Jackson Hole Art Auction Catalog 2021

T R AI L S I DE G ALLE R I E S & G E R A LD PE T E R S G A LLE R Y PR E SE N T

S E S S I O N I • S E P T EM B E R 1 7, 2 0 2 1 | SE S SI ON I I • SE P T E M B E R 18, 2 0 2 1

COVER Lot 192: Howard Terpning (1927- ) Vanishing Pony Tracks, oil on canvas, 60 x 42 inches Estimate: $700,000 – $1,000,000 FRONTISPIECE Lot 189: John Clymer (1907–1989) Buffalo Hunt, oil on board, 20 x 30 inches Estimate: $100,000 – $200,000 BACK COVER Lot 246: Carl Rungius (1869–1959) Above the Treeline, oil on canvas, 30 x 40 inches Estimate: $300,000 – $500,000

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 231: E. Martin Hennings (1886-1956) Untitled, oil on canvas, 30 ¼ x 30 ¼ inches Estimate: $600,000 – $900,000

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

SCHEDULE OF EVENTS

PREVIEWS

Thursday, September 16 | 9:00am – 6:00pm Friday, September 17 | 9:00am – 6:00pm Saturday, September 18 | 9:00am – 11:30am *All artwork available for preview at the Jackson Hole Art Auction 130 East Broadway, Jackson, Wyoming SESSION I

Friday, September 17 Light Lunch | 11:00am Live Auction | 12:00pm SESSION II

Saturday, September 18 BBQ Luncheon | 11:00am Live Auction | 12:00pm *Live Auctions and Luncheons to be held at the Center for the Arts 265 South Cache, Jackson, Wyoming

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) 699-4289

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

2021 JACK SON HOLE ART AUCTION Absentee and phone bidding arrangements must be made by: 5:00pm MDT on September 16 for Session I 5:00pm MDT on September 17 for Session II Telephone bidders are encouraged to leave absentee bids in case of technical difficulties Please direct all inquiries to (866) 549-9278 Register online and view auction results at www.jacksonholeartauction.com Online bidding 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

Lot 217: Bob Kuhn (1920-2007) Stuff of Legends, acrylic on masonite, 22 x 30 inches Estimate: $100,000 – $150,000

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

SESSION I LOT 1 – LOT 1 31 FR I DAY, S E P T EM B E R 1 7 1 2 :00 P M M DT

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

1 JOE BEELER (1931–2006) Range Roping

2 FRANK HOFFMAN (1888–1958) Homesteaders Leaving

pen and ink on paper 10 ½ x 15 inches (sight) signed lower right: JOE BEELER CA

pencil on paper 7 ¾ x 10 ¾ inches (sight) verso: titled, signed, dated

PROVENANCE: The Eddie Basha Collection, Chandler, AZ

PROVENANCE: Private Collection, Center Line, MI

$1,500 – $2,500

$1,000 – $2,000

3 BOB KUHN (1920–2007) Sporting Studies (triptych) mixed media on paper 6 x 6 inches (each) Men Sitting: signed lower left: KUHN Man Shooting: signed lower right: KUHN Men Carrying: signed lower right: KUHN PROVENANCE: From a Private Collection $4,000 – $6,000

— 8 —

4 EDWARD BOREIN (1872–1945) Her Calf etching and drypoint on paper 4 x 9 ⅝ inches signed lower right: Edward Borein PROVENANCE: From a Private Collection, Newport Beach, CA $800 – $1,200

5 EDWARD BOREIN (1872–1945) Saddle Bunch etching and drypoint on paper 3 x 8 ⅛ inches signed lower right: Edward Borein PROVENANCE: From a Private Collection, Newport Beach, CA $800 – $1,200

6 EDWARD BOREIN (1872–1945) Wild Horse Hunters etching and drypoint on paper 6 ⅞ x 11 inches signed lower right: Edward Borein PROVENANCE: From a Private Collection, Newport Beach, CA $1,500 – $2,500

— 9 —

7 JOHN DEMOTT (1954– ) A War Cry in the Night

8 CHARLES RUMSEY (1879–1922) Fighting Horses

oil on board 12 x 9 inches signed lower right: DEMOTT 2009 © verso: signed and dated

bronze 4/25 10 x 11 x 6 ½ inches inscribed front right: C. Rumsey stamped right verso: (foundry stamp) 4/25

PROVENANCE: Private Collection, Denver, CO

PROVENANCE: From a Private Collection

$800 – $1,200

$3,000 – $5,000

9 HARVEY JOHNSON (1921–2005) The Bashful Crow, 1988 oil on board 16 x 12 inches signed lower right: hw- johnson CA ‘88 verso: titled and dated PROVENANCE: The Eddie Basha Collection, Chandler, AZ $1,000 – $1,200

— 10 —

10 CYRUS AFSARY (1940– ) Patrol Men oil on canvas 14 x 18 inches signed lower right: Cyrus Afsary PROVENANCE: {Fredericksburg Art Auction, Fredericksburg, TX, 2015} From a Private Collection $2,000 – $4,000

11 JOE BEELER (1931–2006) Sitting Bull bronze 8/15 14 x 7 x 6 ½ inches inscribed lower verso: No 8 of 15 JOE BEELER CA PROVENANCE: From a Private Collection $1,000 – $2,000

12 HARVEY JOHNSON (1921–2005) Daughter of the Plains, 1987 oil on board 20 x 12 inches signed lower right: hw- johnson CA © 1987 verso: titled and dated PROVENANCE: The Eddie Basha Collection, Chandler, AZ $1,000 – $1,200 — 11 —

13 DAVID HALBACH (1931– ) Gathering for Snake Dance watercolor on paper 9 ⅝ x 15 ⅛ inches (sight) signed lower right: DAVID HALBACH CA © verso: titled and signed PROVENANCE: The Eddie Basha Collection, Chandler, AZ $2,500 – $4,500

14 ORELAND JOE (1958– ) Kiowa Gourd Dancer alabaster 15 x 15 x 9 inches inscribed right verso: OE JOE CA ©’09 PROVENANCE: From a Private Collection $2,000 – $3,000

15 MARJORIE REED (1915–1996) Seven Palms oil on canvas 16 x 20 inches signed lower right: MARJORIE REEDverso: titled PROVENANCE: From the Collection of Mr. Edward C. Cook $1,000 – $2,000

— 12 —

16 DAVID HALBACH (1931– ) Soyoko watercolor on paper 7 ¾ x 15 inches (sight) signed lower right: DAVID HALBACH CA © 09 PROVENANCE: The Eddie Basha Collection, Chandler, AZ $2,500 – $4,500

17 MORRIS RIPPEL (1930–2009) Canyon de Chelly at White House

18 DAVID HALBACH (1931– ) Bound for Feathers

oil on board 10 x 8 inches signed lower left: M. RIPPEL © verso: titled and signed

watercolor on paper 15 ¾ x 11 ¼ inches (sight) signed lower left: DAVID HALBACH CA © ‘03 PROVENANCE: The Eddie Basha Collection, Chandler, AZ

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

$2,000 – $3,000

$2,000 – $3,000 — 13 —

19 ROBERT DUNCAN (1952– ) Mountain Character oil on board 10 x 20 inches signed lower left: RDuncan © verso: titled, signed, dated PROVENANCE: Private Collection, Hailey, ID $1,000 – $2,000

20 JOHN CLYMER (1907–1989) Untitled (Man with Horse) ink on paper 7 x 10 inches signed lower right: John Clymer PROVENANCE: Collection of Paul Weaver (owner of Northland Press Publishing), Flagstaff, AZ To his daughter by descent To present owner, San Diego, CA $2,000 – $4,000

21 JOE BEELER (1931–2006) Touch the Clouds

22 HARVEY JOHNSON (1921–2005) The Trackers, 1972

pastel on paper 17 ¾ x 13 ¾ inches (sight) signed lower right: JOE BEELER CA

oil on board 18 x 24 inches signed lower right: hw- johnson_ CA © ‘72

PROVENANCE: The Eddie Basha Collection, Chandler, AZ

PROVENANCE: The Eddie Basha Collection, Chandler, AZ

$1,500 – $2,500

$2,000 – $3,000 — 14 —

23 DAVID MANN (1948– ) Winter Night oil on board 12 x 16 inches signed lower left: - DAVID MANN PROVENANCE: The Legacy Gallery, Jackson, WY (label verso) From the Collection of Mr. Louis B. Cushman $2,000 – $4,000

24 DAVID HALBACH (1931– ) Indian in Canoe watercolor on paper 6 ⅞ x 13 ⅜ inches (sight) signed lower left: DAVID HALBACH CA © 98 PROVENANCE: The Eddie Basha Collection, Chandler, AZ $1,500 – $2,500

25 JOHN MOYERS (1958– ) Mount Lefroy oil on board 16 x 12 inches signed lower left: JOHN MOYERS - CA verso: titled, signed, dated PROVENANCE: Private Collection, Denver, CO $800 – $1,200

— 15 —

26 JIM NORTON (1953– ) The First Snow oil on canvas 18 x 24 inches signed lower right: Jim C. Norton CA verso: signed PROVENANCE: From the Collection of Ms. Cynthia Nelson $5,000 – $7,000

27 BILL HUGHES (1932–1992) Riverside Encampment, 1979 oil on canvas 24 x 48 inches signed lower left: Hughes 79 PROVENANCE: From a Private Collection $4,000 – $6,000

— 16 —

28 GARY LYNN ROBERTS (1953– ) A Strange Sign oil on canvas 30 x 40 inches signed lower right: Gary Lynn Roberts * © PROVENANCE: North Fork Fine Art, Hunt, TX (label verso) Altermann Galleries, Santa Fe, NM (label verso) {Fredericksburg Art Auction, Fredericksburg, TX, 2015} From a Private Collection $10,000 – $15,000

29 FRED HARMAN (1902–1982) The Intruders oil on canvas 28 x 22 inches signed lower right: © FRED HARMAN (artist cipher) CA verso: titled PROVENANCE: Manitou Gallery, Cheyenne, WY (label verso) Private Collection, Center Line, MI $2,000 – $4,000

— 17 —

30 WILLIAM G. SMITH (1948– ) Fleeing Winter oil on board 30 x 40 inches signed lower left: WG Smith verso: titled, signed, dated PROVENANCE: Mountain Trails Gallery, Jackson, WY (label verso) Private Collection, Jackson, WY $2,000 – $3,000

31 WILLIAM G. SMITH (1948– ) Grand Morning oil on board 36 x 48 inches signed lower left: WG Smith verso: titled, signed, dated 32 GEOFF PARKER (1951– ) Wyoming Winter

PROVENANCE: Mountain Trails Gallery, Jackson, WY (label verso) Private Collection, Jackson, WY

oil on canvas 32 x 24 inches signed lower right: ‘86 G. Parker ©

$3,000 – $5,000

PROVENANCE: From a Private Collection $3,000 – $5,000

— 18 —

33 THOMAS DE DECKER (1951– ) Cathedral Group, 2021

34 THOMAS DE DECKER (1951– ) The Setting of a Peaceful Day, 2021

oil on panel 36 x 36 inches signed lower left: THOMAS dEDECKER verso: titled and signed

oil on panel 40 x 30 inches signed lower left: THOMAS dEDECKER verso: titled and signed

PROVENANCE: The Artist

PROVENANCE: The Artist

$3,000 – $5,000

$3,000 – $5,000

35 JULIE JEPPSEN (1960– ) Wolves oil on canvas 24 x 36 inches signed lower right: Julie Jeppsen © PROVENANCE: From a Private Collection $5,000 – $7,000

— 19 —

36 LANNY GRANT (1953– ) The Coming of Winter

37 DUSTIN VAN WECHEL (1974– ) Sentinel

oil on board 29 ½ x 35 ½ inches signed lower right: LANNY GRANT © 1990 verso: titled and signed

oil on board 14 x 11 inches signed lower left: D VAN WECHEL ‘11 PROVENANCE: From a Private Collection

PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Billings, MT

$2,000 – $3,000

$2,000 – $4,000

38 SKIP WHITCOMB (1946– ) Fall Colors pastel on paper 13 ½ x 12 inches (sight) signed lower right: Whitcomb PROVENANCE: Private Collection, Jackson, WY $1,000 – $2,000

— 20 —

39 GREG BEECHAM (1954– ) Pronghorn oil on canvas 18 x 24 inches signed lower right: g. BEECHAM (artist cipher) © ‘95 verso: signed PROVENANCE: From a Private Collection $3,000 – $5,000

40 JOHN POTTER (1957– ) Something Bruin in the Gallatin oil on linen 12 x 16 inches signed lower right: POTTER --©-PROVENANCE: Private Collection, La Grange, NC $1,500 – $2,500

41 MATT SMITH (1960– ) The Granite Wave oil on board 14 x 18 inches signed lower left: Matt Smith verso: titled, signed, dated PROVENANCE: {Fredericksburg Art Auction, Fredericksburg, TX, 2015} From a Private Collection $1,000 – $2,000

— 21 —

42 JOHN PHELPS (20th/21st century) Disputed Hunting Ground oil on canvas 24 x 36 inches signed lower right: JPhelps (artist cipher) © ‘90 PROVENANCE: From a Private Collection, Jackson, WY $4,000 – $6,000

43 FRANK MCCARTHY (1924–2002) Tough Hombre

44 FRANK MCCARTHY (1924–2002) Horsemen of the West

oil on board 21 ¼ x 13 ¼ inches signed lower right: McCarthy verso: titled

oil on board 20 x 15 inches signed lower left: McCarthy

PROVENANCE: From a Private Collection $3,000 – $5,000

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

— 22 —

45 FRANK MCCARTHY (1924–2002) Untitled (Wagon Train) oil on board 12 ½ x 24 ½ inches signed lower right: McCarthy PROVENANCE: From a Private Collection $7,000 – $10,000

46 HARRY JACKSON (1924–2011) The Marshall III

47 CLARK KELLEY PRICE (1945– ) Untitled (Cowboys in Snow)

bronze 319/1000 10 x 11 ½ x 4 inches inscribed lower left: © Harry Jackson 79 MAIII 319/1000 stamped lower left: WRS ITALIA

oil on board 16 x 20 inches signed lower left: clark kelley price (artist cipher) 78

PROVENANCE: From a Private Collection

PROVENANCE: Private Collection, Hailey, ID $1,500 – $2,500

$1,500 – $2,500

— 23 —

48 JIM CARSON (1942– ) Prospectors of the Wild West, 2021 oil on canvas 46 x 66 inches signed lower right: © Carson 2021 verso: titled and signed “Although some specimens of gold were collected in the territories of North Carolina and Virginia previous to the American Revolution, no excitement about the subject arose until the discovery of gold in California in 1848. After that, stories of easy riches compelled thousands of young men to head west in search of their fortune. To accommodate the ballooning population of prospectors, boomtowns sprung up all across the wild west, Deadwood, Dodge City, and Tombstone, among the most famous.” – Jim Carson PROVENANCE: The Artist $10,000 – $15,000

49 HERB MIGNERY (1937– ) Let Down On bronze 18/20 7 ½ x 10 x 6 ½ inches inscribed right verso: © HERB MIGNERY CA 1985 18/20 PROVENANCE: From a Private Collection $1,000 – $2,000

50 SHEILA COTTRELL (1949– ) Working the Cowhorse oil on canvas 9 x 12 inches signed lower left: COTTRELL PROVENANCE: Private Collection, Paige, TX $1,000 – $2,000

— 24 —

51 DAN METZ (1951– ) Moonlight Passage oil on canvas 24 x 30 inches signed lower right: METZ © verso: titled PROVENANCE: Private Collection, Denver, CO $2,000 – $3,000

52 ROBERT DUNCAN (1952– ) Slow Going oil on board 18 x 36 inches signed lower right: RDuncan © verso: titled, signed, dated PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Hailey, ID $3,000 – $5,000

53 KRYSTII MELAINE (1963– ) Dark Horse oil on board 16 x 12 inches signed upper right: © Krystii Melaine verso: titled and dated PROVENANCE: From a Private Collection $1,500 – $2,500

