2015 Jackson Hole Art Auction: Session II Catalog

TRAILSIDE GALLERIES & GERALD PETERS GALLERY PRESENTS

SESSION II • SEPTEMBER 19, 2015

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

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

©

JACKSON HOLE ART AUCTION

Absentee and phone bidding arrangements must be made no later than 5pm MST on September 18, 2015 Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties Please direct all inquiries to (866) 549-9278 Register online and view auction results at: www.jacksonholeartauction.com O N L I N E B I D D I N G AVA I L A B L E T H R O U G H

© 2015 Jackson Hole Art Auction Limited Co. Auction Coordinator: Jill Callahan Auction Registrar: Madison Webb Photography: Price Chambers, John Peelle, Madison Webb, Tom Van Eynde, Kent Corley Catalog Design: Maryvonne Leshe Catalog Essays: Jill Callahan and Madison Webb Graphic Design: Shane Mieske Printing and Binding: O’Neil Printing, AZ Auctioneer: Jason Brooks

COVER

184 ALBERT BIERSTADT (1830-1902) Wind River Country Wyoming, ca. 1860, oil on canvas, 28 1/4 x 39 1/2 inches, $1,000,000 - $2,000,000 FRONTISPIECE

193 BOB KUHN (1920-2007) Cheetahs on a Termite Hill, acrylic on masonite, 22 x 40 inches, $200,000 - $400,000 F O L L O W I N G PA G E ( C L O C K W I S E F R O M T O P )

140 TOM LOVELL (1909-1997) Sundown at Fort Union, oil on canvas, 23 7/8 x 36 1/8 inches, $150,000 - $250,000 133 HOWARD TERPNING (1927- ) Good Medicine, oil on canvas, 18 x 24 inches, $100,000 - $150,000 152 G. HARVEY (1933- ) Through Winter’s Gold, oil on canvas, 24 x 36 inches, $70,000 - $90,000

J A C K S O N H O L E A R T A U C T I O N PA R T N E R S

Roxanne Hofmann Trailside Galleries trailsidegalleries.com (480) 945-7751

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

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

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

SCHEDULE OF EVENTS

SESSION I

All events will be held at Trailside Galleries 130 East Broadway, Jackson, Wyoming SESSION I AUCTION PREVIEWS

Thursday, September 17th | 10:00am – 7:00pm Friday, September 18th | 9:00am – 12:00pm LIGHT LUNCH

Friday, September 18th | 11:00am SESSION I LIVE AUCTION

Friday, September 18th | 12:00pm MST

SESSION II

All events will be held at the Center for the Arts 265 South Cache, Jackson, Wyoming SESSION II AUCTION PREVIEWS

Friday, September 18th | 10:00am – 7:00pm Saturday, September 19th | 9:00am – 12:00pm BBQ LUNCHEON

Saturday, September 19th | 11:00am SESSION II LIVE AUCTION

Saturday, September 19th | 12:00pm MST

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

©

TOP TIER JURIED COMPETITION Top Tier artists, chosen by invitation, are a select group of contemporary artists with exemplary auction records: WILLIAM ACHEFF • JOHN BANOVICH • KEN CARLSON • GUY COHELEACH JENNESS CORTEZ • Z.S. LIANG • BONNIE MARRIS • MIAN SITU

A $10,000 cash prize will be awarded to the artist whose work is of significant merit, as determined by a three person jury: EM ILY KAPES, Art Collection Curator, Raymond James Financial NATASHA KHANDEKAR, Director and Curator, William I. Koch Collection SU E SIM P S ON , Owner, Simpson Gallagher Gallery

The award will be announced September 19, 2015 prior to the start of the Session II auction, during which all Top Tier paintings will be sold.

WILLIAM ACHEFF (1947– ) William Acheff’s art passion was kindled while living in the San Francisco Bay Area when, at age 22, artist Roberto

Lupetti invited him to his drawing class. After six months, Acheff moved into his own studio while continuing visits to Lupetti’s studio for criticism and words of wisdom.

Restless, Acheff ventured to Taos in 1973. Armed with classical training, he developed a very distinct style that is widely recognized and admired. He is renowned for his highly realistic still lifes of rich Native American artifacts of the past. The Pueblo Indians of Taos have provided him with inspiring subjects to paint. “Artifacts and traditions of the past,” he explains, “seem to hold more mystical and aesthetic value than those of contemporary times.”

Acheff has shown in major Western art shows, including: Western Heritage Sale, Artists of America, National Academy of Western Art, The Hubbard Show, Prix de West, Autry Masters of the American West. He is a two time Prix de West Award winner (1989, 2004) and received the Masters of America West Purchase Award in 1998.

JOHN BANOVICH (1964– ) John Banovich emerged as a talent to watch over two decades ago and today is known internationally for his large,

dramatic portrayals of iconic wildlife. His deep passion, knowledge of wildlife and unwavering commitment to conservation continues to inspire.

Banovich’s work is in important museum, corporate and private collections and has appeared in numerous prestigious venues including the Hiram Blauvelt Art Museum, Leigh Yawkey Woodson Art Museum, National Museum of Wildlife Art, Wildlife Experience Art Museum, Salmagundi Club, Museum of the Southwest, Natural History Museum, Gilcrease Museum, traveling exhibitions sponsored by the Society of Animal Artists and showcases hosted by Safari Club International and Dallas Safari Club. In the press, Banovich’s work has been showcased on NBC’s Entertainment Tonight, The Outdoor Channel, The Great American Country Channel, Orion Entertainment, Versus, PBS and most recently NBC has written about his dedication to his conservation work and named him an NBC Cause Celebrity.

KEN CARLSON (1937– ) Ken Carlson was born and raised in Minnesota and now resides in the hill country of central Texas. Following art school training,

he began his career as a commercial illustrator in Minneapolis. In 1968, he put aside commercial work to devote full time to painting wildlife subjects. A critical element of Carlson’s work has always been first-hand observation of his wildlife subjects. Each fall, he travels to Alaska, the western prairies, the Canadian Rockies, or to Africa to study animal subjects in their varied habitat. As a participant of the Prix de West Exhibition at the National Cowboy and Western Heritage Museum, Carlson has been the recipient of the Frederick Remington Award for Artistic Merit and twice the recipient of the Pittman Wildlife Award. He was the recipient of the first Bob Kuhn Wildlife Award from the American West Exhibition at the Autry National Center and the Briscoe Western Art Museum Legacy Award for a lifetime of artistic accomplishments.

GUY COHELEACH (1933– ) Guy Coheleach’s paintings have been in 40 one-man retrospective exhibitions in major museums in 29 cities from New York

to Los Angeles from 1991 to 2011. With over a hundred one-man commercial shows worldwide his paintings have received the Society of Animal Artists Award of Excellence an extraordinary eight times and it’s lifetime achievement award in 2012.

Visiting Heads of State have received his American Eagle print, and he was the first Western artist to exhibit in Peking after World War II. Coheleach became a charter member of The World Wildlife Fund’s “The 1001: A Nature Trust” in 1972. His endowment at the University of Tennessee provides about six full scholarships to the School of Wildlife Management each year.

Coheleach graduated from Cooper Union and received an Honorary Doctorate from William and Mary. PBS featured him and his work in Africa entitled “Journeys Of An Artist”. He was also the subject of two films “Guy Coheleach and the Bald Eagle” and “Quest: An Artist and His Prey”; and been the focus of articles in Reader’s Digest, Saturday Evening Post, well as numerous regional art and wildlife magazines. “The Big Cats: The Paintings of Guy Coheleach” by Abrams was a Book of the Month Club selection in 1982. His highly acclaimed book “The African Lion as Man-Eater” was published in 2004.

JENNESS CORTEZ (1944– ) Jenness Cortez is a distinguished figure in the contemporary revival of classical realist painting. She was born in Indiana,

received private lessons from noted Dutch-born painter Antonius Raemaekers, graduated from the Herron School of Art where she received a rigorous five year training in all technical aspects of art making, and studied at the Art Students League under another gifted teacher, Arnold Blanch. From 1977 to 1996 Jenness became world renown for her skillful portrayal of sporting and wildlife subjects. In 2001 she began concentrating on a form of still life painting inspired by the age-old tradition of “art in art.” By means of her intricate creations Cortez challenges the viewers’ intellectual curiosity as she celebrates the sheer pleasure of beautiful painting. In the process of creating each work Cortez plays author, architect, visual journalist, art historian, curator and pundit to help open our eyes to what we might otherwise have overlooked or taken for granted. Each painting presents a specific theme, mixing straightforward cues and obscure allusions, complemented by references to other artists’ lives and times. By depicting iconic artworks in her own paintings, Cortez underscores a classic paradox of realism: the painting as a “window” into an imagined space and as a physical object––both a metaphysical presence and a material entity. Jenness Cortez has been exhibiting her work since 1975, and has had more than 40 solo shows throughout the United States. Her work is in numerous public and private collections including those of Presidents Ronald Reagan and Bill Clinton, HRH Queen Elizabeth II, the New York State Museum.

Z.S. LIANG (1953– ) Z. S. Liang was born in China in 1953. He studied at the Central Academy of Fine Arts in Beijing and Guangzhou Academy of Fine

Arts in Guangzhou. Liang furthered his art study in the United States, he earned his MFA in Painting at Boston University in 1989. Liang received his great inspiration in this country while studying and painting the Wampanoag Indian culture at Massachusetts. This new found interest fired his imagination, and he began to focus his painting primarily on Native American Indian cultures and their traditional ways of life. During the ensuring years of field research, he has made many connections and friends among native tribes from the east coast to the west coast. Liang’s obvious passion for the Indians as a people, coupled with his emphasis on historical accuracy, adds strength and truth to his portrayals. Among the many awards Liang has received are: Masters of the American West Purchase Award 2011; the David P. Usher Patrons’ Choice Award, Master of the American West, 2009; the President’s Award for Excellence, Oil Painters of America, 2005.

BONNIE MARRIS (1951– ) While a student at Michigan State University, Bonnie Marris illustrated several books, including a mammalogy text by a leading

expert in the field. The book attracted the attention of noted zoologist George Schaller, who invited Marris to prepare the art for posters to support his worldwide rare animal relief programs.

Beyond acadmic training and emotional involvement, there lies that element for which there is no substitute: experience. Marris makes several field trips each year to study the animals that are the subjects of her paintings. This close proximity with the animals gives her the confidence to paint them with total realism in their natural surroundings. Marris’ work is highly sought after and can be found in many major collections throughout the country.

Marris and her husband, Woody, live on a farm in Ada, Michigan with two dogs and three horses.

MIAN SITU (1953– ) Born in southern China, Mian Situ earned BA and MFA degrees from the Guangzhou Institute of Fine Art and then worked as an art

instructor for six years. He lived in Canada for ten years before immigrating to the United States in 1998.

Situ received the Masters of the American West Purchase Award for Convergence of Cultures, given in recognition of the work acquired for the Autry National Center’s permanent collection, at the 2009 Masters of the American West Fine Art Exhibition and Sale. He won the Gene Autry Memorial Award, sponsored by Jay H. Grodin, at the 2012, 2008, 2009, and 2010 Masters. He was given the David P. Usher Patrons’ Choice Award and the Artists’ Choice Award at the 2006 Masters, the Artists’ Choice Award at the 2005 Masters, and the Thomas Moran Memorial Award for Painting and the Patrons’ Choice Award at the 2004 Masters.

In 2003, he received three Masters awards: the Thomas Moran Memorial Award for Painting, the Artists’ Choice Award, and the Patrons’ Choice Award. At the 2002 Masters, his painting Powder Monkeys won the Masters of the American West Purchase Award; he also received the Thomas Moran Memorial Award for Painting and the Patrons’ Choice Award.

In 2000 his work won the first-place prize at the Carmel Art Festival and the Artists’ Choice Award for best painting at the 90th Gold Medal Exhibition of the California Art Club. He has also received numerous awards from the National Juried Exhibition of Oil Painters of America.

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

MAP OF DOWNTOWN JACKSON HOLE

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

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

©

85 CARL RUNGIUS (1869-1959) Antelope, 1926

86 CARL RUNGIUS (1869-1959) Woodland Stag, 1926

etching and drypoint 6 1/4 x 8 1/2 inches signed lower right: C Rungius

etching and drypoint 6 1/4 x 8 1/2 inches signed lower right: C. Rungius

PROVENANCE: From the Collection of Donald E. Crouch

PROVENANCE: From the Collection of Donald E. Crouch

LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, illus. plate 19

LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989, illus. plate 18

$4,000 - $5,000

$4,000 - $5,000

87 BOB KUHN (1920-2007) Moose

88 BOB KUHN (1920-2007) Grizzly

conte crayon on paper 7 1/8 x 10 1/2 inches (sight) signed lower left: Kuhn

conte crayon on paper 7 x 10 inches (sight) signed lower right: Kuhn

PROVENANCE: The Artist Gifted to Private Collection, Centreville, MD

PROVENANCE: The Artist Gifted to Private Collection, Centreville, MD

$2,000 - $4,000

$2,000 - $4,000 – 8 –

89 EDWARD BOREIN (1872-1945) Sitting Pretty No. 1 etching and drypoint on paper 6 3/4 x 4 7/8 inches (plate) unsigned PROVENANCE: The Artist Lucille Borein Gifted to Private Collection, Santa Barbara, CA $2,000 - $3,000

90 OLAF WIEGHORST (1899-1988) Navajo Mother watercolor and pen on paper 10 x 8 inches (sight) signed lower left: O-Wieghorst (artist cipher) PROVENANCE: Dallas Art Gallery, Dallas, TX Private Collection, Fairfax Station, VA $4,000 - $6,000

– 9 –

91 E.S. PAXSON (1852-1919) The Volunteer, 1900 watercolor on paper 7 1/8 x 5 3/8 inches (sight) signed lower right: E.S. Paxson 1900 “the Volunteer” PROVENANCE: Kennedy Galleries, New York, NY (label verso) From a Private Collection $3,000 - $5,000

92 E.S. PAXSON (1852-1919) Indian Brave with Rifle, 1901 watercolor and pencil on paper 10 5/8 x 6 1/4 inches (sight) signed lower right: E.S. PAXSON -1901PROVENANCE: From a Private Collection $6,000 - $9,000

– 10 –

93 GERARD CURTIS DELANO (1890-1972) Southwest Riders watercolor on paper 14 x 20 1/2 inches (sight) signed lower left: © DElano PROVENANCE: Alcala Gallery, La Jolla, CA (label verso) Private Collection, Sheridan, WY $8,000 - $12,000

94 HENRY BALINK (1882-1963) New Mexico Pueblo oil on canvas 16 x 20 inches signed lower left: HENRY.C.BALINK. PROVENANCE: Private Collection, California $12,000 - $18,000

– 11 –

95 ROBERT BATEMAN (1930- ) Moose acrylic on board 7 3/8 x 11 5/8 inches signed lower right: Robert Bateman 2004 © PROVENANCE: Private Collection, Jackson, WY $10,000 - $15,000

96 CARL BRENDERS (1937- ) The Stowaways - Barn Swallows mixed media on illustration board 15 x 10 3/4 inches (sight) signed lower left: © C Brenders 88 PROVENANCE: Private Collection, Gettysburg, PA $7,000 - $10,000

97 ROBERT BATEMAN (1930- ) Ocellated Turkey acrylic on board 11 5/8 x 17 3/4 inches signed lower right: Robert Bateman 2003 © PROVENANCE: Private Collection, Pomfret, MD $10,000 - $20,000

– 12 –

98 JOHN SEEREY-LESTER (1946- ) Grizzly, Cub and Raven acrylic on board 12 x 16 inches signed lower right: Seerey-Lester © verso: titled PROVENANCE: Private Collection, Pomfret, MD $4,000 - $6,000

