JOSIAH O. “JOE” LOW III, “THE WALL STREET COWBOY”
Josiah O. “Joe” Low III, known as “The Wall Street Cowboy”, was an investment banker with New York City roots and a love of Western art. Though he carried prestigious New York City blood in his veins (his great-great-uncle, Seth Low, served as Columbia University president from 1890–1901 and later as New York City’s mayor), Low found his greatest joy in the open landscapes of the American West; he was a true cowboy at heart, with an abiding passion for Western art and culture.
Low’s childhood was spent as a ranch hand at his family’s guest ranch, French Creek, in Wyoming’s Platte River Valley. Following his college years at Williams College, Low headed east and started at Merrill Lynch’s trainee program before becoming a founding Managing Director in their Capital Markets Group. In the early part of his career, he worked closely with Donaldson, Lufkin & Jenrette, eventually helping to build DLJ’s corporate finance division. Colleagues remember him not just for his blue-chip acumen and unwavering integrity, but also for how seamlessly he blended financial rigor with a cowboy’s openness, a duality epitomized, they say, by the saddle he kept in his car trunk.
Low’s legacy lies in how he bridged those two worlds. He took hundreds of Merrill Lynch and DLJ colleagues and clients to the A-Bar-A Ranch, just down the valley from French Creek, for annual week-long retreats. These Western-style getaways, complete with horses, hikes, and campfires, introduced many urban financiers to the romance of the West. As DLJ CEO Joe Roby observed, “It was great to get a bunch of corporate types from the East on horses in Wyoming.”
A friend of T. Boone Pickens, Low worked with him on several Mesa Petroleum transactions in the late 70s and the two found a common bond in collecting Western art: specifically, the works of Texas artist G. Harvey. Low purchased his first G. Harvey painting Wall Street in 1980, presented in this auction as Lot 24. Later, Low coordinated Merrill Lynch’s commission of G. Harvey’s famous bronze longhorn, A Breed Apart. This reflected the changeover from their “Bullish on America” ad campaign to “A Breed Apart”, which remained the Merrill Lynch slogan for the next decade. Low owned a special studio copy of A Breed Apart, presented in this auction as Lot 25.
Lone Star Art Auction is proud to present several other works by G. Harvey and other artists from Low’s prestigious collection in this year’s auction.
Artist G. Harvey (right) visiting Mr. Low (left) at his New York office on Wall Street, 1980s. Shown are Harvey’s painting Wall Street (Lot 24) and bronze A Breed Apart (Lot 25).
G. HARVEY (1933-2017)
Wall Street, c. 1980
oil on canvas
42 x 60 inches
signed lower right: G. Harvey ©
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut
Purchased from the artist
$200,000-$300,000
G. HARVEY (1933-2017)
A Breed Apart, 1981
bronze, studio copy
17 x 20 x 10 inches
inscribed: studio copy, ‘A Breed Apart’, G. Harvey © 1981; foundry mark: Mesa TK (Mesa Bronze Foundry, Center Point, Texas)
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut
Purchased from the artist
$15,000-$20,000 26
G. HARVEY (1933-2017)
Pullin’ Leather, 1989
bronze, 2/50
27.5 x 20 x 7 inches
inscribed: G. Harvey 2-50
‘Pullin’ Leather’ © 1989; foundry mark: TK Mesa
(Mesa Bronze Foundry, Center Point, Texas)
PROVENANCE
Private Collection, Dallas, Texas
$9,000-$12,000
G. HARVEY (1933-2017)
The Warmth of Friendships, 1996 oil on canvas 24 x 30 inches signed lower right: G. Harvey © verso: signed, titled, dated; label, Trailside Americana, Jackson, Scottsdale, Carmel
PROVENANCE
Private Collection, Houston, Texas
$70,000-$90,000
29
G. HARVEY (1933-2017)
Taking Stock, 1986
bronze, 21/100
11.5 x 10 x 5.5 inches
inscribed: ‘Taking Stock’, G. Harvey © 1986
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut
Purchased from the artist
Lot includes book Taking Stock: Paintings and Sculpture by G. Harvey © 1986
$5,000-$7,000
28
G. HARVEY (1933-2017)
Chow-Time, 1972
oil on canvas 16 x 30 inches
signed lower left: G. Harvey 1972 verso: titled
PROVENANCE
Private Collection, Fredericksburg, Texas
$25,000-$35,000
30
G. HARVEY (1933-2017)
Top Hand, 1987
bronze, 14/50 17 x 10 x 6 inches
inscribed: ‘Top Hand’, 1987 G. Harvey © 14/50; foundry mark: Mesa (Mesa Bronze Foundry, Center Point, Texas)
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut
Purchased from the artist
$4,000-$5,000
31
G. HARVEY (1933-2017)
Light Rain on Red Square, 1994
oil on canvas
36 x 30 inches
signed lower left: G. Harvey © verso: signed, titled, dated; label, Trailside Americana, Jackson, Scottsdale, Carmel
PROVENANCE
Private Collection, Houston, Texas
$70,000-$90,000
G. Harvey, the Fredericksburg, Texas artist known for his landscapes and cowboy scenes, also produced a limited number of striking paintings based on famous cities in Russia. G. Harvey visited Russia in May of 1990, creating sketches which he took home and later expanded into fully realized paintings which captured the spirit of a people, reflecting in a manner typical of the artist, a blend of firsthand experiences and imaginative storytelling. Two of these very rare Russian paintings are offered in this auction including Lot 31 Light Rain on Red Square presented here, and Lot 32 Old St. Petersburg.
PROVENANCE Private Collection, Houston, Texas
$35,000-$55,000
signed lower right: G. Harvey © verso: signed, titled, dated; label, Trailside Americana, Jackson,
G. HARVEY (1933-2017)
Old St. Petersburg, 1996
oil on canvas
24 x 20 inches
Scottsdale, Carmel
PROVENANCE
Private Collection, San Antonio, Texas
20 x 16 inches
signed lower right: G. Harvey 1984 verso: signed, titled, dated; labels, Christie’s; Altermann & Morris Galleries
$55,000-$75,000
G. HARVEY (1933-2017)
Wet Weather Morning, 1984
oil on canvas
34
G. HARVEY (1933-2017)
In the Full Moonlight, 1970 oil on canvas
24 x 40 inches
signed lower right: G. Harvey, Austin 1970 verso: signed, titled; label, AVI: Georges Marciano – Art Collection
PROVENANCE
Private Collection, San Antonio, Texas
$40,000-$50,000
35
G. HARVEY (1933-2017)
Low-Water Crossing, 1979
oil on canvas
20 x 24 inches
signed lower left: G. Harvey © 1979 verso: titled
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut Purchased from the artist
$50,000-$70,000
37
36
LEON SHULMAN GASPARD (1882-1964)
Taos Woman
oil on canvas on board
14 x 14 inches signed lower left: Leon Gaspard Taos 19-8
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
KENNETH M. ADAMS (1897-1966)
Tulips, 1966
oil on canvas
24 x 20 inches signed lower right: Kenneth M. Adams ‘66
PROVENANCE
Purchased from the artist in 1966 by Laura Rohrer Bauman (first woman lawyer in Kansas)
Private Collection, Bertram, Texas
Lot includes two letters: correspondence between Mrs. Kenneth M. Adams and Mrs. Bauman regarding the original sale of the painting.
$5,000-$7,000
EANGER IRVING COUSE (1866-1936)
The Red Ear of Corn, c. 1920 oil on canvas 11 x 16 inches
signed lower left: E.I. Couse
PROVENANCE
Private Collection, Dallas, Texas
LITERATURE
This painting will be included as catalogue number 1708 in the forthcoming catalogue raisonné of the artist’s work to be published by the Lunder Research Center, Couse-Sharp Historic Site (Taos, NM). For more information, visit couse-sharp.org.
$40,000-$60,000
According to Marissa M. Hendricks, MLIS, MLA, Director of the Lunder Research Center at the Couse-Sharp Historic Site, Taos, New Mexico, the model featured in the painting is Ben Lujan of Taos Pueblo, one of Couse’s most frequently featured models and lifelong friend of the Couse family.
Painting is in a frame carved by Newhouse & Sons of St. Louis, in a design customized for Couse’s paintings. In a letter from Virginia Couse Leavitt, E. I. Couse’s granddaughter, she quotes a 1920 letter from Newhouse & Sons to Couse: “We would call your attention to the hand-carved frame on the painting. This frame was especially designed for your paintings by our carver. We call it the Couse frame and use it only on your pieces. The baskets and arrows speak for themselves, and the design was taken from an Indian blanket. After being finished, the frame is polychromed in red and green to correspond and harmonize with the predominating tones of your painting.”
39
JOHN MOYERS (b. 1958)
January in Taos, 2000
oil on canvas
30 x 40 inches
signed lower left: John Moyers CA © verso: titled, dated; label, Altermann Galleries, Dallas, Houston, Santa Fe
PROVENANCE
Private Collection, Sonora, Texas
$10,000-$15,000
40
BRETT ALLEN JOHNSON (b. 1984)
Tawny October, 2023
oil on canvas
34 x 40 inches
initialed lower right: B A J verso: signed, titled, dated; label: Maxwell Alexander Gallery, Pasadena, California
PROVENANCE
Private Collection, Dallas, Texas
EXHIBITED
“Dust and Spirit” individual exhibition, October 2023, Maxwell Alexander Gallery, Pasadena, California.
$12,000- $16,000
PROVENANCE
Private Collection, Dallas, Texas
$70,000-$90,000
27.375 x 21.75 inches
signed lower right: Phillips
41
BERT GEER PHILLIPS (1868-1956)
Taos Indian with Pony oil on board
verso: label, Zaplin Lampert Gallery, Santa Fe, New Mexico
oil on canvas
18.25 x 22.25 inches
signed lower right: Phillips verso: signed, titled
PROVENANCE
Private Collection, Fredericksburg, Texas
$15,000-$25,000
BERT GEER PHILLIPS (1868-1956)
Wild Iris Near Taos Mountain
43
BIRGER SANDZEN (1871-1954)
Colorado Landscape, 1950
oil on board
20 x 24 inches
signed lower right: Birger Sandzen verso: titled, dated
PROVENANCE
Collection of the artist
Thence by descent to Margaret Sandzen Greenough (1909-1993), daughter of the artist
Left in trust to Birger Sandzen Memorial Gallery, Lindsborg, Kansas
Private Collection, Dallas, Texas
Colorado Landscape is recorded in the Sandzen catalogue as accession number 2014.3689 at the Birger Sandzen Memorial Gallery in Lindsborg, Kansas.
$35,000-$55,000
44
ERIC SLOANE (1905-1985)
Stone Barn
oil on canvas
24 x 26 inches
signed lower left: Eric Sloane NA
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut
Purchased from the artist
$15,000-$25,000
45
ERIC SLOANE (1905-1985)
Yesterday
oil on canvas
13 x 35 inches
signed lower right: Eric Sloane NA verso: signed, titled
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut
Purchased from the artist
$7,000-$9,000
WOLF KAHN (1927-2020)
Boat in Dry Dock (Galveston, Texas)
oil on canvas
22 x 32 inches
signed lower right: W. Kahn verso: label, Meredith Long and Company, Houston, Texas
PROVENANCE
Private Collection, Fredericksburg, Texas
$20,000-$30,000
JOHN MARIN (1870-1953)
Beach, Rock, and Sea, Maine, 1946
watercolor on paper
15.5 x 20 inches
signed lower right: Marin 46 verso: labels, The Downtown Gallery, New York; Kennedy Galleries, New York; Meredith Long & Company, Houston, Texas
PROVENANCE
Private Collection, Fredericksburg, Texas
$20,000-$25,000
ANSEL ADAMS (1902-1984)
Moonrise, Hernandez, New Mexico, 1941
oversize gelatin silver print, printed 1977-78, ed. of 20 17.875 x 28.125 inches (paper)
signed lower right: Ansel Adams verso: studio stamp; label, Pace/MacGill Gallery, New York
PROVENANCE
Pace/MacGill Gallery, New York
Acquired at the above November 1987 by the present owner
Private Collection, Dallas, Texas
LITERATURE
Adams, Ansel. Examples: The Making of 40 Photographs Little Brown, Boston, 1983. pp. 41-43.
