Issuu

D A L L A S , T E X A S • O C TO B E R 3 1 , 2 0 2 6

COVER

LOT No. 94: ED MELL (1942-2024) Offering, 2009 oil on board, 10 x 8 inches $25,000-$35,000 INSIDE COVER

BACK COVER

LOT No. 82: KIM WIGGINS (b. 1960)

LOT No. 102: VICTOR HIGGINS (1884-1949)

Thunderstruck, 2021 oil on canvas, 36 x 48 inches (detail)

Spring Breeze, c. mid-1930s oil on canvas, 38.75 x 24 inches

$45,000-$65,000

$250,000-$350,000

A Texas-Sized Auction Specializing in the Best American, Western, and Texas Fine Art.

CONTENTS 3

Schedule of Events / Contact Information

Reservations / Bidding Information

Lot 1 – Lot 240

I-XIX Addendum – Late Additions XX

Index – continues 131

132

Addendum Index / Withdrawn Lots

133

Auction Terms and Conditions

LOT No. 139: JULIAN ONDERDONK (1882-1922) Old Oak Tree and Bluebonnets, West Texas Military Academy Grounds, San Antonio, Texas, 1919-1920 oil on board, 9 x 12 inches (detail) $80,000-$100,000

SCHEDULE OF EVENTS All Lone Star Art Auction events will be held at the Renaissance Dallas, a Marriott Bonvoy Hotel, located at 2222 N. Stemmons Freeway in Dallas, Texas on Friday, October 30 and Saturday, October 31, 2026. As is Lone Star Art Auction tradition, all Auction events are open and complimentary to Auction consignors and Auction registrants including telephone, absentee, and online registrants.

FRIDAY, OCTOBER 30, 2026 10:00 am-5:00 pm CDT, Auction Registration, Grand Foyer 10:00 am-5:00 pm CDT, Auction Art Preview, Grand Ballroom 5:30-8:00 pm CDT, Lone Star Art Auction Patron’s Cocktail Reception and Dinner, Grand Ballroom

SATURDAY, OCTOBER 31, 2026 10:00 am-12:00 pm CDT, Auction Registration, Grand Foyer 10:00 am-12:00 pm CDT, Auction Art Preview and Breakfast, Grand Ballroom 12:00-5:00 pm CDT, Live Auction, Grand Ballroom 12:00-6:00 pm CDT, Auction Check-Out, Grand Foyer

SUNDAY, NOVEMBER 1, 2026 9:00-11:00 am CDT, Auction Check-Out, Grand Foyer

CONTACT phone: 469.608.7600 address: Douglas Center Tower, 8333 Douglas Avenue,

Suite 360, Dallas, Texas 75225 email: info@lonestarartauction.com website: lonestarartauction.com

Presented by Great American West, LLC and Phil Berkebile, Jr.

LOT No. 109: ERNEST MARTIN HENNINGS (1886-1956) Hunting Rabbits oil on canvasboard, 14 x 14 inches (detail) $80,000-$100,000

RESERVATIONS Renaissance Dallas Hotel 2222 North Stemmons Freeway Dallas, Texas 75207 For hotel room reservations, go to HOTEL ACCOMODATIONS at lonestarartauction.com, or call 214.631.2222. Special discounted room rates are available to Lone Star Art Auction participants for Thursday, October 29 through Saturday, October 31, 2026. Rooms must be booked by Friday, October 9, to receive the special auction rate and are subject to availability.

BIDDING The Lone Star Art Auction offers multiple ways for patrons to bid including attendee, telephone, absentee, and online bidding. Registration for all forms of auction bidding is available on the auction website at lonestarartauction.com Telephone and Absentee registrations must be submitted by 5:00 pm CDT on Friday, October 30, 2026. ONLINE BIDDING OPTIONS: lonestarartauction.com (22% buyer’s premium) invaluable.com (27% buyer’s premium) liveauctioneers.com (27% buyer’s premium) Auction results will be available for viewing on Wednesday, November 4, 2026 at lonestarartauction.com

auctioneer: Jason Brooks, Texas License No. 16216

JOHANN BERTHELSEN (1883-1972) St. Patrick’s Cathedral oil on board 18 x 11 inches signed lower right: Johann Berthelsen PROVENANCE Private Collection, Dallas, Texas $4,000 - $6,000