99 JOHN SEEREY-LESTER (1946- ) Young Explorer acrylic on canvas 12 x 9 inches signed lower right: Seerey-Lester © ‘90 PROVENANCE: Private Collection, Pomfret, MD $4,000 - $6,000

100 KEN BUNN (1938- ) Striding Grizzly bronze 7/21 9 1/2 x 16 x 5 1/2 inches inscribed verso: © BUNN 7/21 1992 PROVENANCE: Private Collection, Jackson, WY $8,000 - $12,000

– 13 –

101 JOE BEELER (1931-2006) Dangerous Passage oil on board 24 x 36 inches signed lower right: JOE BEELER CA verso: titled PROVENANCE: From a Texas Collection $18,000 - $24,000

102 TOM LOVELL (1909-1997) Wire Trouble on the Overland Telegraph, 1993 charcoal on paper 36 x 28 inches signed lower left: TOM LOVELL © 1993 verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $6,000 - $10,000

– 14 –

103 JOE BEELER (1931-2006) Fate of the Captive oil on canvas 20 x 30 inches signed lower right: JOE BEElER PROVENANCE: From a Texas Collection $15,000 - $25,000

104 JOE BEELER (1931-2006) Down the Snake bronze 16/22 10 1/4 x 33 1/2 x 10 1/2 inches inscribed right side: 16-22 JOE BEElEr CA PROVENANCE: Private Collection, Hamilton, MT $10,000 - $15,000

– 15 –

105 ROY ANDERSEN (1930- ) Through the Winter oil on canvas 18 x 26 inches signed lower right: Roy Andersen – CA lower left: artist cipher PROVENANCE: From a Private Collection $10,000 - $15,000

106 ROY ANDERSEN (1930- ) Young Calf oil on canvas 9 x 12 inches signed lower right: Roy Andersen CA lower left: artist cipher PROVENANCE: Private Collection, Scottsdale, AZ $4,000 - $6,000

– 16 –

107 ROY ANDERSEN (1930- ) Dance of the Wheel Lance oil on canvas 30 x 40 inches signed lower right: Roy Andersen CA PROVENANCE: The Artist Commission for Private Collection, Scottsdale, AZ $30,000 - $40,000

– 17 –

108 DAN MIEDUCH (1947- ) Prometheus’ Children oil on board 28 x 45 inches signed lower left: © –DAN MIEDUCH– 2012 PROVENANCE: From a Wyoming Collection $20,000 - $30,000

109 JOE BEELER (1931-2006) Scout for the Long Knives bronze 14/40 22 1/2 x 9 x 11 inches inscribed verso: JOE BEElER CA stamped verso: 14/40 PROVENANCE: Trailside Galleries, Scottsdale, AZ, (label verso) Private Collection, Scottsdale, AZ $4,000 - $6,000

110 FRANK MCCARTHY (1924-2002) Red Cloud, 1978 oil on board 11 1/2 x 15 1/2 inches (sight) signed lower right: McCarthy CA © 78 PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Wilson, WY $9,000 - $12,000

– 18 –

111 DAVID MANN (1948- ) The Shortcut oil on canvas 30 x 40 inches signed lower left: D. Mann PROVENANCE: Altermann & Morris Galleries, Dallas, TX (label verso) Private Collection, Scottsdale, AZ $16,000 - $24,000

112 DAVID MANN (1948- ) White Bone & Spirit Paint oil on canvas 18 x 24 inches signed lower right: D. Mann PROVENANCE: Altermann Galleries, Dallas, TX (label verso) Private Collection, Seattle, WA $6,000 - $8,000

– 19 –

113 FRANK MCCARTHY (1924-2002) His Wealth, 1993 oil on canvas 15 x 30 inches signed lower left: McCARTHY CA © 1993 PROVENANCE: Altermann & Morris Galleries, Dallas, TX (label verso) From a Private Collection $25,000 - $35,000

– 20 –

114 JIM NORTON (1953- ) Last Light on Little Creek oil on board 18 x 24 inches signed lower right: Jim C. Norton CA verso: titled, signed, dated, numbered PROVENANCE: From a Wyoming Collection $10,000 - $15,000

115 HERB MIGNERY (1937- ) Seventy Winters bronze 4/12 24 1/2 x 24 1/2 x 20 inches inscribed back left: MIGNERY CA FNSS 2008 4/12 PROVENANCE: From a Wyoming Collection $6,000 - $9,000

– 21 –

116 FRANK MCCARTHY (1924-2002) Out of the Mist, 1987 oil on canvas 24 x 40 inches signed lower left: McCarthy CA © 1987 verso: titled, signed, dated, numbered PROVENANCE: Private Collection, Boynton Beach, FL $40,000 - $60,000

– 22 –

117 FRANK MCCARTHY (1924-2002) Race to the Main Column, 1971 oil on masonite 18 x 24 inches signed lower right: McCarthy 71 verso: titled and signed PROVENANCE: Altermann & Morris Galleries, Dallas, TX (label verso) Kodner Gallery, St. Louis, MO (label verso) Private Collection, Sheridan, WY $25,000 - $35,000

118 G. HARVEY (1933- ) Cowponies oil on canvas 20 x 24 inches signed lower left: G. Harvey –1977 © verso: titled, signed, dated PROVENANCE: Private Collection, Alberta, Canada $20,000 - $30,000

– 23 –

119 JAMES REYNOLDS (1926-2010) Unwelcome Tracks oil on canvas 28 x 48 inches signed lower right: James Reynolds NAWA PROVENANCE: O’Brien’s Art Emporium, Scottsdale, AZ (label verso) Western American Prints, Chandler, AZ LITERATURE: Don Hedgpeth, Traildust: Cowboys, Cattle and Country: The Art of James Reynolds, The Greenwich Workshop Press, New York, NY, 1997, illus. p.88-89. $35,000 - $45,000

– 24 –

120 MARTIN GRELLE (1954- ) Winter Scout oil on canvas 9 x 12 inches signed lower left: Martin Grelle (star) 95 © verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $10,000 - $15,000

121 RALPH OBERG (1950- ) Prime Time oil on linen 36 x 48 inches signed lower left: Oberg. verso: titled, signed, dated PROVENANCE: From a Texas Collection $15,000 - $25,000

– 25 –

122 BONNIE MARRIS (1951- ) Too Much of a Good Thing, 2015 oil on canvas 24 x 48 inches signed lower right: BL Marris © “When the salmon run, grizzlies fish with an amazing zest and accuracy. I have watched as they gorge their bellies fish after fish until they are so full they cannot possibly eat anymore in one sitting. The thrill of the catch still lures them to continue!” – Bonnie Marris PROVENANCE: The Artist $15,000 - $20,000

123 TUCKER SMITH (1940 - ) Moose oil on board 12 x 10 inches signed lower left: Tucker Smith 90 PROVENANCE: Private Collection, Jackson, WY $10,000 - $15,000

– 26 –

124 BONNIE MARRIS (1951- ) Exploring the Banks of the Sable, 2015 oil on canvas 48 x 60 inches signed lower right: BLMarris © “Here a female wolf takes her only pup on a scavenger hunt along the banks of the Sable River. She will let him explore new sounds, heights, and obstacles. He will begin learning to test his senses and intuitions and she will have to look the other way as he takes his risks.” – Bonnie Marris PROVENANCE: The Artist $30,000 - $40,000

– 27 –

125 WILLIAM ACHEFF (1947- ) Plains Indian Sheath, 2015 oil on canvas 16 x 12 inches signer lower right: Acheff 2015 “I f​ elt ​the bead colors in the Gros Ventre knife sheath would go well with the colors in the Charles Schreyvogel painting, Tepee On The Plains.” – Willam Acheff PROVENANCE: The Artist $12,000 - $18,000

126 JIM NORTON (1953- ) Summer Camp, 2015 oil on board 18 x 24 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated PROVENANCE: From a Wyoming Collection EXHIBITED: Masters of the American West, Autry National Center, Los Angeles, CA, 2015 $12,000 - $18,000

– 28 –

127 KEN CARLSON (1937- ) Great Plains Pronghorn, 2015 oil on board 28 x 42 inches signed lower right: CARLSON “When I was an aspiring young artist living in Minnesota, my first destinations to observe wildlife were Yellowstone and Grand Teton National Parks. Moose, bison, and elk all captivated my interest but it was the pronghorn antelope with its striking markings, unusual black horns, and exceptional running ability that particularly drew my fascination. The dark sky in Great Plains Pronghorn is a compelling and dramatic backdrop for this exotic animal.” – Ken Carlson PROVENANCE: The Artist $45,000 - $55,000

– 29 –

128 KEN CARLSON (1937- ) Edge of the Shadows oil on board 20 x 30 inches signed lower right: CARLSON PROVENANCE: The Artist Commission for Private Collection, Cordillera, CO $25,000 - $35,000

– 30 –

129 NANCY GLAZIER (1947- ) Dust Devil oil on canvas 28 x 40 inches signed lower left: N. Glazier PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $20,000 - $30,000

130 KEN CARLSON (1937- ) Essence of Spring oil on board 12 x 18 inches signed lower right: CARLSON PROVENANCE: From the Collection of Curtice and Bob McCloy $8,000 - $12,000

– 31 –

131 BOB KUHN (1920-2007) A Battle of Titans, 1995 acrylic on board 14 x 18 inches signed lower left: KUHN verso: signed and dated PROVENANCE: Private Collection, Jackson, WY $25,000 - $35,000

– 32 –

132 BOB KUHN (1920-2007) Elk in Down Timber, 1987 acrylic on board 14 x 18 1/2 inches signed lower right: Kuhn 87 verso: signed and dated PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 112 $35,000 - $55,000

– 33 –

133 HOWARD TERPNING (1927- ) Good Medicine oil on canvas 18 x 24 inches signed lower left: © Terpning 1979 verso: titled and signed 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 Native American culture.

Born in Oak Park, Illinois, he attended the Chicago Academy of Fine Art and the American Academy of Art. He worked in commercial art in Chicago before moving to New York City where he had a successful career as a commercial illustrator for magazines and movie posters.

In 1977, Terpning moved to Tucson, Arizona to document Native American culture and the 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, Terpning’s remarkable career has been recognized with every top award in western art including countless Gold Medals from the Cowboy Artists of America, two Prix De West Purchase Awards from the National Cowboy and Western Heritage Museum, the Hubbard Award for Excellence and the Lifetime Achievement Award from the Autry National Center of the American West.

In Native American culture the concept of ‘Good Medicine’ refers to natural phenomena which lend holistic healing powers to the body. In Good Medicine, Terpning skillfully narrates the trials and tribulations of the Native American people as they’re challenged to meet their basic needs: finding water. In this dry, vast landscape they find their oasis.

PROVENANCE: Christie’s, New York, NY, 1994 (label verso) From a Private Collection $100,000 - $150,000

– 34 –

– 35 –

134 DAN MIEDUCH (1947- ) The Buffalo Shaman, 2015 oil on board 26 x 39 inches signed lower left: © –DAN MIEDUCH– 2015 “The Shaman, in primeval societies, is a person who, in his late childhood or early adulthood, has had an overwhelming psychological experience that turns them totally inward. The sprit world has opened and they have fallen into it.

Whatever the inward journeys may have been to which those Shamans descended in their trances, the visions they had there guided and instructed the people. Through conversations with the buffalo master and spirits of ancestors, they were able to foresee the future fates, or ‘hoops’ of their nation and guide them in the great drama of the dance of life.” – Dan Mieduch PROVENANCE: The Artist $15,000 - $25,000

135 JAMES REYNOLDS (1926-2010) On the Diamond A oil on board 26 x 36 inches signed lower right: James Reynolds CA verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $25,000 - $45,000

– 36 –

136 MARTIN GRELLE (1954- ) Moonlight Vigil, 2014 acrylic on canvas 24 x 24 inches signed lower right: (cross) MARTIN GRELLE CA © 2014 verso: titled, signed, dated PROVENANCE: From a Private Collection $45,000 - $55,000

– 37 –

137 HOWARD TERPNING (1927- ) Empty Handed oil on board 12 1/8 x 17 1/8 inches signed lower left: © Terpning 1987 CA verso: titled, signed, dated PROVENANCE: From a Private Collection $75,000 - $100,000

– 38 –

138 MELVIN WARREN (1920-1995) The Hunter, 1968 oil on canvas 24 x 30 inches signed lower right: __Melvin C. Warren__1968 PROVENANCE: From a Private Collection $15,000 - $20,000

139 ANDY THOMAS (1957- ) The Captivity of Fanny Kelly, 2014 oil on linen 24 x 18 inches signed lower right: ANDY THOMAS verso: titled, signed, dated PROVENANCE: Private Collection, Phoenix, AZ EXHIBITED: Rendezvous Exhibition and Art Sale, Gilcrease Museum, Tulsa, OK, 2015 $15,000 - $20,000

– 39 –

140 TOM LOVELL (1909-1997) Sundown at Fort Union, 1980 oil on canvas 23 7/8 x 36 1/8 inches signed lower right: TOM LOVELL CA © 1980 Born in 1909 in New York City, Tom Lovell developed an early interest in the American west and painting. Lovell attended Syracuse University, where he received his bachelor’s of Fine Arts in 1931. Lovell described this early passion, saying “I had been interested in the American Indian since I was nine years old...That interest never left me, although it was many years before I could really apply it to my work. When I moved West, it seemed all this interest and knowledge had come home to roost. While I had no great desire to be a cowboy, I knew the West was a lot more things than just cowboying. There are a lot of artists who know about the cowboy subject matter well, so they do that. I like the idea of going back in time, so that’s what I do.” (“Tom Lovell 5/25/88 Draft II”) In Sundown at Fort Union Lovell follows this concept, taking the viewer back in time. From 1828 to 1867, Fort Union was the site of more trade than any other post on the upper Missouri. A bustling hub of commerce and cultural exchange, over 25,000 buffalo robes and over $100,000 dollars of merchandise were traded and sold at Fort Union each year. Ideally located near the convergence of the Missouri and Yellowstone Rivers, Fort Union also served as a home base for federal Indian agents. In 1867 the United States Army purchased the fort and dismantled it, using the building materials for projects in the West—in line with increasing westward expansion. In 1966 the National Parks Service purchased the site, beginning a period of excavation and research before eventually rebuilding the fort to resemble its state in 1851.

Run for a time by the American Fur Company, Fort Union hosted many esteemed guests during its heyday. Among those visitors were Prince Maximilian of Wied, and iconic artists John James Audubon, George Catlin and Karl Bodmer.

Lovell likely used the historic first-hand accounts of those artists as source material for this painting; still in existence today is a print by Karl Bodmer, showing the wooden gates and towers of Fort Union, much as they appear in Sundown at Fort Union. With his interest in history painting, Lovell depicted many iconic forts during his career. Unlike many of those works, this painting evokes a sense of harmony and amicable relations. The open gates, and easy company of the Native Americans, mountain men, and traders speak to the success and peace that surrounded this fort. The soft glow of sundown depicted through the gates mitigates the harshness of winter, and further speaks to the prosperity and plenty that the fort provided—even during this, the harshest of seasons.