$150,000-$200,000
ARTIST’S STATEMENT:
“The making of this photograph—it is certainly my most popular single image—combined serendipity and immediate technical recall. I felt at the time that it was an exceptional image; there seems to be an almost prophetic sense of satisfaction when the shutter is released for certain exposures…
…this photograph has undoubtedly evoked more comment than any other I have made and represents an unusual situation of content and effect. I am sure that the image would command general interest for the subject alone. It is a romantic/emotional moment in time. I think it would have a certain appreciation even if poorly printed. However, the mood of the scene requires subtle value qualities in the print that I feel are supportive of the original visualization. The printed image has varied over the years; I have sought more intensity of light and richness of values as time goes on.”
-Ansel Adams
EDOUARD LEON CORTES (1882-1969)
Bretonnes Devant la Chapelle de Penvern, Trebeurden, c. 1920-1930
oil on canvas
21.25 x 25.5 inches
signed lower left: E. Cortes
PROVENANCE
Atelier Edouard Cortes
Thence by descent to Mme. Jacqueline Simone, daughter of the artist with Nicole Verdier, expert, Paris
Roughton Galleries, Inc., Dallas, Texas
Carpenter Collection, Bartlesville, Oklahoma Private Collection, Fredericksburg, Texas
LITERATURE
This painting is included in the Catalogue Raisonné for the Complete Works of Edouard Leon Cortes, Vol. II, Nicole Verdier, expert; listed as EC00450 in the Edouard Cortes Virtual Catalogue Raisonné.
$25,000-$35,000
50
MARTIN GRELLE (b. 1954)
Trackers at Blacktail Ponds, 2025 oil on linen
36 x 36 inches signed lower right: Martin Grelle CA 2025
verso: signed, titled, dated
PROVENANCE
Private Collection, Dallas, Texas
$100,000-$150,000
51
MARTIN GRELLE (b. 1954) Siesta, 1988
oil on linen
18 x 24 inches
signed lower right: Martin Grelle © 1988 verso: signed, titled, dated
PROVENANCE
Private Collection, Houston, Texas
$25,000-$35,000
52
MARTIN GRELLE (b. 1954)
Stop at the Old Place, 1991
oil on linen
30 x 40 inches
signed lower right: Martin Grelle © 1991 verso: signed, titled
PROVENANCE
Private Collection, Dallas, Texas
$25,000-$35,000
PROVENANCE
Private Collection, Cabo San Lucas, Mexico
$90,000-$120,000
53
MARTIN GRELLE (b. 1954)
Warriors of Winter, 2006
oil on linen
40 x 30 inches
signed lower right: Martin Grelle CA 2006
verso: signed, titled, dated; label, Jackson
Hole Art Auction, Jackson, Wyoming
54
WILLIAM ACHEFF (b. 1947)
Steeped in Traditions, 2008
oil on canvas
34 x 26 inches
signed lower right: © Wm. Acheff 2008 verso: signed, titled, dated; label, Fredericksburg Art Auction
PROVENANCE
Private Collection, Dallas, Texas
$35,000-$50,000
55
WILLIAM ACHEFF (b. 1947)
Out Late with My Dad, 2019
oil on canvas on panel
12 x 10 inches
signed lower right: Acheff 2019 verso: signed, titled, dated; label, Nedra Matteucci Galleries, Santa Fe, New Mexico
PROVENANCE
Private Collection, Houston, Texas
$9,000-$12,000
56
HOWARD TERPNING (b. 1927)
No Place to Ford, 1972
oil on board
18 x 24 inches
signed lower left: © Terpning 1972
verso: labels, Texas Art Gallery, Dallas, Texas; Altermann Galleries & Auctioneers, Santa Fe, New Mexico
PROVENANCE
Private Collection, Dallas, Texas
$125,000-$150,000
Howard Terpning is a classically trained illustrator and painter and is universally considered the most important American Western artist living today. His representational paintings of the American West and the Plains Indians prioritize the context of light and the subject’s character. His palette is typically restrained to ensure that narrative is the first impression imparted upon the viewer. No Place to Ford presented here is a great example of the artist’s mastery of composition and light.
57
JENNESS CORTEZ (b. 1944)
The Medicine Horse, 2014
acrylic on panel
24 x 20 inches
signed lower right: Cortez © 2014 verso: label, The Owings Gallery, Santa Fe, New Mexico
PROVENANCE
Private Collection, Houston, Texas
$15,000-$18,000
58
TOM BROWNING (b. 1949)
Of the Promised Land
oil on canvas
48 x 36 inches
signed lower left: Tom Browning CA verso: signed, titled; label, National Cowboy & Western Heritage Museum, Prix de West Invitational
PROVENANCE
Private Collection, Boerne, Texas
$20,000-$30,000
59
JOHN ALEXANDER (b. 1945) Day Lillies with Blue Iris, 2004
oil on canvas
42 x 36 inches signed lower right: John Alexander verso: signed, titled, dated; label, Arthur Roger Gallery, New Orleans, Louisiana
PROVENANCE
Private Collection, New Orleans, Louisiana
$30,000-$40,000
John Alexander grew up in east Texas and earned his BFA degree from Lamar University and his MFA from Southern Methodist University. Alexander’s work has been widely exhibited at such prestigious institutions as the Corcoran Gallery of Art, the Smithsonian American Art Museum, and the Museum of Fine Arts, Houston. His work is featured in the permanent collections of The Metropolitan Museum of Art, New York; the Dallas Museum of Art; and the Museum of Contemporary Art, Los Angeles. Day Lillies with Blue Iris, the beautiful oil painting presented here, demonstrates the artist’s talent in a very colorful and inviting way.
60
JOHN ALEXANDER (b. 1945)
Lavender Iris
watercolor and pencil on paper
30.25 x 23 inches (paper)
signed lower right: John Alexander
PROVENANCE
Private Collection, Dallas, Texas
$9,000-$12,000
61
JOHN ALEXANDER (b. 1945)
Sunflowers, Amagansett
watercolor and pencil on paper
30 x 22.25 inches (paper)
signed lower right: John Alexander verso: signed, titled
PROVENANCE
Private Collection, Dallas, Texas
$9,000-$12,000
62
BATES (b. 1952)
The Blues Man, 1983
oil on canvas
60 x 48 inches
signed lower right: Bates verso: signed, titled, dated; labels, Charles Cowles Gallery, New York; DC Moore Gallery, New York
PROVENANCE
Private Collection, Dallas, Texas
$100,000-$150,000
David Bates, a Dallas native, is celebrated as one of Texas’ foremost artists. He earned his BFA degree from Southern Methodist University in 1975, followed by an MFA in 1978 after completing the Whitney Independent Study Program. Bates quickly gained recognition through group exhibitions at prestigious venues like the Corcoran Gallery of Art, the Metropolitan Museum of Art, and the Contemporary Arts Museum, Houston. His career highlights include being featured in the 1987 Whitney Biennial and the significant 2014 retrospective of his career co-organized by the Nasher Sculpture Center and the Modern Art Museum of Fort Worth. The Blues Man presented here is considered a masterpiece and one of the artist’s most important paintings.
DAVID
63
DAVID BATES (b. 1952)
Ham Dinner, c. 1980s
oil on canvas
36 x 48 inches
signed lower right: Bates verso: label, Kristy Stubbs Gallery, Dallas, Texas
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
64
DAVID BATES (b. 1952)
Apple Blossom, 1998
hand-painted mixed media on paper
34 x 23 inches (paper)
signed lower right: Bates, 1998 numbered lower left, 17/20 verso: label, Dunn and Brown Contemporary, Dallas, Texas
PROVENANCE
Private Collection, Santa Fe, New Mexico
$6,000-$8,000
PROVENANCE
65
DAVID BATES (b. 1952)
Purple Violets, 2012
oil on canvas
14 x 11 inches
signed lower right: Bates verso: signed, titled, dated; labels, Betty Cunningham Gallery, New York; Talley Dunn Gallery, Dallas, Texas
Private Collection, Dallas, Texas
$20,000-$30,000
66
JAMES SURLS (b. 1943) Knife Flower, 1981
carved and burned wood 20 x 41 x 22 inches
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
67
OTIS DOZIER (1904-1987) Fish Bait Shop #2, 1985 oil on masonite 36 x 48 inches signed lower right: Otis Dozier ‘85 verso: signed
PROVENANCE
Private Collection, Fredericksburg, Texas
$12,000-$15,000
acrylic on plywood and aluminum
12 feet 0.5 inches x 10 feet 0.75 inches x 27 inches
PROVENANCE
1994 Raymond Nasher commission, NorthPark Center art collection, Dallas, Texas
Private Collection, Dallas, Texas
$25,000-$35,000
On July 8, 1994, New York artist and Southern Methodist University graduate Dan Rizzie’s masterwork Orion was unveiled in North Dallas. Orion, which Webster defines as an “equatorial constellation near Taurus”, was commissioned by world-renowned modern art collector, developer, and Dallas icon Raymond Nasher for his new office building NorthPark Center completed in 1994 just east of his world famous NorthPark Center shopping mall.
Rizzie’s Orion is a constellation of bright colors and interesting shapes and at the time, the artist’s largest work at 12 x 10-feet. Built by the artist in Frisco, Texas, it is painted in acrylic on aviation grade plywood over an aluminum frame and held together with screws, bolts, and space-age adhesives. This impressive piece of modern art is a part of Dallas’ history, and its Raymond Nasher provenance cements its importance to the Dallas art community.
DAN RIZZIE (b. 1951)
Orion, 1994
69
ROBERT S. “DADDY-O” WADE (1943-2019)
Santa Fe Style (Queens of the Rodeo), 1993
acrylic on linen
48 x 28 inches
verso: signed R.S. Wade, titled, dated; inscribed, “Tesuque, NM Dec. ‘93”
PROVENANCE
Private Collection, Dallas, Texas
$7,000-$10,000
70
ROBERT S. “DADDY-O” WADE (1943-2019)
Santa Fe Style (Queens of the Studio), 1993
acrylic on linen
48 x 24 inches
verso: signed R.S. Wade, titled, dated; inscribed, “Tesuque, NM Dec. ‘93”
PROVENANCE
Private Collection, Dallas, Texas
$7,000-$10,000
ROBERT WILLIAM WOOD (1889-1979)
Bluebonnet Splendor, 1943
oil on canvas
20 x 30 inches
signed lower right: Robert Wood 1943
PROVENANCE
Private Collection, Fredericksburg, Texas
$20,000-$30,000
28 x 36 inches
signed lower right: Robert Wood verso: titled
PROVENANCE
Private Collection, Dallas, Texas
$25,000-$35,000
ROBERT WILLIAM WOOD (1889-1979)
Blue Heaven
oil on canvas
JULIAN ONDERDONK (1882-1922)
In the Land of the Spanish Oak, Southwest Texas, 1910 oil on canvas
20 x 30 inches
indistinctly signed lower right; signed verso: Julian Onderdonk verso: signed, titled, dated; label, Harry Halff Fine Art, San Antonio, Texas
PROVENANCE
Private Collection, Fredericksburg, Texas
LITERATURE
This painting is included in the Julian Onderdonk Catalog Raisonné Addendum by Harry Halff.