BEV DOOLITTLE (b. 1947) The Silence is Broken watercolor on paper 8.5 x 12.5 inches (sight) signed lower right: Jay & Bev Doolittle Lot includes collection of letters from the artist to the original owner PROVENANCE Private Collection, Rancho Mirage, California Private Collection, San Antonio, Texas $3,000 - $6,000

DE COST SMITH (1864-1939) Portrait of a Log Cabin, c. 1880s oil on canvasboard 11.5 x 17.75 inches (sight) signed lower right: De Cost Smith verso: inscribed “Portrait” of a Log Cabin, Onondaga Castle, N.Y. The Witch’s House; label, Gerald Peters Gallery, Santa Fe PROVENANCE Private Collection, Las Vegas, Nevada $4,000 - $6,000

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ROBERT PUMMILL (b. 1936) The Last Stage, 1988 oil on canvas 12 x 16 inches signed lower right: Pummill CA © ‘88 PROVENANCE Private Collection, Arlington, Texas $3,000 - $5,000

JOHN PAUL STRAIN (b. 1955) The Mountain Lion Hunters, 1992 gouache on paper 20 x 34 inches signed lower left: © John Paul Strain verso: artist’s label, signed, titled, dated; label, Altermann and Morris Gallery, Dallas/Houston PROVENANCE Private Collection, Flint, Texas $3,000 - $5,000

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WILLIAM JAMES (1892-1942) Wither the Breeze Blows, c. 1942 pen and ink on paper 11.5 x 9.5 inches (sight) signed lower left: Will James verso: inscribed: “’The American Cowboy’ page 148. To make sure of which way the early morning Breeze was Blowing.”

PROVENANCE Private Collection, Arlington, Texas LITERATURE James, Will. “The American Cowboy.” Charles Scribner’s Sons, 1942. Illustrated p. 148. $3,000 - $5,000

WILLIAM F. REESE (1938-2010) Winter Hunter, 1978-1981 oil on canvas 30 x 24 inches signed lower right: Wm. F. Reese © 1978-’81 verso: signed, titled PROVENANCE Private Collection, Minnetonka, Minnesota $3,000 - $5,000

GARY LYNN ROBERTS (b. 1953) Afternoon Visit oil on canvas 24 x 36 inches signed lower right: Gary Lynn Roberts © verso: signed, titled PROVENANCE Private Collection, Dallas, Texas $4,000 - $6,000

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JOHN MOYERS (b. 1958) The Drummer, 1981 oil on board 24 x 12 inches signed lower left: John Moyers © verso: signed, titled, dated PROVENANCE Private Collection, Arlington, Texas $4,000 - $6,000

JAMES BOREN (1921-1990) Cold Day in the Mogollon, 1975 watercolor on paper 26 x 40 inches signed lower right: James Boren © 1975 CA verso: labels, Altermann and Morris Gallery, Dallas/Houston PROVENANCE Private Collection, Flint, Texas $3,000 - $5,000

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TOM RYAN (1922-2011) The Haloed Cross, 1988 oil on canvas 20 x 16 inches signed lower right: Tom Ryan © ‘88 verso: page from original auction catalogue PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $8,000 - $12,000

BILL OWEN (1942-2013) Third Generation, 1996 oil on masonite 12 x 9 inches signed lower right: © Bill Owen CA 1996 PROVENANCE Private Collection, Claude, Texas $7,000 - $10,000

TIM COX (b. 1957) Two Riders, 1998 oil on board 18 x 24 inches signed lower right: AT Cox © 98 PROVENANCE Private Collection, Bentonville, Arkansas $6,000 - $8,000

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CHARLIE DYE (1906-1972)

Good Hunting, 1957 oil on board 18 x 24 inches signed lower right: Charlie Dye PROVENANCE Collection of Bob Moses, Jr., Houston, Texas LITERATURE Weaver, Paul. “Charlie Dye: One Helluva Western Painter.” Petersen Prints, Los Angeles, 1981. Cat. no. 1, p. 133. $20,000 - $30,000

JOE BEELER (1931-2006) Turning Her Back, 1966 oil on canvas 18 x 24 inches signed lower right: Joe Beeler PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $8,000 - $10,000

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DAVE MCGARY (1958-2013) Eye of the Storm (Bust), 1992 polychrome bronze, 13/75 10.375 x 14.5 x 9.5 inches inscribed: Dave McGary 1992, 13/75, artist thumbprint PROVENANCE Private Collection, Houston, Texas $3,000 – $4,000

