inches inscribed back right: Bruce R. Greene CA PROVENANCE: Private Collection, Scottsdale, AZ $3,000 – $5,000

17 HOWARD ROGERS (1932– ) This Way Up Guys oil on canvas 30 x 40 inches signed lower right: H. RogErs© PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From the Collection of Mr. Ken Guddal $3,000 – $5,000 — 13 —


18 WAYNE BAIZE (1943– ) The Canyon Trail oil on canvas 18 x 24 inches signed lower left: WAYNE BAIZE © CA PROVENANCE: From a Private Collection $2,000 – $4,000

19 DAVID HALBACH (1931– ) The Blacksmith watercolor on paper 18 x 24 ½ inches (sight) signed lower left: DAVID HALBACH 1979 © PROVENANCE: Meinhard Galleries, Houston, TX (label verso) Private Collection, Billings, MT $3,000 – $5,000

20 WAYNE BAIZE (1943– ) Headin’ Home mixed media on paper 16 ¼ x 21 ¼ inches signed lower left: WAYNE BAIZE © PROVENANCE: From a Private Collection $2,000 – $3,000

— 14 —


21 CLARK KELLEY PRICE (1945– ) Mountain Peace oil on canvas 24 x 30 inches signed lower left: © clark kelley Price (artist cipher) 12 CA PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $5,000 – $7,000

22 CLARK KELLEY PRICE (1945– ) A Cowboy’s Gold oil on canvas 30 x 40 inches signed lower left: clark kelley price © 2010 (artist cipher) CA PROVENANCE: From a Private Collection $6,000 – $9,000

— 15 —


23 JOHN POTTER (1957– ) Mooz oil on board 18 x 24 inches signed lower right: --O JOHN POTTER ©-verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $3,000 – $5,000

24 ROBERT MOORE (1957– ) September Aspen II

25 EZRA TUCKER (1955– ) Fox

oil on canvas 40 x 30 inches signed lower right: R. MOORE ‘04 verso: titled and signed

acrylic on canvas 18 x 20 inches signed lower left: © Tucker

PROVENANCE: Private Collection, Scottsdale, AZ $4,000 – $6,000

PROVENANCE: Private Collection, Los Angeles, CA $3,000 – $5,000

— 16 —


26 BRETT JAMES SMITH (1958– ) Lake Camp

27 KENT ULLBERG (1945– ) Pronghorn Pyramid

oil on canvas 9 x 12 inches signed lower right: BRETT J SMITH verso: titled and signed

bronze 2/20 13 x 15 ¾ x 7 ¼ inches inscribed front right: © Ullberg 2/20 PROVENANCE: From a Wyoming Collection

PROVENANCE: From a Private Collection

LITERATURE: Todd Wilkinson, Kent Ullberg: Monuments to Nature, International Graphics, Scottsdale, AZ, 1998, example illus. p. 73

$2,500 – $3,500

$2,000 – $4,000

28 LUKE FRAZIER (1970– ) The Quickening oil on board 30 x 40 inches signed upper left: L. Frazier verso: titled, signed, dated PROVENANCE: From a Private Collection $7,000 – $10,000

— 17 —


29 GRANT MACDONALD (1944– ) Autumn Near Embudo

30 ROD GOEBEL (1946–1993) Mrs. Baca’s Backdoor

oil on canvas 24 x 36 inches signed lower right: Grant Macdonald 2000 verso: titled and signed

oil on canvas 16 x 20 inches signed lower right: ROD GOEBEL verso: titled and signed

PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection

PROVENANCE: From a Wyoming Collection $2,000 – $3,000

$3,000 – $5,000

31 CLYDE ASPEVIG (1951– ) Hollyhocks oil on canvas on board 30 ½ x 16 inches signed lower left: C. ASPEVIGverso: titled and signed PROVENANCE: Private Collection, Anchorage, AK $4,000 – $6,000

32 JIM NORTON (1953– ) Sunlight & Blue Bells oil on board 9 x 12 inches signed lower right: Jim C. Norton CA verso: titled and signed PROVENANCE: The Artist From a Wyoming Collection $600 – $900 — 18 —


33 GEORGE HALLMARK (1949– ) The Flower Seller oil on canvas 30 x 40 inches signed center right: © HallmarkPROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $10,000 – $15,000

— 19 —


34 CLYDE ASPEVIG (1951– ) Dancing Junipers oil on board 12 x 16 inches signed lower left: C. ASPEVIG PROVENANCE: Private Collection, Scottsdale, AZ $1,500 – $2,500

35 CLYDE ASPEVIG (1951– ) Evening Glow oil on board 7 ¾ x 10 ¾ inches signed lower left: ©. ASPEVIG verso: titled, signed, dated PROVENANCE: The Artist Collection of Jack Hines and Jessica Zemsky From the Collection of Ms. Ivanie Finsvik $1,000 – $2,000

36 GUNNAR WIDFORSS (1879–1934) In the Olive Orchard watercolor on paper 10 ⅝ x 14 ⅞ inches (sight) signed lower left: Widforss. PROVENANCE: From a Private Collection $4,000 – $6,000

— 20 —


37 CLAIRE RUBY (1925–2005) Peonies and Plums oil on canvas 30 x 32 inches signed lower right: Ruby PROVENANCE: Trailside Americana, Carmel, CA (label verso) Private Collection, Anchorage, AK $1,500 – $2,500

38 HOWARD ROGERS (1932– ) Nude oil on canvas 24 x 36 inches signed lower right: H. RogErs © PROVENANCE: From a Private Collection $3,000 – $5,000

39 CHARLES REYNOLDS (1902–1963) Japanese Crabapple oil on canvas 20 x 24 inches signed lower right: ChasHReynolds verso: titled PROVENANCE: From a Private Collection $2,000 – $4,000

— 21 —


40 LUNDA GILL (1928–2003) Mongolian oil on canvas 40 x 50 inches signed lower left: Mongolia-China Lunda Hoyle Gill - F.R.S.A. © verso: titled PROVENANCE: From the Collection of Mr. David Taylor $3,000 – $5,000

41 LUNDA GILL (1928–2003) Dancers oil on canvas 44 x 60 inches signed lower left: Mongolia-China Lunda Hoyle Gill- F.R.S.A. © PROVENANCE: From the Collection of Mr. David Taylor $3,000 – $5,000

42 LUNDA GILL (1928–2003) An Old Man with Straw Hat, 1987 oil on canvas 18 x 15 inches signed lower left: China “Han” Lunda Hoyle Gill - © 1987 verso: titled PROVENANCE: From the Collection of Mr. David Taylor $800 – $1,200

— 22 —


43 JIE WEI ZHOU (1962– ) Candy Stand oil on canvas 36 x 48 inches signed lower right: Jiewei Zhou verso: titled and signed PROVENANCE: The Artist From a Wyoming Collection $4,000 – $6,000

44 JIE WEI ZHOU (1962– ) Amy oil on canvas 30 x 24 inches signed lower right: Jiewei Zhou PROVENANCE: From a Private Collection $2,000 – $4,000

— 23 —


45 RUSS JOHNSON (1893–1995) Cape Buffalo oil on board 18 x 24 inches signed lower left: Russ Johnson PROVENANCE: From the Collection of Mr. Ken Guddal $1,000 – $2,000

46 BOB KUHN (1920–2007) Elephant Illustration acrylic on paper 5 ⅞ x 23 ½ inches (sight) signed lower left: FOR DUANE UNKEFER WITH BEST WISHES - BOB KUHN initialed lower left: BK PROVENANCE: The Artist From a Private Collection $3,000 – $5,000

47 BOB KUHN (1920–2007) Tiger Attack Illustration acrylic on paper 8 ⅜ x 12 ½ inches (sight) signed lower left: FOR DUANE UNKEFER - WITH WISHES FOR A BRIGHT FUTURE - BOB KUHN PROVENANCE: The Artist From a Private Collection $2,000 – $3,000

— 24 —


48 GUY COMBES (1971– ) Divine Right of Kings oil on canvas 28 x 28 inches signed lower right: Guy Combes © PROVENANCE: From a Private Collection $4,000 – $6,000

49 LINDSAY SCOTT (1955– ) Greeting colored pencil on paper 12 x 18 inches signed lower right: LINDSAY SCOTT PROVENANCE: Private Collection, Bend, OR $2,000 – $4,000

50 PIP MCGARRY (1955– ) Tiger in Water oil on canvas 12 x 34 inches signed lower right: PIP MCGARRY -2003PROVENANCE: Private Collection, San Rafael, CA EXHIBITED: Marwell Zoological Society, 2003 $3,000 – $5,000 — 25 —


51 OLEG STAVROWSKY (1927–2020) Dock Scene oil on canvas 31 x 60 inches signed lower right: Oleg Stavrowsky PROVENANCE: From a Private Collection $4,000 – $6,000

52 CYRUS AFSARY (1940– ) Mission Bell del Carmel oil on canvas 38 x 30 inches signed lower left: CYRUS AFSARY PROVENANCE: The Grand Gallery, Las Vegas, NV Private Collection, Santa Barbara, CA $5,000 – $7,000

53 MIAN SITU (1953– ) Laguna Coastline oil on canvas 14 x 20 inches signed lower right: Situ Mian PROVENANCE: From a Private Collection $5,000 – $7,000

— 26 —


54 STANLEY MELTZOFF (1917–2006) Bluefin Tuna 32 - Tuna Ranching Future, 1979 oil on canvas on board 8 ⅞ x 11 ⅝ inches signed verso: Stanley Meltzoff verso: signed and dated PROVENANCE: From the Estate of Stanley Meltzoff $3,000 – $5,000

55 STANLEY MELTZOFF (1917–2006) Sea Bottom Cores: Lamont Labs oil on canvas on board 21 x 21 ¾ inches initialed center left: SM PROVENANCE: From the Estate of Stanley Meltzoff LITERATURE: Scientific American, August 1956, illus. cover $4,000 – $6,000

56 STANLEY MELTZOFF (1917–2006) Oceanographic Instruments oil on canvas on board 23 ¼ x 24 ¾ inches signed lower right: MELTZOFF PROVENANCE: From the Estate of Stanley Meltzoff $4,000 – $6,000

— 27 —


57 DAVID YORKE (1949– ) Wisdom of His Fathers

58 JERRY VENDITTI (1942– ) American Home of the Brave

oil on canvas 30 x 24 inches signed lower right: David Yorke © 2011

oil on canvas 40 x 36 inches signed lower left: JVEnditti ©

PROVENANCE: From a Private Collection

PROVENANCE: Altermann and Morris Galleries, Houston, TX (label verso) Private Collection, Gladewater, TX

$3,000 – $5,000

$2,000 – $4,000

59 MIAN SITU (1953– ) Native Girl oil on canvas 20 x 16 inches signed lower left: Situ Mian PROVENANCE: Private Collection, Tiburon, CA $4,000 – $6,000

— 28 —


60 STAN DAVIS (1942– ) A Visage of Valor oil on canvas 36 x 24 inches signed lower right: 2013 . © . davis verso: titled, signed, dated PROVENANCE: Private Collection, Scottsdale, AZ $3,000 – $5,000

61 KIRBY SATTLER (1950– ) Stone Ponies acrylic and mixed media on canvas 24 x 30 inches signed upper left: SATTLER PROVENANCE: From a Private Collection $2,000 – $4,000

62 STEPHEN KRASEMANN (1947– ) Looking Back oil on board 12 x 18 inches signed lower right: KrASEMANN verso: titled and signed PROVENANCE: The Artist $1,000 – $1,500

— 29 —


63 JIM NORTON (1953– ) The First Snow oil on canvas 18 x 24 inches signed lower right: Jim C. Norton CA verso: signed PROVENANCE: From a Private Collection $5,000 – $7,000

64 ROY ANDERSEN (1930–2019) The Red Capote oil on board 7 x 5 inches signed lower left: Roy Andersen - CA PROVENANCE: From a Private Collection $3,000 – $5,000

— 30 —


65 R.S. RIDDICK (1952– ) Mountain Blessing Song oil on linen 48 x 58 inches signed lower left: R. Riddick CA 2006 verso: titled and dated PROVENANCE: Private Collection, Jackson, WY $20,000 – $30,000

— 31 —


66 ALFREDO RODRIGUEZ (1954– ) Preparée oil on canvas 34 x 22 inches signed lower left: A. Rodriquez © ‘88 PROVENANCE: Private Collection, Mount Pleasant, SC $5,000 – $7,000

67 KEITH FAY (1920–2008) The Eagle’s Club oil on canvas 22 ⅛ x 30 inches signed lower left: K. FAY- © PROVENANCE: From a Private Collection $2,000 – $3,000

— 32 —


68 RICHARD THOMAS (1939–2019) Escort on the Yellowstone, 2004 oil on canvas 20 x 30 inches signed lower right: RICHARD D THOMAS verso: titled, signed, dated PROVENANCE: Private Collection, Hamilton, MT $3,000 – $5,000

69 DAVID MACSMITH (1949– ) Summer Shadows oil on canvas 20 x 20 inches signed lower left: D. MacSmith PROVENANCE: Fredericksburg Art Gallery, Fredericksburg, TX Private Collection, Anchorage, AK $1,000 – $2,000

70 MICHAEL GODFREY (1958– ) Aspen, Colorado oil on canvas 60 x 48 inches signed lower right: MICHAEL GODFREY PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $7,000 – $10,000 — 33 —


71 LUKE FRAZIER (1970– ) Deep in the Woods

72 MIKE BARLOW (1963– ) Wyoming Native

oil on board 24 x 20 inches signed upper left: L. Frazier upper right: “ © verso: titled, signed, dated

bronze 13/21 19 x 21 x 5 inches inscribed right verso: Michael Barlow 13/21 PROVENANCE: From a Private Collection

PROVENANCE: Texas Art Gallery, Dallas, TX (label verso) Private Collection, Dallas, TX

$3,000 – $5,000

$4,000 – $6,000

73 GREG MCHURON (1945–2012) Hedrick Pond Occupants, 2009 oil on board 24 x 40 inches signed lower right: GREGORY i. McHURON © verso: titled and signed PROVENANCE: From the Estate of Greg McHuron LITERATURE: Susan Hallsten McGarry, Plein Air Master and Mentor, Fresco Books, Albuquerque, NM, 2006, illus. p. 159 $2,000 – $3,000

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74 ROD FREDERICK (1956– ) Early Light Breakfast acrylic on canvas 18 x 32 (diptych) inches signed lower right: Rod Frederick © PROVENANCE: From a Private Collection $3,000 – $5,000

75 RON PARKER (1942– ) Last Light - Cougar oil on board 24 x 40 inches signed lower left: R.S. PARKER ‘92 © verso: titled, signed, dated PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $3,000 – $5,000

— 35 —


76 MORTEN E. SOLBERG (1935– ) Wolves watercolor on paper 19 x 29 ½ inches (sight) signed lower right: Morten E. Solberg © AWS verso: titled PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Redlands, CA $2,000 – $3,000