Lot includes a copy of a letter of authenticity written by Harry Halff. Letter notes that the painting is signed in the lower right in black paint and was most likely painted in Comal County, Texas.
$150,000 -$200,000
JULIAN ONDERDONK (1882-1922)
Twilight in the Hills, Blue-Bonnets, 1918
oil on canvasboard
8 x 10 inches
signed lower right: Julian Onderdonk verso: titled, signed, dated
PROVENANCE
Private Collection, Dallas, Texas
$70,000-$100,000
FRANK TENNEY JOHNSON (1874-1939)
The Lawless Frontier, 1930
oil on canvas
25 x 30.25 inches
signed lower left: F Tenney Johnson
A.N.A. 1930
verso: titled; label, M.S. Rau, New Orleans, Louisiana
PROVENANCE
Private Collection, Dallas, Texas
$200,000-$300,000
Considered a Master Painter of the Old West and the Father of Western Moonlight Painting, Frank Tenney Johnson was influenced by his artist peers of the time including Frederic Remington and Charles Marion Russell. Beginning in New York as an illustrator for numerous national magazines as well as for the Western novels of Zane Grey, Johnson eventually got a taste of the West joining Russell on a sketching expedition to the Blackfoot Reservation in Montana. Later in his career he moved to Alhambra, California where he shared a studio with Clyde Forsythe. At this point, his easel paintings became more popular than his illustrations, so he concentrated on that medium, painting cowboys and Native Americans. Together, Johnson and Forsythe exhibited in the Biltmore Salon at the Biltmore Hotel in Los Angeles, California. Known mainly for his moonlight painting technique, he was also adept at painting compelling daytime scenes in a style utilizing knives, fingers, and brushes. The Lawless Frontier presented here and painted by the artist in 1930 is a testament to his remarkable skill as a painter. A rare daytime action scene by the artist, this incredible painting was originally purchased directly from the Biltmore Art Gallery circa 1930 by a Montana ranching family and resided in their family collection until 2023.
PROVENANCE
Private Collection, Dallas, Texas
$70,000-$90,000
FRANK TENNEY JOHNSON (1874-1939)
Night Sentinel, 1931
oil on canvas
16.125 x 12.125 inches
signed lower right: F Tenney Johnson 1931
77
TOM RYAN (1922-2011)
Friday the 13th (Four Sixes), 1983 pastel on paper 22 x 28 inches
signed lower left: Tom Ryan CA verso: exhibition labels, The Gilcrease Museum, Tulsa, Oklahoma, Rendezvous 1990; National Cowboy & Western Heritage Museum, Oklahoma City, The Brotherhood of Man, Tom Ryan and the Cowboys of the 6666 Ranch, 2001.
PROVENANCE
Private Collection, San Antonio, Texas
EXHIBITED
“Rendezvous 1990” April 27-July 8, 1990, The Gilcrease Museum, Tulsa, Oklahoma; “The Brotherhood of Man: Tom Ryan and the Cowboys of the 6666 Ranch”, October 13December 31, 2001, National Cowboy & Western Heritage Museum, Oklahoma City
$20,000-$30,000
78
BILL NEBEKER (b. 1942)
The Eyes of Texas, 2011
bronze, 24/30
31 x 10.5 x 16.5 inches
inscribed: Bill Nebeker CA 2011 24/30
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
79
GORDON SNIDOW (b. 1936)
Daylight at the Diamond A, 1976 oil on board
27 x 40 inches
signed lower right: G. Snidow 1976 CA
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$15,000-$20,000
80
GORDON SNIDOW (b. 1936)
I’m Not Tired, I’m Just Resting My Eyes, 1987
gouache on paper
18.25 x 24.5 inches (sight)
signed lower right: G. Snidow 1987 © CA
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$4,000-$6,000
81
JOHN COLEMAN (b. 1949)
Leader of Men
oil on canvas 22 x 26 inches
signed lower right: John Coleman CA verso: label, Insight Gallery, Fredericksburg, Texas
PROVENANCE
Private Collection, Missoula, Montana
$25,000-$45,000
82
JOHN COLEMAN (b. 1949)
The Sentinel, 2005
bronze 18/50
18 x 8.5 x 7 inches
inscribed: The Sentinel, John Coleman CA © 2005 18/50
PROVENANCE
Private Collection, Houston, Texas
$8,000-$12,000
EDWARD S. CURTIS (1868-1952)
The North American Indian Plates from the Southwest Portfolios, 1980
leather portfolios with photogravures on archival paper 7/228
24 x 20 and 14 x 12 inches (portfolios), text: 14 x 10 inches
PROVENANCE
Private Collection, Santa Fe, New Mexico
$15,000-$25,000
The Classic Gravure Corporation (CGC), Santa Fe, New Mexico was established in the late 1970s to purchase the original 2220 copper plates used to produce “The North American Indian” by Edward Sheriff Curtis. The intent of CGC was to produce a continuation of 228 abridged/edited sets to complement the original 272 of 500 previously and originally issued. These were printed in Santa Fe, New Mexico circa 1980 by master printer Deli Sacilotto who was hired by CGC to print the limited edition. Only the finest materials were used including handmade Italian Fabrian on archival paper, full leather portfolio cases, and fine linen coverings. Curtis’s daughters, Florence Curtis Graybill and Billy Curtis Ingram visited Santa Fe and endorsed the CGC project. The portfolios are the finest Curtis photogravures produced posthumously. CGC was only able to complete 99 Southwest and 20 Plains portfolios in two sizes (folio and octavo) falling short of the 228 intended portfolios. The CGC set presented here is fully complete and includes both the leather-bound folio and octavo portfolios as well as the book of text “The North American Indian: The Southwest”, by Edward S. Curtis. The text and selection of plates are abridged from Volumes, 1, 2, 12, 16, & 17 of Curtis’s famed twenty-volume magnum opus “The North American Indian.”
LOUISA M c ELWAIN (1953-2013)
Indian Lands, Santa Clara III
oil on canvas
40 x 60 inches
signed lower left: McElwain
verso: titled
PROVENANCE
Private Collection, Dallas, Texas
$30,000-$40,000
Louisa McElwain was a plein-air Impressionist painter whose favorite subjects were her native New Mexico sky and landscape. Dramatic use of textured impasto is a signature feature of her work. McElwain received her BFA degree from the University of Pennsylvania, Philadelphia. Her work is in many private and corporate collections which include the Tucson Museum of Art, AT&T, Pepsi-Cola, Nokia and the University of Pennsylvania. Presented here is a large and impressive example of her artistry depicting the rolling hills surrounding Santa Clara Pueblo, New Mexico.
85
LOUISA M c ELWAIN (1953-2013)
Ocotillos Near the Guadalupes
oil on canvas
24 x 36 inches
signed lower right: McElwain
PROVENANCE
Private Collection, Houston, Texas
$10,000-$15,000
86
LOUISA M c ELWAIN (1953-2013)
Rain Approaching Alcalde oil on canvas
20.25 x 30.25 inches
signed lower right: McElwain
verso: signed, titled
PROVENANCE
Private Collection, Dallas, Texas
$10,000-$15,000
ANDY WARHOL (1928-1987)
General Custer, Unique (FS IIB.379), 1986
screenprint in colors on Lenox Museum Board 36 x 36 inches
verso: stamped ‘Andy Warhol Art Authentication Board, Inc. Outside the Published Edition’ inscribed in pencil, 116.083
PROVENANCE
Private Collection, Dallas, Texas
LITERATURE
Feldman, Frayda and Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné 1962 – 1987, 4th Ed. New York: Distributed Art Publishers, Inc., 2003. Listed and illustrated as catalogue raisonné no. IIB.379.
$80,000-$100,000
This version of Andy Warhol’s General Custer screenprint is a unique proof outside the numbered edition of 250 plus 50 artist proofs from Warhol’s 1986 Cowboys and Indians Complete Portfolio
ANDY WARHOL (1928-1987)
Fish (FS IIIA.39), 1983
screenprint in black and white on wallpaper 44 x 30 inches (paper) verso: stamped ‘The Estate of Andy Warhol’ and ‘Authorized by the Andy Warhol Foundation for the Visual Arts’
PROVENANCE
Private Collection, Dallas, Texas
LITERATURE
Feldman, Frayda & Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné 1962-1987, 4th Ed. New York: Distributed Art Publishers, Inc., 2003. Listed as catalogue raisonné no. IIIA.39 (another from the series illustrated in color, p. 244).
Warhol, A. Andy Warhol: The Late Work, Paintings & Wallpapers, Munich, 2004, pp. 78-79 (installation views illustrated).
$12,000-$18,000
Fish (FS IIIA.39) is one of the four unpublished prints that the artist created of the fish. Fish was designed to be the background of Warhol’s “Paintings for Children” exhibit at the Bruno Bischofberger Gallery in Zürich, Switzerland from December 1983 to January 1984. In 1983, Warhol’s Zürich art dealer, Bruno Bischofberger, asked him to make a series of paintings for children. Warhol created his Toy Paintings and chose inspiration from his own collection of fish, monkeys, dogs, pandas and more. The paintings were hung at eye-level so children ages 3 to 5 could easily see the backdrop of Warhol’s Fish. The wallpaper transformed the gallery walls into an aquarium-like environment.
ROY LICHTENSTEIN (1923-1997)
Art Critic, 1996
screenprint in colors on Somerset paper, 55/150 19.75 x 13.25 inches (image); 26 x 19.125 (paper) signed lower center and right: 55/150 Roy Lichtenstein ‘96
PROVENANCE
Christie’s New York, October 28, 2023, lot 173
Acquired at the above sale by the present owner
Private Collection, Dallas, Texas
LITERATURE
Corlett, Mary Lee. The Prints of Roy Lichtenstein: A Catalogue Raisonné,
1948–1993, 2nd ed. New York: Hudson Hills Press in association with the National Gallery of Art, Washington, D.C., 2002. First published in 1994. Listed as catalogue number 305.
Theil, Andrea. Roy Lichtenstein: A Catalogue Raisonné. New York: Roy Lichtenstein Foundation. Listed as Art Critic, 1996 (RLCR 4456).