DAVID MANUEL (b. 1940) John Wayne American, 1979 bronze, 88/250 28 x 11 x 9 inches inscribed: John Wayne “American” 88/250 Manuel © 1979 Bianchi Frontier Museum; stamped: Maiden Bronze Foundry Walla Walla WA PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $3,000 - $5,000

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WILLIAM SLAUGHTER (1923-2003) Bluebonnets oil on canvas 12 x 16 inches signed lower right: W.A. Slaughter PROVENANCE Private Collection, Houston, Texas $3,000 - $5,000

WILLIAM SLAUGHTER (1923-2003) Bluebonnets with Rock House oil on canvas 24 x 36 inches signed lower right: W.A. Slaughter PROVENANCE Private Collection, The Colony, Texas $6,000 - $8,000

WILLIAM SLAUGHTER (1923-2003) Bluebonnets and Fence oil on canvas 24 x 36 inches signed lower right: W.A. Slaughter PROVENANCE Private Collection, Richland Hills, Texas $8,000 - $10,000

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WILLIAM SLAUGHTER (1923-2003) Bluebonnets with Blooming Cactus oil on canvas 16 x 20 inches signed lower right: W.A. Slaughter PROVENANCE Private Collection, Austin, Texas $5,000 - $7,000

WILLIAM SLAUGHTER (1923-2003) Fall Trees oil on canvas 18 x 24 inches signed lower right: W.A. Slaughter PROVENANCE Private Collection, Houston, Texas $4,000 - $6,000

WILLIAM SLAUGHTER (1923-2003) Fall Scene with Barn oil on canvas 24 x 36 inches signed lower left: W.A. Slaughter PROVENANCE Private Collection, The Colony, Texas $4,000 - $6,000

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HARRY ANDREW JACKSON (1924-2011) Flag Bearer II, 1992 polychrome bronze, TFIIP 20 x 25 x 9 inches inscribed: © Harry Jackson 1992 TFIIP; “Bob Moses Jr.”; artist thumbprint; stamped with foundry mark: HJS Cody PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $20,000 - $30,000

HARRY ANDREW JACKSON (1924-2011)

The Marshal (John Wayne as Rooster Cogburn), 1970 polychrome bronze, 4/20 29 x 33 x 13 inches inscribed: © Harry Jackson 1970 4.P. John Wayne as Rooster Cogburn PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $10,000 - $15,000

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HARRY ANDREW JACKSON (1924-2011) Two Champs, 1974 polychrome bronze, 6/20 30 x 19 x 15 inches inscribed: © Harry Jackson 1974 6P PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $6,000 - $8,000

HARRY ANDREW JACKSON (1924-2011)

Cowboy Meditation, 1964 polychrome bronze, 17/20 22 x 20 x 9 inches inscribed: 64 © Harry Jackson 17. P.

HARRY ANDREW JACKSON (1924-2011) Pony Express III, 1977 bronze, PEIII 112 8.5 x 10 x 6.5 inches inscribed: PEIII 112 © Harry Jackson 1977, artist’s thumbprint; stamped with foundry mark: WFS Italia (Welding Forging Service, Vicenza, Italy) PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $2,500 - $3,500

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PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $5,000 - $8,000

ROBERT WOOD (1889-1979) Fields of Blue oil on canvas 28 x 36 inches signed lower right: Robert Wood verso: signed, titled PROVENANCE Private Collection, Houston, Texas $30,000 - $40,000

ROBERT WOOD (1889-1979) Bluebonnets and Cactus oil on canvas 25 x 30 inches signed lower left: Robt. Wood PROVENANCE Private Collection, Dallas, Texas $15,000 - $25,000

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ROBERT WOOD (1889-1979) Bluebonnets, c. 1938 oil on canvas 25 x 30 inches signed lower left: Robt. Wood Lot includes a letter of authenticity from the artist’s daughter, Florence Wood, dated July 16, 1983. PROVENANCE Private Collection, Overland Park, Kansas $15,000 - $25,000

PORFIRIO SALINAS (1910-1973) Vibrant Hill Country Autumn, 1956 oil on canvas 25 x 30 inches signed lower left: Porfirio Salinas 1956 PROVENANCE Private Texas Collection $15,000 - $25,000

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PORFIRIO SALINAS (1910-1973) After Spring Rains, 1972 oil on canvas 12 x 16 inches signed lower left: Porfirio Salinas PROVENANCE Private Collection, Harlingen, Texas $9,000 - $12,000