PROVENANCE: Western American Prints, Chandler, AZ EXHIBITED: Cowboy Artists of America Show & Sale, Phoenix Art Museum, Phoenix, AZ, October 24-November 23, 1980 $150,000 - $250,000

– 40 –

– 41 –

141 CLYDE ASPEVIG (1951- ) Spring in the Beartooth Mountains oil on canvas 48 x 50 inches signed lower left: C. ASPEVIG PROVENANCE: Trailside Galleries, Scottsdale, AZ Private Collection, Raleigh, NC $70,000 - $100,000

– 42 –

142 Z.S. LIANG (1953- ) The Holy Rattle (Elkwater Lake Battle, 1864), 2015 oil on linen 40 x 60 inches signed lower right: Z.S. Liang “The Elkwater Lake region near the border between Canada and the U.S. once was the favorite buffalo hunting ground for the Blackfeet and other Plain Indian tribes. The Kootenay Indians on the west side of the Rockies wanted to come over to hunt buffalo in this region as well. Usually they sent dance messengers with gifts to the Blackfeet tribes and then they were allowed to hunt together. In the spring of 1864, the Kootenay Indians got the news that the Blackfeet were hunting in a different region, so they no longer sought permission. About three hundred Kootenay men traveled into the Elkwater Lake region and accidentally bumped into a much larger group of Blackfeet hunters. A fight broke out and soon became a full scale battle. In the battle, a Kootenay holy man named Raven rode right into the Blackfeet line shaking his holy rattle and singing his war song. The Blackfeet warriors kept shooting him from all directions yet he remained unscathed. His brave act shocked the enemy and his holy rattle was believed to have had superior spiritual power. At the end of the day, both sides called off the fight. Amazingly, both sides claimed their casualties in single digits. During the winter of 1864 to 1865, both tribes agreed to keep peace. Six years ago, after I learned of this incident, I traveled to Elkwater Lake for a field study and started the preparation for this painting.” – Z.S. Liang PROVENANCE: The Artist $80,000 - $120,000

– 43 –

143 ANDY THOMAS (1957- ) Tecumseh and the Osage oil on canvas 36 x 48 inches signed lower right: ANDY THOMAS PROVENANCE: Private Collection, Phoenix, AZ EXHIBITED: Rendezvous Exhibition and Art Sale, Gilcrease Museum, Tulsa, OK, 2015 $50,000 - $75,000

– 44 –

144 MARTIN GRELLE (1954- ) Courtship, 2014 oil on linen 42 x 34 inches signed lower right: (cross) MARTIN GRELLE CA © 2014 verso: titled, signed, dated “I read a few things about the courting traditions of different tribes. One thing I had read was that when a man was going to court a certain girl, he would go to where she was living and he would dress in his finest stuff, and her parents would wrap a blanket or robe around them. They could then lift the blanket high over their heads so they could talk privately. He would usually present a gift. Here, in this case, the gift is a beaded knife sheath. The suitors would line up to do this, and sometimes there were many of them. This is a very symbolic and interesting scene.” – Martin Grelle PROVENANCE: Private Collection, Alpine, NJ $100,000 - $150,000

– 45 –

145 CARL BRENDERS (1937- ) Long-Distance Hunters watercolor and gouache on illustration board 32 1/2 x 38 5/8 inches signed lower right: © C Brenders 88 “Once in his lifetime, every wildlife artist has to make a painting of wolves in the snow. The subject is so attractive that it is difficult not to attempt such a work. Wolves speak to our imaginations. Jack London, author of The Call of the Wild, is partly responsible for my fascination with wolves in the north. I’ve also read stories from Scandinavia and Russia about these wonderful animals. The fact that the wolf (Canis lupus) once lived almost everywhere in the north hemisphere makes it a very special animal. Learning about the long distances they travel and their refined technique of hunting in a group has only increased by respect for them. Although there are many different color phases among wolves-from white to black - I used their most general livery in my painting. As for the setting, I am an amateur cross-country skier, so there is also an element in the work of my love for the beauty of a snowy landscape in weak sunlight. On the right side of the painting I wanted to give the impression of an opening in the snow-covered pine trees so that the wolves, after watching me, could silently disappear that way.” – Carl Brenders PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection LITERATURE: Carl Brenders, Pride of Place: the Art of Carl Brenders, Langford Press, Langtoft, Peterborough, United Kingdom, 2007, illus. p. 144 Wildlife: Robert Morton,Wildlife: The Nature Paintings of Carl Brenders, Mill Pond Press, Inc., Venice, Florida, 1994, illus. p. 32-33 EXHIBITED: Society of Animal Artists, Rochester Museum and Science Center, Rochester, NY, 1988. Award of Excellence Winner. $40,000 - $60,000

– 46 –

146 NANCY GLAZIER (1947- ) When Do We Eat? oil on canvas 28 x 46 inches signed lower left: N. Glazier © 93 verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $20,000 - $30,000

147 NANCY GLAZIER (1947- ) Straw Hat oil on canvas 22 x 28 inches signed lower left: N. GlAZiER © ‘94 PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $15,000 - $25,000

– 47 –

148 BOB KUHN (1920-2007) King of the Hill acrylic on board 15 3/4 x 20 inches signed lower left: KUHN PROVENANCE: Private Collection, Kinnelon, NJ LITERATURE: Western Art Collector, September 2015, cover illustration $40,000 - $60,000

– 48 –

149 RALPH OBERG (1950- ) Above it All?, 2015 oil on linen 42 x 42 inches signed lower left: oberg. verso: titled, signed, dated “This depicts the nannies and their kids in spring when she is still losing her old winter coat, but the newly minted kids are pure white.

One of their major predators when they are so small is the golden eagle who hopes to catch the little ones separated from their mothers even briefly. On the cliffs they are safe from grizzlies, but a target for the eagle. They will attempt to either grab the kids, or haze them off the cliff.

But the little ones stay close to mom’s sturdy defenses, and are quickly such sure footed mountaineers that it is rare that one falls. Still, those first several months of life are a challenge for mother and baby.” – Ralph Oberg PROVENANCE: The Artist $18,000 - $24,000

150 CLYDE ASPEVIG (1951- ) View from Jim Mountain, Cody oil on artist board 20 x 24 inches signed lower left: C. ASPEVIG ‘07 PROVENANCE: Private Collection, McClean, VA $10,000 - $15,000

– 49 –

151 G. HARVEY (1933- ) The Hope of the Confederacy oil on canvas 36 x 48 inches signed lower left: G. Harvey ___© verso: titled, signed, dated During the late 1980’s and early 1990’s G. Harvey painted approximately a dozen major civil war pieces. Four of these, including The Hope of the Confederacy, were unveiled and exhibited at the National Archives in Washington, D.C., on October 3, 1991. Upon learning that a crucial collection of Civil War records housed at the National Archives needed funding, Harvey created this series of works and donated the proceeds of the print sales back to the National Archives for the preservation and restoration of those endangered Civil War documents.

While researching this Civil War series, Harvey had access to rare Civil War image and document collections. He drew invaluable source material from the photographs of Matthew Brady, Timothy O’Sullivan and others, but it proved to be the personal correspondence of the Generals and soldiers that truly inspired him. With his own ancestors embattled in the conflict, Harvey treated the subject from a pensive and sentimental position—rather than glorifying the climactic or violent moments of battle. As Harvey himself said, “Even when I did a series about the Civil War, I was more interested in depicting the quiet moments, the thoughtful moments, the times when a soldier pauses to think about home.”

The Hope of the Confederacy holds true to this more thoughtful pattern. As General Robert E. Lee rides directly out at the viewer, flanked by his men, the title reminds us of the burden placed upon his shoulders. The hopes of his soldiers, their families, and the nation they wish to become all ride with Lee. Alone in the wilderness, the figures speak for themselves; stripped of the banners and festivities of triumph or the chaos and horror of battle—simply men, the heart and soul of the war.

PROVENANCE: Private Collection, Jackson, WY LITERATURE: Gerald Harvey Jones, The Golden Era: The American Dream: G. Harvey, second edition, Somerset House Publishing, Richmond, TX, 1992, illus. p. 37.

EXHIBITED: National Archives Civil War Series, National Archives, Washington, D.C., 1991 $125,000 - $175,000

– 50 –

– 51 –

152 G. HARVEY (1933- ) Through Winter’s Gold oil on canvas 24 x 36 inches signed lower right: G. Harvey verso: titled, signed, dated PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $70,000 - $90,000

– 52 –

153 BRUCE CHEEVER (1958- ) Showtime, 2015 oil on board 24 x 42 inches signed lower left: –Bruce Cheever © “The uniqueness and artistry of the American cowboy saddle has a beauty all of it’s own.

This piece was composed using a turn of the century saddle made by S.D. Myres of Sweetwater, Texas and is now displayed in the Buffalo Bill Center of the West. I wanted this painting to reflect that ‘quiet time’ before a show, where the gear is ready and the adrenaline is about to flow.” – Bruce Cheever PROVENANCE: The Artist $10,000 - $15,000

154 HARRY JACKSON (1924-2011) Safe and Sound, 1982 polychrome bronze 19 1/2 x 21 x 10 inches inscribed right side: © Harry Jackson 1982 SAS 24P stamped: WFS Italia signed right side: © Harry Jackson 1983 PROVENANCE: From The Estate of Bill Hewitt, Colorado $10,000 - $15,000

– 53 –

155 JENNESS CORTEZ (1944- ) The Trailblazers, 2014 acrylic on mahogany panel 23 7/8 x 29 7/8 inches signed lower right: CORTEZ © 2014 verso: titled Homage to: Albert Bierstadt (1830-1902) “Mountainous Landscape by Moonlight” 1871, private collection “The Rocky Mountains” (detail), The Metropolitan Museum of Art, New York, NY E. S. Paxson (1852-1919) “John Colter” Discoverer of area now known as Yellowstone Park Frederic Remington (1861-1909) “An Indian Trapper” 1889, Amon Carter Museum, Fort Worth, TX “The Mountain Man” (bronze), Buffalo Bill Center of the West Carl Rungius (1869-1959 ) “Under Mount Rundle” National Museum of Wildlife Art, Jackson, WY Zia Pot c. 1915, private collection Tiffany enameled bronze clock, c. 1900, private collection PROVENANCE: From a Wyoming Collection $50,000 - $75,000 – 54 –

156 HARRY JACKSON (1924-2011) Pony Express, 1967 polychrome bronze 10/20 18 1/2 x 21 x 14 inches inscribed front: © Harry Jackson 1967 10.P. PROVENANCE: Altermann Galleries, Dallas, TX (label verso) Private Collection, Ogden Dunes, IN LITERATURE: Don Goddard, Ed., Harry Jackson: Forty Years of His Work 1941-81, WFS, Cody, WY, 1981, illus. p. 49.

Larry Pointer and Donald Goddard, Harry Jackson, Harry N. Abrams, Inc, New York, NY, 1981, illus. p. 234-239. $30,000 - $50,000

157 HARRY JACKSON (1924-2011) Flagbearer, 1983 polychrome bronze 27 26 3/4 x 32 x 11 inches inscribed and signed back left: © Harry Jackson 1983 stamped verso: WFS Italia inscribed verso: T.F. 27P PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Ogden Dunes, IN $25,000 - $45,000

– 55 –

158 BILL ANTON (1957- ) Original Western Art oil on board 28 1/8 x 40 inches signed lower right: Bill Anton © verso: titled and signed PROVENANCE: Venture Fine Art, Tucson, AZ Private Collection, Tucson, AZ LITERATURE: Southwest Art, October 1990, illus. p. 115 A copy of the magazine will accompany this lot. $15,000 - $25,000

159 BILL ANTON (1957- ) Wyoming Daybreak oil on board 36 x 34 inches signed lower right: Bill Anton verso: titled and signed PROVENANCE: From a Wyoming Collection $20,000 - $30,000

– 56 –

160 BILL OWEN (1942-2013) Cinder Mountain, 1985 oil on canvas 12 1/8 x 22 inches signed lower right: Bill Owen CA © 1985 PROVENANCE: Private Collection, Sedona, AZ $10,000 - $15,000

161 HARRY JACKSON (1924-2011) The Marshal, 1970 polychrome bronze 13/20 29 1/2 x 33 x 13 inches inscribed verso: © Harry Jackson 1970 / JOHN WAYNE AS ROOSTER COGBURN inscribed left verso: 13.P. PROVENANCE: Private Collection, Ogden Dunes, IN LITERATURE: Larry Pointer and Donald Goddard, Harry Jackson, Harry N. Abrams, Inc, New York, NY, 1981, illus. p. 248-251 $25,000 - $45,000

– 57 –

162 G. HARVEY (1933- ) Jeb Stuart’s Return oil on canvas 30 x 42 inches signed lower right: G. Harvey __© 1988 verso: titled, signed, dated James Ewell Brown Stuart, better known as ‘Jeb’ for the initials of his three given names, stands as one of the most important Confederate cavalrymen of the Civil War. Born in 1833 in Virginia, Stuart played an integral role in the first real conflicts of the war, which played out in Kansas and Missouri during Bleeding Kansas. In fact, Stuart carried Robert E. Lee’s orders to Harper’s Ferry during John Brown’s raid, where he began to truly make a name for himself. Following Virginia’s secession from the Union in 1861, Stuart resigned from his post in the United States Army to fight for the Confederacy.

Quickly rising through the ranks, Stuart lead the Army of Northern Virginia’s cavalry in numerous battles, including, Antietam, Fredericksburg, Chancellorsville, and Gettysburg. In addition to his work as a commander, Stuart served as a key collector of military intelligence, executing successful raids that provided Lee with vital information. Stuart also circumvented the Union forces multiple times, bolstering the spirits of the South and making him a symbol of Confederate heroism and hope. Stuart’s rakish appearance solidified his place in the hearts of the South, known for his ostrich plumed hat, red-lined cape, yellow sash, and cavalier demeanor.

In Jeb Stuart’s Return G. Harvey depicts Stuart among his men but also set apart. Stuart rides out in front, alone, marked by his iconic hat and red lined cloak; he commands both his cavalry and the viewer’s attention.

Whether returning from battle, or from a raid, Stuart’s return brings with it hope and the promise of greater victory and glory. Consistent in his treatment of Civil War subjects, Harvey focuses here on a reflective, more personal moment, rather than the battle itself.

PROVENANCE: Private Collection, Jackson, WY LITERATURE: Gerald Harvey Jones, The Golden Era: The American Dream: G. Harvey, second edition, Somerset House Publishing, Richmond, TX, 1992, illus. p. 32 $100,000 - $150,000

– 58 –

– 59 –

163 WILLIAM ACHEFF (1947- ) Wildlife, 2015 oil on board 26 x 20 inches signed lower right: Acheff 2015 “Every Native tribe respected and revered the animals living in nature. Whether for food, shelter or clothing (and all the above), they recognized the animals specific powers and importance and created fetishes and artworks representing them. Without the wild animals, the Indian people could not survive in what we call the subsistence way of life. In his own way, Carl Rungius respected and admired the beasts of the forest of which he painted.” – William Acheff PROVENANCE: The Artist $30,000 - $40,000

– 60 –

164 CLYDE ASPEVIG (1951- ) Lake of the Winds (Shirley Lake) oil on canvas 40 x 50 inches signed lower left: C. ASPEVIG verso: titled and signed PROVENANCE: Private Collection, Colorado EXHIBITED: National Arts Club, New York, NY, 2001 $60,000 - $90,000

– 61 –

165 BOB KUHN (1920-2007) Winter Browse - Mule Deer, 1995 acrylic on board 14 x 18 inches signed lower right: Kuhn 95 verso: signed and dated PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 105 $40,000 - $60,000

– 62 –

166 CLYDE ASPEVIG (1951- ) Lake Isabelle oil on canvas board 24 x 30 inches signed lower right: C. ASPEVIG PROVENANCE: Legacy Gallery, Jackson, WY Private Collection, High Point, NC $20,000 - $30,000

167 KEN CARLSON (1937- ) December Slopes oil on board 10 x 13 inches signed lower left: CARLSON PROVENANCE: Private Collection, Jackson, WY $6,000 - $9,000

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

– 63 –

169 STANLEY MELTZOFF (1917-2006) White Marlin 7 – Three White Marlin and Needlefish, 2006 oil on board 22 x 31 3/4 inches verso: titled, signed, dated PROVENANCE: From the Estate of Stanley Meltzoff LITERATURE: Sports Illustrated, July 25, 1977, illus. p. 23.