$40,000-$55,000
90
BILL SCHENCK (b. 1947)
Rattlesnake Ridge, 2023
oil on canvas
24 x 18 inches
signed lower left: Schenck 23 verso: signed, titled, dated
PROVENANCE
Private Collection, Houston, Texas
$9,000-$12,000
91
BILL SCHENCK (b. 1947)
Study for Bonito Canyon, 2018
oil on canvas
24 x 30 inches
signed lower right: Schenck 18 verso: signed, titled, dated
PROVENANCE
Private Collection, Dallas, Texas
$6,000-$9,000
92
oil on canvas
20 x 24 inches
signed lower left: R. Daughters
PROVENANCE
Private Collection, Houston, Texas
$15,000-$25,000
ROBERT DAUGHTERS (1929-2013)
Ranchos Chapel, Taos
New Mexico Summer Splendor
28.25 x 34.5 inches
signed lower right: Von Hassler
PROVENANCE
Private Collection, Houston, Texas
$9,000-$12,000
CARL VON HASSLER (1887-1969)
oil on canvas
PROVENANCE
Private Collection, Dallas, Texas
$45,000-$65,000
signed lower center:
verso: signed, titled, dated
JOHN NIETO (1936-2018)
Gathering of Nations War Dancer, 1989
acrylic on canvas
84 by 68 inches
Nieto
Private Collection, Dallas, Texas
$30,000-$50,000
95
JOHN NIETO (1936-2018)
Desert Magic (Navajo Sand Painter), 1991
acrylic on canvas
60 by 48 inches
signed lower center: Nieto
verso: signed, titled, dated
PROVENANCE
Private Collection, Scottsdale, Arizona
$35,000-$55,000
JOHN NIETO (1936-2018)
Nambe, 1992
acrylic on canvas
60 x 48 inches
signed lower center: Nieto
verso: signed, titled, dated
DAN NAMINGHA (b. 1950)
Hemis Dancer, 1986
acrylic on canvas
60 x 48 inches
signed lower right: Namingha verso: signed, titled, dated
PROVENANCE
Private Collection, Dallas, Texas
$5,000-$7,000
98
DAN NAMINGHA (b. 1950)
Pronghorn, 2009
bronze, (unique) 1/1
37.75 x 17.25 x 15.75 inches
inscribed: Dan Namingha © ‘09 1/1
PROVENANCE
Private Collection, Fredericksburg, Texas
$7,000-$9,000
99
KIM WIGGINS (b. 1960)
Flow of the Vineyard, 2001
oil on canvas
24 x 30 inches
signed lower left: Kim Wiggins 01 verso: signed, titled, dated; labels, Altermann Galleries, Dallas, Santa Fe, Houston
PROVENANCE
Private Collection, Washington, Connecticut
$12,000-$18,000
100
KIM WIGGINS (b. 1960)
Rolling Hillside, 1990
oil on canvas
20 x 24 inches
signed lower right: K D Wiggins 90
PROVENANCE
Private Collection, Fredericksburg, Texas
$6,000-$8,000
101
KIM WIGGINS (b. 1960)
pair: The Searchers, 2020; A Song in the Garden of Taos, 2020
pen and ink on paper
5 x 7 inches each
signed lower left (each): Kim Wiggins verso (each): signed, titled, dated; label, Maxwell Alexander Gallery
PROVENANCE
Private Collection, Washington, Connecticut
$2,000-$4,000
102
TONY ABEYTA (b. 1965)
Amber Skies Village, 2019
oil on canvas
12 x 16 inches
signed lower right: Tony Abeyta verso: signed, dated
PROVENANCE
Private Collection, Washington, Connecticut
$7,000-$10,000
103
ED MELL (1942-2024)
Jack Knife
bronze, 35/50
21 x 18 x 7 inches
inscribed: Ed Mell 35/50; stamped with foundry mark: BA
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
104
EARL BISS, JR. (1947-1998)
Passing Through a Back Water Stream, 1997
oil on canvas
40 x 30 inches
signed upper right: Biss verso: signed, titled, dated; inscribed, “Red Lodge Montana Studio”
PROVENANCE
Private Collection, Dickinson, Texas
$15,000-$20,000
54 x 66 inches
signed lower right: Furlow
PROVENANCE
Private Collection, Lantana, Texas
$10,000-$15,000
105
MALCOLM FURLOW (1946-2023)
Four Riders
acrylic on canvas
verso: signed, titled, dated PROVENANCE
Private Collection, Lantana, Texas
$8,000-$12,000
106 MALCOLM FURLOW (1946-2023)
American Indian, 1989
acrylic on canvas
60 x 48 inches
signed upper left: Furlow
108
R. TOM GILLEON (b. 1942)
Blackfoot Otter
oil on board
12 x 12 inches
signed lower right: R. Tom Gilleon verso: signed, titled
PROVENANCE
Private Collection, Dallas, Texas
$6,000-$9,000
107
RAY SWANSON (1937-2004)
A Medicine Man, 1998
oil on canvas
24 x 18 inches
signed lower left: Ray Swanson CA © verso: signed, titled, dated
PROVENANCE
Private Collection, Midland, Texas
$5,000-$8,000
109
ROSETA SANTIAGO (b. 1946)
Sante Fe Friends, 2017
oil on canvas
18 x 18 inches
signed lower right: Santiago verso: signed, titled, dated; inscribed, “Models: Deryle James Lujan, Taos (left); Lehi Thunder Voice Eagle, Navajo Artist (right)”
PROVENANCE
Private Collection, Houston, Texas
$6,500-$9,500
110
GUSTAVE BAUMANN (1881-1971)
A Lilac Year
color woodcut on paper, 97/125
13.5 x 14 inches (sight); 14.5 x 17.75 inches (paper) signed lower right: Gustave (hand-in-heart chop mark) Baumann titled lower left; numbered lower right: II, 97/125, 61
PROVENANCE
Private Collection, Hermosa Beach, California
LITERATURE
Chamberlain, Gala, et al., In a Modern Rendering: The Color Woodcuts of Gustave Baumann: a Catalogue Raisonné. New York: Rizzoli Electa, 2019.
$12,000-$18,000
111
GUSTAVE BAUMANN (1881-1971)
Summer Clouds, c. 1923
color woodcut on paper, 109/125
11.75 x 10.5 inches (sight); 15.75 x 13.5 inches (paper) signed lower right: Gustave (hand-in-heart chop mark) Baumann titled lower left; numbered lower right: III, 109/125 verso: original artist label
PROVENANCE
Private Collection, Hermosa Beach, California
LITERATURE
Chamberlain, Gala, et al., In a Modern Rendering: The Color Woodcuts of Gustave Baumann: a Catalogue Raisonné. New York: Rizzoli Electa, 2019. Mentioned: p. 318, cat. 110 (cat. number GB80).
$12,000-$18,000
112
GUSTAVE BAUMANN (1881-1971)
Brown County, Indiana, 1913
black and white chalk on brown paper mounted to cream laid paper 3.75 x 5.5 inches (paper) signed in pencil on mount, lower left: Gustave Baumann; inscribed and dated in pencil on mount, lower right: Brown Co. Ind. 13
PROVENANCE
Private Collection, Hermosa Beach, California
$5,000-$8,000
113
FRITZ SCHOLDER (1937-2005)
Hopi Dancers (First State), c. 1974
lithograph in two colors on buff Arches paper, 39/75 22 x 30 inches (paper) signed lower left: Scholder; numbered lower center 39/75
PROVENANCE
Private Collection, Houston, Texas
$3,000-$5,000
114
HARRY ANDREW JACKSON (1924-2011)
Flag Bearer II, 1992
bronze (polychrome), TF 14P
22 x 24.5 x 8.75 inches
inscribed: Harry Jackson 1992 TFIIP 14P; artist thumbprint; stamped: HJS Cody
PROVENANCE
Private Collection, Dallas, Texas
$25,000-$35,000
115
HARRY ANDREW JACKSON (1924-2011)
Washakie (Unique), 1978
bronze (polychrome), WA 5P
35.5 x 28.25 x 12 inches
inscribed: Harry Jackson 1978 WA 5P; stamped: WFS Italia; signed: For Sandy & Patty Harry Jackson 1981; inscribed Washakie First Working Model for a Monument Harry Jackson
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000 116
HARRY ANDREW JACKSON (1924-2011)
Stampede (Study), 1964
egg tempera on panel
22 x 48 inches
signed lower right: Harry Jackson 1964
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
In 1964, Harry Andrew Jackson was commissioned by his friend Robert Coe to paint two large, mural-sized oil paintings one of which was Stampede. This painting completed by the artist in September 1965 was then donated by The Coe Foundation to the Whitney Western Art Museum at the Buffalo Bill Center of the West in Cody, Wyoming, where it still resides today along with its companion painting Range Burial. For Stampede, the artist replicated his famous 1959 bronze sculpture of the same name depicting a dark and stormy night with stampeding longhorn cattle and three cowboys dashing across the plains. From October through December 1964, Jackson completed four large scale studies for the painting all using the original 1959 bronze as the model. The Stampede presented here is one of the most detailed and comprehensive of the four studies completed.
117
HARRY ANDREW JACKSON (1924-2011)
Pony Express, 1967
bronze (polychrome) 18 x 21 x 14 inches
inscribed: Harry Jackson 1967 For Marilyn and Jim from Harry
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
118
HARRY ANDREW JACKSON (1924-2011)
Flag Bearer, 1983
bronze, TF 15 26 x 32 x 11.75 inches
inscribed: Harry Jackson 1983 TF 15; artist’s thumbprint; stamped: WFS Italia
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
119
WILLIAM F. REESE (1938-2010)
Chisholm Trail
oil on board
24 x 36 inches
signed lower left: W. F. Reese verso: label, National Cowboy & Western Heritage Museum, Prix de West Invitational
PROVENANCE
Private Collection, Dallas, Texas
$5,000-$8,000
120
MELVIN CHARLES WARREN (1920-1995)
Desert Hide-Out, 1989
oil on canvas
24 x 36 inches
signed lower right: © Mel Warren CA 1989
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$12,000-$15,000
BOB KUHN (1920-2007)
North Country, 1991
acrylic on board
21.5 x 24 inches
signed lower right: Kuhn verso: signed, titled, dated; inscribed,“North Country” painted for Mike Fitz 1991
PROVENANCE
Private Collection, Dallas, Texas
$75,000-$100,000
North Country was a commission for Mr. Mike Fitz and completed by the artist in 1991. In the painting, Kuhn depicts a massive grizzly bear in his territory peering over his shoulder after something gains his attention by sound, or most likely by smell. This painting demonstrates the artist’s mastery of figurative painting, composition, and color, all wrapped in an impressionistic yet realistic northern landscape.
122
BOB KUHN (1920-2007)
Winter Chase
bronze, 12/20
11 x 24 x 6 inches
inscribed: Kuhn 12/20
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
123
BOB KUHN (1920-2007)
Grizzly Study for George, 1984
conte crayon on paper 10 x 15 inches (sight)
signed lower right: Kuhn 84; inscribed center, “Grizzly Study for George”
PROVENANCE
Private Collection, Houston, Texas
$6,000-$9,000
TUCKER SMITH (b. 1940)
King of the Rockies, 1999
oil on canvas
20 x 24 inches
signed lower right: Tucker Smith 99 verso: label, Trailside Galleries, Scottsdale, Arizona and Jackson, Wyoming
PROVENANCE
Private Collection, Dallas, Texas
$30,000-$40,000
125
Grey Ghost oil on board 24 x 24 inches signed lower left: L. Frazier verso: signed, titled; labels, artist’s label noting “Kudu (greater) w/ ox peckers”; Fredericksburg Art Auction
PROVENANCE
Private Collection, Dallas, Texas
$7,000-$10,000
126
REVEAU MOTT BASSETT (1897-1981)
Ducks at Little Sandy
oil on canvasboard
12 x 16 inches signed lower right: Reveau Bassett
PROVENANCE
Private Collection, Cleburne, Texas
$3,000-$5,000
LUKE FRAZIER (b. 1970)
127
DAVID SHEPHERD (1931-2017)
Buffalo Alerted
oil on canvas
20 x 30 inches
signed lower right: David Shepherd
verso: titled; label, Fredericksburg Art Auction
PROVENANCE
Private Collection, Dallas, Texas
$30,000-$40,000
PROVENANCE
Private Collection, Dallas, Texas
$8,000-$12,000
128
DAVID SHEPHERD (1931-2017)
Giraffe
oil on canvas
14 x 10 inches
signed lower right: David Shepherd verso: labels, The Tryon Galleries, London; Fredericksburg Art Auction
129
KEN CARLSON (b. 1937)
Confrontation
oil on canvas
21.25 x 42 inches
signed lower left: Carlson
PROVENANCE
Private Collection, Houston, Texas
$25,000-$35,000
130
KEN CARLSON (b. 1937)
Longhorns
oil on linen
12 x 20 inches
signed lower right: Ken Carlson verso: label, Altermann Galleries and Auctioneers, Santa Fe, New Mexico
PROVENANCE
Private Collection, Dallas, Texas
$9,000-$12,000
131
MICK DOELLINGER (b. 1956)
In the Shadows, 2012
bronze, 26/30
26 x 21 x 10 inches
inscribed: © Doellinger 26-30 2012
PROVENANCE
Private Collection, Dallas, Texas
$5,000-$7,000
132
MICK DOELLINGER (b. 1956)
In the Fall, 2015
bronze, 4/25
20.5 x 22.5 x 8.5 inches
inscribed: Doellinger © 4-25 2015
PROVENANCE
Private Collection, Dallas, Texas
$5,000-$7,000
133
MICK DOELLINGER (b. 1956)
Agitated, 2015
bronze, 4/25
17 x 24 x 11 inches
inscribed: Doellinger © 4-25 2015
PROVENANCE
Private Collection, Dallas, Texas
$6,000-$8,000
134
MICK DOELLINGER (b. 1956)
Think Tank, 2012
bronze, 24/30
18 x 28 x 13.5 inches
inscribed: © Doellinger #24-30 2012
PROVENANCE
Private Collection, Dallas, Texas
$6,000-$8,000
135
MARK HAWORTH (b. 1952)
Bluebonnet Grandeur, 2013
oil on canvas
24 x 30 inches
signed lower right: Haworth verso: signed, dated
PROVENANCE
Private Collection, Austin, Texas
$7,000-$10,000
136
KENNY M c KENNA (b. 1950)
October Morning at Flattop Mountain oil on canvas
24 x 20 inches
signed lower right: McKenna verso: signed, titled
PROVENANCE
Private Collection, McKinney, Texas
$4,000-$6,000
TOM LEA (1907-2001)
Kitchen Stovewood, 1976
watercolor
15 x 13 inches (sight)
signed lower right: Tom Lea 1976
PROVENANCE
Gift from the artist
Collection of Mrs. Tom Donaldson, El Paso
Thence by descent to Private Collection, McKinney, Texas
LITERATURE
Hjerter, Kathleen. The Art of Tom Lea, Texas A&M University Press, College Station, 1989, p. 231 (illustrated).