PORFIRIO SALINAS (1910-1973) Autumn Colors oil on canvas 30 × 48 inches signed lower left: Porfirio Salinas PROVENANCE Private Collection, Plano, Texas $20,000 - $30,000

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PORFIRIO SALINAS (1910-1973)

Ranch Road, 1957 oil on canvas 24 x 36 inches signed lower left: Porfirio Salinas 1957 PROVENANCE Private Texas Collection $15,000 - $20,000

PORFIRIO SALINAS (1910-1973) Fall in the Hill Country oil on canvas 12 × 16 inches signed lower left: Porfirio Salinas PROVENANCE Private Collection, Plano, Texas $6,000 - $8,000

PORFIRIO SALINAS (1910-1973) Bullfighter oil on board 10 x 8 inches signed lower left: Porfirio Salinas PROVENANCE Private Collection, Waco, Texas $3,000 - $6,000

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G. HARVEY (1933-2017) A Winter Stop-Over, 1970 oil on canvas 24 x 30 inches signed lower right: G. Harvey Austin 1970 verso: titled; label, “Chosen for the 1972 calendar series” PROVENANCE Private Texas Collection $30,000 - $50,000

G. HARVEY (1933-2017) Under Texas Stars oil on canvas 24 x 30 inches signed lower right: G. Harvey verso: titled PROVENANCE Private Collection, Hays, Kansas $30,000 - $50,000

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G. HARVEY (1933-2017) You-So-N-So, 1972 oil on canvas 25 x 30 inches signed lower left: G. Harvey 1972 PROVENANCE Private Collection, Cleburne, Texas $30,000 - $50,000

G. HARVEY (1933-2017) Texas Heritage (pair), 1983 bronze, artist copy 24 x 25 x 21.25 inches each inscribed: G. Harvey 1983 © Texas Heritage XX

LITERATURE Jones, Gerald Harvey. “Taking Stock: Paintings and Sculpture by G. Harvey.” Somerset House Corporation, Houston, Texas, 1986. Illustrated p. 105. $40,000 - $60,000

PROVENANCE The Estate of G. Harvey Private Texas Collection

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This pair of striking bronze steer heads held a special place in G. Harvey’s life and home. The top of each piece is inscribed with the Double X brand (XX), reflecting the brand of G. Harvey’s grandfather’s Texas ranch which was in operation from 1900-1920. The artist cast only 12 copies of “Texas Heritage” to be offered for sale, and they were quickly sold out. He also cast this one artist copy being offered for sale by the Lone Star Art Auction for himself and his family which was proudly displayed at his home in Fredericksburg, Texas.

G. HARVEY (1933-2017) The Top Hand, 1973 oil on canvas 16 x 13 inches signed lower left: G. Harvey 1973 verso: titled PROVENANCE Private Collection, Cleburne, Texas $10,000 - $15,000

G. HARVEY (1933-2017)

Man of the Saddle

Steer Study

The Striped Awning

oil on canvasboard 10 x 9 inches signed lower right: G. Harvey verso: titled

oil on canvasboard 7.25 x 6.25 inches signed lower left: G. Harvey verso: titled

gouache on paper 4 x 4 inches signed lower right: G. Harvey verso: signed and titled

PROVENANCE Private Collection, Cleburne, Texas

PROVENANCE Private Collection, Arlington, Texas

PROVENANCE Collection of Bob Moses, Jr., Houston, Texas

$7,000 - $9,000

$4,000 - $6,000

$6,000 - $8,000

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G. HARVEY (1933-2017) The Lily Pads, 1980

The Lily Pads was inspired by the artist’s trip to France with his wife Pat to view Claude Monet’s Water Lilies.

oil on canvas 36 x 24 inches signed lower left: G. Harvey verso: signed, titled; label, G. Harvey estate PROVENANCE The Estate of G. Harvey Private Texas Collection $30,000 - $40,000

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G. HARVEY (1933-2017) Sounds of Spring (Colorado)

The artist painted Sounds of Spring following a trip to Colorado with his wife Pat.

oil on canvas 30 x 28 inches signed lower left: G. Harvey © verso: signed, titled PROVENANCE The Estate of G. Harvey Private Texas Collection $30,000 - $40,000

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G. HARVEY (1933-2017) Spring Shadows, 1972 oil on canvas 24 x 30 inches signed lower left: G. Harvey 1972 verso: signed, titled PROVENANCE Private Texas Collection $20,000 - $30,000