A copy of the magazine will accompany this lot. $25,000 - $35,000

170 BOB KUHN (1920-2007) At the Top of the World acrylic on board 9 x 13 3/4 inches signed lower left: –BOB KUHN PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 124 $15,000 - $25,000

– 64 –

171 STANLEY MELTZOFF (1917-2006) Eider Duck Shoot oil on board 36 x 40 3/8 inches signed lower left: SM verso: titled and numbered PROVENANCE: From the Estate of Stanley Meltzoff LITERATURE: Field and Stream, November 1965, illus. p 54-55 $30,000 - $40,000 A copy of the magazine and the study will accompany this lot.

Eider Duck Shoot Study oil on board 10 1/2 x 16 inches signed lower left: SM

172 RICHARD SCHMID (1934- ) Seascape oil on canvas 22 x 28 inches signed lower right: Schmid PROVENANCE: Private Collection, Gaylordsville, CT $8,000 - $12,000

– 65 –

173 ARNOLD FRIBERG (1913-2010) Expert Criticism oil on canvas 32 x 25 inches signed lower left: © A FRIBERG RSA verso: titled and signed While unusual within the canon of western art, paintings of the Royal Mounted Canadian Police, or Mounties, make up a significant portion of Arnold Friberg’s body of work. Friberg created nearly three hundred images of RCMP over a thirty-three year period, beginning in 1937 when his connection to the RCMP began.

After studying at the Chicago Academy of Fine Arts, Friberg moved to the publishing hub of New York City to further his professional career. Continuing his education, Friberg took night classes at the Grand Central School of Art, where he studied under the iconic illustrator Harvey Dunn. As a child Friberg submitted drawings and cartoons to local newspapers, in high school he worked as a sign painter, and in New York he became a professional illustrator when he began working for the Northwest Paper Company.

A Minnesota company, the Northwest Paper Company entered the Great Depression desperate, like everyone, to survive. To make it through those stark times, they needed a new marketing strategy that would inspire confidence—the answer; smartly clad, strong jawed, wholesome Canadian Mounties. Friberg, the most prolific of the sixteen artists enlisted, proved to be the perfect artist for the job. Renowned for his storytelling ability, as seen in his academy award nominated set and costume designs for Cecile B. DeMille’s major motion picture The Ten Commandments, Friberg brought personality and relatability to his RCMP scenes. Friberg also possessed a distinct skill for depicting horses—something that earned him the prestigious commissions for equestrian portraits of both Prince Charles and Queen Elizabeth II. Expert Criticism serves as an exemplary example of Friberg’s oil paintings created for the Northwest Paper Company’s RCMP advertising campaigns. Friberg’s three hundred images of Mounties depict them in nearly every situation from the predictable scenes of scouting, rescue, and mapping to the more humorous images of dancing, snowman building, and even performing a marriage. In Expert Criticism Friberg maintains the integrity of the company’s message through his treatment of the officer. The Mountie’s uniform is immaculate, and juxtaposed with the slouching mountain man, his posture and stature mark him as the most important figure in the image.

Set against the pristine Canadian Rockies, Friberg celebrates the purity of the landscape, the officer, and even the act of painting itself. In 1973 the Royal Canadian Mounted Police made Friberg an honorary member of the force, as recognition for his extensive illustrative work in their honor.

PROVENANCE: Husberg Fine Arts Gallery, Sedona, AZ (label verso) Collection of the Favell Museum, Klamath Falls, OR $50,000 - $75,000

– 66 –

– 67 –

174 OLAF WIEGHORST (1899-1988) Back in the Herd oil on linen 18 x 24 inches signed lower right: O-WIEGHORST PROVENANCE: From a Private Collection $30,000 - $50,000

– 68 –

175 OLAF WIEGHORST (1899-1988) Cowboy at Rest watercolor, gouache, and pen on paper 8 x 10 inches signed lower left: O-Wieghorst (artist cipher) © PROVENANCE: The May Gallery, Jackson, WY (label verso) Private Collection, Mount Vernon, IN $5,000 - $7,000

176 OLAF WIEGHORST (1899-1988) War Staff

177 OLAF WIEGHORST (1899-1988) Fording the River

watercolor, gouache, pen, and pencil on paper 12 x 10 inches (sight) signed lower left: O-Wieghorst (artist cipher)

watercolor and gouache on paper 16 1/2 x 9 inches (sight) signed lower right: O-Wieghorst (artist cipher)

PROVENANCE: Biltmore Galleries, Scottsdale, AZ (label verso) Private Collection, Fairfax Station, VA

PROVENANCE: Private Collection, Denver, CO $7,000 - $10,000

$4,000 - $6,000

– 69 –

178 WILLIAM GOLLINGS (1878-1932) Shooting the Marauder, 1906 oil on canvas mounted on board 23 3/4 x 18 3/4 inches signed lower right: Gollings. 06 (artist cipher) PROVENANCE: From a Private Collection $30,000 - $50,000

– 70 –

179 EANGER IRVING COUSE (1866-1936) Umatilla Wickiup with Waiting Pony, ca. 1897 oil on canvas 15 x 18 inches signed lower right: E.I.COUSE. PROVENANCE: Fenn Galleries, Santa Fe, NM (stamp verso) Private Collection, California $30,000 - $50,000

– 71 –

180 EUSTACE PAUL ZIEGLER (1881-1969) Mt. McKinley Landscape with Indian Encampment oil on canvas 34 x 34 inches signed lower left: ziegler PROVENANCE: Private Collection, Seattle, WA $40,000 - $60,000

– 72 –

181 CARL RUNGIUS (1869-1959) At the Forks oil on masonite 25 x 30 inches signed lower right: C. Rungius PROVENANCE: Shelburne Museum, Shelburne, VT {Sotheby’s, New York, NY, 1996} Private Collection, Pomfret, MD LITERATURE: Nancy C. Muller, Paintings and Drawings at the Shelburne Museum, Shelburne, Vermont, 1976, illus. p.121 $30,000 - $50,000

– 73 –

182 CHARLES M. RUSSELL (1864-1926) Camper Flipping Flapjacks, ca. 1911 pen and ink on paper 10 1/4 x 12 1/2 inches signed lower left: CMR (artist cipher) verso: letter of authentication from Ginger K. Renner PROVENANCE: Private Collection, Ogden Dunes, IN LITERATURE: Carrie Adell Strahorn, Fifteen Thousand Miles By Stage, The Knicker Bocker Press, New York, NY, 1911, illus. p. 535

A copy of the original text will accompany this lot.

$30,000 - $50,000

– 74 –

183 FREDERIC REMINGTON (1861-1909) A Trooper, 1894 watercolor and gouache on paper 12 1/2 x 7 inches signed lower right: Frederic Remington titled lower left: A Trooper PROVENANCE: Private Collection, Ogden Dunes, IN LITERATURE: Harper’s Weekly (July 7, 1894), illust. p. 632.

P.H. Hassrick, M.J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, vol. II, Cody, Wyoming, 1996, illus. p. 632, no. 1831.

A copy of the original Harper’s Weekly will accompany this lot. $30,000 - $50,000

– 75 –

184 ALBERT BIERSTADT (1830-1902) Wind River Country Wyoming, ca. 1860 oil on canvas 28 1/4 x 39 1/2 inches signed lower left: ABierstadt Unlike so many celebrated artists, Albert Bierstadt saw great financial success and critical acclaim during his lifetime.

Born in Soligen, Germany, in 1830 Bierstadt immigrated to the United States as a toddler; settling with his family in New Bedford, Massachusetts. In 1853 Bierstadt returned to Germany to pursue his formal artistic training at the Royal Academy in Dusseldorf, studying alongside Worthington Whittredge, Emmanuel Leutze, and Carl Wimar. Upon returning to the United States in 1857, Bierstadt painted the mountain ranges of the East Coast, developing his skill as a landscape painter.

Renowned for his paintings of the American west, Bierstadt first traveled west in 1859 as part of Frederick Lander’s road building crew. Like John Mix Stanley had done for Isaac Stevens’ expedition, Bierstadt served to provide a visual record of the journey and to depict the grandeur of the West. Enchanted by the Rockies, Bierstadt developed a keen interest in Wyoming’s branch of them, known as the Wind River Range. The largest mountain range in Wyoming, the Winds are home to towering peaks, indomitable glaciers, and some of the wildest country in the territory.

In Wind River Country, Wyoming Bierstadt clearly expresses his love and admiration of the region as well as artistic ability. A remarkable example of Bierstadt’s luminism, the canvas all but glows; suffused in a warm golden light. A pair of antelope pauses in the foreground, gazing out across the landscape before continuing to graze or darting away. A common trope in Bierstadt’s work, these small figures in the foreground—in concert with the articulated tree line on the right side—serve to magnify the vast expanse of the midground and background. Looking further into the painting, rolling hills give way to a meandering river—the sun’s last rays glinting off its slow wide turns. Finally, the eye is drawn back to the soaring peaks of the Wind River Range, breaking through a golden fog to punctuate the cloudless skyline.

Unpopulated, untouched, untainted, the Winds are shown here in their pristine primal beauty; embodying the freedom, expansion, and American pride that marked the late nineteenth-century.

Throughout his time in Wyoming, Bierstadt sketched, photographed, and meticulously recorded his surroundings.

Returning to the East Coast, he created numerous large scale paintings of the region. Major paintings like this masterwork of the Wind River Range are currently in the collections of the Denver Art Museum, the Museum of Fine Arts Boston, and The Whitney Gallery of Western Art. PROVENANCE: Walter H. Wilson, Ltd., Chicago, IL Private Collection, Sublette County, WY $1,000,000 - $2,000,000

– 76 –

– 77 –

185 CARL RUNGIUS (1869-1959) Moose and Mate, 1907 oil on canvas 24 x 32 inches signed lower right: C. Rungius lower left: copyright 1907.

PROVENANCE: Private Collection, San Francisco, CA, ca. 1907 Private Collection, Idaho, by descent Acquired by the present owner from the above $70,000 - $90,000

– 78 –

186 CHARLES M. RUSSELL (1864-1926) Menu (Cafe Noir), 1896 watercolor and pencil on paper 6 x 4 inches (sight) signed lower right: CMR (artist cipher) verso: multiple inscriptions (see image) PROVENANCE: Private Collection, Ogden Dunes, IN LITERATURE: B. Byron Price, editor and Anne Morand, Charles M. Russell: A Catalogue Raisonné, Volume 1, Norman, Oklahoma: University of Oklahoma Press, 2007, (Raisonné no.

CR.PC.213) $40,000 - $60,000

Inscriptions verso

– 79 –

– 80 –

187 E. MARTIN HENNINGS (1886-1956) Untitled oil on canvas 18 1/2 x 15 1/4 inches unsigned verso: letter of authentication from Helen 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.

With a renewed determination to pursue a career as a fine artist, Hennings traveled to Germany where he studied at the Royal Academy in Munich. While there, he joined the American Artists Club where he met future co-members of the Taos Society of Artists Walter Ufer and Victor Higgins. The onset of World War I cut Hennings’ stay in Germany short, and he returned to Chicago. In 1917 prominent art collector Carter H. Harrison took notice of Hennings’ work and offered to sponsor him on a trip to Taos, New Mexico, in exchange for a few paintings.

New Mexico proved to be a strong muse for Hennings; the light, landscape, and Pueblo Indians all inspired him to new artistic heights. In 1921 Hennings moved permanently to Taos, where he became a member of the Taos Society of Artists in 1924. Hennings split his time between Taos, Chicago, and Houston for the remainder of his career. Speaking about his love for New Mexico, Hennings said, “I constantly grew more enthusiastic over the West for I was impressed with the possibilities for landscape and figure composition. New Mexico has almost made a landscape painter out of me, although I believe my strongest work is in figures.” 1 Known for his portraits, Hennings’ self-proclaimed skill for figural work has stood the test of time—as this portrait shows. Intimately cropped, the Native American man’s bust fills the composition, appearing to extended beyond the confines of the frame. In his quintessential art nouveau style, Hennings uses light and line to illuminate the figure, highlighting his face and the folds of his shirt. With the man’s eyes downcast, cigarette in hand, Hennings captures a contemplative moment, and yet he invites the viewer in to this private space through his expert style and framing.

PROVENANCE: Private Collection, California $40,000 - $60,000

1

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

– 81 –

188 ROBERT LOUGHEED (1910-1982) Christmas in Connecticut oil on canvas 24 x 32 inches signed lower left: RE LOUGHEED PROVENANCE: The Artist Private Collection, Newtown, CT Private Collection, Newburyport, MA $8,000 - $12,000

189 NORMAN ROCKWELL (1894-1978) Portrait in Profile oil on board 10 x 8 inches signed lower left: Norman Rockwell PROVENANCE: Private Collection, California $10,000 - $20,000

190 EDMUND OSTHAUS (1858-1928) Freckles watercolor and gouache on paper 8 1/2 x 11 1/2 inches signed lower left: Edmund Osthaus titled lower right: –Freckles– PROVENANCE: The Artist Moulton & Ricketts, Chicago, IL (verso) Private Collection, MT, by descent in family $4,000 - $6,000

– 82 –

191 HENRY FRANCOIS FARNY (1847-1916) The Unknown Soldier watercolor and pencil on paper 13 1/2 x 9 inches (sight) signed lower right: -FARNY- © PROVENANCE: Doll & Richards Gallery, Boston, MA (note verso) Biltmore Galleries, Scottsdale, AZ (label verso) Private Collection, St. Louis, MO $35,000 - $45,000

– 83 –

192 JENNESS CORTEZ (1944- ) Four American Visionaries, 2015 acrylic on mahogany panel 33 x 39 3/4 inches signed lower right: CORTEZ © 2015 verso: titled “I chose to pay homage to Albert Bierstadt, Thomas Moran, Frederic Remington and Charles Russell because these four American masters were responsible for shaping our visual idea of what the wild West was before civilization began to tame it’s grandeur. More than a century later we still hold in our collective imagination the dramatic landscapes Bierstadt and Moran once saw and pictured, and the rugged cowboys and indians Remington and Russell immortalized. Today everyone who admires Western art, and every artist who has made contributions to its legacy, owes a great debt of gratitude to these four far-sighted visionaries.” – Jenness Cortez Homage to: Albert Bierstadt (1830-1902) “Looking Down Yosemite Valley, California” Birmingham Museum of Art, Birmingham, AL “View of Chimney Rock with Ogalillalh Sioux Village,” Colby College Museum, Waterville, ME Thomas Moran (1837-1926) “A Bit of the Grand Canyon of the Colorado River,” Private collection Frederic Remington (1861-1909) Bronze sculpture, “The Bronco Buster” Buffalo Bill Center of the West, Cody, WY “The Scout: Friend or Foe” (detail), Clark Art Institute, Williamstown, MA Charles M. Russell (1864-1926) “Changing Outfits” bronze sculpture, Montana Historical Society, Helena, MT Book illustration for The Oregon Trail (Francis Parkman 1900), “Buffalo Hunter Loading Gun with his Mouth” Photograph of Albert Bierstadt, Carleton Watkins photographer Photograph of Frederic Remington, Davis and Sanford Co, New York Gelatin silver print of Thomas Moran, by W. Edwin Gledhill Photograph of Charles M. Russell, C. M. Russell Museum, Great Falls, MT Ansonia clock, ca. 1880 PROVENANCE: The Artist $80,000 - $120,000

– 84 –

– 85 –

193 BOB KUHN (1920-2007) Cheetahs on a Termite Hill acrylic on masonite 22 x 40 inches signed mid right: Kuhn verso: titled and signed Bob Kuhn was born in 1920 in Buffalo, New York. Enamored with wildlife as a child, Kuhn frequented the Buffalo Zoo, studying and sketching the creatures.

Kuhn received his formal artistic training at the Pratt Institute in Brooklyn, where he studied design, anatomy, and life-drawing. For the following thirty years, Kuhn enjoyed a living as one of the most successful wildlife illustrators in America, with corporate clients including Field and Stream and Outdoor Life.