— 25 —

54 TOM DORR (1950– ) Early Morning oil on canvas 14 x 26 inches signed lower right: TOM DORR PROVENANCE: Private Collection, Paige, TX $1,200 – $1,800

55 FRED HARMAN (1902–1982) The Bronc

56 FRANK MCCARTHY (1924–2002) Riders in the Canyon

oil on canvas 24 x 20 inches signed lower right: © FRED HARMAN CA (artist cipher) verso: titled

oil on board 25 x 15 ¾ inches signed lower left: McCarthy PROVENANCE: From a Private Collection

PROVENANCE: Manitou Gallery, Cheyenne, WY (label verso) Private Collection, Center Line, MI

$3,000 – $5,000

$1,500 – $2,500

— 26 —

57 TOM DORR (1950– ) Last Loop of the Day oil on board 15 x 30 inches signed lower right: TOM DORR PROVENANCE: Private Collection, Paige, TX

58 JOE BEELER (1931–2006) Untitled (Bucking Bronc)

$1,500 – $2,500

watercolor on paper 9 ¾ x 7 ¾ inches (sight) signed lower right: JOE BEELER CA PROVENANCE: The Eddie Basha Collection, Chandler, AZ $1,500 – $2,500

59 EDWARD BOREIN (1872–1945) Untitled (Riders in Valley)

60 FRED FELLOWS (1934– ) Life in the Fast Lane

watercolor on paper 6 x 6 ½ inches (sight) signed lower right: Edward Borein

bronze 16/80 9 x 32 x 11 inches inscribed front right: fellows CA 16/80

PROVENANCE: From a Private Collection, Oceanside, CA

PROVENANCE: From the Collection of Dr. Stephen P. French

$7,000 – $10,000

$2,000 – $4,000

— 27 —

61 JIM NORTON (1953– ) Packing into the Line Camp oil on board 18 x 24 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated PROVENANCE: Private Collection, Paige, TX EXHIBITION: Steamboat Art Museum, Steamboat Springs, CO, December 17, 2010 - April 3, 2011 (label verso) $6,000 – $9,000

62 R.S. RIDDICK (1952– ) Like Father, Like Son charcoal on paper 40 x 30 inches signed lower right: R Riddick CA © 2007 verso: titled PROVENANCE: Prix de West Invitational, National Cowboy Hall of Fame, Oklahoma City, OK (label verso) Private Collection, Ann Arbor, MI {Jackson Hole Art Auction, Jackson, WY, 2018} From a Private Collection $6,000 – $9,000

— 28 —

63 BILL ANTON (1957– ) The Blue Roan

64 HAROLD HOLDEN (1940– ) New Generation

oil on board 10 x 12 inches signed lower left: Bill Anton verso: titled, signed, dated

bronze 2/25 18 ¼ x 23 x 10 inches inscribed left: (artist cipher) HAROLD HOLDEN © 2004 2/25 PROVENANCE: Private Collection, Paige, TX

PROVENANCE: From a Private Collection

$1,500 – $2,500

$2,000 – $4,000

65 JOE BEELER (1931–2006) Wild Cow Hunter

66 ROBERT LOUGHEED (1910–1982) Winter Warmth

watercolor on paper 15 ½ x 11 ½ inches (sight) signed lower right: JOE BEELER

oil on board 12 x 16 inches signed lower right: RE LOUGHEED verso: titled and signed

PROVENANCE: The Wickenburg Gallery, Wickenburg, AZ (label verso) The Eddie Basha Collection, Chandler, AZ $1,500 – $2,500

PROVENANCE: From a Private Collection $3,000 – $5,000 — 29 —

67 DAVID HAGERBAUMER (1921–2014) Grouse in Flight, 1960

68 DOUGLAS VAN HOWD (1935– ) Pintail Duck and First Nevada Decoy

watercolor on paper 12 ½ x 16 ½ inches (sight) signed lower left: David Hagerbaumer 1960

bronze 17/24 21 x 16 x 12 inches inscribed left verso: © Van Howd 17/24

PROVENANCE: Private Collection, Hailey, ID

PROVENANCE: From a Private Collection

$1,500 – $2,500

$2,000 – $3,000

69 GREGORY PACKARD (1970– ) Turkeys at the Edge of a Wood oil on board 12 x 20 inches signed lower left: © (indecipherable) verso: titled and signed PROVENANCE: Astoria Fine Art, Jackson, WY (label verso) From a Private Collection $1,500 – $2,500

— 30 —

70 SKIP WHITCOMB (1946– ) Misty Mount Moran

71 JOE BEELER (1931–2006) Into the North Wind

pastel on paper 13 ½ x 17 ½ inches (sight) signed lower left: Whitcomb

bronze 18/30 20 x 15 x 9 inches inscribed lower right: JOE BEELER stamped lower right: SS 18/30

PROVENANCE: Private Collection, Jackson, WY

PROVENANCE: From a Private Collection

$1,500 – $2,500

$2,000 – $3,000

72 PHILIP R. GOODWIN (1881–1935) Lake Louise, Alberta, 1909 oil on canvas 5 ½ x 8 ¾ inches signed lower right: Philip R. Goodwin ‘09 titled lower left: LAKE LOUISE. ALBERTA PROVENANCE: From a Private Collection $2,000 – $3,000

— 31 —

73 JOHN SEEREY-LESTER (1946–2020) Intrusion oil on board 20 x 24 inches signed lower right: Seerey-Lester © PROVENANCE: Private Collection, Denver, CO $4,000 – $6,000

74 FRANK STICK (1884–1966) Untitled (Wolves) oil on board 25 x 35 inches signed lower left: Frank Stick PROVENANCE: From a Private Collection $5,000 – $7,000 — 32 —

75 JUSTIN PRIGMORE (1974– ) Hunters Along the Firehole oil on canvas 19 x 30 inches signed lower right: Justin Prigmore 76 TERRY ISAAC (1958–2019) Full Steam Ahead

PROVENANCE: The Artist

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

$1,500 – $2,500

PROVENANCE: From a Private Collection $3,000 – $5,000

77 CORY WHEELER (1968– ) Bison bronze 2/7 9 ¼ x 17 ½ x 8 inscribed lower right: ©2009 C WHEELER 2/4 PROVENANCE: From a Private Collection $800 – $1,200

78 JACK (JAC) ELMO KING (1920–1998) Buffalo Herd oil on board 24 x 36 inches signed lower right: Jac King PROVENANCE: From a Private Collection $5,000 – $7,000 — 33 —

79 RYAN SKIDMORE (1971– ) Deep in the Timber (study)

80 RYAN SKIDMORE (1971– ) Ladies in Waiting

oil on board 9 x 12 inches signed lower left: Skidmore verso: titled, signed, dated

oil on board 9 x 12 inches signed lower right: Skidmore verso: titled, signed, dated

PROVENANCE: Collectors Covey, Dallas, TX (label verso) Private Collection, Paige, TX

PROVENANCE: Private Collection, Paige, TX $800 – $1,200

$800 – $1,200

81 TIM SHINABARGER (1966– ) Before the Rush

82 LUKE FRAZIER (1970– ) Moose in the Woods

bronze 24/40 12 x 6 x 14 inches inscribed verso: © Shinabarger 24/40

oil on board 11 ½ x 12 inches signed upper left: L. Frazier dated upper right: © 00 verso: titled, signed, dated

PROVENANCE: Private Collection, Paige, TX

PROVENANCE: Private Collection, Paige, TX

$1,500 – $2,500

$2,500 – $3,500

— 34 —

83 SCOTT CHRISTENSEN (1962– ) September Colors oil on board 12 x 16 inches signed lower left: CHRISTENSEN ©verso: titled and signed PROVENANCE: Private Collection, Paige, TX $1,500 – $2,500

84 LINDSAY SCOTT (1955– ) A Quiet Drink

85 GRANT MACDONALD (1944– ) Sunset Near Velarde (study)

86 KEN ROWE (1954–) The First of Many

oil on canvas 16 ¼ x 6 ¾ inches signed lower left: LINDSAY SCOTT

oil on canvas 18 x 12 inches signed lower left: Grant Macdonald 2000 verso: titled and signed

bronze 2/35 20 ½ x 17 x 11 inches inscribed verso: Rowe © 2013

PROVENANCE: From a Private Collection $1,000 – $2,000

PROVENANCE: Altermann Galleries, Santa Fe, NM (label verso) From a Private Collection $2,000 – $3,000

— 35 —

PROVENANCE: From the Collection of Dr. Joshua Beck $2,000 – $4,000

87 EDWARD ALDRICH (1965– ) Watchers of the Forest oil on canvas 32 x 50 inches signed lower left: Aldrich PROVENANCE: Private Collection, Denver, CO $4,000 – $6,000

88 CARL RUNGIUS (1869–1959) Near Long Lake etching and drypoint 7 ¾ x 10 ¾ inches (plate) signed lower right: C. Rungius.

PROVENANCE: Private Collection, Ocean Ridge, FL LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 17 $4,000 – $6,000

89 T.D. KELSEY (1946– ) Center of Attention bronze 4/5 with mirror 30 ¼ x 52 ¾ x 6 inches inscribed lower left: CENTER OF ATTENTION 1998 © N.Y. 4/5 T.D. KELSEY PROVENANCE: From a Private Collection $3,000 – $5,000

— 36 —

90 STEVE BURGESS (1960– ) Leader of the Pack oil on board 12 x 24 inches signed lower right: Steve Burgess PROVENANCE: From a Private Collection $2,000 – $4,000

91 TIM SHINABARGER (1966– ) Reclining Mountain Lion bronze 30/40 12 x 17 x 6 inches inscribed lower right: © 00 Shinabarger inscribed lower left: 30/40 PROVENANCE: Private Collection, Paige, TX $1,500 – $2,500

92 GREG BEECHAM (1954– ) Bull Elk oil on board 11 x 14 inches signed lower right: G.BEECHAM (artist cipher) ©05 PROVENANCE: From the Collection of Mr. Louis B. Cushman $1,500 – $2,500

— 37 —

93 DAN METZ (1951– ) High Meadow oil on canvas 24 x 30 inches signed lower right: METZ © verso: titled PROVENANCE: Private Collection, Denver, CO $3,000 – $5,000

94 RUSSELL CASE (1966– ) The High Country

95 ALAN WOLTON (1934– ) The Grand

oil on canvas 24 x 20 inches signed lower right: G. Russell Case verso: titled, signed, dated

oil on canvas 24 x 20 inches signed lower right: ALAN WOLTON

PROVENANCE: From a Private Collection $5,000 – $7,000

PROVENANCE: From a Private Collection $1,500 – $2,500 — 38 —

96 GUNNAR WIDFORSS (1879–1934) Rocky Shoreline, 1915 watercolor on paper 15 x 19 ½ inches signed lower left: Widforss. 1915.

PROVENANCE: From the Collection of Ms. Cynthia Nelson $2,000 – $4,000

97 JAMES BOREN (1921–1990) Winter in the Little Belts, 1970 watercolor on paper 9 ¾ x 13 ¾ inches (sight) signed lower left: JAMES BOREN © 1970 CA PROVENANCE: Owens Gallery of Western Art, Oklahoma City, OK (label verso) Altermann Galleries, Houston, TX (label verso) Private Collection, Paige, TX $800 – $1,200

98 RITA HOFFMAN SHULAK (1947– ) Mountain Splendor oil on canvas 16 x 12 inches signed lower right: Rita verso: titled PROVENANCE: The Artist From the Collection of Mr. Stephen Thomas $4,000 – $6,000

— 39 —

99 ERIC FORLEE (1949– ) Two Bulls 100 JOHN SEEREY-LESTER (1946–2020) Set of Two

oil on canvas 24 x 48 inches signed lower left: Eric Forlee 87 ©

oil on canvas 12 x 9 inches (each) signed lower right: Seerey-Lester ©

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$1,500 – $2,500

$1,000 – $2,000

101 JOHN SEEREY-LESTER (1946–2020) Lion Hunt, 1996

102 STEVE BURGESS (1960– ) Strange Encounter

oil on canvas 14 x 11 inches signed lower right: Seerey-Lester © ‘96

oil on board 20 x 28 inches signed lower right: Steve Burgess 1995 ©

PROVENANCE: Gallery Jamel, Waldorf, MD (label verso) From a Private Collection

PROVENANCE: From a Private Collection

$800 – $1,200

$3,000 – $5,000

— 40 —

103 JOHN SEEREY-LESTER (1946–2020) Leopard, 1980 pastel on paper 15 ¼ x 21 inches (sight) signed lower left: Seerey-Lester ‘80 verso: titled and signed

104 LINDSAY SCOTT (1955– ) Mother and Young Zebra

PROVENANCE: Bishop’s Waltham Gallery, Hampshire, England (label verso) From a Private Collection $2,000 – $3,000

oil on canvas 15 ½ x 7 inches signed lower left: LINDSAY SCOTT PROVENANCE: From a Private Collection $1,500 – $2,500

105 GARY SWANSON (1941–2010) Lioness and Cubs, 1975 oil on canvas 18 x 24 inches signed lower right: GARY R. SWANSON © ‘75 PROVENANCE: Miner’s Gallery Americana, Carmel, CA (label verso) $2,000 – $3,000

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106 STANLEY MELTZOFF (1917–2006) Growth and Expansion oil on canvas on board 20 x 24 inches initialed center: SM verso: titled PROVENANCE: United Engineers, Philadelphia, PA (label verso) Newman Galleries, Philadelphia, PA (label verso) From the Estate of Stanley Meltzoff $2,000 – $4,000

107 STANLEY MELTZOFF (1917–2006) Untitled (Microscope) oil on canvas on board 20 x 24 inches initialed center right: SM PROVENANCE: Newman Galleries, Philadelphia, PA (label verso) From the Estate of Stanley Meltzoff $2,000 – $4,000

108 STANLEY MELTZOFF (1917–2006) Untitled (On Duty) oil on canvas on board 17 x 21 inches initialed upper center: SM PROVENANCE: Newman Galleries, Philadelphia, PA (label verso) From the Estate of Stanley Meltzoff $2,000 – $4,000

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109 RITA HOFFMAN SHULAK (1947– ) Covered Bridge oil on canvas 24 x 30 inches signed lower right: Rita PROVENANCE: The Artist From the Collection of Mr. Stephen Thomas $6,000 – $9,000

110 THOMAS CROTTY (1934–2015) Boat in Field watercolor on paper 20 ½ x 28 ½ inches (sight) signed lower right: Thomas Crotty PROVENANCE: Private Collection, Hailey, ID $1,500 – $2,500

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111 FRANK HOFFMAN (1888–1958) Illustration for ‘Treasure Island’ oil on board 24 x 18 inches signed lower left: Hoffman PROVENANCE: Sidestreet Gallery, Sandpoint, ID (label verso) Private Collection, Center Line, MI $7,000 – $10,000

112 STANLEY MELTZOFF (1917–2006) Illustration for ‘The Man from Monticello… An Intimate Life of Thomas Jefferson’ oil on board 16 x 12 inches initialed lower left: SM verso: titled and signed PROVENANCE: From a Private Collection $1,500 – $2,500

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113 ARNOLD ARMITAGE (1899–1991) Cowgirl Campfire, ca. 1940-43 oil on canvas 41 x 32 inches signed lower right: ARMITAGE PROVENANCE: From a Private Collection $5,000 – $7,000

114 TOM LOVELL (1909–1997) Untitled (Man and Woman) oil on canvas 19 x 22 inches signed lower center: TOM LOVELL PROVENANCE: From a Private Collection $2,000 – $3,000

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115 CLYDE ASPEVIG (1951– ) Zurich - Switzerland oil on board 14 x 18 inches signed lower left: C. ASPEVIG verso: titled and signed PROVENANCE: From a Private Collection $2,000 – $3,000

116 CLYDE ASPEVIG (1951– ) Evening - Pont des Arts oil on canvas 11 x 14 inches signed lower right: C. ASPEVIG verso: titled, signed, dated PROVENANCE: From a Private Collection $2,000 – $3,000

117 CHRISTOPHER BLOSSOM (1956– ) Early Morning Gloucester oil on canvas 10 x 12 inches signed lower right: Christopher Blossom PROVENANCE: From a Private Collection $3,000 – $5,000