G. HARVEY (1933-2017) Spanish Daggers and Bluebonnets, 1964 oil on canvas 24 x 30 inches signed lower left: G. Harvey 64 verso: titled PROVENANCE Private Collection, San Antonio, Texas $18,000 - $28,000

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G. HARVEY (1933-2017) A Breed Apart, 1981 bronze, 39/40 16 x 20 x 9 inches inscribed: 39/40 ‘A Breed Apart’ G. Harvey © 1981; foundry mark: TK Mesa (Mesa Bronze Foundry, Center Point, Texas) PROVENANCE Private Collection, Grapevine, Texas LITERATURE Jones, Gerald Harvey. “Taking Stock: Paintings and Sculpture by G. Harvey.” Somerset House Corporation, Houston, Texas, 1986. Illustrated p. 42. $15,000 - $20,000 53

G. HARVEY (1933-2017) The Spirit of Texas, 2005 bronze, 1/50 22.5 x 14.5 x 10 inches inscribed: G. Harvey 2005 © The Spirit of Texas 1/50 PROVENANCE Private Collection, Southlake, Texas $15,000 - $25,000

G. HARVEY (1933-2017) Green Broke, 1983 bronze, studio copy/30 24 x 15 x 9 inches inscribed: G. Harvey © 1983, ‘Green broke’ studio copy/30; foundry mark: Mesa (Mesa Bronze Foundry, Center Point, Texas)

PROVENANCE The Estate of G. Harvey Private Texas Collection LITERATURE Jones, Gerald Harvey. “Taking Stock: Paintings and Sculpture by G. Harvey.” Somerset House Corporation, Houston, Texas, 1986. Illustrated p. 10. $15,000 - $20,000

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G. HARVEY (1933-2017) Two Too Many, 2008 bronze, artist copy/45 14 x 24 x 11 inches inscribed: Two Too Many G. Harvey © 2008 artist copy/45; foundry mark: Mesa (Mesa Bronze Foundry, Center Point, Texas) PROVENANCE The Estate of G. Harvey Private Texas Collection $15,000 - $20,000

G. HARVEY (1933-2017) Texas Bronc, 2004 bronze, artist’s proof/75 17 x 13 x 8 inches inscribed: “Texas Bronc” artist’s proof/75 G. Harvey © 2004 © PROVENANCE Private Collection, Southlake, Texas $10,000 - $15,000

G. HARVEY (1933-2017) Taking Stock, 1986 bronze, 10/100 11.5 x 10 x 5.5 inches inscribed: ‘Taking Stock’, G. Harvey © 1986 10/100; foundry mark: TK Mesa (Mesa Bronze Foundry, Center Point, Texas) Lot includes a copy of the book “Taking Stock: Paintings and Sculpture by G. Harvey”, signed and numbered.

PROVENANCE Private Collection, Dallas, Texas LITERATURE Jones, Gerald Harvey. “Taking Stock: Paintings and Sculpture by G. Harvey.” Somerset House Corporation, Houston, Texas, 1986. Illustrated p. 18. $6,000 - $8,000

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ANDY THOMAS (b. 1957) Hightail to Freedom oil on canvas 36 x 48 inches signed lower right: Andy Thomas PROVENANCE Private Collection, Weatherford, Texas LITERATURE “The West in Action: Western & Historical Art by Andy Thomas.” Maze Creek Studio, Missouri, 2012. Illustrated, cover, p. 45. $70,000 - $90,000

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CHAD POPPLETON (b. 1976) Greeting the Camp, 2024 oil on panel 26 x 40 inches signed lower right: Chad Poppleton CA verso: signed, titled, dated; inscribed: 2024 Cowboy Artists of America Show; “The site is the confluence of the Smiths Fork and Bear River in present day Cokeville, Wyoming. This site was used for many fur traders and trappers from 1826-1840 as the fur trade came to the end. Jed Smith, Jim Bridger, Hugh Glass, William Sublette, Osborne Russell, etc. had used this area along with the Shoshone Band.” PROVENANCE Private Collection, Phoenix, Arizona $20,000 - $30,000

TOM BROWNING (b. 1949) Bunched Up oil on canvas 20 x 36 inches signed lower right: Tom Browning verso: signed, titled

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PROVENANCE Private Collection, Houston, Texas $15,000 - $25,000