Beginning in 1970, he focused exclusively on easel painting, working in acrylic. Kuhn traveled the globe to find inspiration, with many of his wildlife expeditions lasting as long as eight weeks. He made countless trips to Africa, several trips to Alaska, and numerous journeys through Canada and the American West. He drew inspiration from wildlife greats Bruno Liljefors, Carl Rungius, and Wilhelm Kuhnert, and mentored aspiring wildlife artists.

While Kuhn was well known for his dramatic depictions of animals in action, this rare portrait of cheetahs at rest captures the species in their native habitat beautifully. The lean, fit cheetahs are restful yet alert. Africa served as a powerful source of inspiration to Kuhn, and big cats were amongst his most beloved subjects to paint.

PROVENANCE: Sandra Wilson Gallery, Denver, CO (label verso) From the Collection of Mr. Carl DiSalvo, St. Louis, MO EXHIBITED: Bob Kuhn Tribute, Mzuri Safari Foundation Conference, San Francisco, CA, February 1978 $200,000 - $400,000

– 86 –

– 87 –

194 BRUCE LAWES (1962- ) Master of His Domain, 2015 oil on canvas 32 x 48 inches signed lower left: B.K. Lawes “Africa is a continent of many textures with an abundance of beauty for an artist to explore. I have always been attracted to the ‘Big Cats’ as they represent both power and beauty like the land they inhabit. This is a painting that reflects what we hope Africa will always represent, wild, free and unblemished. I have captured this regal male lion on top of a rock outcrop, known as a kopje, surveying the land he dominates, like a king on his throne. I tried to exemplify both the beauty of the landscape with the physical attractiveness of this dominant apex predator in the hope to glorify his place as, ‘Master of His Domain’.” – Bruce Lawes PROVENANCE: The Artist $20,000 - $30,000

195 STEVE BURGESS (1960- ) African Queen, 2015 oil on board 24 x 36 inches signed lower right: Steve Burgess “During my many visits to Africa I have been fortunate to see leopards in their natural habitat on numerous occasions. The leopard is an unmatched predator and the perfect example of feline power and grace, to see a leopard moving through the African bush, or lying motionless in the high branches of a tree, is a riveting experience, and one I have tried to convey in this painting. No other member of the cat family can look as relaxed in a tree as a leopard, casually draped over a branch with all it’s languid grace a leopard simultaneously keeps cool, relaxes and watches for potential prey. For an artist the leopard is at the same time a joy and a challenge to paint, each rosette on the cats fur must be painted correctly as they describe the shape of the animal, a sleek dappled predator, the ultimate cat.” – Steve Burgess PROVENANCE: The Artist $12,000 - $18,000

– 88 –

196 LINDSAY SCOTT (1955- ) Making His Presence Known oil on canvas 17 3/4 x 30 inches signed lower left: Lindsay B. Scott PROVENANCE: GWS Galleries, Carmel, CA (label verso) From a Texas Collection $10,000 - $15,000

197 LINDSAY SCOTT (1955- ) Coming at You, 2015 oil on canvas 40 1/4 x 20 1/4 inches signed lower left: LINDSAY SCOTT “When lions are on the move like this there is always such a tension in the air. It is as though nature holds it breath until they pass. I love their relaxed self confidence, yet they are intensely aware of what is going on around them and ready for action the instant they sense a movement, sound or smell. This scene is normally accompanied by the alarm calls of creatures great and small, the snort of an impala or the call of a tree squirrel, letting the world know of their presence.” – Lindsay Scott PROVENANCE: The Artist $15,000 - $20,000

198 JONATHAN KENWORTHY (1943- ) Baboon Grooming bronze 5/10 9 x 5 1/2 x 6 3/4 inches inscribed right side: © KENWORTHY ‘76 5/10 PROVENANCE: Everard Read Gallery, Johannesburg, South Africa Private Collection, East Providence, RI $5,000 - $7,000 – 89 –

199 BOB KUHN (1920-2007) In the Drink, 1990 acrylic on board 11 7/8 x 22 inches signed upper right: Kuhn verso: signed and dated PROVENANCE: Settlers West Gallery, Tucson, AZ (label verso) Private Collection, Florida $40,000 - $60,000

– 90 –

200 JOHN BANOVICH (1964- ) Cat and Mouse, 2015 oil on Belgian linen 32 x 48 inches signed lower right: © Banovich 2015 “ ‘Amba,’ as he is known to the Udege people of far eastern Russia; strong, silent and deadly, the Siberian Tiger or Amur tiger is perfectly adapted to the land where the jungles of Asia meet the boreal forests of the north. Although larger prey like Sika and Wild Boar make up the main source of this big cats diet, like all cats it seems to have a magnetic draw to anything that moves, making a good old fashion game of ‘Cat and Mouse’ irresistible.” – John Banovich PROVENANCE: The Artist $30,000 - $50,000

– 91 –

201 PIP MCGARRY (1955- ) A Slight Disagreement, 2015 oil on canvas 30 1/8 x 57 inches signed lower right: PIP McGARRY –2015– “Wild tiger numbers have diminished by 97% in the last century, leaving approximately 3200 roaming free and they are classed as endangered. The two tigers depicted are related to each other and are having a minor skirmish.” – Pip McGarry PROVENANCE: The Artist $15,000 - $25,000

202 PIP MCGARRY (1955- ) Tiger Cub Twins, 2015 oil on canvas 23 3/4 x 31 3/4 inches signed lower right: Pip McGARRY -2015“Tigers are one of the world’s most iconic species, yet their numbers have declined massively during the last century. In this painting of tiger cubs, they are painted huddled together, as if aware of their species’ predicament.” – Pip McGarry PROVENANCE: The Artist $7,000 - $10,000

203 FRANCOIS KOCH (1944- ) African Panzer oil on canvas 22 x 30 inches signed lower right: francois KocH verso: titled and signed PROVENANCE: The Artist $9,000 - $12,000

– 92 –

204 GUY COMBES (1971- ) Ancestral Oasis, 2015 oil on canvas 36 x 48 inches signed lower right: Guy Combes © verso: titled, signed, dated “Kenya is the place of my birth, and though a lifetime’s experiences have taken me to a variety of spectacular places around the world, Africa always draws me back home; it’s land, it’s people, and its wildlife are ingrained in my DNA, and they express themselves with every brushstroke I make on canvas. Africa is a land with a unique narrative of great depth, complexity, and richness; far from making me complacent, my lifelong immersion in its mysteries have taught me that I could paint every day for the rest of my career and never tell the entire story. I have lived and worked in Kenya off and on my whole life, still spending time there nearly every year, and that has made me uniquely qualified to share an intimate knowledge of African wildlife that goes far beyond that of the casual traveler. In my paintings I always attempt to do more than just open a window on a visual experience I’ve had, but to launch the viewers imagination with as real a representation of texture, temperature, behavior and form as possible, to communicate a veracity that only comes from frequent daily observation. That technical accuracy is coupled with a poeticism that is the natural result of a helpless affection for the place of my birth, a place that will no doubt continue to inspire me to bring the story of its charismatic wildlife, awesome landscapes, and noble people to canvas for the rest of my life.” – Guy Combes PROVENANCE: The Artist

205 BOB KUHN (1920-2007) Old Man of the Mountain, 1969

$18,000 - $24,000

acrylic on board 16 1/4 x 16 1/2 inches signed upper left: Kuhn verso: titled and dated PROVENANCE: Private Collection, Florida LITERATURE: Outdoor Life, January 1969, illus. p. 28-29 $8,000 - $12,000 – 93 –

206 BOB KUHN (1920-2007) Summer Range - Pronghorns, 1997 acrylic on board 9 1/2 x 11 7/8 inches signed lower left: Kuhn 97 PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 108 $30,000 - $40,000

– 94 –

207 BOB KUHN (1920-2007) Autumn Itch acrylic on board 9 x 11 1/4 inches signed lower left: KUHN PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 114 $25,000 - $35,000

208 BOB KUHN (1920-2007) Winter Chase, 1995 bronze 3/20 12 x 23 1/2 x 6 inches inscribed back right: KUHN 3/20 PROVENANCE: Private Collection, Jackson, WY LITERATURE: Adam Duncan Harris, Bob Kuhn: Drawing on Instinct, University of Oklahoma Press: Norman, OK, 2012, illus. p. 232 $10,000 - $20,000

– 95 –

209 CARL RUNGIUS (1869-1959) Grizzly Bear oil on canvas 30 x 40 inches signed lower right: C Rungius Carl Rungius was born in Rixdorf, Germany, in 1869. Rungius developed an early interest in studying and hunting wild animals, influenced by his father and grandfather, both amateur naturalists and taxidermists.

At a young age Rungius showed an aptitude for drawing, and consequently pursued formal artistic training 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.

In 1894 Rungius’ uncle invited him to travel to rural Maine for a hunting expedition. This trip sparked Rungius’ passion for big game hunting and painting, and for exploring the diverse wildlife of North America.

The following summer, spent hunting in Wyoming, proved pivotal for Rungius, and in 1897 he made a permanent move to New York.

Rungius’ studio in New York City was the perfect entrée to the budding art scene, and he escaped frequently to the wilderness of the Northeast and Canadian Rockies. In 1904 Rungius travelled the Yukon with Charles Sheldon, and in 1910 he journeyed to Banff, Alberta for the first time. Banff proved to be an incredible source of inspiration for Rungius, and he built a studio there in 1921, nicknamed ‘The Paintbox.’ Rungius’ work remained in high demand throughout his career, with notable patrons including Theodore Roosevelt.

In Grizzly Bear Rungius explores one of his favorite subjects, a solitary grizzly bear, roaming high in a dramatic, rugged mountain landscape. Rungius was known for his skilled depictions of fur, and the sun visibly glints off the bear’s expertly articulated coat. Behind this monarch of the mountains, the sun illuminates the craggy peaks in a glorious alpine glow.

PROVENANCE: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, New York, NY $250,000 - $450,000

– 96 –

– 97 –

210 CARL RUNGIUS (1869-1959) Ewes Seeking Shelter oil on canvas 30 1/4 x 46 inches signed lower right: C. Rungius PROVENANCE: Collection of William Sheldon, MA J.N. Bartfield Galleries, New York, NY (label verso) Collection of Mr. and Mrs. George Fenimore Johnson, New York, NY Dallas Fine Art Museum, Dallas, TX Deaccessioned and acquired from the above $90,000 - $120,000

– 98 –

– 99 –

211 FRANK SCHOONOVER (1877-1972) Untitled (Portrait) oil on board 12 x 9 inches signed lower right: Frank E. Schoonover PROVENANCE: Private Collection, Ogden Dunes, IN $8,000 - $12,000

212 HARRY JACKSON (1924-2011) Iroquois Guide, 1967 polychrome bronze 3/20 19 1/2 x 10 x 13 1/2 inches inscribed verso: © Harry Jackson 1967 inscribed front: 3.P. IROQUOIS GUIDE PROVENANCE: Kennedy Galleries, New York, NY (label verso) Private Collection, Ogden Dunes, IN LITERATURE: Larry Pointer and Donald Goddard, Harry Jackson, Harry N. Abrams, Inc, New York, NY, 1981, illus. p. 218-219 $6,000 - $9,000

213 E. MARTIN HENNINGS (1886-1956) Arroyo Hondo, ca. 1935 oil on board 10 x 14 inches signed lower left: E.M. Hennings verso: titled, dated, and described by Helen Hennings PROVENANCE: Private Collection, California $8,000 - $12,000

– 100 –

214 ALBERT BIERSTADT (1830-1902) Mountain Vista oil on canvas 11 3/4 x 8 3/4 inches signed lower right: AB. PROVENANCE: Private Collection, Beverly Hills, CA $15,000 - $25,000

215 HARRY JACKSON (1924-2011) Algonquin Chief and Warrior, 1971 bronze 40 29 1/2 x 15 x 15 inches inscribed back left: © Harry Jackson 1971 40.

PROVENANCE: Private Collection, Ogden Dunes, IN $8,000 - $12,000

– 101 –

216 ROBERT BATEMAN (1930- ) Great Cormorants acrylic on canvas 26 x 60 inches signed lower right: Robert Bateman 2000 © An influential painter and naturalist, Robert Bateman was born in Toronto, Canada, in 1930. Interested in both art and wildlife from an early age, Bateman knew by twelve that both would serve to be his life’s passions. As a teenager Bateman became a Junior Naturalist at the Royal Ontario Museum, where he gained vital exposure to ornithology, field study, and specimen drawing. At eighteen Bateman won a Junior League scholarship for art tuition, which allowed him study with Gordon Payne at the Arts and Letters Club for two years.

Bateman attended the University of Toronto and received an honors degree in geography in 1954. While in school, he took night classes in art from Carl Schaefer, whom he studied under for five years. Throughout this period Bateman participated in numerous geological surveys in Newfoundland and Canada’s Arctic, where he continued to sketch wildlife and collect specimens. Having already traveled across the United States and much of Western Europe, Bateman embarked on a fourteen month expedition around the world in 1957. With one friend and a Land Rover, he journeyed across equatorial Africa, northern India, through the Himalayas into Myanmar, Thailand and India before culminating in Australia.

In 1963 Bateman moved to Nigeria to teach for two years, where he entered a Nairobi art competition. Until this point Bateman’s love of art and wildlife had remained separate, but the paintings of African animals that he submitted combined his two passions cohesively for the first time. Upon returning to Canada, Bateman continued painting and quickly gained a following in the art world. In 1976 Bateman stopped teaching to devote all of his time to painting, and after his first solo exhibition sold out opening night, it proved a wise career move. In Great Cormorants, Bateman’s skill as a painter and his decades of experience as a naturalist combine to create an authentic and stirring portrait of these expert fishermen.

PROVENANCE: Private Collection, Palm Desert, CA $50,000 - $75,000

– 102 –

217 KEN CARLSON (1937- ) Testing the Water - Black Bear oil on board 20 x 30 inches signed lower right: CARLSON PROVENANCE: Private Collection, Cashiers, NC EXHIBITED: Prix de West, National Cowboy & Western Heritage Museum, Oklahoma City, OK, 2011 (label verso) $25,000 - $35,000

218 KEN CARLSON (1937- ) Innocent Eyes – Whitetail oil on board 12 x 18 inches signed lower right: KEN CARLSON PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 65 $7,000 - $10,000

– 103 –

219 GUY COHELEACH (1933- ) Indian Head Puma, 2015 oil on canvas 24 x 36 inches signed lower left: Guy Coheleach © verso: signed “Indian Head Ranch is a beautiful Texas spread west of San Antonio and has many limestone caves. Some are huge and could probably have housed many an early tribe of native Americans. This painting shows a cave entrance that was about eighty feet above its valley floor. After climbing up to its entrance and gazing out over that beautiful landscape I decided to paint it. Putting a pair of pumas in the cave was an easy decision and here is the result.” – Guy Coheleach PROVENANCE: The Artist $20,000 - $30,000

– 104 –

220 MARTIN GRELLE (1954- ) Yellow Slicker oil on canvas 24 x 20 inches signed lower right: * MARTIN GRELLE © 1989 (cross) PROVENANCE: Private Collection, St. Paul, MN $15,000 - $25,000

221 JOHN BANOVICH (1964- ) Untitled (Young Bison) oil on canvas 24 x 48 inches signed lower left: BANOVICH © 94 PROVENANCE: Private Collection, Newport Beach, CA $15,000 - $25,000 – 105 –

222 G. HARVEY (1933- ) Carefree oil on board 11 x 6 inches signed lower right: G. Harvey ___© verso: titled, signed, dated PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $10,000 - $15,000

223 DAN OSTERMILLER (1956- ) Empty Saddle bronze 7 8 x 11 x 3 1/4 inches inscribed verso: © Dan Ostermiller 96 C.R.R./7 PROVENANCE: Private Collection, Phoenix, AZ $2,000 - $3,000

224 MARTIN GRELLE (1954- ) Callin’ it a Day oil on canvas 30 x 40 inches signed lower right: (cross) MARTIN GRELLE CA © 2003 PROVENANCE: Private Collection, Sedona, AZ $25,000 - $45,000

– 106 –

225 G. HARVEY (1933- ) Another Good Day oil on canvas 20 x 30 inches signed lower right: G. Harvey ___© verso: titled, signed, dated PROVENANCE: Private Collection, Jackson, WY $50,000 - $75,000

– 107 –

226 M.C. POULSEN (1953- ) Along the Border Trail - Yellowstone oil on canvas 34 x 60 inches signed lower right: © M.C. Poulsen A signed, limited edition copy of the book Along the Border Trail will accompany this lot.