$8,000-$12,000
138
FRANK REAUGH (1860-1945)
Shade Locust Trees
pastel on grit paper
3.5 x 7 inches (sight) initialed lower right: FR
PROVENANCE
Private Collection, Fredericksburg, Texas
$8,000-$10,000
139
JOSE ARPA (1858-1952)
Amar Fajar
oil on canvas
16.5 x 12.25 inches
signed lower right: J. Arpa; titled upper left verso: label, Harry Halff Fine Art, San Antonio, Texas
PROVENANCE
Private Collection, Fredericksburg, Texas
$9,000-$12,000
140
JAMES ROBINSON (1944-2015)
Five Minute Break
oil on canvas
24 x 36 inches
signed lower left: Robinson ©
PROVENANCE
Private Collection, Austin, Texas
$9,000-$12,000
141
JOHN WADE HAMPTON (1918-2000)
Kirkland’s Cattle 1857, 1984
oil on canvas
24 x 18 inches
signed lower left: J W Hampton CA 1984 verso: labels, Texas Art Gallery, Dallas; Cowboy Artists exhibit label
PROVENANCE
Private Collection, Dallas, Texas
$6,000-$9,000
142
ROBERT PUMMILL (b. 1936)
When Days Grow Short
oil on board
24 x 36 inches
signed lower left: Pummill
verso: titled; label, Altermann Galleries, Dallas, Houston, Santa Fe
PROVENANCE
Private Collection, Sonora, Texas
$5,000-$7,000
143
ROBERT PUMMILL (b. 1936)
Bone Tired
oil on canvas
24 x 30 inches
signed lower left: Pummill
verso: labels, Santa Fe Art Auction; Altermann Galleries & Auctioneers, Santa Fe, New Mexico
PROVENANCE
Private Collection, Sonora, Texas
$4,000-$6,000
144
W. H. D. KOERNER (1878-1938)
The Swamper, 1922
oil on canvas
26 x 36 inches
signed lower left: W.H.D. Koerner
verso: partial label, Saturday Evening Post; inscribed, “Did you give Babe any camphor?”
PROVENANCE
Private Collection, Johnson City, Texas
ILLUSTRATED
The Saturday Evening Post, December 9, 1922, vol. 195, issue 24, p. 11
$10,000-$15,000
145
LAJOS MARKOS (1917-1993)
Teaching Time
oil on canvas
30 x 36 inches
signed lower right: L. Markos
PROVENANCE
Private Collection, Boerne, Texas
$3,000-$5,000
146
JAMES BOREN (1921-1990)
Winter Morning, 1975
oil on canvas
24 x 36 inches
signed lower right: James Boren © 1975 CA
verso: titled; label, Altermann Galleries, Santa Fe, New Mexico
PROVENANCE
Private Collection, Sonora, Texas
$6,000-$9,000
147
JAMES BOREN (1921-1990)
Cochetopa Spring, 1969
oil on canvas
24 x 30 inches
signed lower right: James Boren 1969 CA
verso: label, Altermann Galleries & Auctioneers, Santa Fe, New Mexico
PROVENANCE
Private Collection, Sonora, Texas
$3,000-$5,000
149
WILLIAM AIKEN WALKER (1838-1921)
The Old Cotton Picker
oil on board
8 x 4 inches
signed lower left: W.A. Walker
verso: inscribed, “In Memory of ‘Miss Lou’”
PROVENANCE
Private Collection, Georgetown, Texas
$3,000-$5,000
150
WILLIAM AIKEN WALKER (1838-1921)
Woman Cotton Picker
oil on board
8.5 x 4.25 inches
signed lower left: W.A. Walker
verso: label, J. Gumbinger, Jeweler, Jacksonville, Fla.
PROVENANCE
Private Collection, Georgetown, Texas
$3,000-$5,000
148
FRANK HENRY SHAPLEIGH (1842-1906)
In St. George Street, St. Augustine, Fla., 1892
oil on board
7.5 x 12.5 inches
signed lower right: F.H. Shapleigh 1892 verso: signed, titled
PROVENANCE
Private Collection, Johnson City, Texas
$9,000-$12,000
ASTLEY DAVID MIDDLETON COOPER (1856-1924)
The Flaming Arrow oil on canvas
62 x 74 inches signed lower left: ADM Cooper
PROVENANCE Private Collection, Tyler, Texas
$10,000-$15,000
152
WILLARD LEROY METCALF (1858 -1925)
Landscape (Untitled)
oil on panel 12 x 16 inches
unsigned; lot includes a copy of an authentication with a photograph signed by Metcalf’s son: “This is to authenticate that the painting shown in this photograph although unsigned was painted by my father W.L. Metcalf. Signed- Addison M. Metcalf.
PROVENANCE
Private Collection, Little Elm, Texas
$10,000-$15,000
153
CHAUNCEY FOSTER RYDER (1868-1949)
Landscape (Untitled)
oil on canvas
32 x 44 inches
signed lower left: Chauncey F. Ryder
PROVENANCE
Private Collection, Little Elm, Texas
$5,000-$8,000
154
KNUTE HELDNER (1886-1952)
A Summer Morning, 1927
oil on canvas
30 x 36 inches
signed lower left: Knute Heldner
verso: signed, titled, dated MCMXXVII
PROVENANCE
Private Collection, Solomons, Maryland
$3,000-$5,000
155
ROBERT WILLIAM WOOD (1889-1979)
Bluebonnets and Oak oil on board 16 x 32 inches signed lower right: Robt. Wood
PROVENANCE
Private Collection, Joplin, Missouri
$9,000-$12,000
156
PORFIRIO SALINAS (1910-1973)
Hill Country Fall, 1958
oil on canvas 12 x 16 inches signed lower left: Porfirio Salinas 1958
PROVENANCE
Private Collection, Dallas, Texas
$6,000-$8,000
157
PORFIRIO SALINAS (1910-1973) ¡Ole!
oil on canvas
16 x 12 inches signed lower left: Porfirio Salinas; titled upper right
PROVENANCE
Private Collection, Dallas, Texas
$5,000-$7,000
158
PORFIRIO SALINAS (1910-1973)
Autumn in Texas
oil on canvasboard
9 x 12 inches
signed lower right: P. Salinas
PROVENANCE
Private Collection, Dallas, Texas
$4,000-$6,000
159
DOUGLAS RICKS (1954-2003)
Teton Morning, 1984
oil on canvas
36 x 60 inches
signed lower right: Douglas Ricks © 1984
verso: label, Altermann & Morris Galleries, Dallas, Houston, Santa Fe, Hilton Head Island
PROVENANCE
Private Collection, Sonora, Texas
$4,000-$6,000
160
DOUGLAS RICKS (1954-2003)
Mountain Camp, 1981
oil on board
48 x 36 inches
signed lower right: Douglas Ricks 1981 © verso: labels, artist label; Altermann Art Gallery, Dallas, Texas
PROVENANCE
Private Collection, Dallas, Texas
$3,000-$5,000
161
DOUGLAS RICKS (1954-2003)
Lost River Camp, 1982
oil on board
30 x 48 inches
signed lower right: Douglas Ricks 1982
verso: labels, Altermann Art Gallery, Dallas, Texas; Altermann Galleries & Auctioneers
PROVENANCE
Private Collection, Sonora, Texas
$3,000-$5,000
162
DAVID SANDERS (1936-2013) Palo Duro Encampment, 1978
pastel on paper
30 x 40 inches
signed lower right: David Sanders © 1978
PROVENANCE
Private Collection, Houston, Texas
$4,000-$6,000
163
NATHAN SOLANO (b. 1950)
Drivin’ ‘em to Drink, 2008
oil on canvas
30 x 40 inches
signed lower left: Solano © 2008
PROVENANCE
Private Collection, McKinney, Texas
$4,000-$6,000
164
NELSON BOREN (b. 1952)
David
watercolor on paper
40 x 52 inches (sight) signed lower left: Nelson Boren
PROVENANCE
Private Collection, Canutillo, Texas
$4,000-$6,000
165
SHAWN CAMERON (b. 1950)
Schoolin’ oil on canvasboard 22 x 24 inches signed lower right: Shawn Cameron ©
PROVENANCE
Private Collection, McKinney, Texas
$1,500-$2,500
166
MARK SWANSON (b. 1958)
Headin’ for Winter Quarters, 1980
oil on board
24 x 48 inches
signed lower right: Mark Swanson © 80 verso: signed, titled, dated; label, Altermann Art Gallery
PROVENANCE
Private Collection, Dallas, Texas
$3,000-$5,000
167
MARK SWANSON (b. 1958)
Winter Travel, 1981
oil on board
24 x 36 inches
signed lower left: Mark Swanson © 81, verso: signed, titled; label, Altermann & Morris Galleries, Dallas, Houston, Texas
PROVENANCE
Private Collection, Dallas, Texas
$2,000-$4,000
168
SCOTT ROGERS (b. 1960/61)
We Fought Through Boggy Ground, 1999
bronze, 11/30
17.5 x 40 x 13 inches
inscribed: D.S. Rogers © ‘99 11/30
PROVENANCE
Private Collection, Sonora, Texas
$4,000-$6,000
169
SCOTT ROGERS (b. 1960/61)
A Long Day, 2003
bronze 15/30
20 x 7.5 x 5.5 inches
inscribed: D.S. Rogers © ‘03
A Long Day 15/30
PROVENANCE
Private Collection, McKinney, Texas
$1,000-$1,500
170
LORENZO GHIGLIERI (1931-2020)
Chief Joseph, 1981
bronze, 28/64
22.5 x 16 x 9.5 inches
inscribed: Lorenzo Ghiglieri 1981; stamped: Hayden Bronze Foundry, Walla Walla, WA
PROVENANCE
Private Collection, Boerne, Texas
$1,500-$2,500
172
FRED FELLOWS (b. 1934)
One More for the Road
bronze, 43/100
8.5 x 10 x 10 inches
inscribed: Fellows CA 43/100
PROVENANCE
The Estate of Josiah O. Low, Riverside, Connecticut
Purchased from the artist
$3,000-$5,000
171
BILL OWEN (1942-2013)
The Cutting Horse, 1979
bronze, 20/25
19 x 26.5 x 16 inches
inscribed: Bill Owen CA © 1979 20/25
PROVENANCE
Private Collection, Houston, Texas
$3,000-$5,000
173
GRANT SPEED (1930-2011)
Troubles Over a Maverick, 1988
bronze, 2/30 14 x 25 x 9 inches
inscribed: UG Speed CA © 1988 2/30
PROVENANCE
Private Collection, McKinney, Texas
$2,000-$3,000
174
R. BROWNELL M c GREW (1916-1994)
Lita Sayetsitty
charcoal on paper
24 x 18 inches
signed lower right: R. Brownell McGrew verso: titled
PROVENANCE
Private Collection, Boerne, Texas
$1,500-$2,500
175
MAYNARD DIXON (1875-1946)
Kiva Poles of Walpi, 1922
graphite on paper 17.5 x 11.5 inches (sight) initialed and inscribed lower right: MD / Walpi (artist’s cipher) Ariz. Sept. 1922 verso: labels, authentication signed by the artist’s wife; Mitchell, Brown, Duncan Gallery, Inc., Santa Fe, New Mexico.