77 TUCKER SMITH (1940– ) Caribou Study pencil on paper 7 ½ x 10 ½ inches (sight) signed lower left and lower right: Tucker Smith PROVENANCE: Private Collection, Hamilton, MT $1,000 – $2,000

78 RUSSELL CASE (1966– ) Winter in Perry, UT oil on canvas 12 x 16 inches signed lower left: G Russell Case 01 verso: titled, signed, dated PROVENANCE: From a Private Collection $2,000 – $4,000

— 36 —


79 DONNA HOWELL-SICKLES (1949– ) Rubie’s White Bulls mixed media on paper 60 x 40 inches signed lower right: Donna Howell-Sickles PROVENANCE: From a Private Collection LITERATURE: Peg Streep, The Art of Donna Howell-Sickles: Cowgirl Rising, The Greenwich Workshop Press, Shelton, CT, 1996, illus. p. 113 $3,000 – $5,000

80 JOFFA KERR (1935– ) Her Royal Hindness bronze 14/15 35 x 24 x 22 inches inscribed lower left: © JOFFA 14/15 PROVENANCE: The Artist $3,000 – $5,000

81 AMY LAY (1972– ) Untitled (Moose) oil and charcoal on canvas 60 x 48 inches signed lower right: Amy Lay 15 PROVENANCE: Private Collection, Wilson, WY $6,000 – $9,000

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82 WAYNE BAIZE (1943– ) Cowboy’s Drumbeat oil on canvas 20 x 30 inches signed lower right: WAYNE BAIZE © CA PROVENANCE: From a Private Collection $4,000 – $6,000

83 G. HARVEY (1933–2017) A Breed Apart, 1981 bronze 10/40 16 ¼ x 20 x 9 inches inscribed front left: ‘A BREED APART’ 10/40 G. Harvey - ©1981 PROVENANCE: Private Collection, Jackson, WY $4,000 – $6,000

84 WAYNE BAIZE (1943– ) Enjoying the Scenery oil on canvas 18 x 24 inches signed lower left: WAYNE BAIZE © CA verso: signed and dated PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $3,000 – $5,000

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85 JASON RICH (1970– ) The Last Gate oil on board 36 x 48 inches signed lower right: J. RICH verso: titled and dated PROVENANCE: Private Collection, Paige, TX $8,000 – $12,000

86 ROBERT SHUFELT (1935– ) Spring Dust pencil on paper 19 ½ x 26 inches (sight) signed lower right: “SPRING DUST” SHOOFLY 1989 PROVENANCE: Private Collection, Jackson, WY $2,000 – $4,000

87 ROBERT SHUFELT (1935– ) I’m not Your Mama and I Ain’t no Shade Tree Either… pencil on paper 10 x 12 inches (sight) signed lower right: SHOOFLY 1991 titled lower center: I’M NOT YOUR MAMA AND I AIN’T NO SHADE TREE EITHER... PROVENANCE: Private Collection, Jackson, WY $1,000 – $2,000

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88 MICHAEL CASSIDY (1958– ) Frijole Ranch oil on canvas 39 x 45 inches signed lower right: M CASSIDY titled lower left: Frijole Ranch Guadalupe Mountains West Texas PROVENANCE: From the Collection of Mr. Ken Guddal $8,000 – $12,000

89 WILL JAMES (1892–1942) Too Handy With Front Feet

90 JOHN FERY (1859–1934) Twin Lake, Brighton, Utah, 1921

pen on paper 8 ½ x 8 inches (sight) signed lower left: WILL JAMES titled lower center: -TOO HANDY WITH FRONT FEET-

oil on board 6 x 9 ½ inches signed lower left: J. Fery verso: titled, signed, dated

PROVENANCE: Private Collection, Los Angeles, CA

PROVENANCE: From a Private Collection

$3,000 – $5,000

$2,000 – $4,000

— 40 —


91 GILBERT GAUL (1855–1919) General Philip Sheridan oil on board 27 ⅜ x 33 ⅛ inches signed lower left: Gilbert Gaul _ PROVENANCE: From a Private Collection $6,000 – $9,000

92 CHARLES BERNINGHAUS (1905–1988) Rio Grande Gorge oil on canvas 16 x 20 inches signed lower right: CHARLES BERNINGHAUS verso: titled PROVENANCE: From a Private Collection $2,000 – $4,000

93 PHILIP 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, Private Collection, Salt Lake City, UT Thomas Nygard Gallery, Bozeman, MT (label verso) Private Collection, Helena, MT From the Collection of Mr. Shawn Murphy LITERATURE: Erin Anderson, Philip R. Goodwin – The Studies, Thomas Nygard Gallery, Bozeman, MT, 2005, illus. p. 39 $2,000 – $3,000 — 41 —


94 ROBERT BATEMAN (1930– ) By the Roadside - Horned Larks acrylic on board 24 x 35 ¾ inches signed lower left: Robert Bateman“Almost all our elm trees have been wiped out by Dutch elm disease, and soon all our farm fencelines will be made of metal and will be put up entirely by machines. The older fencelines have individuality and personality – and they are primarily the product of manual labor. Wood fences are also friendly to wildlife, providing nesting places for birds and other animals. The fence in By the Roadside – Horned Larks is actually a transitional fence with elements of both old and new technologies. It is made of wooden posts, rails and some wire, and was built in the days when farmers were largely self-sufficient and relied almost entirely

on local materials for building. With the advent of ‘industrial’ agriculture, farmers have come to depend increasingly on expensive machines, pesticides and fertilizers – which look efficient until their environmental cost is factored in. Along with these changes, the old spirit of community is vanishing. So an old fenceline is not just something I find aesthetically pleasing, it represents a whole way of life that has been virtually lost.” –Robert Bateman PROVENANCE: Private Collection, Redlands, CA LITERATURE: Robert Bateman, Robert Bateman: An Artist in Nature, Random House, New York, NY, 1990, illus. p. 90 $6,000 – $9,000

95 KEN CARLSON (1937– ) Mule Deer in Early Light oil on board 8 x 15 inches signed lower right: CARLSON PROVENANCE: The Artist From a Wyoming Collection $4,000 – $6,000

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96 ANDREW PETERS (1954– ) Alpine Summer oil on canvas 20 x 24 inches signed lower left: ANDREW PETERS PROVENANCE: From a Private Collection $3,000 – $5,000

97 JIM NORTON (1953– ) First Snow in the Uintas oil on board 11 x 14 inches signed lower left: Jim C Norton CA verso: titled and signed PROVENANCE: The Artist From a Wyoming Collection $800 – $1,200

98 HOWARD ROGERS (1932– ) Yellowstone Icons oil on canvas 18 x 24 inches signed lower right: H. RogErs © PROVENANCE: From the Collection of Raymond & Marydel Harris $2,000 – $3,000

— 43 —


99 JOHN FAWCETT (1952– ) A New Addition oil on board 36 x 48 inches signed lower left: FAWCETT © PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, McCall, ID $8,000 – $12,000

100 JIM NORTON (1953– ) The Oaks

101 ANN HANSON (1953– ) A Look Back

oil on board 16 x 11 ¼ inches signed lower left: Jim C. Norton CA verso: titled and signed

oil on board 24 x 36 inches signed verso: © 2000 Ann Hanson verso: titled, signed, dated

PROVENANCE: The Artist From a Wyoming Collection

PROVENANCE: From a Private Collection

$1,000 – $2,000

$5,000 – $7,000

— 44 —


102 BRUCE GREENE (1953– ) Dusk on Dutch Canyon oil on canvas 24 x 24 inches signed lower right: Bruce R. Greene CA © PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $3,000 – $5,000

103 BILL NEBEKER (1942– ) Weatherin’ the Chores

104 BRUCE GREENE (1953– ) Daybreak on the Palo Duro

bronze 11/25 25 x 10 x 11 inches inscribed right: 1985 11/25 BILL © NEBEKER CA

oil on canvas 30 x 30 inches signed lower right: Bruce R. Greene CA © 11

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$3,000 – $5,000

$4,000 – $6,000

— 45 —


105 R.S. RIDDICK (1952– ) Reminiscin’ oil on canvas 44 x 34 inches signed lower right: R.S. Riddick © verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $5,000 – $7,000

106 JASON RICH (1970– ) The Paint Colt oil on board 20 x 24 inches signed lower left: J. RICH PROVENANCE: Trailside Americana, Jackson, WY (label verso) From the Collection of Mr. John Mueller $2,000 – $4,000

— 46 —


107 WALT GONSKE (1942– ) First Snow - El Salto, NM oil on board 18 x 24 inches signed lower right: Gonske verso: titled and signed PROVENANCE: The Artist Private Collection, Taos, NM $4,000 – $6,000

108 ROSS STEFAN (1934–1999) Jose’s Coffee, 1965 oil on canvas 26 x 40 inches signed lower left: Ross Stefan verso: titled, signed, dated PROVENANCE: From a Private Collection $6,000 – $9,000

109 JIM NORTON (1953– ) South of Cody oil on board 9 x 12 inches signed lower left: Jim C. Norton CA verso: titled and signed PROVENANCE: The Artist From a Wyoming Collection $600 – $900

— 47 —


110 KENNETH RILEY (1919–2015) Night Watch acrylic on board 12 x 9 inches signed lower right: Kenneth Riley CA PROVENANCE: From a Private Collection $6,000 – $9,000

111 KIRBY SATTLER (1950– ) Profile of the Winter Bear acrylic on canvas 24 x 24 inches signed lower left: SATTLER 89 verso: titled, signed, dated PROVENANCE: From a Private Collection $2,000 – $4,000

112 THOMAS DE DECKER (1951– ) Evening Sunset oil on canvas 36 x 36 inches signed lower left: THOMAS dEDECKER verso: titled and signed PROVENANCE: The Artist $3,000 – $5,000 — 48 —


113 MICHAEL COLEMAN (1946– ) Early Morning Mountain gouache on paper 11 ¼ x 14 ¼ inches (sight) signed lower right: MICHAEL COLEMAN © PROVENANCE: From a Private Collection $3,000 – $5,000

114 THOMAS DE DECKER (1951– ) Rocky Mountains oil on board 24 x 36 inches signed lower left: THOMAS dEDECKER verso: titled and signed PROVENANCE: The Artist $2,000 – $4,000

115 PAUL MANN (1955– ) Night Pool oil on board 9 x 12 inches signed lower left: PAUL MANN PROVENANCE: From the Collection of Mr. Shawn Murphy $800 – $1,200

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116 RUSS VICKERS (1923–1997) Scouting oil on board 5 x 13 inches signed lower right: Russ Vickers © verso: titled and signed PROVENANCE: Private Collection, Gladewater, TX $1,000 – $2,000

117 RUSS VICKERS (1923–1997) Water oil on board 5 x 13 inches signed lower right: Russ Vickers © verso: titled and signed PROVENANCE: Private Collection, Gladewater, TX $1,000 – $2,000

118 RUSS VICKERS (1923–1997) Return from a Raid oil on board 5 x 13 inches signed lower right: Russ Vickers © verso: titled and signed PROVENANCE: Private Collection, Gladewater, TX $1,000 – $2,000

119 MELVIN C. WARREN (1920–1995) Grass and Good Water, 1978 bronze 25/30 9 ½ x 15 x 15 inches inscribed right center: 25/30 © Melvin C. Warren CA 1978 PROVENANCE: Private Collection, Gladewater, TX $1,500 – $2,500

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120 WILLIAM MATTHEWS (1949– ) Cowboy on Horse with Cattle

121 VERYL GOODNIGHT (1947– ) Old Maude

watercolor and gouache on paper 18 ½ x 19 inches signed lower right: William (artist stamp)

bronze 28/30 14 ½ x 19 x 11 inches inscribed front right: VERyl GoodNight 28/30 1980 ©

PROVENANCE: From a Private Collection

PROVENANCE: Private Collection, Gladewater, TX

$2,000 – $3,000

$1,500 – $2,500

122 WILLIAM MATTHEWS (1949– ) Cowboy with Calf

123 GERARD CURTIS DELANO (1890–1972) Desert Landscape

watercolor and gouache on paper 18 ½ x 19 inches signed upper left: William M.

watercolor on paper 10 x 14 inches signed lower left: ©DElano

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$2,000 – $3,000

$2,000 – $4,000

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— 52 —


SESSION II LOT 1 24 – LOT 3 0 3 S AT U R DAY, S E P T EM B E R 1 9 2 :00 P M M DT

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

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124 CARL RUNGIUS (1869–1959) Alarmed etching and drypoint 6 ⅛ x 8 ½ inches (plate) signed lower right: C. Rungius. PROVENANCE: Private Collection, Jackson, WY LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example illus. plate 6 $2,000 – $4,000

125 BOB KUHN (1920–2007) Grizzly Rubbing Against a Tree bronze 8/20 11 ½ x 18 x 10 inches inscribed left: KUHN 8/20 PROVENANCE: From a Private Collection LITERATURE: Adam Duncan Harris, Bob Kuhn: Drawing on Instinct, University of Oklahoma Press, Norman, OK, 2012, example illus. p.217 $5,000 – $7,000 — 54 —


126 CARL RUNGIUS (1869–1959) Dall Sheep etching and drypoint 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius. PROVENANCE: Private Collection, Billings, MT LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example illus. plate 21 $4,000 – $6,000

127 CARL RUNGIUS (1869–1959) The Answer from the Barren, 1925 etching and drypoint 6 ⅛ x 8 ½ inches (plate) signed lower right: C. Rungius. PROVENANCE: Private Collection, Jackson, WY LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example illus. plate 4 $2,000 – $4,000

128 CARL RUNGIUS (1869–1959) Stampede, 1925 etching and drypoint 6 ⅛ x 8 ½ inches (plate) signed lower right: C. Rungius. PROVENANCE: Private Collection, Jackson, WY LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example illus. plate 8 $3,000 – $5,000

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129 TUCKER SMITH (1940– ) The Picket Line, Wind River Mountains oil on canvas 12 ½ x 20 inches signed lower left: Tucker Smith 90 verso: titled PROVENANCE: From a Private Collection LITERATURE: Tucker Smith, The Paintings of Tucker Smith: A Celebration of Nature, Graphic Arts Books, Portland, OR, 2004, illus. p. 118 $8,000 – $12,000

130 CONRAD SCHWIERING (1916–1986) Summer Solitude oil on board 25 x 30 inches signed lower left: Schwiering (artist cipher) © PROVENANCE: From a Private Collection $10,000 – $20,000 — 56 —


131 CONRAD SCHWIERING (1916–1986) Homesteadin’, 1981 oil on board 30 x 40 inches signed lower right: Schwiering (artist cipher) © NAWA 1981 verso: titled EXHIBITED: Conrad Schwiering Painting on the Square, The National Cowboy Hall of Fame and Western Heritage Center, Oklahoma City, OK, December 11, 1981-January 31, 1982 LITERATURE: Dean Krakel, Conrad Schwiering Painting on the Square, Powder River Book Company, Oklahoma City, OK, 1981, illus. plate 7 PROVENANCE: From the Collection of Mr. Raymond J. Minella $10,000 – $20,000