PROVENANCE: Private Collection, Denver, CO $25,000 - $45,000

– 108 –

227 NANCY GLAZIER (1947- ) Canyon Moon oil on canvas 28 x 38 inches signed mid right: N. GlAZiER © ‘94 PROVENANCE: Private Collection, Jackson, WY $18,000 - $28,000

228 ROBERT WOOD (1889-1979) Cascade Canyon II, 1954 oil on canvas 28 x 36 inches signed lower left: Robert Wood 54 PROVENANCE: Colonial Art Gallery & CO Oklahoma City, OK (label verso) Private Collection, Sheridan, WY $12,000 - $18,000

229 ADAM SMITH (1984- ) Through the Corridor, 2015 acrylic on board 20 x 24 inches signed lower right: ASMITH © 15 “Last year I spent a considerable amount of time hiking for mountain goats.

There are no guarantees when looking for wildlife but each outing fuels my passion to paint. I put in a lot of miles but every step was worth it. I was blessed to find goats in both Glacier National Park and near Bozeman. It’s these experiences that I think about while sitting at the easel.” – Adam Smith PROVENANCE: The Artist $6,000 - $8,000 – 109 –

230 RICHARD SCHMID (1934- ) Olympic House oil on canvas 20 x 30 inches signed lower right: Schmid verso: titled, signed, dated, numbered Richard Schmid was born in Chicago, Illinois in 1934. Schmid took an interest in drawing at an early age and enrolled in formal artistic training and study at age twelve. At eighteen, Schmid began studying under William H. Mosby at the American Academy of Art in Chicago. Under Mosby’s tutelage Schmid focused his studies on the old masters, and developed his hallmark style, “alla prima”, referring to the completion of a painting in a single session.

Schmid has enjoyed a long and illustrious career, and his work resides in several significant permanent collections, including The Smithsonian. He has been honored with countless awards including 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.

Schmid is best known for his elegant depictions of quiet, everyday moments. In Olympic House, he captures a simple, bucolic scene at a family home in rural Washington state. The laundry on the clothesline lend gentle humanity to the scene, and the three small figures invite contemplation from the viewer.

PROVENANCE: Trailside Galleries, Scottsdale, Arizona From a Private Collection $75,000 - $100,000

– 110 –

– 111 –

231 RICHARD SCHMID (1934- ) Blue Glass & Flowers oil on canvas 14 x 22 inches signed lower right: Schmid 2010 verso: titled, signed, dated, numbered PROVENANCE: Private Collection, Inverness, IL $35,000 - $45,000

– 112 –

232 MORGAN WEISTLING (1964- ) Girls with Peaches oil on canvas 30 x 40 inches signed lower right: MORGAN WEistliNG PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Ann Arbor, MI $40,000 - $60,000

– 113 –

233 CLYDE ASPEVIG (1951- ) Spring Hill Meadows oil on canvas 36 x 50 inches signed lower left: C. ASPEVIG verso: titled and signed PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Ann Arbor, MI $60,000 - $90,000

– 114 –

234 MORGAN WEISTLING (1964- ) Peppers oil on canvas 40 x 30 inches signed lower left: MORGAN WEistliNG 2004 © PROVENANCE: Private Collection, Ann Arbor, MI $50,000 - $75,000

– 115 –

235 LANFORD MONROE (1950-2000) Aspen Ballet, 1988 oil on masonite 20 x 24 inches signed lower left: Lanford Monroe verso: titled, signed, dated PROVENANCE: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Centreville, MD LITERATURE: R.E.C. Thompson, Homefields: The Art of Lanford Monroe, Sporting Classics & Islet Bay Press, Canada, 2007, illus. p.135 EXHIBITED: Art and the Animal National Tour, The Carnegie Museum of Natural History, Pittsburgh, PA The Neville Public Museum, Green Bay, WI The R. W. Norton Art Gallery, Shreveport, LA The Delaware Museum of Natural History, Wilmington, DE, 1996-1997 $10,000 - $15,000

236 LANFORD MONROE (1950-2000) Flight Path oil on board 24 x 36 inches signed lower right: L Monroe PROVENANCE: Private Collection, Oklahoma City, OK LITERATURE: R.E.C. Thompson, Homefields: The Art of Lanford Monroe, Sporting Classics & Islet Bay Press, Canada, 2007, illus. p.95 $12,000 - $18,000 – 116 –

237 LANFORD MONROE (1950-2000) Lazy Afternoon oil on masonite 20 x 24 inches signed lower right: Lanford Monroe PROVENANCE: Private Collection, Centreville, MD $5,000 - $7,000

238 GEORGE HALLMARK (1949- ) Niebaum-Coppola Winery oil on canvas 36 x 48 inches signed lower left: © Hallmark PROVENANCE: Private Collection, Naperville, IL $8,000 - $12,000

239 CLYDE ASPEVIG (1951- ) Autumn Stream oil on canvas 20 x 22 inches signed lower left: ©. Aspevig verso: titled, signed, dated PROVENANCE: Trailside Galleries, Jackson, WY Private Collection, Ada, MI $12,000 - $18,000

– 117 –

240 CLYDE ASPEVIG (1951- ) Island Park - Dinosaur National Monument oil on canvas 50 x 40 inches signed lower left: C. Aspevig verso: titled and signed PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Litchfield Greens, AZ $35,000 - $55,000

– 118 –

241 JOSEPH H. SULKOWSKI (1951- ) Setters in the Quail Field oil on canvas 24 x 30 inches signed lower right: Joseph H. Sulkowski PROVENANCE: The Artist $15,000 - $25,000

242 JOSEPH H. SULKOWSKI (1951- ) Golden Retriever oil on board 12 x 16 inches signed lower left: Joseph H. Sulkowski PROVENANCE: The Artist $8,000 - $12,000

243 JOSEPH H. SULKOWSKI (1951- ) Jasper oil on board 12 x 9 inches signed lower left: Joseph H. Sulkowski PROVENANCE: The Artist $5,500 - $7,500

– 119 –

244 MIAN SITU (1953- ) A Break from Chores oil on canvas 30 x 36 inches signed lower right: Situ Mian O.P.A. verso: signed and numbered PROVENANCE: From a Massachusetts Collection $10,000 - $15,000

245 JIE WEI ZHOU (1962- ) Yep, You’re Taller!, 2015 oil on canvas 30 x 24 inches signed lower right: Jiewie Zhou “Growing up, almost everyone has had his/her height recorded to some extent. When parents measured us it was quite accurate, but when siblings did it it was quite a different story. When their heads tilted up during measurements up went out heights ands hopes, and vice versa. I hoped to depict in this painting the innocent yet hopeful qualities of a relatable childhood memory.” – Jie Wei Zhou PROVENANCE: The Artist $8,000 - $12,000

– 120 –

246 MIAN SITU (1953- ) Chinatown, San Francisco, 1905, 2015 oil on canvas 28 x 32 inches signed lower right: Mian Situ “The San Francisco Chinatown a hundred years ago was the spiritual, if not actual, home to tens of thousands of Chinese who were forced to live in a segregated section of the city because of a tidal wave of racist hostility. The streets were vibrant with a colorful mix of elders and youth, merchants and customers, fortune tellers, Chinese and Non-Chinese.” – Mian Situ PROVENANCE: The Artist $25,000 - $35,000

– 121 –

247 RICHARD SCHMID (1934- ) Pink Rose oil on canvas 7 7/8 x 15 7/8 inches signed and dated lower right: Schmid 2013 verso: numbered, dated, titled, signed PROVENANCE: Private Collection, Inverness, IL $20,000 - $30,000

248 RICHARD SCHMID (1934- ) Bernard Stealing Raspberries from Madeline’s Berry Patch oil on linen 30 x 20 inches signed lower right: Dick PROVENANCE: Private Collection, Gaylordsville, CT $12,000 - $18,000

– 122 –

249 PINO D’ANGELICO (1939-2010) Coffee in the Kitchen oil on canvas 50 x 42 inches signed lower left: pino Born in 1939, Pino D’Angelico grew up in Bari, Italy. He began his artistic training at the Art Institute in Bari.

Despite his early interest in art, Pino’s parents did not support his artistic dreams. Undeterred, he fled to Milan at the age of eighteen to study at the Academy of Brera. During his studies Pino found inspiration in the PreRaphaelites and Macchiaioli, and also perfected his technique for painting nudes.

Seeking more artistic freedom and opportunity, Pino immigrated to the United States in 1979. He then began an extensive career as an illustrator, working for Dell, Bantam, Harlequin, Penguin, and Simon & Schuster. During his career as an illustrator, Pino produced illustrations for over 3,000 books, movie posters, and magazines. After two decades of lucrative success as an illustrator, Pino returned his focus to the canvas.

Representative of his oeuvre, Coffee in the Kitchen focuses on a quiet domestic moment. Known for his contemplative depictions of women, Pino utilized his impressionistic style and soft palette to lend a realistic sensitivity to his work.

PROVENANCE: Private Collection, Scottsdale, AZ $40,000 - $60,000 – 123 –

250 DANIEL GERHARTZ (1965- ) Autumn Chores oil on canvas 60 x 48 inches signed lower right: D GERHARTZ verso: signed, titled, dated PROVENANCE: Mongerson Wunderlich, Chicago, IL (label verso) Private Collection, Naperville, IL $15,000 - $25,000

251 EDOUARD CORTÈS (1882-1969) Nightlights oil on canvas 18 x 21 1/2 inches signed lower right: EDOUARD CORTÈS PROVENANCE: Private Collection, Pomfret, MD $20,000 - $30,000

– 124 –

252 MORGAN WEISTLING (1964- ) Graces oil on canvas 35 x 18 inches signed lower right: MORGAN WEistliNG PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Ann Arbor, MI $25,000 - $35,000

– 125 –

253 WILSON HURLEY (1924-2008) Tierra Encantada, 1967 oil on board 32 x 48 inches signed lower left: Wilson Hurley dated lower right: 1967 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 Solen, 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.

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. Representative of Hurley’s passion for New Mexico and his skill as a landscape painter, Tierra Encantada captures the vastness of the New Mexican landscape as well as the volatility of its weather.

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: Baker Collector Gallery, Lubbock, TX (label verso) From a Private Collection $30,000 - $50,000

– 126 –

254 DUSTIN VAN WECHEL (1974- ) An Early Winter, 2015 oil on linen 40 x 30 inches signed lower left: D VAN WECHEL “In early October of 2013, two of my artist friends and I were trapped in a cabin in the Black Hills of South Dakota during one of the worst blizzards on record. We had no running water, electricity or heat for three days—and we loved every minute of it. During that time, I couldn’t help but imagine how much more difficult that storm was for the wildlife in the area. Pronghorn are common in the Black Hills and contrary to their delicate physicality, they are incredibly tough animals. As bad as the storm was, once we were able to venture out, the scores of pronghorn we observed seemed to be taking it all in stride.” – Dustin Van Wechel PROVENANCE: The Artist $7,000 - $10,000

255 CLYDE ASPEVIG (1951- ) Grand Canyon oil on canvas 12 x 15 7/8 inches signed lower left: C. ASPEVIG PROVENANCE: Thomas Nygard Gallery, Bozeman, MT (label verso) Private Collection, Scottsdale, AZ $4,000 - $6,000

– 127 –

256 ED MELL (1942- ) Autumnal Thistle oil on canvas 36 x 30 inches signed lower right verso: titled, signed, dated PROVENANCE: Private Collection, Los Angeles, CA $8,000 - $12,000

257 AMY RINGHOLZ (1978- ) Home Grown, 2015 ink and oil on canvas 48 x 36 inches signed lower right: RINGHOLZ verso: titled, signed, dated “I create wildlife paintings with heart and soul. I use loose ink line drawings to create motion and abstractions within the piece. My color pallet varies from beautiful earth tones next to bright turquoise oil streaks. What truly captures my audience though is that first they feel the lightheartedness of the piece, but in a closer look there is often a real and deep emotion within each animal. The humanlike eyes in my paintings reflect the feelings within myself. They are mirrors, or self-portraits, but I allow each painting to go where it desires.” – Amy Ringholz PROVENANCE: The Artist $10,000 - $15,000

– 128 –

258 R. TOM GILLEON (1942- ) Redwing Blackfoot oil on canvas 48 x 36 inches signed lower right: R Tom Gilleon PROVENANCE: Altamira Fine Art, Jackson, WY Private Collection, Alpharetta, GA EXHIBITED: Booth Western Art Museum, Cartersville, GA, 2012 $30,000 - $40,000

– 129 –

259 EWOUD DE GROOT (1969- ) Standing Firm oil on linen 63 x 63 inches signed lower right: EWOUD ‘14 PROVENANCE: The Artist $12,000 - $18,000

260 EWOUD DE GROOT (1969- ) Frozen oil on linen 63 x 63 inches signed lower right: EWOUD ‘14 PROVENANCE: The Artist $10,000 - $15,000

– 130 –

261 T. ALLEN LAWSON (1963- ) Belt of Venus, 2015 oil on board 30 x 18 inches signed lower right: T. ALLEN LAWSON verso: signed and dated “As a son of the West, I have been moved by the moods of weather and the mystery of the skies throughout my life. I’m not usually drawn to sunset and sunrise—I tend to look east at sunset and west at sunrise. I love having enough sky and space to see the curvature of the earth in the sky. I love the soft colors of the Belt of Venus – the rose colored band created by the earth’s curvature. The moon on this particular evening seemed to be a jewel in the Belt of Venus.” – T. Allen Lawson PROVENANCE: The Artist $20,000 - $30,000 – 131 –

262 KEN CARLSON (1937- ) Moving up Stream oil on board 24 1/4 x 36 inches signed lower left: CARLSON PROVENANCE: JN Bartfield Galleries, New York, NY (label verso) From a Texas Collection $30,000 - $40,000

– 132 –

263 BRENT COTTON (1972- ) Springtime in the Valley, 2015 oil on linen 41 3/4 x 49 3/4 x 2 1/4 inches signed lower left: Cotton verso: titled, signed, dated “Springtime in the Bitterroot Valley of Montana is a special time… the meadowlarks announcing their return, the trout rising, and the sweet smell of new cottonwood leaves in the air makes it one of my favorite times of year. This painting depicts the Bitterroot range and a local spring creek near my home where I’ve spent many a day fishing and painting…mostly fishing.” – Brent Cotton PROVENANCE: The Artist $10,000 - $15,000

264 JIM MORGAN (1947- ) Evensong oil on canvas 33 x 27 inches signed lower right: Jim . MORGAN . © verso: signed PROVENANCE: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Jackson, WY $8,000 - $12,000

265 KEN CARLSON (1937- ) Mousing oil on board 8 x 11 7/8 inches signed lower right: CARLSON PROVENANCE: From the Collection of Curtice and Bob McCloy $6,000 - $9,000