PROVENANCE
Private Collection, Houston, Texas
$4,000-$6,000
176
BRENDA MURPHY (b. 1955)
Snagged, 2009
graphite on paper 14 x 18 inches
titled and signed lower right: “Snagged” Brenda Murphy 2009
PROVENANCE
Private Collection, McKinney, Texas
$1,500-$2,500
177
DANIEL BLAGG (b. 1951)
Parking Lot, 1989
oil on canvas
36 x 48 inches
signed lower right: Daniel Blagg verso: titled, dated
PROVENANCE
Private Collection, Dallas, Texas
$2,000-$4,000
178
E. M. “BUCK” SCHIWETZ (1898-1984)
Vereins Kirche, Fredericksburg, 1965
pencil on paper
15 x 19.25 inches (sight)
signed lower right: EM Schiwetz 65; titled lower left
PROVENANCE
Private Collection, Fredericksburg, Texas
$3,000-$5,000
179
DAN BODELSON (b. 1949)
In the Sage oil on canvas
9 x 12 inches
signed lower left: Dan Bodelson
PROVENANCE
Private Collection, McKinney, Texas
$1,000-$1,500
180
GERALD M c CANN (1916-1995)
Under Attack, 1977
oil on board
20 x 30 inches
signed lower left: Gerald McCann, ‘77
verso: label, Santa Fe Art Auction
PROVENANCE
Private Collection, Sonora, Texas
$2,000-$3,000
181
GARY LYNN ROBERTS (b. 1953)
First Out
oil on linen board
8 x 10 inches
signed lower left: Gary Lynn Roberts ©
PROVENANCE
Private Collection, McKinney, Texas
$1,500-$2,500
182
BARBARA GARVIN (1936-2006)
Sunbeams and Snow Dust, 1979
oil on canvas
24 x 36 inches
signed lower right: Garvin B.R.
verso: signed, titled, dated; label, Santa Fe Art Auction
PROVENANCE
Private Collection, Sonora, Texas
$2,000-$3,000
184
ROBERT “SHOOFLY” SHUFELT (b. 1935)
The Biscuits Burnt… pencil on paper 15 x 21 inches (sight) inscribed and signed upper left: “The biscuits burnt, the coffee bitter, the meat overdone and the beans cold…just the way I like it!” Shoofly verso: labels, Legacy Contemporary, Scottsdale, Arizona; Fredericksburg Art Auction
PROVENANCE
Private Collection, Boerne, Texas
$1,500-$2,500
183
JIM REY (b. 1939)
On Guard
oil on linen
24 x 36 inches
signed lower right: Jim Rey verso: label, Altermann Galleries & Auctioneers, Santa Fe, New Mexico
PROVENANCE
Private Collection, Boerne, Texas
$3,000-$5,000
185
WAYNE COOPER (b. 1942)
The Smell of Coffee oil on canvas 24 x 30 inches signed lower left: Wayne Cooper © verso: label, Texas Art Gallery
PROVENANCE
Private Collection, McKinney, Texas
$1,500-$2,500
186
EDD HAYES (b. 1945)
Big Jim ‘n Ol’ Blue, 1988
bronze, 15/20
15 x 24 x 20 inches
inscribed: Edd Hayes © 1988 boxed heart 15/20; Jim Bynum inscribed signature
PROVENANCE
Private Collection, Stephenville, Texas
$2,000-$4,000
187
EDD HAYES (b. 1945)
Cap n’ Necktie
bronze, 15/20
19.5 x 19 x 7 inches
inscribed: Edd Hayes © 15/20 boxed heart; Casey Tibbs inscribed signature
PROVENANCE
Private Collection, Stephenville, Texas
$2,000-$4,000
188
EDD HAYES (b. 1945)
Eddy Akridge, High, Wide and Handsome
bronze, 15/21
19 x 20 x 12 inches
inscribed: 15/21 Edd Hayes © boxed heart; Eddy Akridge inscribed signature
PROVENANCE
Private Collection, Stephenville, Texas
$2,000-$4,000
189
EDD HAYES (b. 1945)
Harry Tompkins, Ridin’ with Style, 1987
bronze, 15/20
24 x 16 x 12 inches
inscribed: Edd Hayes © 87, 15/20 boxed heart; Harry Tompkins inscribed signature
PROVENANCE
Private Collection, Stephenville, Texas
$2,000-$4,000
190
EDD HAYES (b. 1945)
Pardners: Ben Johnson & Joe Crow (Legends of Rodeo Series 50’s-60’s), 1990
bronze, 15/20
18 x 46 x 22 inches
inscribed: Edd Hayes © 1990, 15/20 boxed heart; Ben Johnson and Joe Crow inscribed signatures
PROVENANCE
Private Collection, Stephenville, Texas
$2,000-$4,000
191
EDD HAYES (b. 1945)
The Dean of Ropers: Dean Oliver and Mickey (Legends of Rodeo Series), 1991
bronze, 15/20 21 x 37 x 9 inches
inscribed: Edd Hayes © 1991 boxed heart 15/20; Dean Oliver inscribed signature
PROVENANCE
Private Collection, Stephenville, Texas
$2,000-$4,000
192
JOHN DEARMAN (20th century)
Texas Flush, 1997
watercolor on paper 21.5 x 29 inches (sight) signed lower right: John Dearman © 1997
PROVENANCE
Private Collection, Lake Charles, Louisiana
$6,000-$8,000
193
JOHN DEARMAN (20th century)
Speckled Trout and Mullet
bronze, 18/20 16 x 30 x 7 inches inscribed: J. Dearman © OA 18/20
PROVENANCE
Private Collection, Dallas, Texas
$3,000-$5,000
194
JOHN DEARMAN (20th century)
Large Speck, 1996
watercolor on paper 22 x 30 inches signed lower left: John Dearman © 1996
PROVENANCE
Private Collection, Dallas, Texas
$3,000-$5,000
195
JOHN DEARMAN (20th century)
Speck Double, 1990
watercolor on paper
7 x 10.5 inches (sight) signed lower right: John Dearman © 1990
PROVENANCE
Private Collection, Dallas, Texas
$1,000-$1,500
196
JOHN DEARMAN (20th century)
Reds
watercolor on paper 22 x 30 inches
signed lower left: Dearman ©
PROVENANCE
Private Collection, Conroe, Texas
$3,000-$5,000
197
JOHN DEARMAN (20th century)
Double Hook Up
watercolor on paper 15 x 22 inches signed lower left: John Dearman ©
PROVENANCE
Private Collection, Greensboro, North Carolina
$1,500-$2,500
198 PALMER CHRISMAN (1913-1984)
Bluebonnets with Trail
oil on canvas
25 x 30 inches
signed lower left: Palmer Chrisman
PROVENANCE
Private Collection, Little Elm, Texas
$2,000-$3,000
199 ROD GOEBEL (1946-1993)
Autumn Reflections
oil on canvas
28 x 20 inches
signed lower left: Rod Goebel
verso: titled; label, Altermann Galleries, Santa Fe, New Mexico
PROVENANCE
Private Collection, Sonora, Texas
$1,000-$1,500
200 MARLIN LINVILLE (1950-2001)
Field of Chamisa
oil on canvas
24 x 30 inches
signed lower right: Linville verso: signed, titled; labels, Brazos Fine Art; Altermann Galleries, Santa Fe, New Mexico
PROVENANCE
Private Collection, Sonora, Texas
$1,500-$2,000
201
ROBERT WILLIAM WOOD (1889-1979)
Mount Hood
oil on canvas
30 x 25 inches
signed lower right: Robt. Wood verso: label, Altermann Galleries & Auctioneers, Santa Fe, New Mexico
PROVENANCE
Private Collection, Sonora, Texas
$1,500-$3,000
202
ROBERT WILLIAM WOOD (1889-1979)
Texas Country
oil on canvas
18 x 24 inches
signed lower left: Robert Wood
verso: label, Altermann Galleries & Auctioneers, Santa Fe, New Mexico
PROVENANCE
Private Collection, Sonora, Texas
$1,500-$2,500
203
GEORGE NORTHUP (1940-2017)
Down from the High Country
bronze, 14/24
15 x 26 x 13 inches
inscribed: Northup 14/24 Jackson Hole ©
PROVENANCE
Private Collection, Houston, Texas
$3,000-$5,000
204
GEORGE NORTHUP (1940-2017)
Blue Wing Teal
bronze, 19/24
34 x 20 x 15 inches
inscribed: 19/24 Northup
PROVENANCE
Private Collection, Houston, Texas
$2,000-$4,000
205
GEORGE NORTHUP (1940-2017) Otters, 1984
nickel, 8/28
18 x 18 x 16 inches
inscribed: Northup 8/28 Jackson Hole 84 ©
PROVENANCE
Private Collection, Houston, Texas
$4,000-$6,000
206
GEORGE NORTHUP (1940-2017)
The Horn Section bronze, 17/24
21.5 x 13 x 19 inches
inscribed: Northup 17/24
PROVENANCE
Private Collection, Houston, Texas
$3,000-$5,000
208
GEORGE NORTHUP (1940-2017)
Trout Rise (Stainless Steel Edition)
stainless steel, 3/4 11 x 14 x 7 inches
inscribed: Northup 3/4 Jackson Hole
PROVENANCE
Private Collection, Houston, Texas
$2,000-$4,000
207
GEORGE NORTHUP (1940-2017)
Trout Rise (Sterling Silver Edition)
sterling silver, 3/4 11 x 14 x 7 inches
inscribed: Northup Sterling 3/4 Jackson Hole
PROVENANCE
Private Collection, Houston, Texas
$3,000-$5,000
209
GEORGE NORTHUP (1940-2017) Pronghorn
bronze, 5/28
13.5 x 13 x 13 inches
inscribed: © Northup 5/28 Jackson Hole Wyo
PROVENANCE
Private Collection, Houston, Texas
$1,000-$1,500
ABEYTA, TONY
Amber Skies Village, 102
ACHEFF, WILLIAM
Out Late with My Dad, 55 Steeped in Traditions, 54
ADAMS, ANSEL Moonrise, Hernandez, New Mexico, 48
ADAMS, KENNETH M. Tulips, 37
ALEXANDER, JOHN Day Lillies with Blue Iris, 59 Lavender Iris, 60 Sunflowers Amagansett, 61
ARPA, JOSE
Amar Fajar, 139
BASSETT, REVEAU MOTT
Ducks at Little Sandy, 126
BATES, DAVID
Apple Blossom, 64 Ham Dinner, 63 Purple Violets, 65 The Blues Man, 62
BAUMANN, GUSTAVE
A Lilac Year, 110 Brown County, Indiana, 112 Summer Clouds, 111
BISS, JR., EARL Passing Through a Back Water Stream, 104
BLAGG, DANIEL Parking Lot, 177
BODELSON, DAN In the Sage, 179
BOREN, JAMES Cochetopa Spring, 147 Winter Morning, 146
BOREN, NELSON David, 164
BROWNING, TOM Of the Promised Land, 58
CALLE, PAUL Two Alone, 1
CAMERON, SHAWN Schoolin’, 165
CARLSON, KEN Confrontation, 129 Longhorns, 130
CHRISMAN, PALMER Bluebonnets with Trail, 198
COLEMAN, JOHN Leader of Men, 81 The Sentinel, 82
COOPER, ASTLEY DAVID MIDDLETON
The Flaming Arrow, 151
COOPER, WAYNE
The Smell of Coffee, 185
CORTES, EDOUARD LEON
Bretonnes Devant la Chapelle de Penvern, Trebeurden, 49
CORTEZ, JENNESS
The Medicine Horse, 57
COUSE, EANGER IRVING
The Red Ear of Corn, 38
CROWLEY, DON
The Seamstress, 3
CURTIS, EDWARD S.