MARTIN GRELLE (b. 1954) Young Wolf, 2005 oil on canvas 24 x 18 inches signed lower left: Martin Grelle CA © 2005 verso: signed, titled, dated PROVENANCE Private Collection, Houston, Texas $50,000 - $70,000

MARTIN GRELLE (b. 1954) A Warrior Still, 2020 acrylic on linen 16 x 16 inches signed lower right: Martin Grelle CA © 2020 verso: signed, titled, dated PROVENANCE Private Collection, Bentonville, Arkansas $25,000 - $35,000

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63 LOT WITHDRAWN

DAN BODELSON (b. 1949) A Cold Winter Hunt (Crow Indians) oil on canvas 48 x 66 inches signed lower right: Bodelson © verso: signed, titled PROVENANCE Private Collection, Athens, Texas $9,000 - $12,000

64 LOT WITHDRAWN

DAN BODELSON (b. 1949) Plains Warrior oil on canvas 44 x 30 inches signed lower right: Bodelson © verso: signed, titled PROVENANCE Private Collection, Athens, Texas $5,000 - $7,000

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DON OELZE (b. 1965) Behind Broken Walls oil on canvas 42 x 46 inches signed lower left: Oelze PROVENANCE Private Collection, Phoenix, Arizona $35,000 - $45,000

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DAVID MANN (b. 1948) Lead Scout oil on canvas 40 x 30 inches signed lower right: David Mann PROVENANCE Private Collection, Brownsboro, Texas $8,000 - $10,000

DAVID MANN (b. 1948) Greeting the Storm Spirits oil on canvas 40 x 30 inches signed lower left: David Mann PROVENANCE Private Collection, Brownsboro, Texas $8,000 - $10,000

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DAVID MANN (b. 1948) Crow Delegation oil on canvas 60 x 40 inches signed lower right: David Mann

PROVENANCE Private Collection, Brownsboro, Texas $12,000 - $15,000

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JIM CARSON (b. 1942) War Ponies Grazing, 1996 oil on canvas 28 x 40 inches signed lower right: © Carson 1996 verso: signed; label, Altermann Galleries and Auctioneers, Santa Fe PROVENANCE Private Collection, Brownsboro, Texas $5,000 - $7,000

JIM CARSON (b. 1942) A Minor Disagreement, 1998 oil on canvas 30 x 40 inches signed lower right: © Carson 1998 verso: labels, May Gallery; Altermann Galleries and Auctioneers, Santa Fe

PROVENANCE Private Collection, Brownsboro, Texas $5,000 - $7,000

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KYLE POLZIN (b. 1974) A Lone Star Legacy oil on canvas 10 x 18 inches signed lower right: Polzin © PROVENANCE Private Collection, Houston, Texas $25,000 - $45,000

KYLE POLZIN (b. 1974)

Vaquero oil on canvas 17.5 x 30.5 inches signed lower left: Polzin © PROVENANCE Private Collection, Houston, Texas $40,000 - $60,000

KYLE POLZIN (b. 1974) Still Life with Shell, 2005 oil on canvas 12 x 16 inches signed lower right: Polzin © verso: signed, dated PROVENANCE Private Collection, College Station, Texas $10,000 - $15,000

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JOHN FORD CLYMER (1907-1989) Canadian Indians, Ojibwa Dancers, 1947 oil on canvas 25 x 44 inches signed lower right: J. Clymer verso: titled, dated

PROVENANCE Edmond J. DeLavy, Bernalillo, New Mexico The National Cowboy Hall of Fame and Western Heritage Center, Oklahoma City (acquired from the estate of the above in 1990) Private Collection, Houston, Texas LITERATURE “True, The Man’s Magazine.” New York, April 1947. Pp. 46-47. Exhibition Catalogue, “The West of John Clymer.” Gene Autry Western Heritage Museum, Los Angeles, California, 1991. Illustrated p. 31.

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EXHIBITED The National Cowboy Hall of Fame and Western Heritage Center, Oklahoma City Wildlife of the American West Art Museum, Jackson, Wyoming “The West of John Clymer.” Gene Autry Western Heritage Museum, Los Angeles, California, March - November 1991 $25,000 - $35,000

CHARLES MARION RUSSELL (1864-1926)

PROVENANCE Private Collection, Austin, Texas

The Brave

$50,000 - $70,000

watercolor on paper 9.875 x 7.375 inches (sight) signed lower left: CM Russell verso: label, Gerald P. Peters, Santa Fe