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118 DAMIAN LECHOSZEST (1976– ) Mother’s Helper oil on canvas 24 x 30 inches signed lower left: LECHOSZEST 2016 verso: titled, signed, dated PROVENANCE: InSight Gallery, Fredericksburg, TX From a Private Collection $5,000 – $7,000

119 HUIHAN LIU (1952– ) Roses and Apples

120 CLEMENT KWAN (1955–) Square Dance

oil on board 14 x 18 inches signed lower right: Huihan OPA

oil on canvas 20 x 16 inches signed lower right: KWAN

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$1,000 – $2,000

$2,000 – $3,000

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121 CALVIN LIANG (1960– ) Sailing oil on canvas 16 x 20 inches signed lower right: Calvin Liang PROVENANCE: From a Private Collection $1,500 – $2,500

122 FRANK HOFFMAN (1888–1958) Long Island Steeplechase Meet, 1933

123 FRANK HOFFMAN (1888–1958) Polo Player on Horse

pen and ink on tissue paper 15 x 12 inches (sight) signed lower center: Hoffman verso: titled and dated

pen and ink on tissue paper 14 x 15 ¼ inches (sight) signed lower right: Hoffman

PROVENANCE: Private Collection, Center Line, MI

PROVENANCE: Private Collection, Center Line, MI $1,000 – $2,000

$1,000 – $2,000 — 48 —

124 CHRISTOPHER BLOSSOM (1956– ) San Francisco Pilot - Bonita oil on board 9 x 12 inches signed lower right: Christopher Blossom PROVENANCE: From a Private Collection $3,000 – $5,000

125 CHRISTOPHER BLOSSOM (1956– ) Turning out of Port Blakey at Dawn oil on canvas 10 x 14 inches signed lower right: Christopher Blossom PROVENANCE: Howard/Mandville Gallery, Kirkland, WA (label verso) From a Private Collection $3,000 – $5,000

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126 HOWARD ROGERS (1932– ) Sherry oil on canvas 20 x 16 inches signed lower left: H Rogers © PROVENANCE: The Legacy Gallery, Scottsdale, AZ (label verso) Private Collection, Austin, TX

127 RICHARD SCHMID (1934–2021) Ballerina

$2,000 – $4,000

mixed media on paper 12 x 8 ½ inches (sight) signed lower left: RICHARD SCHMIDPROVENANCE: Private Collection, Chicago, IL $1,500 – $2,500

128 RICHARD SCHMID (1934–2021) Nude conte crayon on paper 6 x 4 inches (sight) signed lower center: Schmid PROVENANCE: Private Collection, Chicago, IL $800 – $1,200 — 50 —

129 WALT GONSKE (1942– ) Spring Apple Blossoms oil on canvas 26 x 32 inches signed lower right: GONSKE © NAWA verso: titled and signed PROVENANCE: From a Private Collection $1,500 – $2,500

130 HOWARD ROGERS (1932– ) Misty Rose

131 HOWARD ROGERS (1932– ) Flowers and Lace

oil on canvas 18 x 14 inches signed lower left: H.RogErs © verso: titled

oil on canvas 20 x 16 inches signed lower right: H Rogers © PROVENANCE: The Legacy Gallery, Jackson, WY (label verso) Private Collection, Austin, TX

PROVENANCE: The May Gallery, Scottsdale, AZ (label verso) Private Collection, Plymouth, MN

$1,500 – $2,500

$1,500 – $2,500 — 51 —

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SESSION II LOT 1 3 2 – LOT 3 4 5 S AT U R DAY, S E P T EM B E R 1 8 1 2 :00 P M M DT

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

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132 CARL RUNGIUS (1869–1959) On the Skyline etching and drypoint 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 36 $3,000 – $5,000

133 CARL RUNGIUS (1869–1959) Mule Deer etching and drypoint 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 20 $4,000 – $6,000

134 CARL RUNGIUS (1869–1959) The Traveler etching and drypoint 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 30 $3,000 – $5,000

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135 CARL RUNGIUS (1869–1959) Mates etching and drypoint 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 41 $4,000 – $6,000

136 CARL RUNGIUS (1869–1959) Out of the Canyon etching and drypoint 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 39 $4,000 – $6,000

137 CARL RUNGIUS (1869–1959) Alarmed etching and drypoint 6 ⅛ x 8 ⅜ inches (plate) signed lower right: C. Rungius PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 6 $2,000 – $4,000

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138 TERRY DONAHUE (1956– ) Coming of Age pastel on paper 20 x 36 ¼ inches (sight) signed lower right: T. Donahue PROVENANCE: Buffalo Bill Art Show & Sale, Cody, WY (label verso) From a Private Collection $4,000 – $6,000

139 MIKE BARLOW (1963– ) Prime Time bronze 5/21 17 x 55 x 9 inches inscribed front right: Barlow inscribed right verso: Barlow 5/21 “Prime Time is a story about two exceptional athletes in the peak of physical condition.

I wanted to show the split second before crushing impact of two evenly determined bighorn rams. Only one ram will be champion!” – Mike Barlow PROVENANCE: The Artist $10,000 – $15,000

140 JEFFREY WATTS (1970– ) A Lesson in Shakespeare oil on canvas 24 x 36 inches signed lower left: Jeffrey Watts PROVENANCE: Prix de West Invitational, Oklahoma City, OK (label verso) From a Private Collection $3,000 – $5,000

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141 BRUCE CHEEVER (1958– ) Cheyenne Summer, 2021

142 DAN BODELSON (1949– ) Crooked Trail, 2021

oil on board 34 x 30 inches signed lower right: - Bruce . Cheever ©

oil on linen 40 x 30 inches signed lower left: Bodelson verso: titled, signed, dated

“In my painting “Cheyenne Summer”, I used an abstract background to contrast a beautiful Cheyenne girl sitting in the summer sun. My aim was to turn this work into a geometric design of light splashing across her hair, face, and regalia. The goal was to capture youth and beauty frozen in a moment of time.” – Bruce Cheever PROVENANCE: The Artist

PROVENANCE: The Artist $8,000 – $12,000

$8,000 – $12,000

143 RICHARD GREEVES (1935– ) This Way bronze 9/10 24 x 17 x 15 inches inscribed lower right: RV GREEVES 2000 9/10 PROVENANCE: From a Private Collection $5,000 – $7,000

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144 NICHOLAS COLEMAN (1978– ) The New Meeting Place - 1910, 2021 oil on board 30 x 50 inches signed lower left: -NICHOLAS COLEMANverso: signed PROVENANCE: The Artist $12,000 – $18,000

145 WILLIAM AHRENDT (1933– ) Gathering for the Hunt, 2021 oil on canvas 28 x 38 inches signed lower left: WILLIAM AHRENDT © “Plains Indians preparing for a winter hunt near the Montana mountains.” – William Ahrendt PROVENANCE: The Artist $15,000 – $25,000 — 58 —

146 RAY SWANSON (1937–2004) Navajo Farmer watercolor and gouache on board 14 x 24 inches signed lower left: Ray Swanson © verso: titled PROVENANCE: Miner’s Gallery Americana, Carmel, CA (label verso) From a Private Collection $4,000 – $6,000

147 EDWARD CURTIS (1868–1952) Geronimo

148 RICHARD GREEVES (1935– ) Sainday, Trickster and Wonder Worker of the Kiowa

platinum print 7 ¾ x 5 ⅞ inches stamped lower left: COPYRIGHTED 1906 BY E.S. CURTIS written lower left: x1953-06

bronze 1/1 54 x 16 x 26 inches inscribed lower verso: R.V. GREEVES 1979 © # inscribed lower front: SAINDAY Trickster and wonder worker of the Kiowa

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$9,000 – $12,000

$8,000 – $12,000

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149 TERESA ELLIOTT (1953– ) Hidalgo oil on canvas 32 x 72 inches signed lower right: Elliott PROVENANCE: From a Private Collection $25,000 – $45,000

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150 TOM RYAN III (1977– ) Fourteen at the Four Sixes oil on canvas 24 x 36 inches signed lower left: Tom Ryan III PROVENANCE: Private Collection, Paige, TX $6,000 – $9,000

151 TOM RYAN III (1977– ) West Texas Foal oil on canvas 24 x 36 inches signed lower right: Tom Ryan III PROVENANCE: Altermann Galleries, Dallas, TX (label verso) Private Collection, Paige, TX $5,000 – $7,000

152 BEV DOOLITTLE (1947– ) Pinto Mare and Foal watercolor on paper 12 x 13 ½ inches (sight) signed lower left: Bev Doolittle © PROVENANCE: Thomas Nygard Inc, Bozeman, MT (label verso) Carson Gallery of Western American Art, Denver, CO (label verso) From a Private Collection $5,000 – $7,000

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153 BILL ANTON (1957– ) Beyond Words oil on board 30 x 36 inches signed lower right: Bill Anton verso: titled and signed PROVENANCE: The Artist Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $15,000 – $25,000

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154 DAN MIEDUCH (1947– ) Reata Pass oil on board 18 x 27 inches signed lower right: DAN MIEDUCH 1996 © PROVENANCE: From the Collection of Mr. Peter Roy $5,000 – $7,000

155 DAN MIEDUCH (1947– ) Shirt-Tail Relatives oil on board 18 x 24 inches signed lower left: © DAN MIEDUCH 1993 PROVENANCE: From the Collection of Mr. Peter Roy $5,000 – $7,000

156 JIM NORTON (1953– ) Crossing the Smith’s Fork oil on canvas 24 x 32 inches signed lower left: Jim C. Norton CA © verso: titled, signed, dated PROVENANCE: The Artist From a Private Collection $6,000 – $9,000

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157 KEN CARLSON (1937– ) Mallards oil on canvas 20 x 30 inches signed lower right: KEN CARLSON © PROVENANCE: From a Private Collection $10,000 – $15,000

158 MARK DASSOULAS (1955– ) The Grand Teton from Taggart Lake oil on canvas on panel 65 x 49 inches signed lower left: MDassoulas 1991-93 PROVENANCE: From the Estate of Raymond J. Minella $10,000 – $20,000 — 64 —

159 KEN CARLSON (1937– ) Autumn Light

160 MIKE BARLOW (1963– ) Mule Deer

oil on board 12 x 18 inches signed lower left: CARLSON

bronze 5/7 19 x 19 x 7 inches inscribed left verso: Michael Barlow 5/7

PROVENANCE: From the Collection of Dr. Joshua Beck

PROVENANCE: From a Private Collection

$6,000 – $9,000

$3,000 – $5,000

161 CARL RUNGIUS (1869–1959) The Challenge

162 KEN CARLSON (1937– ) Moose Pair

etching 6 ⅛ x 8 ⅜ inches (plate) signed lower right: C. Rungius

oil on board 16 x 24 inches signed lower left: CARLSON

PROVENANCE: Private Collection, Paige, TX

PROVENANCE: From the Collection of Bob and Curtice McCloy

LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 1

LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 69

$2,000 – $4,000

$8,000 – $12,000

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163 KYLE SIMS (1980– ) Quite a Scene

164 CARL RUNGIUS (1869–1959) The Answer from the Barren

oil on canvas 27 x 40 inches signed lower right: kyle sims verso: titled, signed, dated

etching 6 ⅛ x 8 ⅜ inches (plate) signed lower right: C. Rungius PROVENANCE: Private Collection, Paige, TX

PROVENANCE: From the Collection of Dr. Joshua Beck

LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 4

$8,000 – $12,000

$2,000 – $4,000

165 CARL RUNGIUS (1869–1959) Among the Crags etching 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius

166 TIM SHINABARGER (1966– ) Distant Movement

PROVENANCE: Altermann & Morris Galleries, Dallas, TX (label verso) Private Collection, Paige, TX

bronze 10/30 18 x 18 x 17 inches inscribed lower verso: ©97 Shinabarger 10/30 “Distant Movement”

LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 33

PROVENANCE: Private Collection, Paige, TX $5,000 – $7,000

$3,000 – $5,000 — 66 —

167 LUKE FRAZIER (1970– ) Frick & Frack, 2021

168 BOB KUHN (1920–2007) Untitled (Bears)

oil on board 24 x 30 inches signed lower right: L. Frazier ©21 verso: titled, signed, dated

conte crayon on paper 11 x 16 inches (sight) initialed lower left: k.

PROVENANCE: From the Collection of Dr. Joshua Beck

PROVENANCE: The Artist

$4,000 – $6,000

$12,000 – $18,000

169 BOB KUHN (1920–2007) Untitled (Bighorn Sheep)

170 TUCKER SMITH (1940– ) Bison with Calf

conte crayon on paper 12 ¼ x 16 inches (sight) signed center right: kuhn

watercolor on paper 12 x 16 inches signed lower left: Tucker Smith 77

PROVENANCE: From the Collection of Dr. Joshua Beck

PROVENANCE: Altermann Galleries, Santa Fe, NM (label verso) From the Collection of Dr. Joshua Beck

$3,000 – $5,000

$5,000 – $7,000

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171 BOB KUHN (1920–2007) Midst Flap and Clatter, 1993 acrylic on masonite 16 x 26 inches signed lower left: kuhn verso: titled, signed, dated PROVENANCE: From a Private Collection $70,000 – $100,000

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172 TIM SHINABARGER (1966– ) On the Barren Lands bronze 31/35 23 x 24 x 10 ½ inches inscribed lower right: © Shinabarger PROVENANCE: Private Collection, Paige, TX $5,000 – $7,000

173 CARL RUNGIUS (1869–1959) Mountain Caribou etching and drypoint 7 ⅞ x 10 ⅞ inches (plate) signed lower right: C. Rungius lower left: To Mr. & Mrs. Jade W. Brewster from C.R. PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 29 $3,000 – $5,000

174 CARL RUNGIUS (1869–1959) An Old Prospector etching and drypoint 6 ⅛ x 8 ⅜ inches (plate) signed lower right: C. Rungius PROVENANCE: From a Private Collection LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, example Illus. plate 9 $2,000 – $4,000

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T. BOONE PICKENS COLLECTION

Visionary, icon, legend, maverick, magnate, tycoon—these are just some of the words that come to mind when T. Boone Pickens’ name is mentioned. One of America’s most influential entrepreneurs, Pickens left an indelible impression on every industry he touched, and there were many.

Born in 1928 in Boldenville, Oklahoma, Pickens had a deep love for his birthplace, and his adult home in Texas. Pickens passed away in September of 2019. “T. Boone Pickens became a household name across the country because he was bold, imaginative, and daring,” former President George W. Bush said in a condolence statement. “He was successful – and more importantly, he generously shared his success with institutions and communities across Texas and Oklahoma. He loved the outdoors, his country, and his friends and family.” The legacy of T. Boone Pickens is lengthy and illustrious.

In addition to his prowess in business, Pickens was an avid art collector, selecting only the best western, wildlife, and sporting art. In describing his collection, Pickens said “I have collected Western art with a hope that it will help preserve these values for successful living and perpetuate them for future generations.” In the following selection of works from the T. Boone Pickens Collection, those values shine through.

From the impressive scale and narrative quality of Howard Terpning’s Vanishing Pony Tracks to the impactful and innovative First Visit, Mariner 4 on its Fly-by of Mars by Wilson Hurley, each work in Pickens’ collection reflects the values of the collector. As an individual, Pickens was often described as larger than life, something that is manifested in his collection. It is an honor to offer this selection of works on behalf of the T. Boone Pickens Estate.