132 BURT PROCTER (1901–1980) Mid-Day oil on canvas 22 x 28 inches signed lower right: Burt Procter verso: titled PROVENANCE: Private Collection, San Diego, CA $5,000 – $7,000 — 57 —


133 BRUCE GREENE (1953– ) Takin’ Flight oil on canvas 30 x 36 inches signed lower right: Bruce R. Greene © CA PROVENANCE: From a Private Collection $6,000 – $9,000

134 CLYDE ASPEVIG (1951– ) The Storm’s Passing oil on canvas 24 x 36 inches signed lower left: C. ASPEVIG PROVENANCE: Trailside Galleries, Jackson, WY From the Collection of Ms. Amy Minella $10,000 – $15,000

135 CLYDE ASPEVIG (1951– ) Early October oil on canvas 22 x 28 inches signed lower right: C. ASPEVIG PROVENANCE: Trailside Galleries, Jackson, WY From the Collection of Ms. Amy Minella $7,000 – $10,000

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136 BRUCE GREENE (1953– ) Anchors for Outlaws oil on canvas 24 x 48 inches signed lower right: Bruce R. Greene 11 © CA PROVENANCE: From a Private Collection $7,000 – $10,000

137 SCOTT CHRISTENSEN (1962– ) Late September, Star Valley oil on canvas 30 x 36 inches signed lower center: CHRISTENSEN © verso: titled PROVENANCE: From a Private Collection $7,000 – $10,000

138 WAYNE BAIZE (1943– ) Gift of Life oil on canvas 30 x 40 inches signed lower left: WAYNE BAIZE CA © PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $6,000 – $9,000 — 59 —


139 MARTIN GRELLE (1954– ) Storm Delay oil on canvas 20 x 20 inches signed lower right: (cross) MARTiN GRELLE © 2011 CA PROVENANCE: From a Private Collection $20,000 – $30,000

140 MIKEL DONAHUE (1956– ) The Bronc Stomper acrylic on board 30 x 20 inches signed lower right: M. Donahue CA PROVENANCE: The Artist Cowboy Artists of America, National Cowboy and Western Heritage Museum, Oklahoma City, OK From a Private Collection This painting won the Water Soluble Silver Award at the 2017 Cowboy Artists of America Sale & Show. $8,000 – $12,000

— 60 —


141 BILL OWEN (1942–2013) Voice of Thunder, 1998 oil on canvas 24 x 36 inches signed lower right: © Bill Owen CA 1998 PROVENANCE: From a Private Collection $25,000 – $35,000

— 61 —


142 EDWARD BOREIN (1872–1945) Untitled (Vaquero) watercolor and gouache on paper 13 ½ x 19 ⅞ inches signed lower right: EDWARD BOREIN PROVENANCE: From a Private Collection $20,000 – $30,000

143 TOM LOVELL (1909–1997) Tossing Dust charcoal on paper 15 ½ x 7 ½ inches (sight) signed lower right: TO DAVE + JILL SMITH TOM LOVELL © PROVENANCE: Nedra Matteucci Galleries, Santa Fe, NM (label verso) From a Private Collection $1,500 – $2,500

144 TOM LOVELL (1909–1997) Pawnee Scout charcoal on paper 10 ¾ x 7 ¾ inches (sight) signed lower right: TO JOHN SMITH - TOM LOVELL verso: titled and signed PROVENANCE: Nedra Matteucci Galleries, Santa Fe, NM (label verso) From a Private Collection $1,500 – $2,500

— 62 —


145 OLAF CARL SELTZER (1877–1957) Untitled (Stagecoach) watercolor and gouache on paper 9 ¼ x 12 ¼ inches signed lower left: O.C. SELTZER. PROVENANCE: From a Private Collection $10,000 – $20,000

146 OLAF CARL SELTZER (1877–1957) Untitled (Roping a Grizzly) watercolor on paper 12 ⅞ x 8 ⅞ inches (sight) signed lower right: O.C. SELTZER. PROVENANCE: From a Private Collection $7,000 – $10,000

— 63 —


147 E. MARTIN HENNINGS (1886–1956) Twining - Rio Hondo Canyon, ca. 1940 oil on canvasboard 12 x 14 inches unsigned verso: titled, dated, and certified by Helen Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $7,000 – $10,000

148 E. MARTIN HENNINGS (1886–1956) Untitled (Coastal Scene) oil on canvasboard 10 x 14 inches signed lower left: E.M. Hennings PROVENANCE: The Artist Helen Hennings, by descent From a Private Collection $6,000 – $9,000

149 GUSTAVE BAUMANN (1881–1971) Talpa Chapel color woodblock 5 ⅞ x 7 ½ inches signed lower right: Gustave (artist stamp) Baumann numbered lower right: 47/125 titled lower left: TALPA CHAPEL PROVENANCE: From a Private Collection $4,000 – $6,000

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150 JOSEPH HENRY SHARP (1859–1953) Aspens, Amizette, Hondo Canyon, Near Taos oil on board 16 x 20 inches signed lower left: JHSHARP verso: titled and signed PROVENANCE: From a Private Collection $20,000 – $30,000

— 65 —


151 MARTIN GRELLE (1954– ) Lone Crow oil on board 9 x 12 inches signed lower right: (cross) MARTiN GRELLE © 2012 CA PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection $15,000 – $25,000

152 KENNETH RILEY (1919–2015) The Medal acrylic on canvas 14 x 8 inches signed lower right: KEnnEth RilEy CA PROVENANCE: From a Private Collection $10,000 – $15,000 — 66 —


153 KENNETH RILEY (1919–2015) Untitled (Mountain Man) acrylic and pen on paper 3 ¾ x 6 inches signed lower right: KEnnEth RilEy PROVENANCE: The Artist, by Descent $3,000 – $5,000

154 KENNETH RILEY (1919–2015) Untitled (Tipis) acrylic and pen on paper 2 ⅞ x 4 ½ inches signed lower right: KEnnEth RilEy PROVENANCE: The Artist, by Descent $3,000 – $5,000

155 KENNETH RILEY (1919–2015) Apache Sunset acrylic and pen on paper 3 x 5 inches signed lower right: KEnnEth RilEy PROVENANCE: The Artist, by Descent $4,000 – $6,000

— 67 —


156 DAN BODELSON (1949– ) Respect, 2020 oil on canvas 30 x 40 inches signed lower right: Bodelson verso: titled, signed, dated “The Plains Indian and the buffalo were entwined in many ways. They believed the buffalo was their link to the Great Spirit. Through the buffalo, they found most of their basic necessities. It provided them with food, clothing, shelter, and their religion. As I reflect on a Native life centered around the buffalo, respect seems to encompass the entire relationship. Do not view this as a hunting painting, but rather a portrayal of a quiet encounter filled with mutual respect.” –Dan Bodelson PROVENANCE: The Artist $10,000 – $20,000

157 TOM BROWNING (1949– ) Spring, 2020 oil on canvas 14 x 30 inches signed lower left: Tom Browning CA “The great herds of buffalo that roamed the Great Plains actually had a big influence on the varieties of vegetation that would reintroduce themselves each spring. Even the different types of birds and animals would vary from season to season, depending on the migration patterns of these massive herds.”—Tom Browning PROVENANCE: The Artist $6,000 – $9,000 — 68 —


158 MARTIN GRELLE (1954– ) Peace Medal sepia pencil and charcoal on linen 29 x 20 inches signed lower right: (cross) MARTiN GRELLE © 2011 CA verso: titled, signed, dated PROVENANCE: From a Private Collection 159 BRUCE CHEEVER (1958– ) Cheyenne Pride, 2020

$18,000 – $24,000

oil on board 60 x 30 inches signed lower right: - Bruce . Cheever © “A symbol of strength and bravery, the headdress was an honor to be worn by the most powerful and influential members of Native American tribes. I wanted this painting to be draped vertically in its colorful adornment. This northern Cheyenne design was a work of both skill and art. Comprised of eagle, hawk, owl, and raven feathers, it was adorned with wool, glass beads, ermine, horsehair, and silk ribbon.” –Bruce Cheever PROVENANCE: The Artist $15,000 – $25,000 — 69 —


160 FRANK MCCARTHY (1924–2002) Where Tracks are Lost oil on board 14 x 11 inches signed lower left: McCarthy © verso: titled and signed PROVENANCE: The Legacy Gallery, Scottsdale, AZ (label verso) From a Private Collection $6,000 – $9,000

161 FRANK MCCARTHY (1924–2002) A Warrior’s Trek oil on board 14 x 11 inches signed lower left: McCarthy © verso: titled and signed PROVENANCE: Altermann Galleries, Houston, TX (label verso) From a Private Collection $6,000 – $9,000

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162 FRANK MCCARTHY (1924–2002) Out of the High Lonesome, 1992 oil on canvas 28 x 40 inches signed lower left: McCarthy CA © 1992 verso: titled, signed, dated PROVENANCE: From a Private Collection $30,000 – $50,000

— 71 —


163 JOHN CLYMER (1907–1989) Hunting Country oil on board 10 x 20 inches signed lower right: John Clymer PROVENANCE: From the Eddie Basha Collection, Chandler, AZ EXHIBITED: 100 Years of Western Art from Pittsburgh Collections, Carnegie Museum of Art, Pittsburgh, PA, February 13-April 4, 1982 Romance of the Range: The Horse in Western Art, Scottsdale Center for the Arts, Scottsdale, AZ, October 27-December 8, 1991 Cowboy Artists of America: The 50-Year Roundup, A Commemorative Exhibition, Sedona Arts Center, Sedona, AZ, July 18-August 2, 2015 $60,000 – $90,000

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— 73 —


164 MARTIN GRELLE (1954– ) Wedding Preparations acrylic and oil on canvas 60 x 50 inches signed lower left: (cross) MARTiN GRELLE © 2009 CA verso: titled, signed, dated “The idea for this painting came from reading a passage in George Bird Grinnell’s book on the Cheyenne Indians, volume 1. This paragraph is a small part of his description of wedding activities: ‘When the girl set out she was dressed in fine new clothing, but after she had been taken into her mother-in-law’s lodge, the sisters or cousins of her husband took her to the back of the lodge, removed the clothing that she wore, and dressed her in new clothing they had made, combing and rebraiding her hair, painting her face, and hanging about her various ornaments as gifts.’ I have taken artistic license on one part of the painting – as I have shown her to have a red ribbon wrap on her braided hair. Traditionally, Cheyenne women did not wrap their braids, but I thought it added an extra interaction between the girl and her helper, who has the ribbon in her hands and is preparing to wrap the second braid – and I considered it as part of the ‘ornaments’ given as gifts.” –Martin Grelle PROVENANCE: From a Private Collection $150,000 – $250,000 — 74 —


165 MARTIN GRELLE (1954– ) Lone Wolf oil on canvas 24 x 30 inches signed lower right: (cross) MARTiN GRELLE © *96 CA PROVENANCE: From a Private Collection $40,000 – $60,000

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166 BOB KUHN (1920–2007) A Cry to the Wild, 1969 acrylic and pencil on board 14 x 29 ¾ inches signed lower left: kuhn 69 “Leopards are so elegantly pelted that it is almost impossible to improve on that elegance with a brush. On the other hand, to hint at rather than put down the spots is to lose the character of the animal…I have mentioned their fondness for draping themselves on tree limbs. I need not also observe that this tendency has spawned a cluster of leopard-on-a-limb painters, myself included, all earnestly striving to finally do justice to their subject.” –Bob Kuhn PROVENANCE: From a Private Collection LITERATURE: Adam Duncan Harris, Bob Kuhn: Drawing on Instinct, University of Oklahoma Press, Norman, OK, 2012, illus. p.247 $50,000 – $75,000

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167 BOB KUHN (1920–2007) Very Good Friends acrylic on masonite 7 ⅞ x 13 ½ inches signed center right: kuhn verso: titled and signed PROVENANCE: From a Private Collection $28,000 – $38,000

168 MIKE BARLOW (1963– ) Tanzanian Tango bronze 3/7 20 x 27 x 18 inches inscribed left verso: Michael Barlow 3/7 PROVENANCE: From a Private Collection $8,000 – $12,000

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169 DAVID SHEPHERD (1931–2017) Elephants at the Watering Hole, 1984 oil on canvas 9 x 16 inches signed lower right: -David Shepherd- ‘84 verso: signed and dated PROVENANCE: Private Collection, Chico, CA $7,000 – $10,000

170 BOB KUHN (1920–2007) Elephant

171 FRIEDRICH WILHELM KUHNERT (1865–1926) Tiger Head

conte crayon on paper 12 ¼ x 12 ¾ inches (sight) signed lower left: kuhn

etching on paper 7 ½ x 7 ¾ inches (plate) signed lower right: Wilh. Kuhnert

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$2,500 – $3,500

$800 – $1,200

172 JOHN SEEREY-LESTER (1946–2020) Firewall oil on panel 12 x 16 inches signed lower right: Seerey-Lester ©X PROVENANCE: From a Private Collection LITERATURE: John Seerey-Lester, Legends of the Hunt-Campfire Tales, Sporting Classics, Columbia, SC, 2013, illus. p. 125 $2,000 – $3,000

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173 BOB KUHN (1920–2007) On the Rocks acrylic on board 18 x 20 inches signed lower right: kuhn verso: titled and signed PROVENANCE: From a Private Collection $20,000 – $30,000

174 BOB KUHN (1920–2007) Lion conte crayon on paper 8 ½ x 12 inches (sight) signed lower right: kuhn PROVENANCE: From a Private Collection $2,000 – $3,000

175 JONATHAN KENWORTHY (1943– ) Leopard Looking Back bronze 5 5 ½ x 13 ¼ x 6 ½ inches inscribed center verso: KENWORTHY 66 PROVENANCE: From a Private Collection $6,000 – $9,000

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176 SCOTT CHRISTENSEN (1962– ) Miles of Arizona

177 BILL NEBEKER (1942– ) Waltzing Across Texas

oil on canvas 40 x 48 inches signed lower left: CHRISTENSEN ©-

bronze 8/30 26 ½ x 13 x 9 inches inscribed center verso: BILL NEBEKER CA 2016 © 8/30

PROVENANCE: The Legacy Gallery, Scottsdale, AZ (label verso) From a Private Collection

PROVENANCE: From a Private Collection

$12,000 – $18,000

$5,000 – $7,000

178 MIAN SITU (1953– ) Sheepherding, Monument Valley oil on canvas 20 x 30 inches signed lower left: Mian Situ PROVENANCE: The Artist $10,000 – $15,000

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179 BRUCE GREENE (1953– ) The Wagon Fly Incident of ‘98 oil on canvas 58 x 68 inches signed lower right: Bruce R. Greene CA 11© verso: titled and signed PROVENANCE: From a Private Collection $30,000 – $50,000