– 133 –

266 CYRUS AFSARY (1940- ) Easy Does It, 2015 oil on linen 30 x 24 inches signed lower right: CYRUS AFSARY “The cowboy is dedicated to his way of life, out on the range surrounded by nature come rain or shine, he is laid back and relaxed after cleaning his rifle and is in quiet contemplation of the day ahead in the saddle checking on the heard and boundary fences.” – Cyrus Afsary PROVENANCE: The Artist $22,000 - $28,000

267 RICHARD D. THOMAS (1939- ) Wyoming Travelers oil on canvas 28 x 22 inches signed lower right: RICHARD D. THOMAS ‘90 © verso: titled, signed, dated PROVENANCE: Legacy Gallery, Scottsdale, AZ Private Collection, Carmel Valley, CA $6,000 - $8,000

– 134 –

268 CLYDE ASPEVIG (1951- ) Country Bridge oil on canvas 28 x 36 inches signed lower left: C. ASPEVIG verso: titled and signed PROVENANCE: Alan K. Simpson, Former United States Senator (painted on site at the Simpson Ranch) Trailside Galleries, Jackson, WY (label verso) Private Collection, Orland Park, IL $20,000 - $30,000

269 SHERRY SALARI SANDER (1941- ) Across the Pond bronze 1/35 26 1/2 x 47 1/2 x 16 1/2 inches inscribed right side: SSSANDER 99 © 1/35 PROVENANCE: Private Collection, Jackson, WY $5,000 - $8,000

– 135 –

270 JIM NORTON (1953- ) Gathering on the Sixes oil on canvas 18 x 24 inches signed lower left: Jim C Norton CA © PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY EXHIBITED: Ranching and Rodeo, Phippen Art Museum, Prescott, AZ, June 25-September 25, 2005 (label verso) $8,000 - $12,000

271 HOWARD ROGERS (1932- ) Driving ‘Em Back to the Ranch oil on canvas 24 x 36 inches signed lower right: H Rogers © PROVENANCE: The Artist $6,000 - $9,000

– 136 –

272 FRANK MCCARTHY (1924-2002) The Drive oil on canvas 16 x 24 inches signed lower right: McCarthy CA © verso: titled, signed, numbered PROVENANCE: Private Collection, Sedona, AZ $12,000 - $18,000

273 CLARK KELLEY PRICE (1945- ) Last of the Water, 2015 oil on canvas 24 x 36 inches signed lower left: clark Kelley Price 15 (artist cipher) CA “This painting depicts a United States marshal from the late 1800s with his horse in the desert of Arizona. He is on the trail of an outlaw, and is giving the last of his water to his horse in hopes that he can find water soon.” – Clark Kelley Price PROVENANCE: The Artist $12,000 - $18,000

– 137 –

274 NICHOLAS COLEMAN (1978- ) Horse Camp - At Dusk, 2015 oil on canvas 36 x 48 inches signed lower left: Nicholas Coleman © “Horses forever changed life on the Great Plains.

They allowed tribes to hunt more buffalo than ever before. They tipped the balance of power in favor of mounted warriors. And they became prized as wealth. For Native Americans today, horses endure as an emblem of tradition and a source of pride, pageantry, and healing.” – Nick Coleman PROVENANCE: The Artist $10,000 - $15,000

275 PETER FILLERUP (1953- ) The Wild West bronze, painted hide, and glass 40 x 42 x 40 inches PROVENANCE: Private Collection, Bozeman, MT $7,000 - $10,000

276 BILL NEBEKER (1942- ) Pawnee Bow Maker bronze 30/30 9 x 8 x 7 inches inscribed verso: © BILL NEBEKER CA 1991 30/30 PROVENANCE: Private Collection, Jackson, WY $2,000 - $3,000 – 138 –

277 TUCKER SMITH (1940- ) Buffalo at Split Rock oil on canvas 10 x 20 inches signed lower right: Tucker Smith 97 PROVENANCE: From a Texas Collection $10,000 - $15,000

278 TUCKER SMITH (1940- ) Pine Creek Summit (Wind River Mountains, Wyoming) oil on canvas board 10 1/4 x 12 1/4 inches signed lower left: Tucker Smith 04 PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Colorado $7,000 - $10,000

– 139 –

279 ALFREDO RODRIGUEZ (1954- ) Preparée oil on canvas 34 x 22 inches signed lower left: A. Rodriguez © 88 PROVENANCE: Overland Trail Galleries, Scottsdale, AZ Private Collection, Cornville, AZ $8,000 - $12,000

280 HARRY JACKSON (1924-2011) Trapper, 1970 bronze 19/40 21 x 15 1/2 x 11 1/2 inches inscribed left side: © Harry Jackson 1970 numbered verso: 19 PROVENANCE: Private Collection, Ogden Dunes, IN LITERATURE: Don Goddard, Ed., Harry Jackson: Forty Years of His Work 1941-81, WFS, Cody, WY, 1981, illus. p. 85 $7,000 - $10,000

281 BILL NEBEKER (1942- ) The Sippin’ Jug bronze 18/25 21 3/4 x 10 x 6 inches inscribed on base verso: CA 1981 © BILL NEBEKER 18/25 PROVENANCE: Private Collection, Jackson, WY $2,000 - $3,000

– 140 –

282 ALFREDO RODRIGUEZ (1954- ) Dubious Advice, 2015 oil on linen mounted on board 24 x 36 inches signed lower right: A. Rodriguez © 2015 “This painting is symbolic of that time when the fur trade consisted of the trading and bartering of furs between mountain men and Native Americans. In the midst of negotiations, trust was often lacking between the people involved, even though they all tried to get along. In this painting, a Native American is trying to guide the trapper to better locations in search of beaver, but the trapper is very suspicious about the real intentions of his dubious ‘friend’.” – Alfredo Rodriguez PROVENANCE: The Artist $15,000 - $20,000

283 DAVE MCGARY (1958-2013) Symphonies of the Heart, 2000 polychromed bronze 11/60 26 x 25 x 16 inches inscribed verso: DAVE MCGARY –2000 11/60 PROVENANCE: Private Collection, Lake Forest, IL

284 CURT WALTERS (1950- ) Canyon Oblation

$8,000 - $12,000

oil on canvas 36 x 28 inches signed lower left: Curt Walters PROVENANCE: Trailside Galleries, Scottsdale, AZ Private Collection, Raleigh, NC $15,000 - $25,000 – 141 –

285 WAYNE BAIZE (1943- ) Shadows of the Evening oil on canvas 24 x 30 inches signed lower left: WAYNE BAIZE CA © 1990 verso: titled, signed, dated PROVENANCE: Private Collection, Bluff Dale, TX $6,000 - $9,000

286 CLYDE ASPEVIG (1951- ) After the Tilling oil on canvas 26 x 30 inches signed lower left: C. ASPEVIG verso: titled and signed PROVENANCE: Private Collection, Bozeman, MT $10,000 - $15,000

– 142 –

287 LUKE FRAZIER (1970- ) Forest Sounds oil on board 18 x 24 inches signed lower left: l. frazier verso: titled, signed, dated PROVENANCE: JN Bartfield Galleries, New York, NW (label verso) From a Texas Collection $7,000 - $10,000

288 CONRAD SCHWIERING (1916-1986) Autumn Solitude, 1949 oil on board 30 x 36 inches signed lower left: Schwiering (artist cipher) ‘49 verso: titled and numbered PROVENANCE: Private Collection, New Braunfels, TX $12,000 - $18,000

– 143 –

289 TOM DARRO (1946- ) The Family-Cheyenne, 1895 (The Native American Family) oil on canvas 32 1/4 x 48 inches signed lower right: © TOM DARRO verso: titled and signed PROVENANCE: Overland Gallery, Scottsdale, AZ (label verso) Private Collection, Lake Forest, IL $8,000 - $12,000

290 DAN BODELSON (1949- ) Finishing Details, 2015 oil on canvas 40 x 30 inches signed lower left: Bodelson © 15 verso: titled, signed, dated “This painting is of a friend who modeled for me. He is Comanche. While getting dressed, he had to untie knots in the fringe on his leggings. I liked the composition while he worked at it. Lucky little moment.” – Dan Bodelson PROVENANCE: The Artist $12,000 - $18,000

– 144 –

291 LUKE FRAZIER (1970- ) Guttural Crescendo oil on canvas 30 x 40 inches signed upper left: l. frazier verso: titled, signed, dated PROVENANCE: Private Collection, Edwards, CO $10,000 - $15,000

292 DANIEL SMITH (1954- ) Echo Bay, Loon Family acrylic on board 19 x 36 inches signed lower right: Smith © 93 PROVENANCE: From a Texas Collection $6,000 - $9,000

– 145 –

293 CHARLES FRACÉ (1926-2005) Snow Leopard, 1975 oil on canvas 26 x 30 inches signed lower left: Charles Fracé PROVENANCE: The Artist L.B. “Roy” Horn Wellington Gallery, Aurora, Ontario, Canada (label verso)

LITERATURE: Bruce Henry Davis, Nature’s Window-Charles Frace, American Masters Foundation, Houston, TX, 1992, illus. p. 105 Bruce H. Davis, The Art of Charles Frace, American Masters Foundation, Houston, TX, 1982, illus. p. 44 A signed copy of both books will accompany this lot.

EXHIBITED: National History Museum, Smithsonian, Washington, D.C., October, 1992 - May, 1993 $8,000 - $12,000 A portion of sale proceeds will be donated to global preservation of the Snow Leopard population.

294 JOHN LOFGREEN (1955- ) Lynx oil on canvas 24 x 36 inches signed lower right: John Lofgreen 81 PROVENANCE: From a Private Collection $1,500 - $2,500

– 146 –

295 ANDREW PETERS (1954- ) Rios Los Pinos oil on canvas 20 x 24 inches signed lower right: ANDREW PETERS PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $5,000 - $7,000

296 MICHAEL COLEMAN (1946- ) The Trappers Cabin oil on board 14 x 20 inches signed lower right: MICHAEL COLEMAN 1.9.2.3 IX PROVENANCE: From a Private Collection $4,000 - $6,000

297 ROBERT DUNCAN (1952- ) Looking for Feed oil on board 18 x 36 inches signed lower right: R DUNCAN © 79 verso: titled, signed, dated PROVENANCE: Private Collection, Big Piney, WY $5,000 - $7,000

– 147 –

298 NANCY GLAZIER (1947- ) Winter Table - Moose oil on board 24 x 32 inches signed lower right: N. GlAZiER PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $12,000 - $18,000

299 SCOTT CHRISTENSEN (1962- ) March Thaw oil on canvas 20 x 24 inches signed lower right: CHRISTENSEN © PROVENANCE: Private Collection, Jackson, WY $4,000 - $6,000

300 VIVI CRANDALL (1946-2000) The Honeymooners, 1993 acrylic on canvas 22 x 28 inches signed lower right: Vivi K. Crandall © 93 PROVENANCE: Private Collection, Jackson, WY $7,000 - $10,000

– 148 –

301 MANFRED SCHATZ (1925-2004) Untitled (Mallards) oil on canvas 24 x 32 inches signed lower left: m schatz PROVENANCE: Private Collection, Germany $4,000 - $6,000

302 ROSA BONHEUR (1822-1899) Deer Coming to the Brook to Drink oil on canvas 20 x 14 inches signed lower left: Rosa Bonheur PROVENANCE: Private Collection, Boulder, CO $8,000 - $12,000

– 149 –

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

WE ARE SEEKING QUALITY CONSIGNMENTS FOR THE SEPTEMBER 2016 AUCTION 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 J I L L C A L L A H A N , A U C T I O N C O O R D I N AT O R 8 6 6 - 5 4 9 - 9 2 7 8 , C O O R D I N AT O R @ J A C K S O N H O L E A R TA U C T I O N . C O M V I S I T U S AT W W W. J A C K S O N H O L E A R TA U C T I O N . C O M

PRESENTED BY TRAILSIDE GALLERIES & GERALD PETERS GALLERY

©

INDEX

ACHEFF, WILLIAM

BIERSTADT, ALBERT

Plains Indian Sheath, 125

Mountain Vista, 214

Wildlife, 163

Wind River Country Wyoming, 184

AFSARY, CYRUS Easy Does It, 266 ANDERSEN, ROY Dance of the Wheel Lance, 107

BODELSON, DAN Finishing Details, 290 BONHEUR, ROSA Deer Coming to the Brook to Drink, 302

Through the Winter, 105 Young Calf, 106

BOREIN, EDWARD Sitting Pretty No. 1, 89

ANTON, BILL Original Western Art, 158 Wyoming Daybreak, 159

BRENDERS, CARL Long-Distance Hunters, 145 The Stowaways - Barn Swallows, 96

ASPEVIG, CLYDE After the Tilling, 286 Autumn Stream, 239

BUNN, KEN Striding Grizzly, 100

Country Bridge, 268 Grand Canyon, 255 Island Park - Dinosaur National Monument, 240

BURGESS, STEVE African Queen, 195

Lake Isabelle, 166 Lake of the Winds (Shirley Lake), 164

CARLSON, KEN

Spring Hill Meadows, 233

December Slopes, 167

Spring in the Beartooth Mountains, 141

Edge of the Shadows, 128

View from Jim Mountain, Cody, 150

Essence of Spring, 130 Great Plains Pronghorn, 12

BAIZE, WAYNE Shadows of the Evening, 285

Innocent Eyes - Whitetail, 218 Lynx, 168 Mousing, 265

BALINK, HENRY New Mexico Pueblo, 94 BANOVICH, JOHN Cat and Mouse, 200

Moving Up Stream, 262 Testing the Water - Black Bear, 217 CHEEVER, BRUCE Showtime, 153

Untitled (Young Bison), 221 CHRISTENSEN, SCOTT BATEMAN, ROBERT

March Thaw, 299

Great Cormorants, 216 Moose, 95 Ocellated Turkey, 97 BEELER, JOE Dangerous Passage, 101

COHELEACH, GUY Indian Head Puma, 219 COLEMAN, MICHAEL The Trappers Cabin, 296

Down the Snake, 104 Fate of the Captive, 103 Scout for the Long Knives, 109

COLEMAN, NICHOLAS Horse Camp - At Dusk, 274

COMBES, GUY Ancestral Oasis, 204 CORTÈS, EDOUARD Nightlights, 251 CORTEZ, JENNESS

GERHARTZ, DANIEL Autumn Chores, 250 GILLEON, R. TOM Redwing Blackfoot, 258 GLAZIER, NANCY

Four American Visionaries, 192

Canyon Moon, 227

The Trailblazers, 155

Dust Devil, 129 Straw Hat, 147

COTTON, BRENT Springtime in the Valley, 263 COUSE, EANGER IRVING Umatilla Wickiup with Waiting Pony, 179 CRANDALL, VIVI The Honeymooners, 300

When Do We Eat?, 146 Winter Table - Moose, 298 GOLLINGS, WILLIAM Shooting the Marauder, 178 GRELLE, MARTIN Callin’ it a Day, 224 Courtship, 144

D’ANGELICO, PINO Coffee in the Kitchen, 249

Moonlight Vigil, 136 Winter Scout, 120 Yellow Slicker, 220

DARRO, TOM The Family-Cheyenne, 1895 (The Native American Family), 289

HALLMARK, GEORGE Niebaum-Coppola Winery, 238

DE GROOT, EWOUD Frozen, 260 Standing Firm, 259

HARVEY, G. Another Good Day, 225 Carefree, 222

DELANO, GERARD CURTIS Southwest Riders, 93

Cowponies, 118 The Hope of the Confederacy, 151 Jeb Stuart’s Return, 162

DUNCAN, ROBERT

Through Winter’s Gold, 152

Looking for Feed, 297 HENNINGS, E. MARTIN FARNY, HENRY FRANCOIS The Unknown Soldier, 191 FILLERUP, PETER The Wild West, 275 FRACÉ, CHARLES Snow Leopard, 293

Arroyo Hondo, 213 Untitled, 187 HURLEY, WILSON Tierra Encantada, 253 JACKSON, HARRY Algonquin Chief and Warrior, 215 Flagbearer, 157