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175 CYRUS AFSARY (1940– ) Rough Road oil on canvas 16 x 20 inches signed lower right: CYRUS AFSARY PROVENANCE: Whistle Pik Galleries, Fredericksburg, TX From the Collection of Mr. T. Boone Pickens

T. BOONE PICKENS COLLECTION

$2,000 – $3,000

176 DONALD TEAGUE (1897–1991) Afternoon Before the Battle watercolor on paper 8 ¾ x 12 ¾ inches (sight) signed lower right: DONALD TEAGUE N.A. PROVENANCE: The John F. Eulich Collection of American Western Art, Dallas, TX (label verso) Thomas Nygard Gallery, Bozeman, MT (label verso) Biltmore Galleries, Scottsdale, AZ (label verso) Di Tommaso Galleries, Scottsdale, AZ (label verso) {Coeur d’Alene Art Auction, Hayden, ID, 2009} From the Collection of Mr. T. Boone Pickens $5,000 – $7,000

177 E.S. PAXSON (1852–1919) Indian Chief with Hat, 1909 watercolor on paper 11 ¾ x 8 ¾ inches (sight) signed lower right: E.S. Paxson -1909PROVENANCE: The Legacy Gallery, Jackson, WY (label verso) From the Collection of Mr. T. Boone Pickens $8,000 – $12,000

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oil on canvas 18 x 24 inches signed lower right: GARY NIBLETT © PROVENANCE: Texas Art Gallery, Dallas, TX (label verso) From the Collection of Mr. T. Boone Pickens $2,000 – $3,000

179 GRANT SPEED (1930–2011) Bought ‘Em for Two, Sold ‘Em for One bronze 14/30 14 x 6 x 5 inches inscribed lower verso: 14-30 U G Speed © 1975 CA PROVENANCE: From the Collection of Mr. T. Boone Pickens $800 – $1,200

180 ROBERT SUMMERS (1940– ) Rainsoaked oil on canvas 24 x 36 inches signed lower right: Robert Summers © 2001 PROVENANCE: Altermann Galleries, Dallas, TX (label verso) From the Collection of Mr. T. Boone Pickens $1,000 – $2,000

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T. BOONE PICKENS COLLECTION

178 GARY NIBLETT (1943– ) The Canyon Floor

181 G. HARVEY (1933–2017) The Storm watercolor on paper 7 ¾ x 6 ¾ inches (sight) signed lower left: G. HarveyPROVENANCE: Altermann Galleries, Dallas, TX (label verso) From the Collection of Mr. T. Boone Pickens

T. BOONE PICKENS COLLECTION

$5,000 – $7,000

182 G. HARVEY (1933–2017) To Boone in Friendship watercolor on paper 4 x 5 inches (sight) signed lower left: G. Harvey- 1980 © dedication: TO BOONE in friendship- GERALD & PAT PROVENANCE: From the Collection of Mr. T. Boone Pickens

183 G. HARVEY (1933–2017) Uno Mas, 1980

$1,000 – $2,000

bronze 1/40 11 ½ x 9 x 5 ½ inches inscribed lower front: “UNO MAS” G. Harvey - © 1980 inscribed lower verso: 1-40 PROVENANCE: From the Collection of Mr. T. Boone Pickens $2,000 – $4,000 — 76 —

T. BOONE PICKENS COLLECTION

184 G. HARVEY (1933–2017) Trails in the Palo Duro, 1970 oil on canvas 30 x 40 inches signed lower right: G. Harvey - 1970 PROVENANCE: Altermann Galleries, Dallas, TX From the Collection of Mr. T. Boone Pickens $60,000 – $90,000

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T. BOONE PICKENS COLLECTION

185 WILLIAM R. LEIGH (1866–1955) Patient, 1940 oil on canvas 22 x 28 inches signed lower left: W.R. LEIGH 1940.

PROVENANCE: C.R. Smith, Washington, D.C. {Sotheby’s, New York, NY, 2009} From the Collection of Mr. T. Boone Pickens $60,000 – $90,000

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T. BOONE PICKENS COLLECTION

186 MELVIN WARREN (1920–1995) The Homestead, 1990 oil on canvas 36 x 60 inches signed lower left: © Melvin C. Warren CA 1990 verso: titled and dated PROVENANCE: From the Estate of Lucille and Melvin Warren From the Collection of Mr. T. Boone Pickens EXHIBITION: Ride Like the Wind Exhibit, Cowboy Artists of America Museum, Kerrville, TX, April 19, 1991 to September 2, 1991 (label verso) $40,000 – $60,000

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T. BOONE PICKENS COLLECTION

187 CLARK HULINGS (1922–2011) Saturday Afternoon, 1974 oil on masonite 22 x 33 inches signed lower center: Hulings © 1974 PROVENANCE: Fenn Gallery, Santa Fe, NM From the Collection of Mr. T. Boone Pickens $20,000 – $30,000

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T. BOONE PICKENS COLLECTION

188 CLARK HULINGS (1922–2011) Altea #1 - Street Repairs, 1968 oil on masonite 30 x 20 inches signed lower right: Hulings 1968 PROVENANCE: Grand Central Art Gallery, New York, NY Private Collection, Ontario, Canada {Coeur d’Alene Art Auction, Reno, NV, 2006} From the Collection of Mr. T. Boone Pickens $25,000 – $35,000 — 81 —

189 JOHN CLYMER (1907–1989) Buffalo Hunt oil on board 20 x 30 inches signed lower right: 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.

T. BOONE PICKENS COLLECTION

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.

A skilled storyteller, Clymer was passionate about wildlife and historical western subjects. As he himself wrote, “I painted more and more history and fewer animals. Fortunately, my two favorite subjects often combine, for there is also an opportunity to include wildlife in the Indian and mountain man subjects.” In Buffalo Hunt, Clymer found just such an opportunity. In this scene, a thundering herd of bison run towards the viewer, kicking up a cloud of dust behind them. Native American hunters on horseback infiltrate the herd, striking out with spears and shooting arrows. The central figure flings a bison hide over his shoulder, an indication of how the hunters snuck up on their prey. No need for disguise now, he literally throws caution to the wind, the hunt is on.

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.

PROVENANCE: Estate of Joe Beeler CAA {Jackson Hole Art Auction, Jackson, WY, 2008} From the Collection of Mr. T. Boone Pickens $100,000 – $200,000

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T. BOONE PICKENS COLLECTION

190 JOSEPH HENRY SHARP (1859–1953) The Drummer oil on canvas 20 ¼ x 24 ¼ inches signed lower left: JHSHARP PROVENANCE: Altermann Galleries, Dallas, TX From the Collection of Mr. T. Boone Pickens $60,000 – $90,000

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T. BOONE PICKENS COLLECTION

191 WILLIAM KEITH (1838–1911) Mount Shasta from Castle Lake oil on canvas 30 x 50 inches signed lower right: W. KEITH s.r.

PROVENANCE: {Scottsdale Art Auction, Scottsdale, AZ, 2006} From the Collection of Mr. T. Boone Pickens EXHIBITION: Early Artists of the Bohemian Club, Hearst Art Gallery, Saint Mary’s College of California, Moraga, CA, August 17 - October 13, 2002 $40,000 – $60,000

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192 HOWARD TERPNING (1927– ) Vanishing Pony Tracks oil on canvas 60 x 42 inches signed lower left: © Terpning 2006 CA verso: 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.

T. BOONE PICKENS COLLECTION

In 1977, Terpning moved to Tucson, Arizona to document Native American culture and the American 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.

Painted in 2006, Vanishing Pony Tracks represents a major work within Terpning’s oeuvre, both in subject and scale. “Horse stealing was a sport among the Plains Indians and an important way to gain honor and prestige among other members of the tribe. These Blackfoot warriors hope to throw off the trappers who are in pursuit to reclaim their stolen ponies. The waterfall and boulders are a grand composite brought together in this majestic scene. The Native riding toward us churns the stream and the complexity of his shadow upon the water reflects an unseen blue sky. The foreground rock in shadow is indispensable.”1 A beautiful countermeasure, narratively the waterfall serves to erase the horse thieves’ trail and compositionally it fills the vertical space, pulling the viewer into the scene.

PROVENANCE: From the Collection of Mr. T. Boone Pickens LITERATURE: Harley Brown, Terpning: Tribute to the Plains People, The Greenwich Workshop, Seymore, CT, 2012, Illus. p. 169 $700,000 – $1,000,000

1

Harley Brown, Terpning: Tribute to the Plains People, The Greenwich Workshop: Seymour, CT, 2012, p.169

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T. BOONE PICKENS COLLECTION

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193 REVEAU MOTT BASSETT (1897–1981) Ducks in Landscape oil on canvas 24 x 30 inches signed lower left: Reveau Bassett PROVENANCE: Altermann Galleries, Dallas, TX (label verso) From the Collection of Mr. T. Boone Pickens

T. BOONE PICKENS COLLECTION

$15,000 – $25,000

194 REVEAU MOTT BASSETT (1897–1981) Mallards Landing oil on canvas 24 x 30 inches signed lower left: Reveau Bassett PROVENANCE: From the Collection of Mr. T. Boone Pickens $15,000 – $25,000

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T. BOONE PICKENS COLLECTION

195 JOHN COWAN (1920–2008) Foggin’ In watercolor on paper 26 ½ x 39 ½ inches (sight) signed lower right: Cowan PROVENANCE: Meredith Long & Company, Houston, TX (label verso) From the Collection of Mr. T. Boone Pickens $10,000 – $20,000

196 WALTER MATIA (1953– ) Labrador Bookends

197 JON RUEHLE (1949–2020) Sitting Dog

bronze 39/100 7 x 5 x 5 inches (each) inscribed lower right: MATIA 39/100

bronze 18/50 8 x 8 x 6 inches inscribed lower front: COPYRIGHT 1999 RUEHLE

PROVENANCE: From the Collection of Mr. T. Boone Pickens

PROVENANCE: From the Collection of Mr. T. Boone Pickens

$1,000 – $2,000

$800 – $1,200 — 89 —

T. BOONE PICKENS COLLECTION

198 GEORGE HALLMARK (1949– ) Enero

199 CLYDE ASPEVIG (1951– ) Boone Creek

oil on canvas 12 x 16 inches signed lower left: ©Hallmark verso: titled, signed, dated

oil on linen 20 x 24 inches signed lower left: C. Aspevig ‘09 verso: titled, signed, dated

PROVENANCE: From the Collection of Mr. T. Boone Pickens

PROVENANCE: From the Collection of Mr. T. Boone Pickens

$1,000 – $2,000

$5,000 – $7,000

200 CLYDE ASPEVIG (1951– ) Ghost Covey Tree

201 LORAN SPECK (1943–2011) Persimmons on a Ledge

oil on linen 10 x 12 inches signed lower left: C. Aspevig verso: titled, signed, dated

oil on board 6 x 12 inches signed lower left: L. Speck

PROVENANCE: From the Collection of Mr. T. Boone Pickens

PROVENANCE: Altermann Galleries, Dallas, TX (label verso) From the Collection of Mr. T. Boone Pickens

$1,500 – $2,500

$800 – $1,200 — 90 —

T. BOONE PICKENS COLLECTION

202 CLARK HULINGS (1922–2011) French Cottage Below the Castle Ruins, 2001 oil on canvas 20 x 30 inches signed lower right: Hulings 2001 © PROVENANCE: Nedra Matteucci Galleries, Santa Fe, NM (label verso) From the Collection of Mr. T. Boone Pickens $15,000 – $25,000

203 ROBERT LOUGHEED (1910–1982) Village in Central France

204 GRANT SPEED (1930–2011) Charlie Goodnight, 1978

oil on board 8 x 16 inches signed lower left: ROBERT LOUGHEED

bronze 1/10 22 x 8 ½ x 7 inches inscribed lower left: U G Speed © 1978 1/10

PROVENANCE: From the Collection of Mr. T. Boone Pickens

PROVENANCE: From the Collection of Mr. T. Boone Pickens

$3,000 – $5,000

$3,000 – $5,000 — 91 —

205 WILSON HURLEY (1924–2008) First Visit, Mariner 4, Fly-by of Mars oil on masonite 72 x 45 inches signed lower right: Wilson Hurley Born in 1924 in Tulsa, Oklahoma, Wilson Hurley moved to Santa Fe, New Mexico, with his family in 1935. While still in his teens, Hurley studied with Theodore Van Soelen, Josef Bakos, and John Young-Hunter. After high school, Hurley enrolled at West Point, where he studied engineering. Following graduation, he served in the air force, before deciding to attend law school at George Washington University.

T. BOONE PICKENS COLLECTION

Truly a renaissance man, Hurley continued to pursue painting throughout his various careers. In 1952 Hurley returned to New Mexico and became an established lawyer, before turning to painting fulltime in 1965. From 1968 to 1969 Hurley took a hiatus from his artistic career to serve in the Vietnam War. Drawn to the wide open expanses of the western landscape, Hurley is most renowned for his depictions of Yellowstone, the Grand Canyon, and the New Mexico landscape. Often compared to the foundational American landscape artists like Albert Bierstadt, Frederick Church, and Thomas Moran, Hurley was influential in promoting and developing the genre of twentieth-century American landscape painting. Defying gravity, Hurley even applied his skill for landscape painting beyond this planet. In First Visit, Mariner 4, Fly-by of Mars, he takes us to space. He described this painting, saying, “As you stand twelve feet from the front of this painting you see Mars as it would appear were you 6,000 miles above it on its equator looking back toward Earth. The sun is setting on the 3,000-mile- long canyon named after the fragile Mariner 4, which is proceeding out of radio contact with Earth as we watch it on its way to oblivion. The images that Mariner sent back to Earth were the first detailed looks at the many awesome features of our neighbor planet with three-mile deep canyons and its fifteen-mile high mountains. There is a swirling dust storm coming down from the north and ice is still visible toward the South Pole. The surface appears desolate.” Few artists dare to cross this frontier, but Hurley did so with resounding success.

This iconic painting greeted visitors as they alighted from the elevator in the office of T. Boone Pickens. Embodying the visionary spirit of space exploration, it is no wonder that this painting spoke to Pickens—himself an American visionary.

Hurley became a member of the National Academy of Western Art in 1972, and received numerous awards and recognitions throughout his illustrious career. His work is housed in many permanent collections including the Denver Museum of Art, The National Cowboy & Western Heritage Museum, and The Eiteljorg Museum.

PROVENANCE: Nedra Matteucci Galleries, Santa Fe, NM (label verso) From the Collection of Mr. T. Boone Pickens $30,000 – $50,000

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T. BOONE PICKENS COLLECTION

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206 KEN CARLSON (1937– ) Pronghorn oil on board 24 x 36 inches signed lower left: CARLSON PROVENANCE: From the Collection of Dr. Joshua Beck $20,000 – $30,000

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207 TUCKER SMITH (1940– ) In Blackfeet Country oil on canvas 10 x 20 inches signed lower left: Tucker Smith 88 verso: titled and signed PROVENANCE: From a Private Collection $12,000 – $18,000

208 TUCKER SMITH (1940– ) Bison at Vermillion Creek oil on canvas 16 x 20 inches signed lower right: Tucker Smith 04 PROVENANCE: From a Private Collection $35,000 – $45,000

209 TUCKER SMITH (1940– ) Through the Frost oil on canvas 12 x 10 inches signed lower right: Tucker Smith 91 verso: titled PROVENANCE: From a Private Collection $8,000 – $12,000

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210 BOB KUHN (1920–2007) Rams Along a Rocky Ridge acrylic on board 12 x 18 inches signed lower right: kuhn PROVENANCE: Leanin’ Tree Museum of Western and Wildlife Art, Boulder, CO (label verso) From a Private Collection $40,000 – $60,000

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211 BOB KUHN (1920–2007) Contented Cat acrylic on masonite 10 x 8 inches signed lower right: kuhn PROVENANCE: From the Collection of Dr. Joshua Beck $30,000 – $50,000

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212 BONNIE MARRIS (1951– ) Autumn Bear, 2021 oil on canvas 30 x 48 inches signed lower right: BLMarris PROVENANCE: The Artist $18,000 – $24,000

213 BONNIE MARRIS (1951– ) Wolf in the Pines, 2021 oil on canvas 36 x 36 inches signed lower right: BLMarris PROVENANCE: The Artist $18,000 – $24,000 — 98 —

214 TERRY ISAAC (1958–2019) King of the Mountain, 1999 acrylic on board 24 ½ x 45 inches signed lower right: © T. ISAAC ‘99 King of the Mountain by Terry Isaac. “For a long time, I had wanted to paint a majestic bull elk, but the right concept and scene eluded me. I had seen them many times, sometimes solitary and sometimes in a large herd. I had also wanted to paint this mountain scene for some time.