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180 G. HARVEY (1933–2017) Good Wage Wranglers oil on canvas 30 x 50 inches signed lower right: G. Harvey- © verso: titled and signed Gerald Harvey Jones, known as G. Harvey, was born in 1933 in San Antonio, Texas. Harvey grew up hearing his grandfather’s stories about ranching and driving cattle across Texas in the frontier days, so for him the American West was more than a distant past but rather a vibrant heritage he felt directly connected to. Early on Harvey developed an interest in sketching and drawing, and by the time he attended college at North Texas State University he had followed that early interest into a talent for oil painting. Following graduation, Harvey taught at University of Texas, Austin. Realizing that nights and weekends were not enough time for him at the easel, Harvey left teaching in 1963 to dedicate his full energy to a fine art career. Just two years later, Harvey’s career truly took off when he was featured in the Grand National Exhibition in New York and won the New Master’s Award from the American Artists’ Professional League. Shortly thereafter, President Lyndon B. Johnson discovered Harvey’s work and instantly became a collector. In addition to landscapes and genre scenes from the American West, Harvey also drew inspiration from the rich history of Europe, painting street scenes from a time when horse’s hooves still clattered on the cobblestones. Regardless of the subject, all of Harvey’s work is marked by his dramatic use of light and contrast and his skillful and trademark impressionistic style. G. Harvey’s paintings and sculpture transcend time, cultural, and geographical boundaries making him one of the most broadly appealing artists of this era and placing his name at the forefront of early twenty-first century American art. His original works are in the collections of major corporations, museums, the United States Government, and private collections throughout the world. While Harvey’s subjects may appear disparate, from charming cobblestone lined avenues to cowboys trudging through snow, they are united by one common theme. Harvey discusses this unifying inspiration, saying, “Transition has also been a theme in my art. I’m drawn to eras when people were confronted with change – challenged to use change as a positive force in their lives.” PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $125,000 – $175,000

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181 KENNETH RILEY (1919–2015) Cavalryman acrylic on board 5 x 6 ¼ inches signed lower right: KEnnEth RilEy PROVENANCE: From a Private Collection $4,000 – $6,000

182 HARRY JACKSON (1924–2011) Pony Express III, 1978 polychrome bronze PEIII P23P 8 ¼ x 10 x 6 ½ inches inscribed lower front: ©Harry Jackson 1977 inscribed lower left: PEIII P23P signed lower verso: ©Harry Jackson 1978 PROVENANCE: Private Collection, Jackson, WY $2,000 – $3,000

183 KENNETH RILEY (1919–2015) Untitled (Harbor Scene) acrylic and pen on paper 3 ¼ x 6 inches signed lower left: KEnnEth RilEy PROVENANCE: The Artist, by Descent $4,000 – $6,000 — 84 —


184 DEAN CORNWELL (1892–1960) “There stood Jerry Townsend, smoking revolver in hand,” 1934 oil on canvas 34 x 48 inches initialed lower left: DC34 PROVENANCE: Private Collection, Florida LITERATURE: Achmed Abdullah, Panama Passage, Cosmopolitan, June 1935, illus. p. 74-75. $15,000 – $25,000

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185 GORDON SNIDOW (1936– ) Remnant of Another Time oil on board 48 x 36 inches signed lower right: Snidow 1978 © CA COPYRIGHT verso: titled, signed, dated PROVENANCE: Private Collection, Phoenix, AZ LITERATURE: Bruce Berger, Hangin’ On: Gordon Snidow Portrays the Cowboy Heritage, Northland Publishing, Flagstaff, AZ, 1980, illus. cover and p.84 This painting won the Memorial Award at the 1978 Cowboy Artists of America Sale & Show. $40,000 – $60,000 — 86 —


186 G. HARVEY (1933–2017) The Hunting Shack oil on canvas 16 x 20 inches signed lower right: G. Harvey- © verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY From a Private Collection $30,000 – $50,000

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187 BOB KUHN (1920–2007) A Little to the Right acrylic on masonite 14 x 8 inches signed lower left: Kuhn PROVENANCE: From the Collection of Bob and Curtice McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 120 $30,000 – $50,000 — 88 —


188 KEN CARLSON (1937– ) Waterhole Rulers oil on board 18 x 27 inches signed lower right: CARLSON PROVENANCE: From a Private Collection $18,000 – $24,000

189 LUKE FRAZIER (1970– ) At the Head of Beaver Creek oil on masonite 18 x 24 inches signed lower right: L. Frazier dated lower left: 95 titled upper left: - HEAD OF BEAVER CREEK verso: titled, signed, dated PROVENANCE: From a Private Collection $4,000 – $6,000

— 89 —


190 BOB KUHN (1920–2007) Red Fox Airborne, 1994 acrylic on board 16 x 26 inches signed lower right: kuhn verso: titled, signed, dated PROVENANCE: The Artist From a Private Collection $50,000 – $75,000

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191 BOB KUHN (1920–2007) Winter Chase bronze 19/20 12 x 23 ½ x 6 inches inscribed left verso: KUHN 19/20 PROVENANCE: From the Collection of Mr. Thaddeus North $20,000 – $30,000

192 BOB KUHN (1920–2007) Fox conte crayon on paper 7 ¾ x 12 ½ inches (sight) signed lower right: kuhn PROVENANCE: From a Private Collection $1,500 – $2,500

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193 CARL RUNGIUS (1869–1959) Wyoming Elk, ca. 1910 oil on canvas 30 x 46 ¼ inches signed lower right: C. Rungius lower left: © C.R. 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. Likely painted around 1910, Wyoming Elk depicts a large elk coming down a hillside, traversing the canvas from right to left. Consistent with his work from this period, the brushwork is tighter and less impressionistic than Rungius’s later work. The contrast of the bright sunlight and color in the upper left corner serves to create a sense of drama when set against the cooler, darker, fore and midgrounds that make up the majority of the composition. PROVENANCE: Kennedy Galleries, New York, NY (label verso) Gerald Peters Gallery, New York, NY (label verso) From the Collection of Judson Charles Ball and Nancy Sue Ball Private Collection, Nashville, TN EXHIBITED: Western American Art South of the Sweet Tea Line V, Booth Western Art Museum, Cartersville, GA, September 16-December 31, 2017 (label verso) $150,000 – $250,000

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194 THOMAS MORAN (1837–1926) Cascade Falls, Yosemite, 1905 oil on canvas 30 ¼ x 20 inches signed lower right: Moran.1905. verso: titled, signed, dated While Thomas Moran was born in Bolton, England in 1837, he emigrated to the United States with his family in 1844, and spent the majority of his career creating and advocating for American art. Moran developed an early interest in art, and often frequented the museums and galleries in Philadelphia. At sixteen, Moran secured an apprenticeship with a wood engraving firm, where he worked for three years before transitioning his focus to painting and drawing under the guidance of local painter James Hamilton. It was through Hamilton that Moran gained exposure to the work of J.M.W. Turner, who would prove to be a major inspiration for Moran. Moran subsequently encountered Turner’s work in person, when he visited Europe in 1861. Over the next decade, Moran exhibited at the Pennsylvania Academy of the Fine Arts, taught at the Philadelphia School of Design for Women, and worked as an illustrator for Scribner’s Monthly and other publications. The turning point in Moran’s life and career came in 1871 when he accompanied geologist Ferdinand Vandeveer Hayden on his geological survey of the Yellowstone region. Moran’s drawings and watercolors from this survey inspired Congress—leading them to purchase one of his resulting oil paintings and to declare Yellowstone the world’s first national park in 1872. Later that same year, Moran traveled to Yosemite for the first time. Fresh off his trip to Yellowstone, Moran found the late-season waterfalls to be lack-luster and underwhelming. As a result, he created only a few sketches, which resulted in a handful of aquarelles and chromolithographs. In the summer of 1904, Moran made his second trip to Yosemite, when he travelled through the region by horseback. What failed to inspire him the first time, proved to spark his interest the second. Moran drew great inspiration from the region on this trip, sketching extensively. He also likely learned of the campaign by John Muir and the Sierra Club to add the Yosemite Valley and Mariposa Grove into the newly created Yosemite National Park, which at the time did not include these areas. As a result, Moran created large canvases of many iconic, and at the time unprotected, areas of the valley including Vernal Falls, Bridal Veil Falls, and of course Cascade Falls. A product of this second foray into Yosemite, Moran painted Cascade Falls, Yosemite upon his return to the studio in 1905. Driven by Muir’s mission to see the region preserved, Moran channeled his passion for the American landscape and his ethereal and romantic style into the creation of this work. Flanked by stoic trees and boulders, Moran places the dramatic falls in the center of the composition but presents the viewer with the side of the falls, rather than a straight-on approach. The still water of the foreground provides a perfect foil for the churning cascade that fills the center of the canvas. Complimenting the falls themselves, Moran gives just as much attention to the castoff and spray, which draws the viewer in by creating a compelling v-shaped composition. Created with the intent to inspire rather than replicate, Moran places more emphasis on romance than stringent reality. He writes, “I place no value upon literal transcriptions of Nature. My general scope is not realistic; all my tendencies are toward idealization. Of course, all art must come through Nature: I do not mean to depreciate Nature or naturalism, but I do believe that a place as a place, has no value itself for the artist only so far as it furnishes the material from which to construct a picture.” PROVENANCE: J.C. Moulton, Moulton & Rickets, Chicago, Illinois, 1906 The Munger Family, 1950 M. Knoedler & Co., New York, NY Private Collection, Dallas, Texas {Sotheby’s, New York, NY, 2001, Lot 106} From a Private Collection LITERATURE: Thomas D. Murphy, Seven Wonderlands of the American West, L.C. Page & Company, Boston, MA, 1925, illus. p. 81 Thurman Wilkins, Thomas Moran: Artist of the Mountains, University of Oklahoma, Norman, OK, 1966, p. 225 $750,000 – $1,250,000

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195 OSCAR E. BERNINGHAUS (1874–1952) Green Aspens, 1950 oil on canvas 20 x 24 inches signed lower right: O.E. BERNINGHAUS -50PROVENANCE: From a Private Collection $30,000 – $50,000

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196 OSCAR E. BERNINGHAUS (1874–1952) The Hitching Post oil on canvas 22 x 28 inches signed lower left: O.E. BERNINGHAUS PROVENANCE: From the Collection of Ms. Susan Hofstrand $40,000 – $60,000

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197 JOHN CLYMER (1907–1989) Moving Down oil on board 20 x 30 inches signed lower left: John Clymer verso: titled and signed PROVENANCE: From the Collection of the Clymer Museum & Gallery Proceeds from the sale of this lot will benefit the Clymer Museum & Gallery in Ellensberg, WA. $30,000 – $50,000

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198 JOHN CLYMER (1907–1989) Mountain Man

199 JOHN CLYMER (1907–1989) Lynx Cap, 1971

charcoal on paper 16 x 12 inches signed lower right: John Clymer CA

charcoal on paper 16 x 12 inches signed lower right: John Clymer CA 71

PROVENANCE: From the Eddie Basha Collection, Chandler, AZ

PROVENANCE: From the Eddie Basha Collection, Chandler, AZ

$3,000 – $5,000

$3,000 – $5,000

200 E.S. PAXSON (1852–1919) Signal of Peace, 1901 watercolor on paper 12 x 9 inches signed lower right: E.S. PAXSON- -1901PROVENANCE: From a Private Collection $8,000 – $12,000

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201 WILLIAM GOLLINGS (1878–1932) Untitled (Cowboys and Horse Herd), 1904 oil on canvas 18 x 24 inches signed lower left: Gollings 04 (artist cipher) PROVENANCE: Manitou Galleries, Santa Fe, NM From the Collection of Delwin and Karen Bokelman Private Collection, Nashville, TN LITERATURE: Precious Dreams: A Photo Essay of the Art Collection of Delwin and Karen Bokelman, 2006, illus. p. 64 William T. Ward and Gary L. Temple, Elling William “Bill” Gollings: A Cowboy Artist, Patagonia Publishing Company, Argentina, 2007, illus. p. 16 $40,000 – $60,000

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202 RICHARD LORENZ (1858–1915) After a Hot Ride oil on canvas 23 ½ x 33 ½ inches signed lower right: R. Lorenz. PROVENANCE: From a Private Collection $25,000 – $45,000

203 RICHARD LORENZ (1858–1915) Chasing the Line, 1907 oil on canvas 22 ¼ x 30 ⅛ inches signed lower right: R. Lorenz .1907. PROVENANCE: From a Private Collection $20,000 – $30,000

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204 OSCAR E. BERNINGHAUS (1874–1952) The Lookout oil on canvas 24 x 30 inches signed lower left: O.E. BERNINGHAUS Oscar E. Berninghaus, born in 1874 in St. Louis, Missouri, displayed his inclination for art at an early age. At sixteen he quit school to work for a lithography company and later attended night classes at the School of Fine Arts in St. Louis. In 1899, the Denver and Rio Grand Railroad hired him to travel west to sketch and produce watercolors of the mountain scenery, people, and villages. It was during this journey that Berninghaus encountered the magic of Taos, the Pueblo, and its Native inhabitants. Berninghaus continued to return to Taos almost every summer for the next twenty-five years. As early as 1905, his work received critical acclaim in the newspapers with some writers comparing him to Frederic Remington. In the summer of 1915, Berninghaus co-founded the famous Taos Society of Artists along with Joseph Henry Sharp, Bert Geer Phillips, Ernest Blumenschein, E.I. Couse, and Herbert Dunton. In 1925, Berninghaus moved permanently to New Mexico where he continued to paint in Taos until the time of his death. For the majority of his career, Berninghaus painted from life—live models and plein air landscapes. However, towards the end of his career the people and terrain of Taos became so ingrained in the artist’s mind that he could paint just as accurately from memory as from life. A cornerstone of the Taos community, Berninghaus earned the trust and respect of Pueblo members, and as a result was given unprecedented access to the kivas and sacred dances. This intimate relationship between artist and subject lends an unshakeable authenticity to Berninghaus’ work. While Russell and Remington viewed the cowboy or the Plains Indians as hallmarks of American art and identity, Berninghaus saw his work and that of his contemporaries in Taos as something undeniably American. He described this, saying “I think the colony in Taos is doing much for American art. From it I think will come a distinctive art, something definitely American—and I do not mean that such will be the case because the American Indian and his environment are the subjects. But the canvases that come from Taos are as definitely American as anything can be.” A departure from Berninghaus’ pueblo subjects, The Lookout is a rare example of a western work from the artist. PROVENANCE: Mongerson Wunderlich Galleries, Chicago, IL (label verso) Gallery of the Masters, St. Louis, MO (label verso) Gerald Peters Gallery, Santa Fe, NM (label verso) Kodner Gallery, Saint Louis, MO (label verso) Gerald Peters Gallery, New York, NY (label verso) Private Collection, Nashville, TN $125,000 – $175,000

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205 GERARD CURTIS DELANO (1890–1972) Navajo Rider oil on board 16 x 24 inches signed lower left: © (triangles) DElano (triangle) PROVENANCE: From a Private Collection $30,000 – $50,000

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206 THOMAS BLACKSHEAR (1955– ) Swan Song oil on board 28 x 50 inches signed lower right: TBII verso: titled PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $20,000 – $30,000