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FREDERIC SACKRIDER REMINGTON (1861-1909) White Otter at Bay Emptied His Magazine Gun, c. 1900 oil on canvas en grisaille 40 x 27 inches signed lower right: Frederic Remington verso: inscribed “He made his magazine gun blaze” Lot includes a first edition copy of the book by Frederic Remington, “The Way of an Indian.” PROVENANCE Private Collection, Austin, Texas LITERATURE Remington, Frederic. “The Way of an Indian.” New York: Fox Duffield & Company, 1906. Illustrated p. 239. Buffalo Bill Center of the West, catalogue no. 02527. Card, Helen L. “Frederic Remington, 1861-1909: Artist Historian of the Old West.” Scrapbooks of Remington illustrations, compiled c. 1944. Vol. 1-5. The Metropolitan Museum of Art, New York, New York.

“Fired into a maddened excitement he snatched up his precious boy, and seizing a robe ran out of the lodge followed by his squaw. Overhead the sky was warming but: the cañon was blue dark. Every moment brought the shots and roar nearer. Plunging through the snow with his burden, the Fire Eater ran up a rocky draw which made into the main cañon. He had not gone many arrow-flights of distance before the rushing storm of the pony-soldiers swept past his deserted lodge. Bullets began to whistle about him, and glancing back he saw the black form of his squaw stagger and lie slowly down in the snow. He had, by this time, quite recovered the calm which comes to the tired-out man when tumult overtakes him. Putting the boy down on a robe behind a rock and standing naked in the frosty air he made his magazine gun blaze until empty; then picking the boy up ran on higher up the rocks until he was on the table land of the top of the cañon. Here he resumed his shooting, but the darkness and distance made it difficult to see. The noise of the fight clattered and clanged up from the depths to him and echoed down from above where the charge had gone. Other Indians joined him and they poured their bullets into the pony-soldiers. The Bad Gods had whispered to the Yellow-Eyes; they had made them see under the snow. The Chis-chis-chash were dead men, but they would take many with them to the spirit-land. The Fire Eater felt but a few cartridges in his belt and knew that he must use them sparingly. The little boy sat crying on the buffalo robe. Holding his smoking rifle in one hand, he passed the other over his scalp-lock. The bat-skin medicine was not there. For the first time since the Good Gods had given it to him, back in his youth, did he find himself without it. A nameless terror overcame him. He was a truly naked man in the snow, divested of the protection of body and soul.” — Frederic Remington

McCracken, Harold. “Frederic Remington: Artist of the Old West.” Philadelphia: J. B. Lippincott Co., 1947. “The Cosmopolitan.” March 1906. Illustrated p. 564. Samuels, Peggy and Harold. “Frederic Remington: A Biography.” Garden City, New York: Doubleday & Co., Inc., 1982. $175,000 - $225,000

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OLAF CARL WIEGHORST (1899-1988) Sundown oil on canvas 20 x 24 inches signed lower left: O. Wieghorst verso: signed, titled PROVENANCE Private Collection, Dallas, Texas $15,000 - $25,000

MELVIN CHARLES WARREN (1920-1995) Stop at the Old Place, 1983

PROVENANCE Private Collection, Bentonville, Arkansas $20,000 - $30,000

oil on canvas 20 x 30 inches signed lower left: © Mel Warren CA 1983

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MELVIN CHARLES WARREN (1920-1995) Trail to Eagle Nest, 1987 oil on canvas 22 x 36 inches signed lower right: © Mel Warren CA 1987 verso: label, Altermann Galleries, Santa Fe PROVENANCE Private Texas Collection $20,000 - $30,000

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R. TOM GILLEON (b. 1942) Sishiquah oil on board 12 x 12 inches signed lower left: R. Tom Gilleon PROVENANCE Private Collection, Houston, Texas $4,000 - $6,000

THEODORE WADDELL (b. 1941)

Angus, 1996 oil, encaustic, and graphite on paper 30 x 36 inches (paper) signed lower right: T Waddell 96 PROVENANCE Private Texas Collection $6,000 - $8,000

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KIM WIGGINS (b. 1960) Thunderstruck (6666 Ranch), 2021 oil on canvas 36 x 48 inches signed lower right: Kim Wiggins verso: signed, titled, dated; inscribed: 6666 Ranch Lot includes letter from Kim Wiggins regarding the story of the painting. PROVENANCE Private Collection, Weatherford, Texas $45,000 - $65,000