Eventually, I put two and two together! During the painting design process, I experimented with other subjects, but I kept returning to this bull elk - both subject and scene just seemed right together. The placement of the animal at the top of the rocky cliff truly makes him the “King of the Mountain” and gives him a vantage point from which he can survey his domain.” – Terry Isaac PROVENANCE: From a Private Collection $6,000 – $9,000

215 DANIEL SMITH (1954– ) Backwater Bull oil on board 27 x 40 inches signed lower left: Smith © ‘01 PROVENANCE: From a Private Collection $15,000 – $25,000

216 GREG BEECHAM (1954– ) Togwotee Cool Down oil on canvas 24 x 36 inches signed lower left: GBEECHAM (artist cipher) © 16 verso: titled and signed PROVENANCE: The Legacy Gallery, Jackson, WY (label verso) From a Private Collection $7,000 – $10,000

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217 BOB KUHN (1920–2007) Stuff of Legends, 1999 acrylic on masonite 22 x 30 inches signed lower left: kuhn 99 verso: titled, signed, dated Born in Buffalo, New York, Bob Kuhn received his artistic training at the Pratt Institute in Brooklyn, where he studied design, anatomy, and life-drawing. For the next thirty years, Kuhn made his living as one of the most popular wildlife illustrators in America, before turning to easel painting full time in 1970. Kuhn traveled around the world to obtain inspiration, with many of his wildlife expeditions lasting up to eight weeks. He made countless trips to Africa, six trips to Alaska, and numerous journeys into Canada and the American West.

Originally inspired by African wildlife, Kuhn turned to the mammals of North America in later years. Kuhn worked primarily in acrylic and strove to capture the particular movements and personalities of the wild animals he painted. A member of the Society of Animal Artists in New York, Kuhn had paintings in many prestigious permanent collections including The John L. Wehle Gallery of Sporting Art at the Genesee Country Museum in Mumford, NY, The National Museum of Wildlife Art in Jackson Hole, WY, and The National Cowboy Hall of Fame in Oklahoma City, OK. In discussing his affinity for certain subjects, Kuhn described wolves as “among the most animated and interesting of the wild creatures.” Despite this clear interest in the subject, wolves are rather rare within his oeuvre. Many of Kuhn’s depictions of wolves focus on the hunt, featuring wolves in action. In Stuff of Legends Kuhn captures a unique in-between. One wolf seemingly lounges in the front, while two others stand on the ridgeline behind, all three physically at rest but clearly alert. Ears forward, they all gaze in the same direction. Has movement drawn their attention? Did a pack member sound the call? At any moment these apex predators could leap into action, but Kuhn has given the viewer a paused moment to appreciate them in charged stillness.

PROVENANCE: The Artist From a Private Collection $100,000 – $150,000

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218 GREG BEECHAM (1954– ) Cat’s Lair oil on canvas 40 x 30 inches signed lower right: G.BEECHAM (artist cipher) PROVENANCE: Astoria Fine Art, Jackson, WY (label verso) From a Private Collection $15,000 – $25,000

219 MICHAEL COLEMAN (1946– ) Elk oil on board 40 x 50 inches signed lower right: MICHAEL COLEMAN - © PROVENANCE: From a Private Collection $20,000 – $30,000 — 102 —

220 KEN CARLSON (1937– ) Running Chance oil on board 30 x 40 inches signed lower left: CARLSON PROVENANCE: From a Private Collection $20,000 – $30,000

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221 KEN CARLSON (1937– ) Teton Winter oil on canvas 24 x 48 inches signed lower left: KEN CARLSON © ‘79 PROVENANCE: From a Private Collection $25,000 – $35,000

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222 BOB KUHN (1920–2007) The Solace of the Cliffs, 2004 acrylic on board 24 x 18 inches signed lower right: kuhn verso: signed and dated PROVENANCE: From the Collection of Bob and Curtice McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 128 $70,000 – $100,000 — 105 —

223 MICHAEL COLEMAN (1946– ) High Country Elk oil on board 24 x 30 inches signed lower left: MICHAEL COLEMAN © PROVENANCE: From a Private Collection $8,000 – $12,000

224 BONNIE MARRIS (1951– ) Edge of the Pond oil on canvas 24 x 48 inches signed lower left: BLMarris © PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $15,000 – $25,000 — 106 —

225 CONRAD SCHWIERING (1916–1986) High Country Autumn oil on board 36 x 48 inches signed lower left: Schwiering (artist cipher) © PROVENANCE: From the Collection of Marilynn Roskelley $18,000 – $24,000

226 CONRAD SCHWIERING (1916–1986) Autumn Music oil on board 30 x 40 inches signed lower left: Schwiering (artist cipher) © verso: titled PROVENANCE: From the Collection of Marilynn Roskelley $10,000 – $15,000

227 GREG MCHURON (1945–2012) North Wind oil on board 20 x 30 inches signed lower left: GREGORY i. MCHURON © verso: signed PROVENANCE: From the Estate of Greg McHuron $3,000 – $5,000

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228 BOB KUHN (1920–2007) Heading Into Thick Stuff acrylic on masonite 24 x 42 inches signed lower left: kuhn verso: titled and signed “This painting is an exercise in building a setting that is just as important as the subject animals. Africa is not entirely yellow and grey, even in the game areas of Kenya and Tanzania. After pounding along on mile after mile of dusty tracks, to enter a pocket of permanent water with its sheltering reeds and rich range of colors, is both welcome and refreshing. To show this aspect of Africa – to depict it as a land of many faces – is part of any serious painter’s challenge.” – Bob Kuhn PROVENANCE: Private Collection, Lindstrom, MN LITERATURE: Tom Davis, The Art of Bob Kuhn, Briar Patch Press Inc., Camden, SC, 1989, Illus. p. 28-9.

Tom Davis, Wild Harvest: The Animal Art of Bob Kuhn, Sporting Classics & Wildlife Art Magazine, Canada, 1997, Illus. p. 58. $100,000 – $150,000

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229 DAVID SHEPHERD (1931–2017) Black Rhino, 1969 oil on canvas 28 x 44 inches signed lower right: -David Shepherdverso: signed and dated PROVENANCE: From a Private Collection $25,000 – $45,000

230 FRIEDRICH WILHELM KUHNERT (1865–1926) Waterbuck oil on canvas 17 ¾ x 30 inches signed lower left: Wilh. Kuhnert verso: titled PROVENANCE: From a Private Collection $20,000 – $30,000

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231 E. MARTIN HENNINGS (1886–1956) Untitled oil on canvas 30 ¼ x 30 ¼ inches signed lower right: E. Martin Hennings Born in 1886 in Pennsgrove, New Jersey, E. Martin Hennings moved to Chicago with his family a few years later. After growing up in the city, Hennings developed an interest in art and attended the Art Institute of Chicago, where he graduated with multiple awards, recognitions, and scholarships—his career off to a promising start.

After a few years of working as a commercial artist, Hennings entered the Prix de Rome, coming in second place. With a renewed determination to pursue a career as a fine artist, Hennings traveled to Germany where he studied at the Royal Academy in Munich. While there, he joined the American Artists Club where he met future co-members of the Taos Society of Artists, Walter Ufer and Victor Higgins.

The onset of World War I cut Hennings’ stay in Germany short, and he returned to Chicago.

In 1917 prominent art collector and former Chicago mayor Carter H. Harrison took notice of Hennings’ work and offered to sponsor him on a trip to Taos, New Mexico, in exchange for a few paintings. As Hennings’ reputation grew, so did his sponsorship. Business mogul Oscar Mayer added funding, as did financier and art patron Armand Hammer. Hammer’s neighbor, Dr. Carl Davis also offered to help fund the trip. Upon Hennings’ return to Chicago, Dr. Davis had the opportunity to select a piece from the newly created works—the fruits of his sponsorship—Davis selected this striking piece, and it has remained in the family until today.

New Mexico proved to be a strong muse for Hennings; the light, landscape, and Pueblo Indians all inspired him to new artistic heights. In 1921 Hennings moved permanently to Taos, where he became a member of the Taos Society of Artists in 1924. Hennings split his time between Taos, Chicago, and Houston for the remainder of his career. Speaking about his love for New Mexico, Hennings said, “I constantly grew more enthusiastic over the West for I was impressed with the possibilities for landscape and figure composition. New Mexico has almost made a landscape painter out of me, although I believe my strongest work is in figures.”1 As Hennings himself said, his strength lay in his figural works. In Untitled, Hennings presents the viewer with what could almost be the same figure from two different angles. The landscape is stripped down to the most essential elements—two thirds of the composition dedicated to clouds and sky, a monotone outline denotes the Sangre de Cristo range in the background, and tall golden grasses fill the foreground, adding texture to the scene. In many works Hennings developed complex landscapes, rolling sage brush, and layers of foothills, but in this image the focus is completely on the figures.

The bold red contrasts against the cool blue of the mountains, pulling the viewer in. The blankets appear to be twins, as the men themselves could be—reversed mirror images—allowing Hennings to show us the figure completely in the round, something usually impossible in a two-dimensional work. In viewing the work today, it remains as compelling as it must have been to Dr. Davis in the early 1900s.

PROVENANCE: From a Private Collection $600,000 – $900,000

1

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

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232 ALBERT BIERSTADT (1830–1902) Butterfly, 1892 oil and pencil on paper 5 ¼ x 8 inches (sight) signed lower right: Albert Bierstadt Jan 20/92 PROVENANCE: Private Collection, Miami, FL $10,000 – $15,000

233 LEON GASPARD (1882–1964) Woman in Blue Babushka oil on board 8 ½ x 7 ¼ inches signed lower right: Leon S. Gaspard PROVENANCE: Maxwell Galleries, San Francisco, CA (label verso) Goldfield Galleries, Los Angeles, CA (label verso) Santa Fe Festival of Arts, Santa Fe, NM (label verso) Stremmel Galleries, Reno, NV (label verso) From a Private Collection $3,000 – $5,000

234 LEON GASPARD (1882–1964) Seated Russian Woman pastel on paper 4 ½ x 3 ½ inches (sight) signed lower left: Leon Gaspard Verso Image: Untitled (Gathering) pastel on paper 3 ½ x 4 ½ inches (sight) unsigned PROVENANCE: Maxwell Alexander Galleries, San Francisco, CA (label verso) From a Private Collection

verso

$1,500 – $2,500 — 112 —

235 VICTOR HIGGINS (1884–1949) Lee Witt Ranch, Taos watercolor and pencil on paper 14 ¾ x 20 ¾ inches (sight) signed lower left: VICTOR HIGGINS PROVENANCE: From a Private Collection $20,000 – $30,000

236 ALBERT BIERSTADT (1830–1902) Butterfly, 1900 oil and pencil on paper 6 ½ x 10 inches signed lower right: Abert Bierstadt May 20/1900 PROVENANCE: From a Private Collection $12,000 – $18,000

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237 OSCAR E. BERNINGHAUS (1874–1952) Taos Field of Workers, 1950

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.”

oil on canvas 25 x 30 inches signed lower right: O.E. BERNINGHAUS / -50 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 twentyfive 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

Painted in 1950, just two years prior to the artist’s death, Taos Field of Workers embodies Berninghaus’ fully matured style and the depth of his artistic skill. Larger than many of the figures in his work, the central figures in this painting fill the foreground as they toil to work the land. The Pueblo lies in the distance behind them—the entire scene dwarfed by the towering Sangre de Cristo mountains. Ever an important element in Berninghaus’ work, the enchanting New Mexico light suffuses the entire scene in a warm glow, setting the stage for this daily drama of agrarian survival.

PROVENANCE: Mission Gallery, Taos, NM Collection of Dorothy & William Harmsen, CO, 1967 The Harmsen Art Museum Foundation Denver Art Museum, 2001 Private Collection, NM, 2011 {Jackson Hole Art Auction, Jackson, WY, 2018} From a Private Collection EXHIBITED: Colorado Springs Fine Arts Center, Colorado Springs, CO, October 6 – November 6, 1972 LITERATURE: Dorothy Harmsen, Harmsen’s Western Americana: A Collection of one Hundred Western Paintings with Biographical Profiles of the Artists, Northland Press: Flagstaff, AZ, 1971, p. 20, illus. p. 21 Sugar and Spice, (quarterly publication of Jolly Rancher Candies) Fall 1978, illus. cover $300,000 – $500,000

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238 OGDEN PLEISSNER (1905–1983) Rising Fog oil on canvas 24 x 30 ½ inches signed lower right: Pleissner verso: titled PROVENANCE: Gerald Peters Gallery, Santa Fe, NM (label verso) {Jackson Hole Art Auction, Jackson, WY, 2009} From a Private Collection $15,000 – $25,000

239 E.S. PAXSON (1852–1919) Geronimo, 1904 oil on canvas 14 ¼ x 12 ¼ inches signed lower right: ESPaxson =1904= verso: titled and signed PROVENANCE: From the Collection of Mr. Tom Ortega $15,000 – $25,000

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240 O.C. SELTZER (1877–1957) On the Move, 1901 watercolor and gouache on paper 9 ¾ x 13 ¾ inches (sight) signed lower left: O. SELTZER (artist cipher) 1901.

PROVENANCE: Private Collection, Wynnewood, PA $8,000 – $12,000

241 O.C. SELTZER (1877–1957) Fishing Cougar, 1904

242 O.C. SELTZER (1877–1957) Indian Chief, 1906

gouache on paper 15 x 11 ½ inches (sight) signed lower right: O. SELTZER. -1904.

watercolor on paper 15 ¼ x 9 ¼ inches (sight) signed lower right: O. SELTZER. 1906.

PROVENANCE: From a Private Collection, Newport Beach, CA

PROVENANCE: From Private Collection, Newport Beach, CA

$4,000 – $6,000

$7,000 – $10,000 — 116 —

243 WILLIAM GOLLINGS (1878–1932) Untitled (Horses in Snow), 1918 oil on canvas 12 x 18 inches signed lower right: Gollings (artist cipher) 1918 PROVENANCE: From a Private Collection, Virginia Beach, VA $25,000 – $45,000

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244 CARL RUNGIUS (1869–1959) Rainbow Rams oil on canvas 16 ¼ x 20 ¼ inches signed lower right: C. Rungius PROVENANCE: Private Collection, Urbanna, VA $70,000 – $100,000

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245 BOB KUHN (1920–2007) Knight Errant acrylic on board 20 x 30 inches signed center right: kuhn verso: signed PROVENANCE: From a Private Collection LITERATURE: Tom Davis, The Art of Bob Kuhn, Briar Patch Press Inc., Camden, SC, 1989, Illus. p. 26-7. $80,000 – $120,000

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246 CARL RUNGIUS (1869–1959) Above the Treeline oil on canvas 30 x 40 inches signed lower right: C. Rungius 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.

The sure-footed Rocky Mountain goat appears in many of Rungius’s paintings, and has become a recognizable icon of his work. The mountain goat typically resides above the treeline in subalpine to alpine climates, and because of this, they are a relatively rare sighting.

Rungius affectionately called the species, “the strangest animal on our entire list of big game.”

PROVENANCE: From a Private Collection $300,000 – $500,000

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EDDIE BASHA COLLECTION

Eddie Basha Jr. was one of the most well-known business executives from Arizona: the CEO of his family-owned chain of grocery stores for over forty years. His success accorded him the opportunity to participate as a civil servant, particularly in the areas of public education and humanitarian aid, as a political candidate, philanthropist, and a major collector of Contemporary Western American and American Indian art.

As a child, Eddie was often cared for by his Aunt Zelma, who would draw pictures for him as a form of entertainment. This early artful influence was a strong and lasting one, and it was her encouragement later in life that led Eddie to make his first acquisition in 1971.

Collecting art nurtured two of Eddie’s passions: art and history, particularly the history of the American West, which he studied at Stanford University.

Throughout his life, Eddie would collect masterworks of contemporary artists and members of the prestigious Cowboy Artists of America organization. Through his support and involvement with the organization, he developed lifelong friendships with the artists he collected, including one of his closest friends, Arizona artist and a founding member of the CAA, Joe Beeler.

The friendships gave each piece a story, and further contributed to the significance of the collection.