207 NICHOLAS COLEMAN (1978– ) Where the Land Touches the Sky oil on canvas 50 x 60 inches signed lower right: -N Coleman © PROVENANCE: The Artist Trailside Galleries, Jackson, WY Private Collection, Jackson, WY $10,000 – $15,000 — 105 —


208 MICHAEL BLESSING (1960– ) The Watchman, 2020 oil and LED neon light on aluminum substrate 74 x 44 inches signed lower right: Blessing “While contemplating new subject matter one summer afternoon, I was struck with the idea to combine neon with my beloved figures. The end result is a series of larger than life historical characters rendered in a contemporary style. After painting the subject on an aluminum substrate, I create an EPS vector file in order to have the LED neon tubes created to exact specifications. Once the neon pieces are created, they are attached to the painted substrate and connected to a dimmable, commercial grade transformer hidden inside each painting’s custom-built frame. This piece depicts Jim Hawkins, who was one of the toughest Texas Rangers in the late 1800’s. In 1898 he relocated to Miles City, Montana and became Sheriff where he lived out the rest of his life.” –Michael Blessing PROVENANCE: The Artist $50,000 – $75,000 — 106 —


209 HOWARD POST (1948– ) On the Move oil on canvas 40 x 66 inches signed lower right: .HE POST. PROVENANCE: Private Collection, Scottsdale, AZ $15,000 – $25,000

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210 MARTIN GRELLE (1954– ) Plains Sentinel oil on canvas 9 x 12 inches signed lower right: (cross) MARTiN GRELLE © *03 CA PROVENANCE: From the Collection of Mr. Ken Guddal $15,000 – $25,000

211 KENNETH RILEY (1919–2015) The Scouts

212 KENNETH RILEY (1919–2015) Nightfall

acrylic on board 12 x 10 inches signed lower right: Kenneth Riley

acrylic on board 8 x 10 inches signed lower right: Kenneth Riley

PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Twin Bridges, MT Private Collection, Paige, TX

PROVENANCE: Private Collection, Paige, TX $8,000 – $12,000

$8,000 – $12,000

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213 MARTIN GRELLE (1954– ) Cheyenne Remnants oil on canvas 44 x 60 inches signed lower right: (cross) MARTiN GRELLE © *99 CA verso: titled, signed, dated PROVENANCE: From a Private Collection $150,000 – $250,000

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214 LUKE FRAZIER (1970– ) High Desert - Mule Deer, 2020 oil on board 18 x 36 inches signed lower left: L. frazier “The mule deer is one tough Hombre - I’ve found them in the high alpine forests of Montana, and the plains of Alberta Canada. But some of the wisest and oldest bucks are found in the high deserts of Utah all the way down to the Sonoran Mexico delta. Heat, sagebrush, sand and cactus seem like an unlikely combo for mule deer habitat, right? Wrong, they thrive in it.” –Luke Frazier PROVENANCE: The Artist $10,000 – $15,000

215 MIKE BARLOW (1963– ) Slew Foot, 2020 bronze 9/15 22 x 30 x 14 inches inscribed front left: Barlow 9/15 “There is nothing more exciting in nature than a personal experience with a grizzly bear. While sculpting Slew Foot, I am reminded how extremely fortunate I am to live near Yellowstone National Park where there is enough territory for grizzly bears to roam. If you look closely at this sculpture you will notice a wounded heel. This title symbolizes the ability to overcome.” –Mike Barlow PROVENANCE: The Artist $12,000 – $18,000

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216 TUCKER SMITH (1940– ) A Bunch of Bison oil on canvas 16 x 20 inches signed lower left: Tucker Smith 08 PROVENANCE: From a Private Collection $30,000 – $50,000

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217 JOHN CLYMER (1907–1989) In the Dead of Winter oil on board 24 x 36 inches signed lower left: John Clymer verso: titled Widely recognized for recording western history and wildlife in his art, John Ford Clymer was born in Ellensburg, Washington in 1907. Clymer developed an interest in art from a very early age. Following high school, he moved to Vancouver, British Columbia, where he worked as an illustrator and attended art school. In 1930, Clymer attended the Wilmington Academy in Delaware, where he encountered and found inspiration from the illustrator and western artist, N.C. Wyeth. In 1932, Clymer married his childhood sweetheart Doris and moved to Westport, Connecticut to join the artist gathering there. During World War II, Clymer and illustrator Tom Lovell joined the Marines. Stationed in Washington State, they spent their time painting war illustrations. After the war Clymer decided to create historical paintings. In order to accurately depict the West in his work, Clymer researched and traveled throughout the region. In 1966, Clymer and his wife settled down in the quiet western town of Jackson, Wyoming, to better pursue Clymer’s interest in painting local western people and regional wildlife. Clymer received many honors, including the National Academy of Western Art’s Prix de West Award and the National Museum of Wildlife Art’s Rungius Medal. His hometown of Ellensburg, Washington established the Clymer Museum. Clymer’s family generously donated the contents of his studio to the National Museum of Wildlife Art in Jackson Hole, Wyoming. A skilled illustrator and storyteller, Clymer brought his narrative talent to In the Dead of Winter. In this painting Native American hunters pursue bison through deep snow under a winter sun. Depicted with delicate beauty, the scene itself is one of desperate survival. The hunters have the advantage, snowshoes elevating them above the drifts, while the bison desperately attempt to flee. Clymer softens the severity of the subject through his treatment of the stunning landscape—presenting the viewer with winter’s dichotomy. PROVENANCE: Grand Central Art Galleries, New York, NY Private Collection, Cary, NC LITERATURE: Jerry Mason, The American Sportsman, The Ridge Press, Inc, New York, NY, Volume 2, No. 2, Spring 1969, p. 2 & p.38 $150,000 – $250,000

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218 ROBERT BATEMAN (1930– ) Hard Winter oil on board 24 x 36 inches signed lower right: Robert Bateman 1997 verso: titled, signed, dated “Predators and prey have always fascinated people, perhaps because of our ancestry as hunter-gatherers. Most of my paintings re-create scenes I have observed, whether in the savannas of Africa, the tropical rain forests, the desert, temperate forests and fields, or even my own backyard. Most predators are also scavengers—they are opportunists. Bald eagles and ravens hunt and kill for food but they will also feast on a deer that has died from a fall or from winter stress.” –Robert Bateman PROVENANCE: Private Collection, Redlands, CA EXHIBITED: Birds in Art, Leigh Yawkey Woodson Art Museum, Wausau, WI, 1997 (label verso) LITERATURE: Robert Bateman and Nancy Kovac, Bateman New Works, Greystone Books, Vancouver, Canada, illus. p. 64 $12,000 – $18,000

219 JOHN SEEREY-LESTER (1946–2020) Crossing acrylic on canvas 12 x 16 inches signed lower right: Seerey-Lester © X PROVENANCE: From a Private Collection LITERATURE: John Seerey-Lester, Legends of the Hunt-Campfire Tales, Sporting Classics, Columbia, SC, 2013, illus. p. 79 $2,000 – $3,000

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220 ROBERT BATEMAN (1930– ) Antarctic Evening - Humpback Whales acrylic on canvas 48 x 60 inches signed lower right: Robert Bateman 2000 © “It was one of those magical evenings – unplanned and unforgettable. Our ship had been visiting the fascinating capes and bays of the Antarctic Peninsula. We had witnessed spectacular landscapes of mountains and glaciers and had crammed in visits to clamoring penguin colonies populated with tens of thousands of birds. Normally, after dinner, the vessel would be steaming on to the next day’s destination but the timing in this case meant that we had a few hours to spare. The sea was like glass and on the spur of the moment the expedition leader decided to lower the Zodiac inflatables so that those who wished it could have a peaceful, almost private tour among the ice floes and bergs. The long polar twilight turned the sky and sea into a lavish and changing display of color. The ocean was so calm it was as if we were suspended in an undulating spectrum. The great bergs towered above us as sculpted mountainous islands from some ancient fairy tale. These waters are rich in nourishment not only for penguins and seals but for numerous whales. Giant humpback whales would be mere specks in comparison. We had been seeing humpbacks almost daily so I added a couple of the world’s largest animals as contrast for the majestic ice scape; we did not actually see them that evening but they could have been there. The next day we had the thrill of a lifetime when one ‘spy hopped’ a few feet from our Zodiac. Its encrusted face poised vertically, examining us for several long moments.” –Robert Bateman PROVENANCE: Private Collection, Redlands, CA EXHIBITED: Robert Bateman: Diversities, Everard Read, Johannesburg, South Africa, 2000 LITERATURE: Robert Bateman, Robert Bateman: Diversities, Everard Read, Johannesburg, South Africa, illus. p. 22 $50,000 – $75,000 — 115 —


221 BOB KUHN (1920–2007) Bedded Buck acrylic on masonite 12 x 24 inches signed lower left: kuhn verso: titled PROVENANCE: Read Stremmel Gallery, San Antonio, TX (label verso) From the Collection of Bob and Curtice McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 102-103 $20,000 – $30,000

222 KENNETH BUNN (1938– ) The Vantage Point bronze 4/21 24 ½ inches high inscribed along base: © Bunn 1997 4/21 PROVENANCE: From a Private Collection $15,000 – $25,000 — 116 —


223 BOB KUHN (1920–2007) No Free Lunch, 2002 acrylic on masonite 24 x 48 inches signed lower left: Kuhn 2002 verso: signed and dated “Animals in dynamic action have a large measure of appeal, but so have animals in repose. In terms of livability I would tend to favor the less violent aspects of animal behavior but many people who collect my paintings respond to the action arrangements which are usually included in any representative group work. One might liken this interest in the baroque interplay of animal forms to the attitude of music lovers to the virtuoso embellishments of a soloist. It is regarded as a proof of skill. And, truth to tell, it is…What I am trying to suggest is that all aspects of animal activity deserve the attention of the artist.” –Bob Kuhn PROVENANCE: The Artist From the Collection of Judson Charles Ball and Nancy Sue Ball Private Collection, Nashville, TN $50,000 – $75,000

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JOHN COLEMAN (1949- )

John Coleman is a multi-faceted artist working proficiently in the genres of sculpture, oils and charcoal. His love of history and philosophy have enabled him to develop a profound connection to the subjects he portrays. Born in Southern California, Coleman studied at the Art Center for Design in Los Angeles. Sculpting full time since 1994, John was voted into professional membership of The National Sculpture Society of New York in 1999 and joined the Cowboy Artists of America in 2001. Always an advocate for traditional art, John was pleased to demo at the first FACE event held in Miami Beach, Florida in 2018. The Fine Art Conference & Expo (FACE) was a gathering of talented artists from around the world whose purpose is to bring focus back to traditional art. In discussing his artistic process, Coleman says, "I am fascinated how music can convey a mood without lyrics and have often thought sculpture lends itself to that idea. I have always loved history and mythology and feel they are the lyrics to my sculpture; the musical interpretation that engages the emotions. Just as music has a beginning, a middle and an end, so does sculpture. I like to tell stories in my work using metaphors that help explain who we are and from where we came. Creating an object means little to me unless I can portray an underlying emotion or analogy. Each piece tells a story in the three dimensional, a visual mythology written by my hands and spiritual imagination, somehow linking us to the past and bringing us to a greater understanding of our ancestors." John served as president of the Cowboy Artists of America and has served on the board of The National Sculpture Society in New York City. In his hometown of Prescott, AZ John has served on the board of The Preservation Commission, The Phippen Museum and is a current board member of The Granite Mountain Hotshot Memorial Partnership.

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224 JOHN COLEMAN (1949– ) Mystic Smoke and Sacred Arrows bronze 35/35 35 x 16 x 15 inches inscribed lower front: “MYSTIC SMOKE AND SACRED ARROWS” JOHN COLEMAN CA © 2010 35/35 “Mystic Smoke and Sacred Arrows was inspired by a Mandan ritual George Catlin witnessed in the 1830’s. By draw, a group of young men were chosen to take turns staking their personal medicine and reputation on their ability to bring rain to the drought stricken Mandan people. Once this process started, there was no end until the rain came. This type of ceremony was performed by other tribes as well; the use of sweet grass and sage burned to create a smudge or mystic smoke that carried their prayers to the Great Spirit was not uncommon. In the ceremony that Catlin witnessed, the young mens’ techniques varied with the exception of the use of smoke. After several days, the man who was successful by using the mystic smoke and a sacred arrow pierced the clouds, bringing an end to the drought.” –John Coleman PROVENANCE: From a Private Collection $20,000 – $30,000

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225 JOHN COLEMAN (1949– ) Wahktageli, Big Soldier bronze 17/35 30 x 14 x 11 inches inscribed center verso: WAHKTAGELI THE BIG SOLDIER BODMER-CATLIN SERIES JOHN COLEMAN CA © 2005 17/35 “Wahktageli, also known as Big Soldier to the Missouri traders, was a Yankton (Nakota) Sioux Chief who was over six and a half feet tall. About 60 years old when Bodmer painted his portrait in 1833, Big Soldier posed for two days and smoked the pipetomahawk he was holding from time to time. I was inspired by this painting not only because of his unusual height, but also because of the early headdress Big Soldier was wearing. Made from the long feathers of birds of prey they were tied to his hair and presented an image very different from the more contemporary fashion seen in photography after the 1870’s.” –John Coleman PROVENANCE: From a Private Collection $15,000 – $25,000 — 120 —


226 JOHN COLEMAN (1949– ) He Who Jumps Over Every One bronze 20/20 23 x 15 x 12 inches inscribed lower left: “HE WHO JUMPS OVER EVERY ONE” - CROW CHIEF-1832 “CATLIN SERIES” JOHN COLEMAN 20/20 CA © 2016 PROVENANCE: From a Private Collection

227 JOHN COLEMAN (1949– ) Four Bears

$12,000 – $18,000

bronze 29/50 14 ½ x 8 x 4 ½ inches inscribed lower verso: “FOUR BEARS” © 2009 JOHN COLEMAN 29/50 CA PROVENANCE: From a Private Collection $4,000 – $6,000

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228 JOHN COLEMAN (1949– ) 1876, Gall - Sitting Bull - Crazy Horse bronze 5/5 55 x 96 x 36 inches inscribed front center: “1876” GALL - SITTING BULL - CRAZY HORSE © 2011 JOHN COLEMAN CA 5-5 “My sculpture titled 1876 depicts who is considered to be some of the most important principals involved in the battle of Little Bighorn. Gall led some of the early charges and it is said that Crazy Horse led the decisive charge that killed Custer. Although Sitting Bull did not participate in the battle, it was his dream of a great victory during a vision quest that brought the Indians together at Little Bighorn. I was told by my guide at the Memorial Site of the many advantages that the Indians had over the Cavalry. Most notable I think was the repeating Winchesters possessed by the Indians, like the one Crazy Horse is holding, as opposed to the Cavalry’s single shot rifles. In contrast to that, it is said that Gall carried only his axe into battle; as a way, perhaps, of avenging the death of his family who were killed by the Cavalry at an earlier date.” –John Coleman PROVENANCE: From a Private Collection $80,000 – $120,000