The North American Indian Plates from the Southwest Portfolios, 83
DAUGHTERS, ROBERT
Ranchos Chapel, Taos, 92
DEARMAN, JOHN
Double Hook Up, 197
Large Speck, 194 Reds, 196
Speck Double, 195
Speckled Trout and Mullet, 193 Texas Flush, 192
DIXON, MAYNARD
Kiva Poles of Walpi, 175
DOELLINGER, MICK
Agitated, 133 In the Fall, 132 In the Shadows, 131 Think Tank, 134
DOZIER, OTIS
Fish Bait Shop #2, 67
FELLOWS, FRED
One More for the Road, 172
FRAZIER, LUKE Grey Ghost, 125
FURLOW, MALCOLM
American Indian, 106 Four Riders, 105
GARVIN, BARBARA
Sunbeams and Snow Dust, 182
GASPARD, LEON SHULMAN
Taos Woman, 36
GHIGLIERI, LORENZO Chief Joseph, 170
GILLEON, R. TOM
Blackfoot Otter, 108
GOEBEL, ROD
Autumn Reflections, 199
GREER, A.D.
River Valley, 7
GRELLE, MARTIN
Siesta, 51
Stop at the Old Place, 52
Trackers at Blacktail Ponds, 50 Warriors of Winter, 53
HAGEL, FRANK
Track of the Wounded Buffalo, 8
HAMPTON, JOHN WADE
Kirkland’s Cattle 1857, 141
HARTWIG, HEINIE
Winter Encampment, 10
HARVEY, G.
A Breed Apart, 25
Chow-Time, 28
In the Full Moonlight, 34
Leaning Oak, 15
Light Rain on Red Square, 31
Low-Water Crossing, 35
Old St. Petersburg, 32
Prickly Pear, 16
Pulling Leather, 26
Springtime – West Texas, 17
Taking Stock, 29
The Warmth of Friendships, 27
Top Hand, 30
Wall Street, 24
Wet Weather Morning, 33
HAWORTH, MARK
Bluebonnet Grandeur, 135
HAYES, EDD
Big Jim ‘n Ol’ Blue, 186
Cap n’ Necktie, 187
Eddy Akridge, High, Wide and Handsome, 188
Harry Tompkins, Ridin’ with Style, 189
Pardners: Ben Johnson & Joe Crow (Legends of Rodeo Series 50’s-60’s), 190
The Dean of Ropers: Dean Oliver and Mickey (Legends of Rodeo Series), 191
HELDNER, KNUTE
A Summer Morning, 154
JACKSON, HARRY ANDREW
Flag Bearer II, 114
Flag Bearer, 118
Pony Express, 117
Stampede (Study), 116
Washakie (Unique), 115
JOHNSON, BRETT ALLEN
Tawny October, 40
JOHNSON, FRANK TENNEY Night Sentinel, 76
The Lawless Frontier, 75
KAHN, WOLF
Boat in Dry Dock (Galveston, Texas), 46
KOCH, FRANCOIS
Texas Prime, 6
KOERNER, W. H. D.
The Swamper, 144
KUHN, BOB
Grizzly Study for George, 123
North Country, 121
Winter Chase, 122
LEA, TOM
Kitchen Stovewood, 137
LICHTENSTEIN, ROY
Art Critic, 89
LINVILLE, MARLIN
Field of Chamisa, 200
MACDONALD, GRANT
Piñon in the Fireplace, 5
MARIN, JOHN
Beach, Rock, and Sea, Maine, 47
MARKOS, LAJOS
Teaching Time, 145
MCCANN, GERALD
Under Attack, 180
MCELWAIN, LOUISA
Indian Lands, Santa Clara III, 84 Ocotillos Near the Guadalupes, 85 Rain Approaching Alcalde, 86
MCGREW, R. BROWNELL
Lita Sayetsitty, 174
MCKENNA, KENNY
October Morning at Flattop Mountain, 136
MELL, ED
Jack Knife, 103
METCALF, WILLARD LEROY
Landscape (Untitled), 152
MOYERS, JOHN
January in Taos, 39
MURPHY, BRENDA
Snagged, 176
NAMINGHA, DAN
Hemis Dancer, 97 Pronghorn, 98
NEBEKER, BILL
The Eyes of Texas, 78
NIETO, JOHN
Desert Magic (Navajo Sand Painter), 95 Gathering of Nations War Dancer, 94 Nambe, 96
NORTHUP, GEORGE
Blue Wing Teal, 204
Down from the High Country, 203 Otters, 205
Pronghorn, 209
The Horn Section, 206
Trout Rise (Stainless Steel Edition), 208 Trout Rise (Sterling Silver Edition), 207
ONDERDONK, JULIAN
In the Land of the Spanish Oak, Southwest Texas, 73 Twilight in the Hills, Blue-Bonnets, 74
OWEN, BILL
The Cutting Horse, 171
PHILLIPS, BERT GEER
Taos Indian with Pony, 41 Wild Iris Near Taos Mountain, 42
PUMMILL, ROBERT
Bone Tired, 143
When Days Grow Short, 142
REAUGH, FRANK
Shade Locust Trees, 138
REESE, WILLIAM F.
Chisholm Trail, 119
REY, JIM
On Guard, 183
RICKS, DOUGLAS
Lost River Camp, 161
Mountain Camp, 160
Teton Morning, 159
RIZZIE, DAN
Orion, 68
ROBERTS, GARY LYNN
First Out, 181
ROBINSON, JAMES
Five Minute Break, 140
ROGERS, SCOTT
A Long Day, 169
We Fought Through Boggy Ground, 168
RYAN, TOM
Friday the 13th (Four Sixes), 77
RYDER, CHAUNCEY FOSTER
Landscape (Untitled), 153
SALINAS, PORFIRIO
¡Ole!, 157
Autumn in Texas, 158
Blooming Prickly Pear, 18
Hill Country Bluebonnets, 23
Hill Country Bluebonnets and River, 19
Hill Country Fall, 156
Hill Country Wildflowers and Creek, 20
Texas Bluebonnets, 22 Verbena, 21
SANDERS, DAVID
Palo Duro Encampment, 162
SANDZEN, BIRGER
Colorado Landscape, 43
SANTIAGO, ROSETA Sante Fe Friends, 109
SCHENCK, BILL
Rattlesnake Ridge, 90 Study for Bonito Canyon, 91
SCHIWETZ, E. M. “BUCK”
Vereins Kirche, Fredericksburg, 178
SCHOLDER, FRITZ
Hopi Dancers (First State), 113
SHAPLEIGH, FRANK HENRY
In St. George Street, St. Augustine, Fla., 148
SHEPHERD, DAVID Buffalo Alerted, 127 Giraffe, 128
SHUFELT, ROBERT “SHOOFLY” The Biscuits Burnt…, 184
SLAUGHTER, WILLIAM Bluebonnets and Fence, 14
Bluebonnets and Windmill, 13
Splendid Seclusion, 11
Tree-Shadows (Lake Buchanan), 12
SLOANE, ERIC
Stone Barn, 44
Yesterday, 45
SMITH, TUCKER
King of the Rockies, 124
SNIDOW, GORDON
Daylight at the Diamond A, 79
I’m Not Tired, I’m Just Resting
My Eyes, 80
SOLANO, NATHAN
Drivin’ ‘em to Drink, 163
SOLLIDAY, TIM
Yellow Moon, 2
SPEED, GRANT
Troubles Over a Maverick, 173
STEFAN, ROSS
Lupe’s White Horse, 4
STRAIN, JOHN PAUL
In The Northwest Country, 9
SURLS, JAMES Knife Flower, 66
SWANSON, MARK
Headin’ for Winter Quarters, 166
Winter Travel, 167
SWANSON, RAY
A Medicine Man, 107
TERPNING, HOWARD
No Place to Ford, 56
VON HASSLER, CARL
New Mexico Summer Splendor, 93
WADE, ROBERT S. “DADDY-O”
Santa Fe Style (Queens of the Rodeo), 69
Santa Fe Style (Queens of the Studio), 70
WALKER, WILLIAM AIKEN
The Old Cotton Picker, 149
Woman Cotton Picker, 150
WARHOL, ANDY
Fish (FS IIIA.39), 88
General Custer, Unique (FS IIB.379), 87
WARREN, MELVIN CHARLES
Desert Hide-Out, 120
WIGGINS, KIM
Flow of the Vineyard, 99
Pair: The Searchers; A Song in the Garden of Taos, 101
Rolling Hillside, 100
WOOD, ROBERT WILLIAM
Blue Heaven, 72
Bluebonnet Splendor, 71
Bluebonnets and Oak, 155
Mount Hood, 201
Texas Country, 202
AUCTIONEER AND AUCTION:
This Auction is presented by Lone Star Art Auction, a d/b/a/ of Great American West, LLC (“Auctioneer”). The Auction is conducted under these Terms and Conditions and applicable state and local law. Announcements and corrections from the podium and those made through the Terms and Conditions appearing on the Internet at lonestarartauction.com supersede those in the printed catalog. Auctioneer Jason Brooks, State of Texas License Number 16216, will preside over the Auction.
BUYER’S PREMIUM:
All bids are subject to a Buyer’s Premium which is in addition to the placed successful bid otherwise defined as the Hammer Price. Following is the Buyer’s Premium Schedule for the Auction: 20% for Live In-Person Bidding, Telephone Bidding, and Absentee or Proxy Bidding. 20% for Online Bidding on the Auction website at lonestarartauction.com. 25% for Online Bidding on Invaluable and LiveAuctioneers.
BIDDERS:
1. Any person participating or registering for the Auction agrees to be bound by and accepts these Terms and Conditions (“Bidder(s)”).
2. All Bidders must meet Auctioneer’s qualifications to bid. Any Bidder who is not a client in good standing of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude any person from the auction.
3. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid.
CREDIT:
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BIDDING OPTIONS:
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2. Auctioneer’s Execution of Certain Bids. Auctioneer cannot be responsible for your errors in bidding, so carefully check that every bid is entered correctly. When identical mail bids are submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business at least two business days before the Auction start. Auctioneer is not responsible for executing mail bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is Auctioneer responsible for proper execution of
bids submitted by telephone, mail, e-mail, Internet, or in person once the Auction begins. Bids placed electronically via the Internet may not be withdrawn until your written request is received, acknowledged, and accepted by Auctioneer. Such requests must state the reason and may constitute grounds for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction unless prearranged.
3. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest amount you may bid on a particular lot. Bids greater than one increment over the current bid can be any whole dollar amount. It is possible under several circumstances for winning bids to be between increments, sometimes only $1 above the previous increment. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted.