Eddie personally selected each piece he acquired, and remembering the advice his Aunt Zelma gave him to collect what he loved. The collection became one of the largest and best troves of privately-owned, Contemporary Western American and American Indian art in the world.

What began briefly as a hobby evolved and became a world-class collection of oil paintings, watercolors, acrylics, pastel and charcoal drawings, pen & inks, bronze, wood and natural stone sculptures, wood-turned bowls, basketry, pottery, kachinas and jewelry. Eddie said, “There’s a true and deep passion associated with the collection of art. It’s a love.”

In 1992, Eddie designated a space in the Bashas’ Corporate Office in Chandler, Arizona, for an art gallery, where over 3,000 pieces are available for public viewing.

Eddie Basha, Jr.

Named for his aunt, The Zelma Basha Salmeri Gallery houses the admired collection, which has been deemed so important that masterworks have been loaned to top museums across the country, including The Autry, The Booth Museum, The Rockwell Museum, the National Cowboy & Western Heritage Museum and many others.

Basha was a man of great humor and is remembered fondly as a jokester: “I want my epitaph to say, ‘Eddie Basha, he was a good man, but a bad boy,’ and that’s how I want to be remembered.” He was also a philanthropist and proponent of human rights, in particular for the less fortunate and American Indian Communities across Arizona. He enacted programs benefitting children, and led the fight against hunger and homelessness in his beloved state.

— 123 —

247 TOM LOVELL (1909–1997) New Grass (Study), 1996 oil on board 6 ½ x 11 inches signed lower left: TOM LOVELL © 1996 verso: titled, signed, dated PROVENANCE: The Eddie Basha Collection, Chandler, AZ

EDDIE BASHA COLLECTION

$8,000 – $12,000

248 TOM LOVELL (1909–1997) The Wolf Men (Sketch)

249 TOM LOVELL (1909–1997) The Wolf Men (Study)

charcoal and pencil on paper 33 ⅜ x 23 ⅜ inches (sight) signed lower right: TOM LOVELL NAWA

oil on board 9 x 6 ½ inches signed lower right: TOM LOVELL

PROVENANCE: The Eddie Basha Collection, Chandler, AZ

PROVENANCE: Texas Art Gallery, Dallas, TX (label verso) Thomas Nygard, Inc., Bozeman, MT (label verso) The Eddie Basha Collection, Chandler, AZ

$5,000 – $7,000

$10,000 – $15,000

— 124 —

EDDIE BASHA COLLECTION

250 JOHN CLYMER (1907–1989) Buffalo Scouts, 1977 oil on board 10 x 20 inches signed lower left: John Clymer CA © 77 verso: titled PROVENANCE: The Eddie Basha Collection, Chandler, AZ $60,000 – $90,000

— 125 —

251 JOE BEELER (1931–2006) Dog Soldiers oil on canvas 9 x 12 inches signed lower right: JOE BEELER CA verso: titled PROVENANCE: The Eddie Basha Collection, Chandler, AZ

EDDIE BASHA COLLECTION

$2,000 – $4,000

252 JOE BEELER (1931–2006) Watchful Eyes

253 JOE BEELER (1931–2006) Navajo

oil on canvas 9 x 12 inches signed lower right: JOE BEELER ©

oil on canvas 16 x 12 inches signed lower right: JOE BEELER CA

PROVENANCE: The Eddie Basha Collection, Chandler, AZ

PROVENANCE: The Eddie Basha Collection, Chandler, AZ

$2,000 – $3,000

$3,000 – $5,000

— 126 —

EDDIE BASHA COLLECTION

254 DAVID HALBACH (1931– ) Doing Trade watercolor on paper 17 ¾ x 29 inches (sight) signed lower right: DAVID HALBACH CA © ‘09 PROVENANCE: The Eddie Basha Collection, Chandler, AZ $4,000 – $6,000

255 DAVID HALBACH (1931– ) Five??...FIVE!! watercolor on paper 17 ¼ x 28 ½ inches (sight) signed lower left: DAVID HALBACH CA © ‘09 PROVENANCE: The Eddie Basha Collection, Chandler, AZ $4,000 – $6,000

256 PAUL PLETKA (1946– ) Hopi Dancer pastel on paper 25 ¼ x 19 ½ inches signed lower left: Pletka PROVENANCE: The Eddie Basha Collection, Chandler, AZ $3,000 – $5,000

— 127 —

257 JAMES REYNOLDS (1926–2010) Last One In, 1976 oil on board 18 x 24 inches signed lower right: James Reynolds CA © 1976 PROVENANCE: The Eddie Basha Collection, Chandler, AZ

EDDIE BASHA COLLECTION

$12,000 – $18,000

258 JOE BEELER (1931–2006) Apache Ambush watercolor on paper 19 ½ x 14 ½ inches (sight) signed lower left: JOE BEELER CA PROVENANCE: The Eddie Basha Collection, Chandler, AZ $2,000 – $3,000

259 TOM LOVELL (1909–1997) Talking Skull pastel on paper 9 ½ x 11 ¾ inches (sight) signed lower right: TOM LOVELL PROVENANCE: The Eddie Basha Collection, Chandler, AZ $7,000 – $10,000

— 128 —

EDDIE BASHA COLLECTION

260 JAMES REYNOLDS (1926–2010) Changin’ the Wheel Horse oil on board 24 x 36 inches signed lower right: James Reynolds -CA 1977 © verso: titled, signed, dated PROVENANCE: The Eddie Basha Collection, Chandler, AZ LITERATURE: Don Hedgpeth, Traildust: Cowboys, Cattle and Country, The Greenwich Workshop Press, New York, NY, 1997, Illus. p. 84-85 $20,000 – $30,000

— 129 —

261 JOHN CLYMER (1907–1989) We Take All, 1973 oil on canvas 24 x 48 inches signed lower right: John Clymer © 73 verso: titled PROVENANCE: Altermann Galleries, Santa Fe, NM (label verso) The Eddie Basha Collection, Chandler, AZ

EDDIE BASHA COLLECTION

$100,000 – $200,000

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— 131 —

262 JOHN CLYMER (1907–1989) High Crossing, 1985

EDDIE BASHA COLLECTION

oil on canvas 12 x 24 inches signed lower right: John Clymer CA © 1985 verso: titled, signed, dated PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) The Eddie Basha Collection, Chandler, AZ $70,000 – $100,000

— 132 —

oil on board 18 x 36 inches signed lower left: RDUNCAN © ‘80 verso: titled, signed, dated

264 JOE BEELER (1931–2006) Little Big Man, 1989

PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) The Eddie Basha Collection, Chandler, AZ EXHIBITION: Cool, Cool, Water, Phippen Museum. Prescott, AZ, March 3 - July 22, 2018 (label verso)

charcoal and pastel on paper 24 ¾ x 17 inches (sight) signed lower left: JOE BEELER CA verso: titled, signed, dated PROVENANCE: The Eddie Basha Collection, Chandler, AZ

$3,000 – $5,000

$2,500 – $3,500

265 JOE BEELER (1931–2006) White Buffalo Robe

266 ROBERT LOUGHEED (1910–1982) Colorado Adobe

oil on board 12 x 9 inches signed lower right: JOE BEELER CA

oil on board 12 x 16 inches signed lower right: ROBERT LOUGHEED (horse)

PROVENANCE: The Eddie Basha Collection, Chandler, AZ

PROVENANCE: JR Mooney Galleries, San Antonio, TX (label verso) Altermann Galleries, Santa Fe, NM (label verso) The Eddie Basha Collection, Chandler, AZ

$2,000 – $3,000

$4,000 – $6,000 — 133 —

EDDIE BASHA COLLECTION

263 ROBERT DUNCAN (1952– ) At the Crossing

267 JIM NORTON (1953– ) The First Shot oil on canvas 40 x 60 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated PROVENANCE: Prix de West Exhibition and Sale, Oklahoma City, OK (label verso) Private Collection, Paige, TX $50,000 – $75,000

— 134 —

268 KEN CARLSON (1937– ) Searching Eyes oil on board 22 x 30 inches signed lower left: CARLSON PROVENANCE: From a Private Collection $15,000 – $25,000

269 JIM CARSON (1942– ) Coming of the White Man, 2021 oil on canvas 46 x 64 inches signed lower right: © Carson 2021 verso: titled and signed “As American settlers pushed westward in the early nineteenth century, they inevitably came into conflict with native American tribes, that had long been living on the land. Ultimately, the settlers, with the support of the army, sought to remove the tribes from the land they desired. Many heroic American Indians made courageous efforts to save their people, notably, Sitting Bull, Geronimo and Chief Joseph, but all were finally unsuccessful. The Manifest Destiny of the settlers spelled the end of the Indian way of life on the prairie.”

– Jim Carson PROVENANCE: The Artist $12,000 – $18,000

— 135 —

270 MARTIN GRELLE (1954– ) Woman of the Valley oil on canvas 30 x 48 inches signed lower right: (cross) * MARTiN GRELLE © 1989 verso: titled and signed PROVENANCE: Private Collection, Paradise Valley, AZ $25,000 – $35,000

271 MIAN SITU (1953– ) Riding with Company oil on canvas 24 x 34 inches signed lower left: Mian Situ verso: titled and signed PROVENANCE: From a Private Collection $10,000 – $15,000 — 136 —

272 MARTIN GRELLE (1954– ) The Wood Gatherers oil on canvas 36 x 60 inches signed lower right: (cross) * MARTiN GRELLE 1989 © verso: titled, signed, dated PROVENANCE: Private Collection, Paradise Valley, AZ $40,000 – $60,000

— 137 —

273 MARTIN GRELLE (1954– ) Ermine and Antelope acrylic on panel 12 x 9 inches signed lower left: (cross) MARTIN GRELLE © 2013 CA verso: titled, signed, dated PROVENANCE: {Fredericksburg Art Auction, Fredericksburg, TX, 2015} From a Private Collection $8,000 – $12,000

274 HARRY JACKSON (1924–2011) Washakie polychrome bronze WAP 3P 36 x 28 x 16 inches inscribed lower verso: ©Harry Jackson 1978 WAP 3P signed lower verso: ©Harry Jackson 1981 inscribed lower front: WASHAKIE FIRST WORKING MODEL FOR A MONUMENT HARRY JACKSON stamped lower verso: WFS ITALY (thumb print) PROVENANCE: From the Collection of Mr. Louis B. Cushman $12,000 – $18,000

— 138 —

275 ROY ANDERSEN (1930–2019) Day of the Dog Soldier, 2000 oil on canvas 50 x 72 inches signed lower right: Roy Andersen CA verso: titled, signed, dated PROVENANCE: {Jackson Hole Art Auction, Jackson, WY, 2007} From a Private Collection $75,000 – $125,000

— 139 —

276 BILL ANTON (1957– ) Tracking the Big Bull oil on board 36 x 45 inches signed lower right: Bill Anton verso: titled, signed, dated PROVENANCE: From a Private Collection $20,000 – $30,000

— 140 —

277 ANDY THOMAS (1957– ) Brazos Brawler oil on canvas 30 x 45 inches signed lower right: ANDY THOMAS PROVENANCE: Greenhouse Gallery of Fine Art, San Antonio, TX (label verso) From a Private Collection $40,000 – $60,000

— 141 —

278 TOM BROWNING (1949– ) Texas Drive, 2021 oil on board 16 x 34 inches signed lower left: Tom Browning CA “Springtime in North Texas brings broad rolling hills, blooming yucca plants and sprawling acres of ranchland. On the Four Sixes Ranch it also is time for gathering large herds of cattle, branding and shipping them as one of the largest working cattle ranches in the country. I was lucky enough to be on one of these drives and ride some of the most wide open and amazing areas of the Old West.” – Tom Browning PROVENANCE: The Artist $10,000 – $15,000

279 BILL OWEN (1942–2013) Redlands Mare and Colt

280 BILL OWEN (1942–2013) Taking the Jerk

oil on canvas 9 x 12 inches signed lower right: © Bill OWEN CA 1984 verso: titled and signed

bronze 13/25 18 x 16 x 18 inches inscribed lower right: Bill Owen CA © 1978 13/25 PROVENANCE: Private Collection, Paige, TX

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

$3,000 – $5,000

$2,500 – $3,500 — 142 —

281 JIM NORTON (1953– ) Fall Gathering oil on board 24 x 36 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Paige, TX $18,000 – $24,000

— 143 —

282 OLAF WIEGHORST (1899–1988) Strays oil on canvas 16 x 20 inches signed lower right: O. Wieghorst verso: titled and signed PROVENANCE: {Fredericksburg Art Auction, Fredericksburg, TX, 2015} Private Collection, Dallas, TX $10,000 – $15,000

283 OLAF WIEGHORST (1899–1988) Goin’ to Catch Me One watercolor on paper 5 ¼ x 8 ¼ inches signed lower left: O. Wieghorst PROVENANCE: Altermann Galleries, Santa Fe, NM (label verso) From a Private Collection $2,000 – $3,000

284 DAN MIEDUCH (1947– ) Curious Treasures oil on board 30 x 40 inches signed lower left: © DAN MIEDUCH 2019 PROVENANCE: From a Private Collection $15,000 – $25,000

— 144 —

285 CURT WALTERS (1950– ) December Nuance oil on canvas 40 x 60 inches signed lower left: Curt Walters PROVENANCE: From a Private Collection $30,000 – $50,000

— 145 —

286 MELVIN WARREN (1920–1995) Westbound, 1964 oil on canvas 24 x 36 inches signed lower right: Melvin C. Warren 1964 PROVENANCE: Altermann and Morris Galleries, Houston, TX (label verso) From a Private Collection $20,000 – $25,000

287 MELVIN WARREN (1920–1995) Riders Leaving Pitchfork oil on canvas 24 x 30 inches signed lower right: Melvin C. Warren PROVENANCE: From a Private Collection $20,000 – $25,000 — 146 —

288 CHARLIE DYE (1906–1972) The Mustangers oil on board 24 x 36 inches signed lower left: Charlie (artist cipher) Dye CA PROVENANCE: O’Brien’s Art Emporium, Scottsdale, AZ (label verso) Private Collection, Stockton, CA $50,000 – $75,000

— 147 —

289 RICHARD SCHMID (1934–2021) Yellow Roses, 1997 oil on canvas 20 x 30 inches signed lower right: Schmid. 1997 Richard Schmid was born in Chicago, Illinois in 1934. Schmid began drawing at an early age, and when he was twelve he enrolled in formal artistic training and began studying landscape painting. At eighteen, Schmid studied under William H. Mosby at the American Academy of Art in Chicago. Mosby redirected Schmid from his early interest in illustration and introduced him to an in-depth study of the old masters. As a result of his time with Mosby, Schmid began painting “alla prima,” in which the artist completes a painting in one session.

Throughout his long artistic career, Schmid has seen representational art fall in and out of fashion, and despite changing artistic trends he has seen decades of wonderful success. While Schmid does not consider himself to be an Impressionist painter, he does use impressionism in his work frequently. Reminiscent of the Golden Age painters, Schmid applies these classic techniques to the modern era, reinventing and applying them in new and exciting ways. Known for his portraits, landscapes, and still lifes, some of Schmid’s highest grossing works at auction are his floral paintings. In reference to some of his florals, Schmid says that most flowers “beg to be painted, because they lend themselves so readily to simple, bold brushwork and palette knife application.” The perfect muse for his style, Schmid truly excels at capturing the vibrancy of flowers in his works, without overcomplicating them.

Schmid’s work resides in several significant permanent collections, including The Smithsonian, and he has been honored with numerous awards like the John Singer Sargent Medal for Lifetime Achievement and the American Watercolor Gold Medal.

Schmid is also a devoted educator and has published several widely distributed books.