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229 JOHN COLEMAN (1949– ) Into the Unknown bronze 35/35 13 x 12 x 8 inches inscribed lower front: JOHN COLEMAN © 2010 “INTO THE UNKNOWN” 35/35 “There is perhaps no better symbol or metaphor for courage than that of teenage Sacagawea carrying her baby while accompanying Lewis and Clark and the Corps of Discovery on their journey to a new world. My portrayal is that of Sacagawea and her baby on the precipice of the known world. She tentatively gazes on what lies ahead before commencing her historic journey as a guide Into the Unknown.” –John Coleman PROVENANCE: From a Private Collection $4,000 – $6,000

230 JOHN COLEMAN (1949– ) Iron Sharpens Iron bronze 35/35 14 x 10 x 11 inches inscribed lower front: “IRON SHARPENS IRON” © 2008 JOHN COLEMAN CA 35/35 “In the culture of the Plains Indians some 150 years ago, a boy would be introduced to the bow and arrow very early in his life. Helping him to understand the rudimentary process of correctly fitting the arrow to the bow, a father kneels over his young son and the scene is that of bonding and affection between the two. As my sculpture depicts this event, it also lends itself to an even bigger story. The deeper side is that the bow and arrow represent food and protection for the whole tribe. For these early Indians, the process of mentoring related directly to the survival and prosperity of the people. Together, this very young boy and his father create equilibrium where the skill and knowledge of the boy will not only impact the teacher, but the rest of the tribe as well. For in this sculpture, the boy represents the future, his father and mentor the present, here they are equals: Iron Sharpens Iron.” –John Coleman PROVENANCE: From a Private Collection $4,000 – $6,000

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231 JOHN COLEMAN (1949– ) Pachtuwa-Chta, Arikara Warrior bronze 14/35 32 x 11 x 11 inches inscribed lower front: “PACHTUWACHTA ARIKARA” BODMER-CATLIN SERIES © 2010 JOHN COLEMAN 14/35 “Pachtuwa was introduced to Prince Maximilian and Karl Bodmer by Mato-Tope, one of the chiefs of the Mandan tribe in 1834. Pachtuwa-Chta had been living peacefully with the Mandan. Described as a tall, handsome man, Pachtuwa-Chta was characterized as someone who couldn’t be counted on and described as a man who had killed many white men. He posed for Bodmer wearing a beautiful red buffalo robe and heavily beaded leggings and moccasins and carried in the crook of his arm a gunstock type war club. In exchange for his portrait, Pachtuwa-Chta accepted a picture of a bear in which Maximilian painted the bear and Bodmer provided the background.” –John Coleman PROVENANCE: From a Private Collection $15,000 – $25,000 — 125 —


232 JOHN COLEMAN (1949– ) Honeymoon at Crow Fair bronze 20/20 24 x 18 x 7 ½ inches inscribed front center: HONEYMOON AT CROW FAIR JOHN COLEMAN © 2012 CA 20/20 “The idea for Honeymoon at Crow Fair first came to me when I purchased an antique parasol. Some of my favorite historic Native American imagery includes pictures of a warrior, dressed in regalia associated with doing battle, and is also holding what we consider today to be a symbol of femininity; the parasol. Seeing this always makes me smile, but when you understand the practicality of portable shade for a man living on the Plains, and that some of these men were very flamboyant, it makes a lot of sense. The perfect vehicle I felt to explore my parasol idea was to create a piece depicting a couple from the early 1900’s participating in the annual Crow Fair Parade on the Crow Agency and introducing themselves to their people for the first time as newlyweds.” –John Coleman PROVENANCE: From a Private Collection $15,000 – $25,000

233 JOHN COLEMAN (1949– ) Sunrise Dance

234 JOHN COLEMAN (1949– ) Walks in Beauty

charcoal on paper 17 ¾ x 11 ¾ inches (sight) signed lower left: “SUNRISE DANCE” John Coleman- © 2012 CA

bronze 20/20 21 x 18 x 10 inches inscribed lower verso: WALKS IN’ BEAUTY JOHN COLEMAN © 2013 20/20

PROVENANCE: Midland Gallery, Midland, TX (label verso) From a Private Collection

PROVENANCE: From a Private Collection

$8,000 – $12,000

$8,000 – $12,000 — 126 —


235 JOHN COLEMAN (1949– ) Bringing the Buds to Life bronze 35/35 29 x 10 x 10 inches inscribed lower front: “BRINGING THE BUDS TO LIFE” © 2010 JOHN COLEMAN 35-35 CA “Many of the Pueblos share in the same types of ceremonies. The summer Corn Dance begins in the privacy of the Kiva where the super naturals bestow promises. When the time is right, the dance moves outside to the Plaza. Taking the dance into the light of day, the promises made in the Kiva for the germination and growth of the crops are made known to the world through the song and gesture of the dancer. Here, a Santa Clara child through her rhythm and movement is ‘Bringing the Buds to Life.’” –John Coleman PROVENANCE: From a Private Collection $5,000 – $7,000

236 JOHN COLEMAN (1949– ) Little Hopi Clowns bronze 35/35 19 x 10 x 8 inches inscribed lower verso: LITTLE HOPI CLOWNS JOHN COLEMAN 35/35 © 2011 CA “A Little girl holds a wooden figure; both are wearing a shaft of corn husk ribbons which identifies them as Hopi Clowns or Kwirena. Unlike Koshari, who are the summer clowns, Kwirena are involved in winter ceremonies and associated with the germination of corn. Hopi Clowns usually provide comic relief during some ceremonies such as playing practical jokes or mocking members of the tribe.” –John Coleman PROVENANCE: From a Private Collection $4,000 – $6,000

237 JOHN COLEMAN (1949– ) Mini Poka, The Favorite Son bronze 35/35 22 ½ x 7 x 5 inches inscribed lower right: JOHN COLEMAN CA © 2011 35/35 inscribed lower center: “MINI POKA THE FAVORITE SON” “The Blackfeet had a special class of children they called Mini Poka. This literally translates to ‘child of plenty.’ My sculpture represents a little boy who belongs to this special group of children. I’ve portrayed him at his shield transfer, wearing accoutrements of the ceremony including a coup stick and traditional Blackfeet standup bonnet.” –John Coleman PROVENANCE: From a Private Collection $3,000 – $5,000 — 127 —


238 JOHN COLEMAN (1949– ) Glories Past bronze 23/35 16 x 13 x 12 ½ inches inscribed lower front: “GLORIES PAST” ©2009 JOHN COLEMAN 23/35 CA PROVENANCE: From a Private Collection $5,000 – $7,000

239 JOHN COLEMAN (1949– ) The Guardian bronze 35/35 25 ½ x 22 x 12 inches inscribed lower verso: © JOHN COLEMAN 2007 35/35 CA “THE GUARDIAN” “The Guardian is based on a warrior named Red Thunder. He was the son of Black Moccasin, chief of the Hidasta who had a reputation as a diplomat and was reported to be the first to greet Lewis and Clark on their journey west. Red Thunder was known as a true warrior. I have portrayed Red Thunder holding an 18th century Springfield flintlock and a bow and arrow. Given the efficiency of the bow and the time it took to reload the muzzle of a rifle, it was common practice to carry both.” –John Coleman PROVENANCE: From a Private Collection $7,000 – $10,000

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240 JOHN COLEMAN (1949– ) Leader of Men bronze 20/20 24 x 19 x 18 inches inscribed lower verso: “LEADER OF MEN” 20/20 JOHN COLEMAN © 2013 CA PROVENANCE: From a Private Collection $12,000 – $18,000

241 JOHN COLEMAN (1949– ) Mr. Delegate bronze 35/35 18 x 7 x 8 inches inscribed lower verso: “MR DELEGATE” JOHN COLEMAN © 2010 35/35 CA “A tactic that the US Government used in hopes of placating the Indian Nations was to bring successive groups of their Chiefs to Washington to impress them with the strength and wealth of the US Government. Although these diplomatic trips were of little help to either side, they became fairly common and some of the Indian delegates enjoyed bringing home with them mementos that represented culture in Washington DC. My sculpture depicts one of these delegates wearing his souvenir, the ultimate symbol of white man’s Washington culture.” –John Coleman PROVENANCE: From a Private Collection $5,000 – $7,000

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242 EDWARD S. CURTIS (1868–1952) Chief of the Desert orotone 13 ½ x 10 ½ inches (sight) signed lower right: CURTIS lower left: © verso: titled PROVENANCE: The Curtis Studio, Seattle, WA (label verso) From a Private Collection $15,000 – $25,000

243 EDWARD S. CURTIS (1868–1952) Set of Three (Nespilim Man, A Mixed-Blood Coast Pomo, Piopio-Maksmaks-Wallawall) photogravure 15 ½ x 11 ¼ inches (each) PROVENANCE: From a Private Collection $3,000 – $5,000 — 130 —


244 BERT GEER PHILLIPS (1868–1956) Chief Touch the Clouds oil on board 11 ¾ x 8 ¾ inches signed lower right: PHillips PROVENANCE: From a Private Collection $15,000 – $25,000

245 NICOLAS DE GRANDMAISON (1892–1978) Untitled (Portrait) pastel on paper 20 ½ x 16 ½ inches signed lower left: de Grandmaison -BanffPROVENANCE: Private Collection, Shillington, PA $10,000 – $20,000

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246 HOWARD TERPNING (1927– ) It’s Been a Long Day oil on canvas 24 x 34 inches signed lower right: © Terpning 76 verso: titled and signed Often referred to as the Storyteller of the Native American, Howard Terpning’s realistic paintings are among the most sought after and acclaimed images ever produced of Native American traditions, customs, and history. In his masterfully created historical works, we see his deep dedication to the accurate, compassionate, and insightful depiction of the Native American culture. Born in Oak Park, Illinois, he attended the Chicago Academy of Fine Art and the American Academy of Art. Terpning then worked in commercial art in Chicago before moving to New York City where he had a successful career as a commercial illustrator for magazines and movie posters. In 1977, Terpning moved to Tucson, Arizona to document Native American culture and the America West. Two years later, he was elected to the National Academy of Western Art as well the Cowboy Artists of America. Over the last four decades, his remarkable career has been recognized with every top award in western art including countless Gold Medals from the Cowboy Artists of America, two Prix De West Purchase Awards from the National Cowboy and Western Heritage Museum, the Hubbard Award for Excellence and the Lifetime Achievement Award from the Autry National Center of the American West. In It’s Been a Long Day Terpning depicts a Native American leading his horse through the snow. Golden hour shadows flicker across the scene, indicating that they are running out of daylight. Remnants of snow remain on the knees of the man and all the way up to the horse’s belly, proof that it has indeed been a long day and they’ve come a long way. PROVENANCE: May Gallery, Jackson, WY Private Collection, Jackson, WY $200,000 – $300,000

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247 MARTIN GRELLE (1954– ) Sixes Born and Raised oil on canvas 28 x 28 inches signed lower right: (cross) MARTiN GRELLE ©2012 CA verso: titled, signed, dated PROVENANCE: Cowboy Artists of America, National Cowboy and Western Heritage Museum, Oklahoma City, OK (label verso) Private Collection, Jackson, WY $20,000 – $30,000

248 BRUCE GREENE (1953– ) Storm on the Plains bronze 2/5 35 x 43 x 43 inches inscribed right: Bruce R. Greene 12 2/5 CA PROVENANCE: From a Private Collection $8,000 – $12,000 — 134 —


249 BRUCE GREENE (1953– ) Loops for Horses and Men Their Courses Fly oil on canvas 36 x 60 inches signed lower right: Bruce R. Greene CA © 10 PROVENANCE: From a Private Collection $20,000 – $30,000

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250 GARY LYNN ROBERTS (1953– ) JR’s Coffee Shop, 2020 oil on canvas 24 x 36 inches signed lower right: Gary Lynn Roberts ©

“Some things are timeless, like the warm invitation of a local cafe on a cold wet day. In this painting I wanted to depict that special feeling of finding comfort in sharing a fresh cup of coffee in a cozy cafe with dear friends or loved ones. When traveling throughout the Northwest I have always appreciated these times in my life, and I hope the viewer will also.” –Gary Lynn Roberts

PROVENANCE: The Artist $15,000 – $25,000

251 BRUCE GREENE (1953– ) Where the Ponies Come to Drink bronze 2/7 35 x 40 ½ x 18 inches inscribed right verso: Bruce R. Greene CA 2/7 PROVENANCE: From a Private Collection $8,000 – $12,000 — 136 —


252 CHRIS OWEN (1967– ) Back to your Momma oil on canvas 36 x 46 inches signed lower right: Chris OWEN PROVENANCE: Trailside Galleries, Jackson, WY From a Private Collection $20,000 – $30,000

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253 ROBERT ABBETT (1926–2015) Blue Stem Pointer, 2006 oil on board 9 x 12 inches signed lower left: abbett verso: signed and dated PROVENANCE: From a Private Collection $6,000 – $9,000

254 ROBERT ABBETT (1926–2015) German Shorthaired Pointer, 1980 oil on board 16 x 20 inches signed lower left: abbett © 1980 verso: titled, signed, dated PROVENANCE: Altermann Galleries, Santa Fe, NM (label verso) From a Private Collection LITERATURE: Robert Abbett, A Season for Painting: The Outdoor Art of Robert K. Abbett, Collectors Covey, Dallas, TX, illus. p. 75 $6,000 – $9,000

255 CONRAD SCHWIERING (1916–1986) Autumn Sentinels oil on board 30 x 36 inches signed lower right: Schwiering (artist cipher) © verso: titled PROVENANCE: From the Collection of Mr. Raymond J. Minella $8,000 – $12,000

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256 ARTHUR BURDETT FROST (1851–1928) Fall Shooting watercolor and gouache on paper 14 ½ x 19 inches (sight) signed lower left: A.B. FROST. PROVENANCE: The Sporting Gallery and Bookshop, New York, NY (label verso) Kennedy Galleries, New York, NY (label verso) From a Private Collection $20,000 – $30,000

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257 RICHARD SCHMID (1934– ) White Begonias oil on canvas 12 x 20 inches signed lower right: Schmid verso: titled, signed, dated PROVENANCE: From the Collection of Bob and Curtice McCloy LITERATURE: Richard Schmid, My Still Life Art, Stove Prairie Press, Hollis, NH, 2019, illus. p. 70 $20,000 – $30,000

258 KEN CARLSON (1937– ) Green Wing Teals oil on board 8 x 16 inches signed lower left: CARLSON PROVENANCE: From the Collection of Bob and Curtice McCloy $5,000 – $7,000

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259 G. HARVEY (1933–2017) Central Park South, 1988 oil on canvas 50 x 30 inches signed lower right: G. Harvey - © 1988 verso: titled, signed, dated PROVENANCE: Private Collection, Gladewater, TX LITERATURE: Gerald Harvey Jones, The Golden Era: A Celebration of Light, Somerset House Publishing, Fulshear, TX, 1990, illus. p. XVI Gerald Harvey Jones, The Golden Era: The American Dream, Somerset House Publishing, Fulshear, TX, 1992, illus. p. XVI $125,000 – $175,000 — 141 —