FRAZIER, LUKE

Iroquois Guide, 212

Forest Sounds, 287

The Marshal, 161

Guttural Crescendo, 291

Pony Express, 156 Safe and Sound, 154

FRIBERG, ARNOLD Expert Criticism, 173

Trapper, 280

INDEX

KENWORTHY, JONATHAN

MCCARTHY, FRANK

Baboon Grooming, 198

The Drive, 272 His Wealth, 113

KOCH, FRANCOIS

Out of the Mist, 116

African Panzer, 203

Race to the Main Column, 117 Red Cloud, 110

KUHN, BOB At the Top of the World, 170

MCGARRY, PIP

Autumn Itch, 207

A Slight Disagreement, 201

A Battle of Titans, 131

Tiger Cub Twins, 202

Cheetahs on a Termite Hill, 193 Elk in Down Timber, 132

MCGARY, DAVE

Grizzly, 88

Symphonies of the Heart, 283

In the Drink, 199 King of the Hill, 148

MELL, ED

Moose, 87

Autumnal Thistle, 256

Old Man of the Mountain, 205 Summer Range - Pronghorns, 206

MELTZOFF, STANLEY

Winter Browse - Mule Deer, 165

Eider Duck Shoot, 171

Winter Chase, 208

White Marlin 7 - Three White Marlin and Needlefish, 169

LAWES, BRUCE

MIEDUCH, DAN

Master of his Domain, 194

The Buffalo Shaman, 134 Prometheus’ Children, 108

LAWSON, T. ALLEN Belt of Venus, 261

MIGNERY, HERB Seventy Winters, 115

LIANG, Z.S. The Holy Rattle (Elkwater Water Lake Battle, 1864), 142

MONROE, LANFORD Aspen Ballet, 235

LOFGREEN, JOHN

Flight Path, 236

Lynx, 294

Lazy Afternoon, 237

LOUGHEED, ROBERT

MORGAN, JIM

Christmas in Connecticut, 188

Evensong, 264

LOVELL, TOM

NEBEKER, BILL

Sundown at Fort Union, 140

Pawnee Bow Maker, 276

Wire Trouble on the Overland Telegraph, 102

The Sippin’ Jug, 281

MANN, DAVID

NORTON, JIM

The Shortcut, 111

Gathering on the Sixes, 270

White Bone & Spirit Paint, 112

Last Light on Little Creek, 114 Summer Camp, 126

MARRIS, BONNIE Exploring the Banks of the Sable, 124

OBERG, RALPH

Too Much of a Good Thing, 122

Above it All?, 149 Prime Time, 121

– 154 –

OSTERMILLER, DAN

RUSSELL, CHARLES M.

Empty Saddle, 223

Camper Flipping Flapjacks, 182 Menu (Cafe Noir), 186

OSTHAUS, EDMUND Freckles, 190

SANDER, SHERRY SALARI Across the Pond, 269

OWEN, BILL Cinder Mountain, 160

SCHATZ, MANFRED Untitled (Mallards), 301

PAXSON, E.S. Indian Brave with Rifle, 92

SCHMID, RICHARD

The Volunteer, 91

Bernard Stealing Raspberries from Madeline’s Berry Patch, 248 Blue Glass & Flowers, 231

PETERS, ANDREW

Olympic House, 230

Rios Los Pinos, 295

Pink Rose, 247 Seascape, 172

POULSEN, M.C. Along the Border Trail - Yellowstone, 226

SCHOONOVER, FRANK Untitled (Portrait), 211

PRICE, CLARK KELLEY Last of the Water, 273

SCHWIERING, CONRAD Autumn Solitude, 288

REMINGTON, FREDERIC A Trooper, 183

SCOTT, LINDSAY Coming at You, 197

REYNOLDS, JAMES

Making His Presence Known, 196

On the Diamond A, 135 Unwelcome Tracks, 119

SEEREY-LESTER, JOHN Grizzly, Cub and Raven, 98

RINGHOLZ, AMY

Young Explorer, 99

Home Grown, 257 SITU, MIAN ROCKWELL, NORMAN

A Break from Chores, 244

Portrait in Profile, 189

Chinatown, San Francisco, 1905, 246

RODRIGUEZ, ALFREDO

SMITH, ADAM

Dubious Advice, 282

Through the Corridor, 229

Preparée, 279 SMITH, DANIEL ROGERS, HOWARD

Echo Bay, Loon Family, 292

Driving ‘Em Back to the Ranch, 271 SMITH, TUCKER RUNGIUS, CARL

Buffalo at Split Rock, 277

Antelope, 85

Moose, 123

At the Forks, 181

Pine Creek Summit (Wind River Mountains, Wyoming), 278

Ewes Seeking Shelter, 210 Grizzly Bear, 209

SULKOWKSI, JOSEPH H.

Moose and Mate, 185

Golden Retriever, 242

Woodland Stag, 86

Jasper, 243 Setters in the Quail Field, 241 – 155 –

INDEX

TERPNING, HOWARD Empty Handed, 137 Good Medicine, 133 THOMAS, ANDY The Captivity of Fanny Kelly, 139 Tecumseh and the Osage, 143 THOMAS, RICHARD D. Wyoming Travelers, 267 VAN WECHEL, DUSTIN An Early Winter, 254 WALTERS, CURT Canyon Oblation, 284 WARREN, MELVIN The Hunter, 138 WEISTLING, MORGAN Girls with Peaches, 232 Graces, 252 Peppers, 234 WIEGHORST, OLAF Back in the Herd, 174 Cowboy at Rest, 175 Fording the River, 177 Navajo Mother, 90 War Staff, 176 WOOD, ROBERT Cascade Canyon II, 228 ZHOU, JIE WEI Yep, You’re Taller!, 245 ZIEGLER, EUSTACE PAUL Mt. McKinley Landscape with Indian Encampment, 180

– 156 –

– 157 –

Thank you for contributing to the Grand Teton Music Festival through your support of the Jackson Hole Wine Auction.

Details to come Fall 2015.

307.413.3312

spencer@tetonArtservices.com

Po box 10183

JAckson, WYoming

Bring out the Beauty of your photography, fine art and most treasured artwork.

890 S Highway 89 • Jackson, Wyoming • (307) 733-2306

83002

LEFT TO RIGHT, TOP TO BOTTOM: R. Tom Gilleon, Gary Ernest Smith, Scottsdale Gallery, Jared Sanders, Jivan Lee

ALTAMIRA FINE ART SCOTTSDALE + JACKSON 7038 E. Main Street | Scottsdale, Arizona | 480.949.1256 172 Center Street | Jackson, Wyoming | 307.739.4700 For more information, email az@altamiraart.com

SAVE THE DATE T H E 2 016 A U C T I O N W I L L B E H E L D S E P T E M B E R 16 - 17, 2 016

Providing auction and show display services across the country.

A N A U C T I O N O F PA S T A N D P R E S E N T

dynamiceventsdenver.com

MASTERWORKS OF THE AMERICAN WEST

W

2 4 T H

A N N U A L

C O N F E R E N C E

EXHIBIT + SALE

SEPTEMBER 8-11, 2016 JACKSON HOLE, WY SNOW KING CENTER

TICKETS: WesternDesignConference.com

OPENING PREVIEW PARTY

MEET THIS YEAR’S AWARD WINNING ARTISTS DURING A GALA CELEBRATION FEATURING A RUNWAY FASHION SHOW + LIVE AUCTION, AND ENJOY LOCAL CULINARY CREATIONS + SIGNATURE COCKTAILS DURING A FESTIVE NIGHT OF SHOPPING

DESIGNER SHOW HOUSE

JURIED ARTISTS’ CREATIONS AND CUSTOM INTERIOR DESIGN IN A HOME ENVIRONMENT

3-DAY EXHIBIT + SALE

RETAIL ROW UNIQUE SHOPPING WHERE RETAILERS EXHIBIT CURRENT FASHION TRENDS AND LIFESTYLE ACCESSORIES

FEATURING ONE-OF-A-KIND CREATIONS IN FURNITURE, FASHION AND HOME ACCESSORIES FROM MORE THAN 130 ARTISTS CAPTURING THE SPIRIT OF THE WEST CLOCKWISE FROM TOP LEFT: AMY LEINER DESIGNS, BEKES WOODEN BICYCLES, MATT LITZ SILVERSMITH, NORSEMAN WEST DESIGNS

.

EXCELLENCE IN ART SINCE 1963.

RENSO TAMSE FROM THE WILD

Tribute, 44 x 65 inches, Watercolor

Moonlit Grace, 47 x 57 inches, Watercolor

S E P T E M B E R 7 - S E P T E M B E R 2 0 , 2 015 JACKSON HOLE, WYOMING

A R T I S T R E C E P T I O N : S AT U R D AY, S E P T E M B E R 1 9 T H , 5 - 7 P M

VIEW ADDITIONAL WORKS BY THIS ARTIST Overview, 17 ½ x 12 ¼ inches, Watercolor

A N D O T H E R S AT T R A I L S I D E G A L L E R I E S . C O M

JACKSON HOLE PO Box 1149, 130 E. Broadway, Jackson, WY 83001 (307) 733.3186 SCOTTSDALE 7330 Scottsdale Mall, Scottsdale, AZ 85251 (480) 945.7751 W W W. T R A I L S I D E G A L L E R I E S . C O M

INFO@TRAILSIDEGALLERIES.COM

EXCELLENCE IN ART SINCE 1963.

KYLE SIMS THEIR WORLD

A Meeting of Heavyweights, 54 x 80 inches, Oil

S E P T E M B E R 7 - S E P T E M B E R 2 0 , 2 015 | J ACK S O N H O L E , W YO M I N G A R T I S T R E C E P T I O N : S AT U R D AY, S E P T E M B E R 1 9 T H F R O M 5 - 7 P M

V I E W A D D I T I O N A L W O R K S B Y T H I S A R T I S T A N D O T H E R S AT W W W.T R A I L S I D E G A L L E R I E S . C O M

JACKSON HOLE PO Box 1149, 130 E. Broadway, Jackson, WY 83001 (307) 733.3186 SCOTTSDALE 7330 Scottsdale Mall, Scottsdale, AZ 85251 (480) 945.7751 W W W. T R A I L S I D E G A L L E R I E S . C O M

INFO@TRAILSIDEGALLERIES.COM

NOTES

NOTES

NOTES

NOTES

TERMS AND CONDITIONS The following Terms and Conditions of Sale constitute Jackson Hole Art Auction, LLC’s (“Jackson Hole Art Auction”) and its agents’ and consignors’ entire agreement with prospective bidders, bidders and purchasers relative to the property listed in this catalogue. These Terms and Conditions of Sale and all other contents of this catalog are subject to amendment during or before the sale. The property will be offered by the Jackson Hole Art Auction as agent for the consignors, unless the catalogue indicates otherwise.

1.

Jackson Hole Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Jackson Hole Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein. a.

Except as set forth in paragraph 1(b) below, 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 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.

b.

The authenticity of the authorship attributed to the property as described in this catalogue is guaranteed to the limited extent as stated in this paragraph 1(b). i.

The authorship attributed to an item of property includes name of the artist and any reservations therewith stated, as, for example, “attributed to”, “in the school of ”, or “appears to have been signed by.” The Jackson Hole Art Auction makes no warranties whatsoever, express or implied, with respect to any material in the catalogue other than the authorship attributed to the property.

ii.

This guarantee is further limited as follows: The benefits of this guarantee are not assignable and shall be available only to the purchaser of record; this guarantee shall remain in force and be effective only if notice of rescission is given to the Jackson Hole Art Auction within three (3) years following the date of sale, provided the property is tendered to the Jackson Hole Art Auction in Jackson, Wyoming, in the same condition as the property was found at the time of sale; and that the rescission of a sale and the refund of the original purchase price paid (the successful bid price, plus the buyer’s premium and applicable tax) is exclusive and in lieu of any other remedy which might be otherwise available, and that the Jackson Hole Art Auction and its agents and consignors shall not be liable for any incidental or consequential damages incurred or claimed.

iii.

In no event will the liability of the Jackson Hole Art Auction, or its agents or consignors, exceed the original purchase price actually paid.

2.

Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored.

3.

A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 17% of the final bid price of each lot up to and including $500,000, 15% of the excess of the final bid price above $500,000, and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price for each lot up to and including $500,000, 18% of the excess of the final bid price above $500,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges.

4.

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

5.

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

6.

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

7.

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

8.

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

9.

a.

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

b.

If any applicable conditions herein are not complied with by the purchaser, the purchaser will be in default, and in addition to any and all other remedies available to the Jackson Hole Art Auction and its agents and consignors by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, including all fees, charges, and expenses set forth herein, the Jackson Hole Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser, or (ii) resell the purchased property, whether at auction or by private sale, or (iii) effect any combination thereof. The purchaser will be liable for any deficiency, any and all costs, handling charges, late charges, expenses, and commissions of both sales, legal fees, and expenses, collection fees, and incidental damages. In addition, a defaulting purchaser will be deemed to have granted and assigned the property or money to the Jackson Hole Art Auction or its agents and consignors or any of their affiliated companies, and the Jackson Hole Art Auction may retain and apply such property or money as collateral security for the obligations due. The Jackson Hole Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the Wyoming Uniform Commercial Code. The purchaser of each lot agrees that each lot is unique and that the Jackson Hole Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such purchaser fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Jackson Hole Art Auction shall have collected good funds. The Jackson Hole Art Auction reserves the right to hold all purchases pending collection of the total purchase price.

All lots are subject to a reserve, which is the confidential minimum price acceptable of the consignor. In such instances, the Jackson Hole Art Auction may implement the reserve by bidding on behalf of the consignor. In instances where the Jackson Hole Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. The Jackson Hole Art Auction, or its agents or consignors, may also bid upon other property listed in this catalogue.

10. Jackson Hole Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Jackson Hole Art Auction.

11. Unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. It is the purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price.

12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Wyoming, without regard to Wyoming rules concerning conflicts of law.

13. Prospective bidders and purchasers agree that, in the event of any controversy or claim arising out of or relating to a sale of property, the party asserting such controversy or claim shall provide written notice thereof to the other party, and that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including any controversy or claim arising from or relating to the sale, or to these Terms and Conditions of Sale, including the terms of this paragraph, shall be resolved and settled by binding arbitration in Jackson Hole, Wyoming, or such other place upon which the parties may agree, in writing; such arbitration shall be pursuant to the commercial arbitration rules of the American Arbitration Association then in effect; the award, which shall include costs of arbitration and an award of reasonable attorneys’ fees to the prevailing party, shall be final, and the judgment on the award may be entered in any court having jurisdiction.

14. The Jackson Hole Art Auction may, in its discretion and at a purchaser’s request, package and ship items as directed by the purchaser. In such event, purchaser agrees to the following conditions: a.

All such packaging, handling and shipping is at the sole risk of the purchaser, and the Jackson Hole Art Auction shall have no liability for any loss or damage to such items.

b.

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

15. Results are sent to buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders four weeks after the sale.

16. Bidding increments will be as follow but may vary at the auctioneer’s discretion Under $2,000 $2,000 - $5,000 $5,000 - $10,000 $10,000 - $20,000 $20,000 - $50,000 $50,000 - $100,000 over $100,000

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

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 Š 2015 Jackson Hole Art Auction Limited Co.

SATURDAY, SEPTEMBER 19, 2015 | 12:00 PM MST | CENTER FOR THE ARTS | 265 SOUTH CACHE 130 EAST BROADWAY, JACKSON, WYOMING 83001 | POST OFFICE BOX 1568 TEL 866 JH WY ART (866-549-9278) | FAX 307-732-1600 | WWW.JACKSONHOLEARTAUCTION.COM © 2015 JACKSON HOLE ART AUCTION, L.L.C.