PROVENANCE: {Jackson Hole Art Auction, Jackson, WY, 2014} From a Private Collection LITERATURE: Richard Schmid, My Still Life Art, Stove Prairie Press, Hollis, NH, 2019, Illus. p. 114-115 $75,000 – $125,000

— 148 —

— 149 —

290 G. HARVEY (1933–2017) Pike Place Public Market oil on canvas 24 x 36 inches signed lower right: G. Harvey-© verso: titled and signed PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From the Collection Mr. Jim Stevens $60,000 – $90,000

— 150 —

291 EDOUARD LEON CORTES (1882–1969) Place de la Madeleine oil on canvas 13 x 18 inches signed lower left: EDOUARD CORTÈS. PROVENANCE: Robert E. Alker Fine Art, Houston, TX From a Private Collection $20,000 – $30,000

292 EDOUARD LEON CORTES (1882–1969) Untitled (Pastoral) oil on board 6 ¼ x 8 ¾ inches signed lower left: Edouard Cortès.

PROVENANCE: Robert E. Alker Fine Art, Houston, TX From a Private Collection $3,000 – $5,000

— 151 —

293 MORGAN WEISTLING (1964– ) In the Garden oil on canvas 24 x 27 inches signed center right: MORGAN WEISTLING PROVENANCE: From a Private Collection $30,000 – $50,000

— 152 —

294 RICHARD SCHMID (1934–2021) Jan in the Morning, 1974 oil on masonite 8 x 12 inches signed lower left: Schmid verso: titled, signed, dated PROVENANCE: Estate of Charles and Mary Martin Private Collection, Bartlesville, OK $10,000 – $15,000

295 RICHARD SCHMID (1934–2021) The Nude, 1991 pastel on paper 22 x 16 inches signed lower center: Schmid 1991 PROVENANCE: From a Private Collection $7,000 – $10,000

— 153 —

296 ALBERT BIERSTADT (1830–1902) Farmscape oil on paper on board 13 ⅞ x 20 ¼ inches signed lower right: ABierstadt PROVENANCE: From a Private Collection $20,000 – $30,000

297 JOHN FERY (1859–1934) Mountain Pass oil on canvas 27 x 27 inches signed lower right: J. Fery PROVENANCE: Private Collection, Denver, CO $5,000 – $7,000

298 GRAFTON TYLER BROWN (1841–1918) Mt Hood, 1888 oil on board 10 x 20 inches signed lower left: GTBrown verso: titled and dated PROVENANCE: From a Private Collection $7,000 – $9,000 — 154 —

299 HERMANN HERZOG (1832–1932) A Mountain Torrent oil on canvas 44 x 60 inches signed lower right: H. Herzog PROVENANCE: {Fredericksburg Art Auction, Fredericksburg, TX, 2015} From a Private Collection $60,000 – $90,000

— 155 —

300 LUKE FRAZIER (1970– ) Big Fish on a Log Jam oil on board 20 x 40 inches signed lower right: L. Frazier verso: titled, signed, dated PROVENANCE: Private Collection, Paige, TX $8,000 – $12,000

301 LUKE FRAZIER (1970– ) The Reckoning, 2021 oil on board 24 x 30 inches signed lower left: L. Frazier upper right: ©21 verso: titled, signed, dated PROVENANCE: The Artist $15,000 – $25,000

— 156 —

302 ROBERT ABBETT (1926–2015) Shooting at Riverview, 1983 oil on board 24 x 36 inches signed lower right: abbett verso: titled, signed, dated PROVENANCE: From a Private Collection $25,000 – $35,000

— 157 —

303 HARRY ADAMSON (1916–2012) Pintails Arriving oil on canvas 22 x 28 inches signed lower right: Harry Curieux Adamson PROVENANCE: From a Private Collection $10,000 – $15,000

304 FRANK HOFFMAN (1888–1958) The Hunting Fool, 1938 oil on canvas 28 x 36 ¼ inches signed center left: Hoffman PROVENANCE: Private Collection, Center Line, MI $10,000 – $15,000 — 158 —

305 FRANK HOFFMAN (1888–1958) Wild Turkey Hunter oil on canvas 22 x 30 inches signed lower left: Hoffman PROVENANCE: Blair Galleries, Santa Fe, NM (label verso) Private Collection, Center Line, MI $25,000 – $35,000

— 159 —

306 GARY CARTER (1939– ) Summer Campaign oil on canvas 34 x 54 inches signed lower right: © GARY CARTER CA ‘01 PROVENANCE: Private Collection, Denver, CO {Jackson Hole Art Auction, Jackson, WY, 2018} From a Private Collection $12,000 – $18,000

307 FRANK HOFFMAN (1888–1958) Stagecoach Holdup oil on board 18 x 24 inches signed lower right: Hoffman (horse) PROVENANCE: Midwestern Galleries, Cincinnati, OH (label verso) Private Collection, Center Line, MI $15,000 – $25,000

308 FRANK HOFFMAN (1888–1958) Pikes Peak or Bust oil on board 12 x 16 inches signed lower left: Hoffman PROVENANCE: Private Collection, Center Line, MI $7,000 – $10,000

— 160 —

309 MARK BOEDGES (1973– ) To the Sun oil on board 36 x 36 inches signed lower right: boedges verso: titled, signed, dated PROVENANCE: From the Collection of Ms. Anne Phillips $10,000 – $15,000

310 DAVID HALBACH (1931– ) Home for the Holidays watercolor on paper 10 x 19 ¾ inches (sight) signed lower left: DAVID HALBACH CA © PROVENANCE: Overland Trail Gallery, Scottsdale, AZ (label verso) From a Private Collection, Paradise Valley, AZ $2,500 – $4,500 311 BRUCE GREENE (1953– ) Did you Hear the One... oil on canvas 36 x 30 inches signed lower right: Bruce R. Greene PROVENANCE: Private Collection, Amelia Island, FL $6,000 – $9,000 — 161 —

312 TOM LOVELL (1909–1997) He Paddled to the Pacific, ca. 1966 oil on board 12 x 24 inches signed lower left: TOM LOVELL PROVENANCE: The Artist Collection of Reader’s Digest, Pleasantville, NY From a Private Collection LITERATURE: Courier by Reader’s Digest, No. 20, January 1967, illus. p. 47 $8,000 – $12,000

313 TOM LOVELL (1909–1997) Columbus Refuses a Plea to Turn Back oil on board 22 x 29 inches signed lower left: TOM LOVELL verso: signed PROVENANCE: The Artist Commissioned by Exxon Mobil Corporation General Drafting Co, Convent Station, NJ (label verso) Altermann & Morris Galleries, Hilton Head, SC (label verso) From a Private Collection $15,000 – $25,000

314 W.H.D. KOERNER (1878–1938) The Hurricane, 1935 oil on canvas 30 x 36 inches signed lower right: W.H.D. Koerner 1935 PROVENANCE: The Artist, by Descent From a Private Collection $12,000 – $18,000

— 162 —

315 DEAN CORNWELL (1892–1960) Who Hired You?, 1924 oil on canvas 30 ¼ x 46 ¼ inches initialed lower right: DC24 PROVENANCE: Private Collection, New York American Illustrators Gallery, New York, NY Private Collection, West Palm Beach, FL $30,000 – $50,000

— 163 —

316 ALLAN HOUSER (1914–1994) Dance of the Mountain Spirits II, 1989 bronze 4/6 74 x 30 x 43 inches inscribed lower verso: ALLAN HOUSER ©89 4/6 PROVENANCE: From a Private Collection $40,000 – $60,000

— 164 —

317 ALLAN HOUSER (1914–1994) Dance of the Mountain Spirits I, 1989 bronze 4/6 68 x 26 x 50 inches inscribed lower verso: ALLAN HOUSER ©89 4/6 PROVENANCE: From a Private Collection $40,000 – $60,000

— 165 —

318 JOSH TIESSEN (1995– ) New Sheriff in Town oil on braced Baltic birch 24 x 48 inches signed lower left: Josh Tiessen 2017 PROVENANCE: The Artist $15,000 – $25,000

319 JOSH TIESSEN (1995– ) Liberation of the Jackalope oil on braced Baltic birch 20 ¾ x 28 ½ inches (oval) signed lower right: Josh Tiessen 2018 verso: titled, signed, dated PROVENANCE: The Artist $8,000 – $12,000

320 DAN OSTERMILLER (1956– ) The Sage bronze 11/20 33 x 24 x 23 inches inscribed lower left: © Dan Ostermiller 1993 11/20 PROVENANCE: Private Collection, Santa Fe, NM $18,000 – $24,000 — 166 —

321 JOHN NIETO (1936–2018) Running Wolf, 2011 acrylic on canvas 30 x 40 inches signed lower right: nieto verso: titled, signed, dated PROVENANCE: From the Collection of Dr. Joshua Beck $10,000 – $15,000

322 STANLEY MELTZOFF (1917–2006) Bluefin 30, 1978 oil on canvas on board 8 ¼ x 11 inches initialed lower right: SM verso: titled and dated PROVENANCE: From the Estate of Stanley Meltzoff $4,000 – $6,000

323 STANLEY MELTZOFF (1917–2006) Bluefish 10, 1974 oil on canvas on board 6 x 16 inches initialed lower right: SM verso: titled and dated PROVENANCE: From the Estate of Stanley Meltzoff EXHIBITION: The Lure of the Ocean: The Art of Stanley Meltzoff, Bruce Museum, Greenwich, CT, February 9 - June 2, 2013 (label verso) $4,000 – $6,000 — 167 —

324 ALLAN HOUSER (1914–1994) Respect, 1985 bronze 11/12 58 x 13 x 12 inches inscribed lower verso: ALLAN HOUSER 85 © stamped lower verso: AHI 11/12 PROVENANCE: From a Private Collection $30,000 – $50,000

— 168 —

325 ROBERT DAUGHTERS (1929–2013) Garden Wall, 1984

326 PAUL MOORE (1957– ) Winds of Taos

oil on canvas 24 x 18 inches signed lower left: R. Daughters.

bronze 1/25 40 x 15 x 15 inches inscribed lower right: 1/25 (artist cipher) MOORE ©2006 BNSS

PROVENANCE: From the Collection of the Jack W. Olsen Revocable Trust

PROVENANCE: From a Private Collection

$6,000 – $9,000

$8,000 – $12,000

327 DON COEN (1935– ) Sleeping Indian Herd oil on canvas 48 x 72 inches signed lower right: DWCoen PROVENANCE: From a Private Collection $8,000 – $12,000

— 169 —

328 JONATHAN KENWORTHY (1943– ) Masai Warrior bronze 4/5 9 x 15 x 7 inches inscribed lower front: ‘66 KENWORTHY inscribed lower verso: © 4/5 PROVENANCE: From a Private Collection $4,000 – $6,000

329 JONATHAN KENWORTHY (1943– ) Lion About to Attack bronze 2/5 7 ¾ x 14 ¼ x 6 ¾ inches inscribed lower front: KENWORTHY ‘66 2/5 © PROVENANCE: From a Private Collection $4,000 – $6,000

330 JOHN BANOVICH (1964– ) Lion and Zebra oil on canvas 10 x 10 inches signed lower right: BANOVICH © 2006 PROVENANCE: From a Private Collection $3,000 – $5,000

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331 LINDSAY SCOTT (1955– ) Three’s Company colored pencil on paper 9 ½ x 30 inches signed lower left: LINDSAY SCOTT PROVENANCE: From a Private Collection $3,000 – $5,000

332 JOHN BANOVICH (1964– ) Mountain Nyala in Bale Mountains

333 LINDSAY SCOTT (1955– ) Wary Pair

oil on canvas 12 x 9 inches signed lower right: © BANOVICH 2007

colored pencil on paper 24 x 13 ½ inches signed lower left: LINDSAY SCOTT

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$3,000 – $5,000

$3,000 – $5,000

— 171 —

334 MICHAEL GODFREY (1958– ) Autumn River oil on canvas 48 x 36 inches signed lower right: MICHAEL GODFREY PROVENANCE: From a Private Collection, Dallas, TX $7,000 – $10,000

335 FRANCOIS KOCH (1944– ) Montana Fall oil on board 24 x 36 inches signed lower right: Francois Koch verso: titled and signed PROVENANCE: The Artist $7,000 – $10,000

— 1 72 —

336 CARL BRENDERS (1937– ) Gray Partridge Meal gouache on paper 7 x 16 inches signed lower right: © CBrend 84 PROVENANCE: Connally & Altermann Art Gallery, Houston, TX (label verso) From a Private Collection $5,000 – $7,000

337 KENT ULLBERG (1945– ) Wilderness Spirit

338 CARL BRENDERS (1937– ) Reed Warbler

bronze 74/300 12 ½ x 8 x 6 inches inscribed lower verso: © Ullberg 74/300

gouache on paper 11 ½ x 5 inches signed lower right: CBrenD

PROVENANCE: From a Private Collection

PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection

$1,000 – $2,000

$2,000 – $4,000

— 1 73 —

339 NANCY BUSH (1947– ) Light & Fog oil on board 36 x 48 inches signed lower right: Bush. verso: titled and signed PROVENANCE: Astoria Fine Art, Jackson, WY (label verso) From a Private Collection $15,000 – $25,000

340 ROD GOEBEL (1946–1993) Snowfield Reflections, 1983

341 MIAN SITU (1953– ) Come See

oil on canvas 40 x 30 inches signed lower right: ROD GOEBEL verso: titled, signed, dated

oil on canvas 24 x 20 inches signed lower left: Mian Situ verso: titled and signed

PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From the Collection of Mr. Louis B. Cushman

PROVENANCE: Trailside Galleries, Jackson, WY Private Collection, Dallas, TX

$5,000 – $7,000

$4,000 – $6,000

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342 JOHN FALTER (1910–1982) Man’s Work to be Done, 1977

343 CLYDE ASPEVIG (1951– ) Notre Dame - Morning Light

oil on canvas 12 x 16 inches signed lower left: Jo Falter (c) 77 verso: titled, signed, dated

oil on board 14 x 18 inches signed lower left: C. ASPEVIG verso: titled, signed, dated

PROVENANCE: {Fredericksburg Art Auction, Fredericksburg, TX, 2015} From a Private Collection

PROVENANCE: From a Private Collection

$10,000 – $15,000

$3,000 – $5,000

344 CLYDE ASPEVIG (1951– ) Arc de Triomphe

345 CLYDE ASPEVIG (1951– ) St. Marks - Venice

oil on board 16 x 18 inches signed lower left: C. ASPEVIG verso: titled, signed, dated

oil on board 14 x 18 inches signed lower left: C. ASPEVIG verso: titled and signed

PROVENANCE: From a Private Collection

PROVENANCE: From a Private Collection

$3,000 – $5,000

$3,000 – $5,000 — 1 75 —

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 2022 Auction Save the Date!