260 MORGAN WEISTLING (1964– ) Missing You oil on canvas 25 x 24 inches signed lower right: MORGAN WEISTLING 2002 © verso: titled, signed, dated PROVENANCE: The Artist Trailside Galleries, Scottsdale, AZ From the Collection of Raymond & Marydel Harris $15,000 – $25,000

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261 MORGAN WEISTLING (1964– ) Apples and Oranges oil on canvas 34 x 50 inches signed lower right: MORGAN WEISTLING 2002© PROVENANCE: The Artist Trailside Galleries, Scottsdale, AZ From the Collection of Raymond & Marydel Harris $40,000 – $60,000

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262 GEORGE HALLMARK (1949– ) The Torn Sack oil on canvas 48 x 60 inches signed lower right: © Hallmark verso: titled, signed, dated PROVENANCE: Trailside Galleries (label verso) {Jackson Hole Art Auction, 2014, Lot 135} From the Collection of Mr. Ken Guddal $30,000 – $50,000

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263 JOANN PERALTA (1967– ) Spanish Shawl II oil on canvas 26 x 36 inches signed lower left: JOANN PERALTA verso: titled, signed, dated PROVENANCE: The Artist From a Wyoming Collection $8,000 – $12,000

264 RICHARD SCHMID (1934– ) Bettina conte crayon on panel 28 x 20 inches signed lower right: Schmid verso: titled, signed, dated PROVENANCE: From the Collection of Bob and Curtice McCloy $4,000 – $6,000

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265 ALBERT BIERSTADT (1830–1902) Western Landscape oil on paper on board 6 ¾ x 9 ¾ inches signed lower left: ABierstadt. PROVENANCE: From a Private Collection $12,000 – $18,000

266 LANFORD MONROE (1950–2000) Winter Wheat oil on canvas 24 x 36 inches signed lower right: Lanford Monroe PROVENANCE: Gerald Peters Gallery, Santa Fe, NM (label verso) From a Private Collection LITERATURE: R.E.C. Thompson, Homefields: The Art of Lanford Monroe, Sporting Classics & Islet Bay Press, Canada, 2007, illus. p.170-171 $8,000 – $12,000

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267 ALFRED WILLIAM LAMBOURNE (1850–1926) Rio Virgen - Southern Utah, 1877 oil on canvas 22 x 35 inches signed lower right: AL. 1877 verso: titled, signed, dated PROVENANCE: From a Private Collection $8,000 – $12,000

268 GUNNAR WIDFORSS (1879–1934) Sunlit Grove oil on panel 23 ½ x 16 ½ inches signed lower left: Widforss. PROVENANCE: From a Private Collection $8,000 – $12,000

269 ALBERT BIERSTADT (1830–1902) Old North Church at Sunset oil on paper on board 4 ½ x 7 ¼ inches initialed lower right: AB PROVENANCE: From a Private Collection $12,000 – $18,000 — 147 —


270 ALBERT BIERSTADT (1830–1902) Blue Butterfly, 1898 oil and pencil on paper 5 ½ x 9 ¼ inches (sight) signed lower right: Albert Bierstadt with love for Jane 09/98 PROVENANCE: From a Private Collection $12,000 – $18,000

271 EMIL BISTTRAM (1895–1976) City Structures, 1957 oil on masonite 38 ⅝ x 32 inches signed lower right: (artist cipher) BISTTRAM 57 PROVENANCE: From the Collection of Mr. Scott Anger $10,000 – $15,000 — 148 —


272 VICTOR HIGGINS (1884–1949) Untitled watercolor on paper 15 x 20 ¼ inches signed lower left: VICTOR HIGGINSPROVENANCE: From a Private Collection $15,000 – $25,000

273 FRANK TENNEY JOHNSON (1874–1939) Marine Sketch oil on masonite 9 ½ x 11 ½ inches signed lower left: Frank Tenney Johnson PROVENANCE: ACA American Masters Gallery, Los Angeles, CA (label verso) From the Collection of Mr. Scott Anger $3,000 – $5,000 — 149 —


274 HARRY ADAMSON (1916–2012) Autumn Reverie - Pintail, 1985 oil on canvas 24 x 36 inches signed lower left: Harry Curieux Adamson -©1985 verso: titled PROVENANCE: From a Private Collection LITERATURE: Diane K. Inman, From Marsh to Mountain, The Art of Harry Curieux Adamson, DI-LES Books, San Francisco, CA, 1999, illus. p.197 $25,000 – $35,000

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275 STANLEY MELTZOFF (1917–2006) Louisiana Crayfish and Boys, 1966 oil on canvas on board 22 x 25 ¾ inches initialed lower right: SM PROVENANCE: From the Estate of Stanley Meltzoff $8,000 – $12,000

276 STANLEY MELTZOFF (1917–2006) Jacks 2 - Jacks and Squid oil on canvas on board 20 x 24 (oval sight) inches initialed lower left: SM verso: titled, signed, dated PROVENANCE: From the Estate of Stanley Meltzoff $12,000 – $18,000

277 STANLEY MELTZOFF (1917–2006) Bluefish 3 - Blues and Sand Eels in Surf oil on canvas on board 14 x 32 inches initialed lower left: SM verso: titled and signed PROVENANCE: From the Estate of Stanley Meltzoff $6,000 – $9,000 — 151 —


278 KEN CARLSON (1937– ) Monarchs of the Tundra oil on board 12 x 24 inches signed lower right: CARLSON PROVENANCE: From a Private Collection $10,000 – $15,000

279 BONNIE MARRIS (1951– ) Forest Voices oil on canvas 30 x 48 inches signed lower right: BLMarris PROVENANCE: Trailside Galleries, Jackson, WY From a Private Collection $18,000 – $24,000 — 152 —


280 LUKE FRAZIER (1970– ) Autumn Royalty oil on board 48 x 60 inches signed lower left: l. frazier lower right: ©11 verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $25,000 – $35,000

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281 DANIEL SMITH (1954– ) Strike Zone acrylic on board 22 x 39 inches signed lower left: Smith ©01 PROVENANCE: Private Collection, Redlands, CA $8,000 – $12,000

282 DANIEL SMITH (1954– ) When Paths Cross acrylic on board 22 x 44 inches signed lower left: Smith © verso: titled, signed, dated PROVENANCE: Private Collection, Redlands, CA $10,000 – $15,000

283 STEVE BURGESS (1960– ) Inquisitive, 2020 oil on board 36 x 30 inches signed lower right: Steve Burgess “To me the wolf epitomizes the American wilderness and is one of my favorite animals to paint. I will often paint wolves in a painting showing their environment but in this painting I wanted to concentrate on the light and the animals eyes, the ‘soul’ of the wolf. Showing just a little of the wolf ’s surroundings I hope to concentrate the viewer’s eyes on the wolf itself.” –Steve Burgess PROVENANCE: The Artist $8,000 – $12,000

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284 BONNIE MARRIS (1951– ) Family Reunion, 2020 oil on canvas 48 x 36 inches signed lower right: BLMarris “Wolves are all about family. The joy when one or two return to the pack from a journey is a celebration! Greetings with tongues, tails and smiles!” –Bonnie Marris PROVENANCE: The Artist $18,000 – $24,000

285 BONNIE MARRIS (1951– ) Wet ‘N Wild oil on canvas 24 x 36 inches signed lower right: BLMarris © PROVENANCE: The Artist Trailside Galleries, Jackson, WY From a Private Collection $10,000 – $15,000

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286 KEN CARLSON (1937– ) Touched by the Sun oil on board 20 x 24 inches signed lower left: CARLSON PROVENANCE: The Artist From a Wyoming Collection $10,000 – $15,000

287 VERYL GOODNIGHT (1947– ) High Country Summer bronze 13/25 44 x 38 x 12 inches inscribed front left: VERyl GoodNight 2002© 13/25 PROVENANCE: From a Wyoming Collection $5,000 – $7,000

288 CLYDE ASPEVIG (1951– ) Wyoming Hillside oil on board 16 x 20 inches signed lower left: C ASPEVIGPROVENANCE: From the Collection of the Thomas and Alice Lindblom Estate $5,000 – $7,000

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289 BILL ANTON (1957– ) A Fresh Grizzly Track oil on linen on board 36 x 48 inches signed lower right: Bill Anton verso: titled, signed, dated PROVENANCE: From a Private Collection $20,000 – $30,000

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290 KEN CARLSON (1937– ) Coral Ridge oil on board 20 x 30 inches signed lower right: CARLSON PROVENANCE: The Artist $18,000 – $24,000

291 MIKE BARLOW (1963– ) Whitetail Deer bronze AP 15 x 47 x 10 inches inscribed center verso: Michael Barlow AP PROVENANCE: From a Private Collection $12,000 – $18,000

292 MIAN SITU (1953– ) Twilight Crossing oil on canvas 24 x 36 inches signed lower right: Mian Situ PROVENANCE: The Artist From a Wyoming Collection $8,000 – $12,000 — 158 —


293 RALPH OBERG (1950– ) Above it All? oil on linen 42 x 42 inches signed lower left: oberg. verso: titled and signed PROVENANCE: The Artist {Jackson Hole Art Auction, Jackson, WY, 2015, Lot 149} Private Collection, Jackson, WY $12,000 – $18,000

294 CARL BRENDERS (1937– ) Indian Summer mixed media on paper 28 x 39 ½ inches signed lower right: ©CBrenders 1999 PROVENANCE: From a Wyoming Collection $12,000 – $18,000

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295 LUKE FRAZIER (1970– ) Cat Nap oil on masonite 12 x 24 inches signed lower right: L. Frazier dated lower left: © 05 verso: titled, signed, dated PROVENANCE: From a Private Collection $3,000 – $5,000

296 KATHRYN MAPES TURNER (1971– ) Holding Space oil on canvas 48 x 36 inches signed lower left: K TURNER verso: titled, signed, dated PROVENANCE: From a Private Collection $6,000 – $9,000 — 160 —


297 CONRAD SCHWIERING (1916–1986) Thunder Shower oil on board 20 x 24 inches signed lower left: Schwiering (artist cipher) © PROVENANCE: From a Private Collection $5,000 – $7,000

298 JIM WILCOX (1941– ) Jackson Lake oil on canvas 40 x 60 inches signed lower center: JIM WILCOX_©85 NWR PROVENANCE: From the Collection of Mr. Raymond J. Minella $12,000 – $18,000

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299 GARY ERNEST SMITH (1942– ) Bison Below the Tetons oil on canvas 52 x 64 inches signed lower right: GARY ERNEST SMITH PROVENANCE: Private Collection, Wilson, WY $10,000 – $20,000

300 CONRAD SCHWIERING (1916–1986) Mountain Glory oil on board 25 x 30 inches signed lower left: Schwiering (artist cipher) © verso: titled PROVENANCE: Estate of Nick Badami, Founder of Park City Resort, Park City, UT $8,000 – $12,000 — 162 —


301 KYLE SIMS (1980– ) Rich Land oil on canvas 32 x 48 inches signed lower right: ksims PROVENANCE: From the Collection of Mr. Lawrence Craig Smith $8,000 – $12,000

302 KENNETH BUNN (1938– ) Bull Moose bronze 5/35 10 ¾ x 13 x 5 inches inscribed left verso: © BUNN 5/35 PROVENANCE: From a Private Collection $5,000 – $7,000

303 JOHN FERY (1859–1934) Sunset on Jackson Lake oil on canvas 18 x 24 inches signed lower right: J. Fery PROVENANCE: Private Collection, Fruit Heights, UT $7,000 – $10,000 — 163 —


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 2021 Auction Save the Date! September 17 & 18, 2021

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 MADISON WEBB, AUC TION DIREC TOR 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 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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INDEX SESSION I: LOTS 1-123 SESSION II: LOTS 124-303

ABBETT, ROBERT Blue Stem Pointer, 253 German Shorthaired Pointer, 254 ADAMSON, HARRY CURIEUX Autumn Reverie - Pintail, 274 AFSARY, CYRUS Mission Bell del Carmel, 52 ANDERSEN, ROY The Red Capote, 64 ANTON, BILL A Fresh Grizzly Track, 289 ASHER, BRIAN Sixes Remuda, 13 Where’s Whiplash?, 14 ASPEVIG, CLYDE Dancing Junipers, 34 Early October, 135 Evening Glow, 35 Hollyhocks, 31 The Storm’s Passing, 134 Wyoming Hillside, 288 BAIZE, WAYNE Cowboy’s Drumbeat, 82 Enjoying the Scenery, 84 Gift of Life, 138 Headin’ Home, 20 The Canyon Trail, 18 Wide, Open Spaces, 10 BARLOW, MIKE Slew Foot, 215 Tanzanian Tango, 168 Whitetail Deer, 291 Wyoming Native, 72 BATEMAN, ROBERT Antarctic Evening - Humpback Whales, 220 By the Roadside - Horned Larks, 94 Hard Winter, 218 BAUMANN, GUSTAVE Talpa Chapel, 149 BERNINGHAUS, CHARLES Rio Grande Gorge, 92 BERNINGHAUS, OSCAR E. Green Aspens, 195 The Hitching Post, 196 The Lookout, 204 BIERSTADT, ALBERT Blue Butterfly, 270 Old North Church at Sunset, 269 Western Landscape, 265 BISTTRAM, EMIL City Structures, 271 BLACKSHEAR, THOMAS Swan Song, 206

BLESSING, MICHAEL The Watchman, 208 BODELSON, DAN Respect, 156 BOREIN, EDWARD Going to the Wagon, No. 1, 3 Going to Town, No. 1, 4 Little Bucking Horse, 5 Sitting Pretty No. 1, 2 The Overland Mail, 1 Untitled (Vaquero), 142 BOREN, JAMES On a Foggy Morning, 8 The Fence Rider, 7 BRENDERS, CARL Indian Summer, 294 BROWNING, TOM Dawn of a New Day (Study), 9 Spring, 157 BUNN, KENNETH Bull Moose, 302 The Vantage Point, 222 BURGESS, STEVE Inquisitive, 283 CARLSON, KEN Coral Ridge, 290 Green Wing Teals, 258 Monarchs of the Tundra, 278 Mule Deer in Early Light, 95 Touched by the Sun, 286 Waterhole Rulers, 188 CASE, RUSSELL Winter in Perry, UT, 78 CASSIDY, MICHAEL Frijole Ranch, 88 CHEEVER, BRUCE Cheyenne Pride, 159 CHRISTENSEN, SCOTT Late September, Star Valley, 137 Miles of Arizona, 176 CLYMER, JOHN Hunting Country, 163 In the Dead of Winter, 217 Lynx Cap, 199 Mountain Man, 198 Moving Down, 197 COLEMAN, JOHN 1876, Gall - Sitting Bull - Crazy Horse, 228 Bringing the Buds to Life, 235 Four Bears, 227 Glories Past, 238 He Who Jumps Over Every One, 226 Honeymoon at Crow Fair, 232