The following chart governs current bidding increments.
CURRENT BID INCREMENT:
Under $2,000 $100
$2,000 – $5,000 $250
$5,000 – $10,000 $500
$10,000 – $20,000 $1,000
$20,000 – $50,000 $2,500
$50,000 – $100,000 $5,000
Over $100,000 $10,000
4. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at half of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue to participate only at full increments. If the Auctioneer solicits bids other than the expected increment, these bids will not be considered Cut Bids.
CONDUCTING THE AUCTION:
1. The highest qualified Bidder recognized by the Auctioneer shall be the Buyer. In the event of a tie bid, the earliest bid received or recognized wins. In the event of any dispute between any Bidders at an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a competing bid may have been higher. Auctioneer reserves the right after the hammer falls to accept bids and reopen bidding for bids placed through the Internet or otherwise.
2. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, in its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent or irresponsible person, a person under the age of eighteen, or is not supported by satisfactory credit, collectibles references, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any entity appearing on the U.S. Department of the Treasury Office of Foreign Assets Control (OFAC) sanctions list is not eligible to bid.
3. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, or very nominal advances. If a lot bearing estimates fails to open for 40–60% of the low estimate, the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.
4. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50%–60% of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold.
5. All items are to be purchased per lot as numerically indicated and no lots will be broken. Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction.
6. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a warranty, disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, or for any other reason and in Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premiums) and any other damages or expenses pertaining to the lot.
7. Auctioneer occasionally experiences Internet and/or Server service outages, and Auctioneer periodically schedules system downtime for maintenance and other purposes, during which Bidders cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact the Auctioneer at (469) 608-7600.
8. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction and may bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any such bids at any time prior to the hammer based upon data made known to the Auctioneer or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors.
9. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.
PAYMENT:
1. All sales are strictly in United States dollars and accepted methods of payment include personal checks, commercial checks, and bank wire, and are subject to all reporting requirements. Authorized MasterCard, Visa and Discover credit card payments are accepted but are limited to a maximum total of $10,000.00 U.S. dollars for the auction. These credit cards are also accepted with the convenience fee charge of 3.0% added to the total purchase amount (hammer price plus Buyer’s premium). All deliveries are subject to good funds; funds being received in Auctioneer’s account before delivery of the Purchases; and all payments are subject to a clearing period. Auctioneer reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten business day hold, and thirty days when drawn on an international bank. Clients with prearranged credit status may receive immediate credit for payments via eCheck, personal, or corporate checks. All others will be subject to a hold of five (5) days, or more, for the funds to clear prior to releasing merchandise.
2. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Invoices will be emailed to all successful online bidders by November 5, 2025. Auctioneer reserves the right to void an invoice if payment in full is not received within seven (7) days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premiums) on the lot and any other damages pertaining to the lot or Auctioneer, at its option, may charge a twenty (20%) restock fee on the amount of the purchase and offset the restock fee against any monies paid to the Auctioneer or against any of the purchaser’s properties held by the Auctioneer.
3. Lots delivered to you, or your representative, are subject to all applicable state and local taxes, unless appropriate permits are on file with Auctioneer. Bidder agrees to pay Auctioneer the actual amount of tax due in the event that sales tax is not properly collected due to 1) an expired, inaccurate, or inappropriate tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other reason. The appropriate form or certificate must be on file at and verified by Auctioneer five (5) days prior to Auction, or tax must be paid; only if such form or certificate is received by Auctioneer within four (4) days after the Auction can a refund of tax paid be made.
4. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck and your financial institution denies this transfer from your bank account, or the payment cannot be completed using the selected funding source, you agree to complete payment using another acceptable form of payment.
5. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice not paid when due will bear a three percent (3%) late fee on the invoice amount. If the Auctioneer refers any invoice to an attorney for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer.
6. In the event a successful Bidder fails to pay any amounts due, Auctioneer reserves the right to sell the lot(s) securing the invoice to any under-bidders in the Auction that the lot(s) appeared, or at subsequent private or public sale, or re-list the lot(s) in a future auction conducted by Auctioneer. A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 20% seller’s commission, if consigned to an auction conducted by Auctioneer). The defaulting Bidder is liable to pay any difference between his total original invoice for the lot(s), plus any applicable interest, and the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less the 20% seller’s commission, if sold at an Auctioneer’s auction.
7. Auctioneer reserves the right to require payment in full in good funds before delivery of the merchandise.
8. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any Auction invoice or any other amounts due the Auctioneer or affiliates from the buyer. With respect to these lien rights, Auctioneer shall have all the rights of a secured creditor under Article 9 of the Texas Uniform Commercial Code, including but not limited to the right of sale (including a 20% seller’s commission, if consigned to an auction conducted by Auctioneer). In addition, with respect to payment of the Auction invoice(s), the buyer waives all rights of offset he might otherwise have against the Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.
9. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the buyer to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.
DELIVERY, SHIPPING AND HANDLING CHARGES:
1. Buyer is liable for shipping, handling, registration, and renewal fees, if any. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees are received or credit extended, except when thirdparty shipment occurs. Buyer agrees that Service and Handling charges related to shipping items which are not prepaid, may be charged to the credit card on file with Auctioneer.
2. Successful international Bidders shall provide written shipping instructions, including specified customs declarations, to the Auctioneer for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price together with its buyer’s premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.
3. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk of loss during shipment will be borne by the Auctioneer until the shipping carrier’s confirmation of delivery to the address of record in Auctioneer’s file (carrier’s confirmation is conclusive to prove delivery to Bidder; if the client has a Signature release on file with the carrier, the package is considered delivered without Signature) or delivery by the Auctioneer to Bidder’s selected third-party shipper. On all foreign shipments, any risk of loss during shipment will be borne by the Bidder following Auctioneer’s delivery to the Bidder’s designated common carrier or third-party shipper.
4. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to arrange pick-up and shipping through third parties as to such items Auctioneer shall have no liability. Failure to pick-up or arrange shipping in a timely fashion (within ten days) shall subject Lots to storage and moving charges, including a $100 administration fee plus $10 daily storage for larger items and $5.00 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, including a 20% Seller’s Commission.
5. Auctioneer shall not be liable for any loss caused by or resulting from: a. Seizure or destruction under quarantine or Customs regulation, or confiscation by order of any Government or public authority, or risks of contraband or illegal transportation of trade, or b. Breakage of statuary, marble, and similar fragile articles.
6. Any request for shipping verification for undelivered packages must be made within 30 days of shipment by Auctioneer.
CATALOGING, WARRANTIES AND DISCLAIMERS:
1. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items or second opine contained in this Auction is for the sole purpose of identifying the items for those Bidders who do not have the opportunity to view the lots prior to bidding, and no description of items has been made part of the basis of the bargain or has created any express warranty that the goods would conform to any description made by Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. NOTE: Auctioneer may have express written warranties and you are referred to those specific terms and conditions.
2. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any purposes. All images, descriptions, sales data, and archival records are the exclusive property of Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any other uses deemed appropriate.
3. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any benefit of these Terms and Conditions and any rights, if any, established hereunder are personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion and does not constitute a warranty or representation. No employee of Auctioneer may alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null and void.
4. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basis for any claim for return or reduction in purchase price.
RELEASE:
In consideration of participation in the Auction and the placing of a bid, Bidder expressly releases Auctioneer, its officers, directors and employees, its affiliates, and its outside experts that provide second opines, from any and all claims, cause of action, chose of action,
whether at law or equity or any arbitration or mediation rights existing under the rules of any professional society or affiliation based upon the assigned description, or a derivative theory, breach of warranty express or implied, representation or other matter set forth within these Terms and Conditions or otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred therein are strictly construed as specifically declared herein, e.g., authenticity, typographical error, etc. and are the exclusive remedy. Bidder, by non-compliance to these express terms of a granted remedy, shall waive any claim against Auctioneer.
DISPUTE RESOLUTION AND ARBITRATION PROVISION:
1. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and Conditions, and specifically agrees to the dispute resolution provided herein. Consumer disputes shall be resolved through court litigation which has an exclusive Dallas, Texas venue clause and jury waiver. Non-consumer dispute shall be determined in binding arbitration which arbitration replaces the right to go to court, including the right to a jury trial.
2. Auctioneer in no event shall be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction of any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title, or other transfer or condition issue is claimed, in such cases the sole remedy shall be limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.
3. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation.
4. Exclusive Dispute Resolution Process: All claims, disputes, or controversies in connection with, relating to and /or arising out of your Participation in the Auction or purchase of any lot, any interpretation of the Terms and Conditions or any amendments thereto, any description of any lot or condition report, any damage to any lot, any alleged verbal modification of any term of sale or condition report or description and/or any purported settlement whether asserted in contract, tort, under Federal or State statute or regulation or any claim made by you of a lot or your Participation in the auction involving the auction or a specific lot involving a warranty or representation of a consignor or other person or entity including Auctioneer { which claim you consent to be made a party} (collectively, “Claim”) shall be exclusively heard by, and the claimant (or respondent as the case may be) and Auctioneer each consent to the Claim being presented in a confidential binding arbitration before a single arbitrator administrated by and conducted under the rules of, the American Arbitration Association. The locale for all such arbitrations shall be Dallas, Texas. The arbitrator’s award may be enforced in any court of competent jurisdiction. If a Claim involves a consumer, exclusive subject matter jurisdiction for the Claim is in the State District Courts of Dallas County, Texas, and the consumer consents to subject matter and in persona jurisdiction; further CONSUMER EXPRESSLY WAIVES ANY RIGHT TO TRIAL BY JURY. A consumer may elect arbitration as specified above. Any claim involving the purchase or sale of numismatic or related items may be submitted through binding PNG arbitration. Any Claim must be brought within two (2) years of the alleged breach, default or misrepresentation or the Claim is waived. Exemplary or punitive damages are not permitted and are waived. A Claim is not subject to class certification. Nothing herein shall be construed to extend the time of return or conditions and restrictions for return. This Agreement and any Claim shall be determined and construed under Texas law. The prevailing party (a party that is awarded substantial and material relief on its damage claim based on damages sought vs. awarded or the successful defense of a Claim based on damages sought vs. awarded) may be awarded its reasonable attorneys’ fees and costs.
5. No claims of any kind can be considered after the settlements have been made with the consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without involvement or responsibility of the Auctioneer.
6. In consideration of their participation in or application for the Auction, a person or entity (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment thereof, shall be arbitrated pursuant to the arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall be exclusively in the Courts of the State of Texas, in Dallas County, Texas, and if necessary, the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction participant also expressly submits himself to the personal jurisdiction of the State of Texas.
7. These Terms and Conditions provide specific remedies for occurrences in the auction and delivery process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot.
MISCELLANEOUS:
1. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a
subsequent sale of a previously consigned item occurs in violation of this provision, Auctioneer reserves the right to charge Bidder the applicable Buyer’s Premium and consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.
2. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by Auctioneer in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. Auctioneer may from time-to-time contact Bidder concerning sale, purchase, and auction opportunities available through Auctioneer and its affiliates and subsidiaries.
3. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions.
4. Nothing herein shall be construed to waive the general Terms and Conditions by these additional rules and shall be construed to give force and effect to the rules in their entirety.
STORE NOTICE:
Notice as to an Auction in Texas. In compliance with TDLR rule 67.100(c) (1), notice is hereby provided that this auction is covered by a Recovery Fund administered by the Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711 (512) 463-6599. Any complaints may be directed to the same address.
Owner: Phil Berkebile, Jr.
Auction Consignment Director: Katy Alexander
Auction Coordinator & Registrar: Lindsey Lutz
Catalogue Design: WinshipPhillips
Photography: Roy Richardson
Auctioneer: Jason Brooks, TX License No. 16216