September 16 & 17, 2022

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 A N N R O G E R S , A U C T I O N C O O R D I N AT O R 8 6 6 - 5 4 9 - 9 2 7 8 , C O O R D I N AT O R @ J A C K S O N H O L E A R TA U C T I O N . C O M 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 1-131 SESSION II: LOTS 132-345

ABBETT, ROBERT Shooting at Riverview, 302 ADAMSON, HARRY Pintails Arriving, 303 AFSARY, CYRUS Patrol Men, 10 Rough Road, 175 AHRENDT, WILLIAM Gathering for the Hunt, 145 ALDRICH, EDWARD Watchers of the Forest, 87 ANDERSEN, ROY Day of the Dog Soldier, 275 ANTON, BILL Beyond Words, 153 The Blue Roan, 63 Tracking the Big Bull, 276 ARMITAGE, ARNOLD Cowgirl Campfire, 113 ASPEVIG, CLYDE Arc de Triomphe, 344 Boone Creek, 199 Evening - Pont des Arts, 116 Ghost Covey Tree, 200 Notre Dame - Morning Light, 343 St. Marks - Venice, 345 Zurich - Switzerland, 115 BANOVICH, JOHN Lion and Zebra, 330 Mountain Nyala in Bale Mountains, 332 BARLOW, MIKE Mule Deer, 160 Prime Time, 139 BASSETT, REVEAU MOTT Ducks in Landscape, 193 Mallards Landing, 194 BEECHAM, GREG Bull Elk, 92 Cat’s Lair, 218 Pronghorn, 39 Togwotee Cool Down, 216 BEELER, JOE Apache Ambush, 258 Dog Soldiers, 251 Into the North Wind, 71 Little Big Man, 264 Navajo, 253 Range Roping, 1 Sitting Bull, 11 Touch the Clouds, 21 Untitled (Bucking Bronc), 58 Watchful Eyes, 252 White Buffalo Robe, 265 Wild Cow Hunter, 65

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BERNINGHAUS, OSCAR E. Taos Field of Workers, 237 BIERSTADT, ALBERT Butterfly, 1892, 232 Butterfly, 1900, 236 Farmscape, 296 BLOSSOM, CHRISTOPHER Early Morning Gloucester, 117 San Francisco Pilot - Bonita, 124 Turning out of Port Blakey at Dawn, 125 BODELSON, DAN Crooked Trail, 142 BOEDGES, MARK To the Sun, 309 BOREIN, EDWARD Her Calf, 4 Saddle Bunch, 5 Untitled (Riders in Valley), 59 Wild Horse Hunters, 6 BOREN, JAMES Winter in the Little Belts, 97 BRENDERS, CARL Gray Partridge Meal, 336 Reed Warbler, 338 BROWN, GRAFTON TYLER Mt Hood, 298 BROWNING, TOM Texas Drive, 278 BURGESS, STEVE Leader of the Pack, 90 Strange Encounter, 102 BUSH, NANCY Light & Fog, 339 CARLSON, KEN Autumn Light, 159 Mallards, 157 Moose Pair, 162 Pronghorn, 206 Running Chance, 220 Searching Eyes, 268 Teton Winter, 221 CARSON, JIM Coming of the White Man, 269 Prospectors of the Wild West, 48 CARTER, GARY Summer Campaign, 306 CASE, RUSSELL The High Country, 94 CHEEVER, BRUCE Cheyenne Summer, 141 CHRISTENSEN, SCOTT September Colors, 83

INDEX

SESSION I: LOTS 1-131 SESSION II: LOTS 132-345

CLYMER, JOHN Buffalo Hunt, 189 Buffalo Scouts, 250 High Crossing, 262 Untitled (Man with Horse), 20 We Take All, 261 COEN, DON Sleeping Indian Herd, 327 COLEMAN, MICHAEL Elk, 219 High Country Elk, 223 COLEMAN, NICHOLAS The New Meeting Place - 1910, 144 CORNWELL, DEAN Who Hired You?, 315 CORTES, EDOUARD LEON Place de la Madeleine, 291 Untitled (Pastoral), 292 COTTRELL, SHEILA Working the Cowhorse, 50 COWAN, JOHN Foggin’ In, 195 CROTTY, THOMAS Boat in Field, 110 CURTIS, EDWARD Geronimo, 147 DASSOULAS, MARK The Grand Teton from Taggart Lake, 158 DAUGHTERS, ROBERT Garden Wall, 325 DE DECKER, THOMAS Cathedral Group, 33 The Setting of a Peaceful Day, 34 DEMOTT, JOHN A War Cry in the Night, 7 DONAHUE, TERRY Coming of Age, 138 DOOLITTLE, BEV Pinto Mare and Foal, 152 DORR, TOM Early Morning, 54 Last Loop of the Day, 57 DUNCAN, ROBERT At the Crossing, 263 Mountain Character, 19 Slow Going, 52 DYE, CHARLIE The Mustangers, 288 ELLIOTT, TERESA Hidalgo, 149 FALTER, JOHN Man’s Work to be Done, 342 FELLOWS, FRED Life in the Fast Lane, 60

FERY, JOHN Mountain Pass, 297 FORLEE, ERIC Two Bulls, 99 FRAZIER, LUKE Big Fish on a Log Jam, 300 Frick & Frack, 167 Moose in the Woods, 82 The Reckoning, 301 GASPARD, LEON Seated Russian Woman, 234 Woman in Blue Babushka, 233 GODFREY, MICHAEL Autumn River, 334 GOEBEL, ROD Snowfield Reflections, 340 GOLLINGS, WILLIAM Untitled (Horses in Snow), 243 GONSKE, WALT Spring Apple Blossoms, 129 GOODWIN, PHILIP R. Lake Louise, Alberta, 72 GRANT, LANNY The Coming of Winter, 36 GREENE, BRUCE Did you Hear the One..., 311 GREEVES, RICHARD Sainday, Trickster and Wonder Worker of the Kiowa, 148 This Way, 143 GRELLE, MARTIN Ermine and Antelope, 273 The Wood Gatherers, 272 Woman of the Valley, 270 HAGERBAUMER, DAVID Grouse in Flight, 67 HALBACH, DAVID Bound for Feathers, 18 Doing Trade, 254 Five??...FIVE!!, 255 Gathering for Snake Dance, 13 Home for the Holidays, 310 Indian in Canoe, 24 Soyoko, 16 HALLMARK, GEORGE Enero, 198 HARMAN, FRED The Bronc, 55 The Intruders, 29 HARVEY, G. Pike Place Public Market, 290 The Storm, 181 To Boone in Friendship, 182 Trails in the Palo Duro, 184 Uno Mas, 183

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INDEX

SESSION I: LOTS 1-131 SESSION II: LOTS 132-345

HENNINGS, E. MARTIN Untitled, 231 HERZOG, HERMANN A Mountain Torrent, 299 HIGGINS, VICTOR Lee Witt Ranch, Taos, 235 HOFFMAN, FRANK Homesteaders Leaving, 2 Illustration for ‘Treasure Island’, 111 Long Island Steeplechase Meet, 122 Pikes Peak or Bust, 308 Polo Player on Horse, 123 Stagecoach Holdup, 307 The Hunting Fool, 304 Wild Turkey Hunter, 305 HOLDEN, HAROLD New Generation, 64 HOUSER, ALLAN Dance of the Mountain Spirits I, 317 Dance of the Mountain Spirits II, 316 Respect, 324 HUGHES, BILL Riverside Encampment, 27 HULINGS, CLARK Altea #1 - Street Repairs, 188 French Cottage Below the Castle Ruins, 202 Saturday Afternoon, 187 HURLEY, WILSON First Visit, Mariner 4, Fly-by of Mars, 205 ISAAC, TERRY Full Steam Ahead, 76 King of the Mountain, 214 JACKSON, HARRY The Marshall III, 46 Washakie, 274 JEPPSEN, JULIE Wolves, 35 JOE, ORELAND Kiowa Gourd Dancer, 14 JOHNSON, HARVEY Daughter of the Plains, 12 The Bashful Crow, 9 The Trackers, 22 KEITH, WILLIAM Mount Shasta from Castle Lake, 191 KELSEY, T.D. Center of Attention, 89 KENWORTHY, JONATHAN Lion About to Attack, 329 Masai Warrior, 328 KING, JACK (JAC) ELMO Buffalo Herd, 78 KOCH, FRANCOIS Montana Fall, 335

KOERNER, W.H.D. The Hurricane, 314 KUHN, BOB Contented Cat, 211 Heading Into Thick Stuff, 228 Knight Errant, 245 Midst Flap and Clatter, 171 Rams Along a Rocky Ridge, 210 Sporting Studies (triptych), 3 Stuff of Legends, 217 The Solace of the Cliffs, 222 Untitled (Bears), 168 Untitled (Bighorn Sheep), 169 KUHNERT, FRIEDRICH WILHELM Waterbuck, 230 KWAN, CLEMENT Square Dance, 120 LECHOSZEST, DAMIAN Mother’s Helper, 118 LEIGH, WILLIAM R. Patient, 185 LIANG, CALVIN Sailing, 121 LIU, HUIHAN Roses and Apples, 119 LOUGHEED, ROBERT Colorado Adobe, 266 Village in Central France, 203 Winter Warmth, 66 LOVELL, TOM Columbus Refuses a Plea to Turn Back, 313 He Paddled to the Pacific, 312 New Grass (Study), 247 Talking Skull, 259 The Wolf Men (Sketch), 248 The Wolf Men (Study), 249 Untitled (Man and Woman), 114 MACDONALD, GRANT Sunset Near Velarde (study), 85 MANN, DAVID Winter Night, 23 MARRIS, BONNIE Autumn Bear, 212 Edge of the Pond, 224 Wolf in the Pines, 213 MATIA, WALTER Labrador Bookends, 196 MCCARTHY, FRANK Horsemen of the West, 44 Riders in the Canyon, 56 Tough Hombre, 43 Untitled (Wagon Train), 45 MCHURON, GREG North Wind, 227

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INDEX

SESSION I: LOTS 1-131 SESSION II: LOTS 132-345

MELAINE, KRYSTII Dark Horse, 53 MELTZOFF, STANLEY Bluefin 30, 322 Bluefish 10, 323 Growth and Expansion, 106 Illustration from ‘The Man from Monticello…

An Intimate Life of Thomas Jefferson’, 112 Untitled (Microscope), 107 Untitled (On Duty), 108 METZ, DAN High Meadow, 93 Moonlight Passage, 51 MIEDUCH, DAN Curious Treasures, 284 Reata Pass, 154 Shirt-Tail Relatives, 155 MIGNERY, HERB Let Down On, 49 MOORE, PAUL Winds of Taos, 326 MOYERS, JOHN Mount Lefroy, 25 NIBLETT, GARY The Canyon Floor, 178 NIETO, JOHN Running Wolf, 321 NORTON, JIM Crossing the Smith’s Fork, 156 Fall Gathering, 281 Packing into the Line Camp, 61 The First Shot, 267 The First Snow, 26 OSTERMILLER, DAN The Sage, 320 OWEN, BILL Redlands Mare and Colt, 279 Taking the Jerk, 280 PACKARD, GREGORY Turkeys at the Edge of a Wood, 69 PARKER, GEOFF Wyoming Winter, 32 PAXSON, E.S. Geronimo, 239 Indian Chief with Hat, 177 PHELPS, JOHN Disputed Hunting Ground, 42 PLEISSNER, OGDEN Rising Fog, 238 PLETKA, PAUL Hopi Dancer, 256 POTTER, JOHN Something Bruin in the Gallatin, 40

PRICE, CLARK KELLEY Untitled (Cowboys in Snow), 47 PRIGMORE, JUSTIN Hunters Along the Firehole, 75 REED, MARJORIE Seven Palms, 15 REYNOLDS, JAMES Changin’ the Wheel Horse, 260 Last One In, 257 RIDDICK, R.S. Like Father, Like Son, 62 RIPPEL, MORRIS Canyon de Chelly at White House, 17 ROBERTS, GARY LYNN A Strange Sign, 28 ROGERS, HOWARD Flowers and Lace, 131 Misty Rose, 130 Sherry, 126 ROWE, KEN The First of Many, 86 RUEHLE, JON Sitting Dog, 197 RUMSEY, CHARLES Fighting Horses, 8 RUNGIUS, CARL Above the Treeline, 246 Alarmed, 137 Among the Crags, 165 An Old Prospector, 174 Mates, 135 Mountain Caribou, 173 Mule Deer, 133 Near Long Lake, 88 On the Skyline, 132 Out of the Canyon, 136 Rainbow Rams, 244 The Answer from the Barren, 164 The Challenge, 161 The Traveler, 134 RYAN III, TOM Fourteen at the Four Sixes, 150 West Texas Foal, 151 SCHMID, RICHARD Ballerina, 127 Jan in the Morning, 294 Nude, 128 The Nude, 295 Yellow Roses, 289 SCHWIERING, CONRAD Autumn Music, 226 High Country Autumn, 225

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INDEX

SESSION I: LOTS 1-131 SESSION II: LOTS 132-345

SCOTT, LINDSAY A Quiet Drink, 84 Mother and Young Zebra, 104 Three’s Company, 331 Wary Pair, 333 SEEREY-LESTER, JOHN Intrusion, 73 Leopard, 103 Lion Hunt, 101 Set of Two, 100 SELTZER, O.C. Fishing Cougar, 241 Indian Chief, 242 On the Move, 240 SHARP, JOSEPH HENRY The Drummer, 190 SHEPHERD, DAVID Black Rhino, 229 SHINABARGER, TIM Before the Rush, 81 Distant Movement, 166 On the Barren Lands, 172 Reclining Mountain Lion, 91 SHULAK, RITA HOFFMAN Covered Bridge, 109 Mountain Splendor, 98 SIMS, KYLE Quite a Scene, 163 SITU, MIAN Come See, 341 Riding with Company, 271 SKIDMORE, RYAN Deep in the Timber (study), 79 Ladies in Waiting, 80 SMITH, DANIEL Backwater Bull, 215 SMITH, MATT The Granite Wave, 41 SMITH, TUCKER Bison at Vermillion Creek, 208 Bison with Calf, 170 In Blackfeet Country, 207 Through the Frost, 209 SMITH, WILLIAM G. Fleeing Winter, 30 Grand Morning, 31 SPECK, LORAN Persimmons on a Ledge, 201 SPEED, GRANT Bought ‘Em for Two, Sold ‘Em for One, 179 Charlie Goodnight, 204 STICK, FRANK Untitled (Wolves), 74

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SUMMERS, ROBERT Rainsoaked, 180 SWANSON, GARY Lioness and Cubs, 105 SWANSON, RAY Navajo Farmer, 146 TEAGUE, DONALD Afternoon Before the Battle, 176 TERPNING, HOWARD Vanishing Pony Tracks, 192 THOMAS, ANDY Brazos Brawler, 277 TIESSEN, JOSH Liberation of the Jackalope, 319 New Sheriff in Town, 318 ULLBERG, KENT Wilderness Spirit, 337 VAN HOWD, DOUGLAS Pintail Duck and First Nevada Decoy, 68 VAN WECHEL, DUSTIN Sentinel, 37 WALTERS, CURT December Nuance, 285 WARREN, MELVIN Riders Leaving Pitchfork, 287 The Homestead, 186 Westbound, 286 WATTS, JEFFREY A Lesson in Shakespeare, 140 WEISTLING, MORGAN In the Garden, 293 WHEELER, CORY Bison, 77 WHITCOMB, SKIP Fall Colors, 38 Misty Mount Moran, 70 WIDFORSS, GUNNAR Rocky Shoreline, 96 WIEGHORST, OLAF Goin’ to Catch Me One, 283 Strays, 282 WOLTON, ALAN The Grand, 95

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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 20% of the final bid price of each lot up to and including $1,000,000 and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, the purchase price will be the sum of the final bid price plus a buyer’s premium of 23% of the final bid price for each lot up to and including $1,000,000 and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges.

4.

The Jackson Hole Art Auction reserves the right to withdraw any property before or during the sale and shall have no liability whatsoever for such withdrawal.

5.

Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalogue.

6.

The Jackson Hole Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser, subject to reserves.

In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or to reoffer and resell the article in dispute. If any dispute arises after the sale, the Jackson Hole Art Auction’s sale record shall be final and conclusive. The Jackson Hole Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Jackson Hole Art Auction is not responsible for any errors or omissions in connection therewith.

7.

If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the article offered, he or she may reject the same and withdraw the article from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.

8.

On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the terms and conditions set forth herein, and is immediately obligated to pay the full purchase price or such parts thereof as the Jackson Hole Art Auction may then require. All sales are final, and there shall be no exchanges or returns. Payment shall be made by cash, check, wire transfer, Visa, MasterCard, or American Express. (See, paragraph 3 above: “If paying by credit card . . .”) In addition to other remedies available to us by law, the Jackson Hole Art Auction reserves the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein.

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.

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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, New Mexico, Oklahoma, Texas, Utah, Wisconsin, 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

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

CENTER FOR THE ARTS LIVE AUCTIONS SESSION I & SESSION II

N OT E S

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N OT E S

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Auction Coordinator: Ann Rogers Auction Registrar: Megan Harrington Photography: Megan Harrington Accounting: Sandy Toland Catalog Design: Maryvonne Leshe Catalog Essays: Madison Webb, Ann Rogers 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 © 2021 Jackson Hole Art Auction Limited Co.

Go West. Go Wild. Go Online.

Charlie Dye, Throwing the Houlihan, oil, 24 x 36 inches, Estimate $30,000-$50,000. SOLD: $57,000

Clark Kelly Price, Sweet Wyoming Home, oil, 24 x 30 inches Estimate $3,000 - $5,000. SOLD: $30,000

Bill Owen, Untitled, oil, 9 x 12 inches Estimate $1,500 - $2,500. SOLD: $33,000

Save the Date: February 19, 2022 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 2022 sale To consign please email info@wyomingartauction.com or call 866-549-9278

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