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Into the Unknown, 229 Iron Sharpens Iron, 230 Leader of Men, 240 Little Hopi Clowns, 236 Mini Poka, The Favorite Son, 237 Mr. Delegate, 241 Mystic Smoke and Sacred Arrows, 224 Pachtuwa-Chta, Arikara Warrior, 231 Sunrise Dance, 233 The Guardian, 239 Wahktageli, Big Soldier, 225 Walks in Beauty, 234 COLEMAN, MICHAEL Early Morning Mountain, 113 COLEMAN, NICHOLAS Where the Land Touches the Sky, 207 COMBES, GUY Divine Right of Kings, 48 CORNWELL, DEAN “There stood Jerry Townsend, smoking revolver in hand”, 184 CURTIS, EDWARD S. Chief of the Desert, 242 Set of Three, 243 DAVIS, STAN A Visage of Valor, 60 DE DECKER, THOMAS Evening Sunset, 112 Rocky Mountains, 114 DE GRANDMAISON, NICOLAS Untitled (Portrait), 245 DELANO, GERARD CURTIS Desert Landscape, 123 Navajo Rider, 205 DONAHUE, MIKEL The Bronc Stomper, 140 FAWCETT, JOHN A New Addition, 99 FAY, KEITH The Eagle’s Club, 67 FERY, JOHN Sunset on Jackson Lake, 303 Twin Lake, Brighton, Utah, 90 FRAZIER, LUKE At the Head of Beaver Creek, 189 Autumn Royalty, 280 Cat Nap, 295 Deep in the Woods, 71 High Desert - Mule Deer, 214 The Quickening, 28 FREDERICK, ROD Early Light Breakfast, 74


INDEX SESSION I: LOTS 1-123 SESSION II: LOTS 124-303

FROST, ARTHUR BURDETT Fall Shooting, 256 GAUL, GILBERT General Philip Sheridan, 91 GILL, LUNDA An Old Man with Straw Hat, 42 Dancers, 41 Mongolian, 40 GODFREY, MICHAEL Aspen, Colorado, 70 GOEBEL, ROD Mrs. Baca’s Backdoor, 30 GOLLINGS, WILLIAM Untitled (Cowboys and Horse Herd), 201 GONSKE, WALT First Snow - El Salto, NM, 107 GOODNIGHT, VERYL High Country Summer, 287 Old Maude, 121 GOODWIN, PHILIP Calf, 93 GREENE, BRUCE An Air of Ability, 11 Anchors for Outlaws, 136 Daybreak on the Palo Duro, 104 Dusk on Dutch Canyon, 102 Loops for Horses and Men Their Courses Fly, 249 Somewhere West of Wall Street, 16 Sound, Solid, and Sunny Yellow, 12 Storm on the Plains, 248 Takin’ Flight, 133 The Wagon Fly Incident of ‘98, 179 Where the Ponies Come to Drink, 251 GRELLE, MARTIN Cheyenne Remnants, 213 Lone Crow, 151 Lone Wolf, 165 Peace Medal, 158 Plains Sentinel, 210 Sixes Born and Raised, 247 Storm Delay, 139 Wedding Preparations, 164 HALBACH, DAVID The Blacksmith, 19 HALLMARK, GEORGE The Flower Seller, 33 The Torn Sack, 262 HANSON, ANN A Look Back, 101 HARVEY, G. A Breed Apart, 83 Central Park South, 259 Good Wage Wranglers, 180 The Hunting Shack, 186

HENNINGS, E. MARTIN Twining - Rio Hondo Canyon, 147 Untitled (Coastal Scene), 148 HIGGINS, VICTOR Untitled, 272 HOWELL-SICKLES, DONNA Rubie’s White Bulls, 79 JACKSON, HARRY Pony Express III, 182 JAMES, WILL Too Handy With Front Feet, 89 JOHNSON, FRANK TENNEY Marine Sketch, 273 JOHNSON, RUSS Cape Buffalo, 45 KENWORTHY, JONATHAN Leopard Looking Back, 175 KERR, JOFFA Her Royal Hindness, 80 KRASEMANN, STEPHEN Looking Back, 62 KUHN, BOB A Cry to the Wild, 166 A Little to the Right, 187 Bedded Buck, 221 Elephant, 170 Elephant Illustration, 46 Fox, 192 Grizzly Rubbing Against a Tree, 125 Lion, 174 No Free Lunch, 223 On the Rocks, 173 Red Fox Airborne, 190 Tiger Attack Illustration, 47 Very Good Friends, 167 Winter Chase, 191 KUHNERT, FRIEDRICH WILHELM Tiger Head, 171 LAMBOURNE, ALFRED WILLIAM Rio Virgen - Southern Utah, 267 LAY, AMY Untitled (Moose), 81 LORENZ, RICHARD After a Hot Ride, 202 Chasing the Line, 203 LOVELL, TOM Pawnee Scout, 144 Tossing Dust, 143 MACDONALD, GRANT Autumn Near Embudo, 29 MACSMITH, DAVID Summer Shadows, 69 MANN, PAUL Night Pool, 115

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MARRIS, BONNIE Family Reunion, 284 Forest Voices, 279 Wet ‘N Wild, 285 MATTHEWS, WILLIAM Cowboy on Horse with Cattle, 120 Cowboy with Calf, 122 MCCARTHY, FRANK A Warrior’s Trek, 161 Out of the High Lonesome, 162 Where Tracks are Lost, 160 MCGARRY, PIP Tiger in Water, 50 MCHURON, GREG Hedrick Pond Occupants, 73 MELTZOFF, STANLEY Bluefin Tuna 32 - Tuna Ranching Future, 54 Bluefish 3 - Blues and Sand Eels in Surf, 277 Jacks 2 - Jacks and Squid, 276 Louisiana Crayfish and Boys, 275 Oceanographic Instruments, 56 Sea Bottom Cores: Lamont Labs, 55 MONROE, LANFORD Winter Wheat, 266 MOORE, ROBERT September Aspen II, 24 MORAN, THOMAS Cascade Falls, Yosemite, 194 NEBEKER, BILL Waltzing Across Texas, 177 Weatherin’ the Chores, 103 NORTON, JIM First Snow in the Uintas, 97 Golden Cottonwoods, 15 South of Cody, 109 Sunlight & Blue Bells, 32 The First Snow, 63 The Oaks, 100 OBERG, RALPH Above it All?, 293 OWEN, BILL Voice of Thunder, 141 OWEN, CHRIS Back to your Momma, 252 PARKER, RON Last Light - Cougar, 75 PAXSON, E.S. Signal of Peace, 200 PERALTA, JOANN Spanish Shawl II, 263 PETERS, ANDREW Alpine Summer, 96 PHILLIPS, BERT GEER Chief Touch the Clouds, 244


INDEX SESSION I: LOTS 1-123 SESSION II: LOTS 124-303

POST, HOWARD On the Move, 209 POTTER, JOHN Mooz, 23 PRICE, CLARK KELLEY A Cowboy’s Gold, 22 Mountain Peace, 21 PROCTER, BURT Mid-Day, 132 REYNOLDS, CHARLES Japanese Crabapple, 39 RICH, JASON The Last Gate, 85 The Paint Colt, 106 RIDDICK, R.S. Mountain Blessing Song, 65 Reminiscin’, 105 RILEY, KENNETH Apache Sunset, 155 Cavalryman, 181 Night Watch, 110 Nightfall, 212 The Medal, 152 The Scouts, 211 Untitled (Harbor Scene), 183 Untitled (Mountain Man), 153 Untitled (Tipis), 154 ROBERTS, GARY LYNN JR’s Coffee Shop, 250 RODRIGUEZ, ALFREDO Preparée, 66 ROGERS, HOWARD Nude, 38 This Way Up Guys, 17 Yellowstone Icons, 98 RUBY, CLAIRE Peonies and Plums, 37 RUNGIUS, CARL Alarmed, 124 Dall Sheep, 126 Stampede, 128 The Answer from the Barren, 127 Wyoming Elk, 193 SATTLER, KIRBY Profile of the Winter Bear, 111 Stone Ponies, 61 SCHMID, RICHARD Bettina, 264 White Begonias, 257 SCHWIERING, CONRAD Autumn Sentinels, 255 Homestead, 131 Mountain Glory, 300 Summer Solitude, 130 Thunder Shower, 297

SCOTT, LINDSAY Greeting, 49 SEEREY-LESTER, JOHN Crossing, 219 Firewall, 172 SELTZER, OLAF CARL Untitled (Roping a Grizzly), 146 Untitled (Stagecoach), 145 SHARP, JOSEPH HENRY Aspens, Amizette, Hondo Canyon, Near Taos, 150 SHEPHERD, DAVID Elephants at the Watering Hole, 169 SHUFELT, ROBERT I’m not Your Mama and I Ain’t no Shade Tree Either..., 87 Spring Dust, 86 Wildlife of the American West, 6 SIMS, KYLE Rich Land, 301 SITU, MIAN Laguna Shoreline, 53 Native Girl, 59 Sheepherding, Monument Valley, 178 Twilight Crossing, 292 SMITH, BRETT JAMES Lake Camp, 26 SMITH, DANIEL Strike Zone, 281 When Paths Cross, 282 SMITH, GARY ERNEST Bison Below the Tetons, 299 SMITH, TUCKER A Bunch of Bison, 216 Caribou Study, 77 The Picket Line, Wind River Mountains, 129 SNIDOW, GORDON Remnant of Another Time, 185 SOLBERG, MORTEN E. Wolves, 76 STAVROWSKY, OLEG Dock Scene, 51 STEFAN, ROSS Jose’s Coffee, 108 TERPNING, HOWARD It’s Been a Long Day, 246 THOMAS, RICHARD Escort on the Yellowstone, 68 TUCKER, EZRA Fox, 25 TURNER, KATHRYN MAPES Holding Space, 296 ULLBERG, KENT Pronghorn Pyramid, 27 VENDITTI, JERRY American Home of the Brave, 58

— 167 —

VICKERS, RUSS Return from the Raid, 118 Scouting, 116 Water, 117 WARREN, MELVIN C. Grass and Good Water, 119 WEISTLING, MORGAN Apples and Oranges, 261 Missing You, 260 WIDFORSS, GUNNAR In the Olive Orchard, 36 Sunlit Grove, 268 WILCOX, JIM Jackson Lake, 298 YORKE, DAVID Wisdom of His Fathers, 57 ZHOU, JIE WEI Amy, 44 Candy Stand, 43


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T E RMS A N D CO N D I T I O NS 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 19% of the final bid price of each lot up to and including $500,000, 17% of the excess of the final bid price above $500,000, and 14% 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 22% of the final bid price for each lot up to and including $500,000, 20% of the excess of the final bid price above $500,000, and 17% 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.

9.

a.

All property must be removed by the purchaser at his or her expense not later than (10) business days following the sale, and if it is not so removed, (i) a handling charge of 1% of the total purchase price per month from the tenth day after the sale (until its removal) will be payable to us by the purchaser, with a minimum of 5% of the total purchase price due for any property not so removed within 60 days after the sale, and (ii) we may send the purchased property to a public warehouse for the account, at the risk and expense of the purchaser.

b.

If any applicable conditions herein are not complied with by the purchaser, the purchaser will be in default, and in addition to any and all other remedies available to 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.

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 over $100,000

$100 $250 $500 $1000 $2,500 $5,000 $10,000

S A LE S TA X A recent Supreme Court ruling has led to changes nationwide regarding sales tax laws. In 2018 the Supreme Court of the United States ruled against Wayfair in favor of the state of South Dakota regarding the state’s right to collect sales tax on online purchases from a business without a physical presence in that state. This decision changed the existing status quo and has created a precedent for other states to collect sales tax from businesses without a physical presence in their state. The new laws vary from state to state and require all businesses (not just auction houses) to collect sales tax if they meet a given state’s threshold for an economic nexus. An economic nexus is used in place of a physical presence in the state and can be met by either a total sales amount limit into that state or a total number of individual transactions into that state. Currently the Jackson Hole Art Auction has met the threshold for an economic nexus in the following states: Arizona, Colorado, Connecticut, Kansas, Maryland, Massachusetts, Nebraska, Nevada, New Mexico, Texas, Utah, Washington, and Wyoming. If the purchaser is shipping to any of these states, the Jackson Hole Art Auction is required by law to add the appropriate state and local sales tax to the purchaser’s invoice. The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result the Jackson Hole Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon. Due to the variable nature of auction sales, and the small window in which they occur, the Jackson Hole Art Auction does not yet know if the states not listed above will require sales tax collection, as that will be determined by the total dollar amount sold into each state—which cannot be predicted. The Jackson Hole Art Auction will be tracking these totals live during the sale using tax software, and will strive to inform the purchaser at the time of invoicing if sales tax collection is required; however, it may be necessary to bill for sales tax post-sale if the threshold for an economic nexus in the purchaser’s state is met after the purchaser has paid. Even if the Jackson Hole Art Auction is not required to collect sales tax from the purchaser’s state, unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax per the terms and conditions. If the purchaser has a valid resale certificate, the purchaser will not be required to pay sales tax. Please provide a copy of this certificate at the time of registration for tax compliance.


M A P O F D O W N TO W N J A C K S O N H O L E

TRAILSIDE GALLERIES JACKSON HOLE ART AUCTION (Gallery and Office) SESSION I AND II PREVIEW

Auction Director: Madison Webb Auction Registrar: Megan Harrington Photography: Megan Harrington Accounting: Sandy Toland Catalog Design: Maryvonne Leshe Catalog Essays: Madison Webb Graphic Design: Shane Mieske Printing: O’Neil Printing, 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 © 2020 Jackson Hole Art Auction Limited Co.


Go West. Go Wild. Go Online.

Tom Browning (1949- ), Fading Light, oil on canvas, 24 x 44 inches, Estimate: $15,000-$25,000

Adriano Manocchia (1951- ), A Perfect Moment oil on board, 9 x 13 inches, Estimate: $800-$1,200

Linda St. Clair (1952-2018), Bearfaced, 2011 oil on canvas, 30 x 36 inches, Estimate: $3,000-$5,000

Save the Date: February 20, 2021 Proudly presented by the Jackson Hole Art Auction, the Wyoming Art Auction is an exclusive online sale of exceptional quality! The Wyoming Art Auction specializes in western, wildlife, sporting and landscape art at a range of price points, all available online this winter.

Now accepting consignments for the February 2021 sale. To consign please email info@wyomingartauction.com or call 866-549-9278.


S AT U R DAY, SE P T EM B E R 1 9, 20 20 | 1 2 :00 PM M DT JACK S ON H OLE A R T AU C T I ON | 130 E A ST B R OAD WAY, JACK SO N, W Y 8 3 00 1 | P O B OX 1 56 8 T E LE PH ON E 86 6-549 -92 7 8 | FA X 3 0 7-7 3 2-1 6 00 | JACK SO N H O LE AR TAUC T I O N.CO M © 20 2 0 JACK SO N H O LE AR T AUC T I O N, LLC .


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