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KIM WIGGINS (b. 1960) Evening on McKinney (Dallas, Texas), 1999 oil on canvas 20 x 24 inches signed lower left: 99 KD Wiggins verso: signed, titled, dated PROVENANCE Private Texas Collection $12,000 - $16,000 84

KIM WIGGINS (b. 1960)

PROVENANCE Private Texas Collection

Rio Hondo, 1996 oil on canvas 11 x 14 inches signed lower left: 96 KD Wiggins verso: signed, titled, dated; label, Altermann & Morris Galleries, Dallas/Houston

$9,000 - $12,000

KIM WIGGINS (b. 1960)

Picacho: Spring Irrigation, 1989 oil on canvas 36 x 48 inches signed lower right: KD Wiggins 89 verso: signed, titled, dated; label, Texas Art Galleries, Dallas PROVENANCE Private Texas Collection $8,000 - $12,000

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WILLIAM ROBINSON LEIGH (1866-1955)

Mirage, 1914 oil on canvas 30 x 45 inches signed lower left: W.R. Leigh N.Y. 1914 verso: label, Springville High School Art Association, Inc.; inscribed on stretcher: Property of W.R. Leigh; label inscribed: “Mirage by W.R. Leigh / ‘Death Valley’ has claimed many victims, and many stories have been written about it. Only those who have experienced thirst in the desert can realize what it means.”

PROVENANCE Grand Central Art Galleries, New York Kodner family private collection c. 1980s Kodner Gallery Fine Art, Ladue, Missouri Private Collection, Dallas, Texas EXHIBITED Salt Lake City, Utah, 1943 32nd Annual National Art Exhibition “Spring Salon,” Springville High School Art Association (later Springville Museum of Art), Springville, Utah, March 30-April 30, 1956

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LITERATURE Catalogue: 32nd Annual National Art Exhibition, Springville High School Art Association, 1956. Cat. no. 66. Cummins, D. Duane. “William Robinson Leigh, Western Artist.” Norman: University of Oklahoma Press, Tulsa, Oklahoma, 1980. p. 153. $250,000 - $350,000

ANDY WARHOL (1928-1987) Toy Painting: Fish (Unique), 1983 synthetic polymer paint and silkscreen on canvas 8 x 10 inches signed and dated: ‘Andy Warhol 83’ (on the overlap) stamped: the Estate of Andy Warhol and numbered ‘A294.101’ (on the overlap) PROVENANCE Private Collection, Austin, Texas EXHIBITED “Toy Paintings.” Galerie Bruno Bischofberger, Zurich, Germany, 1983

LITERATURE Neysters, Silvia and Sabine SöllTauchert. “Andy Warhol Paintings for Children.” Munich, 2007. Illustrated cover; pp. 20, 22. $100,000 - $150,000 In 1982, famed Zurich gallerist Bruno Bischofberger who was one of the first proponents of Warhol and American pop artists, asked Warhol to create a group of small works for children and the artist responded with the Toy Paintings which Bischofberger showed in his gallery in Zurich in 1983. Warhol had famously amassed a large collection of toys which he used as inspiration for the commission. A few of the Toy Paintings were also exhibited at the Tel Aviv Museum of Art in 2014. Paintings such as Fish offer the first entryways into this form of seeing. Consider that the fish is a classic symbol of Catholicism which by virtue of its display means the belief in Jesus Christ as the savior. When the fish symbolism is juxtaposed with the Cyrillic script on this painting translated to “Goldfish” at the top and “Fun Toy” at the bottom, it becomes clear that the piece is a prayer for peace and hope in a tumultuous world.

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ANDY WARHOL (1928-1987)

Annie Oakley (FS II.378), 1986 screenprint in colors on Lenox Museum Board, 192/250 36 x 36 inches signed lower left: 192/250 Andy Warhol verso: stamped © Andy Warhol/Publisher: Gaultney-Klineman Art, Inc. New York; blindstamp lower right: symbol of the printer Rupert Jasen Smith

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. II.378. $125,000 - $175,000

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Annie Oakley is one of ten screenprints in Warhol’s Cowboys and Indians portfolio, published in 1986. In this series, Warhol explored the American West not as history but as a cultural narrative shaped by film, television, advertising, and folk imagery. He juxtaposed “Cowboys” and “Indians” to highlight how popular media defined them as symbolic types, heroic, noble, and larger than life. Rather than correcting the myths, Warhol examined how these figures circulated in the national imagination. In Annie Oakley, Warhol presents the legendary sharpshooter in a vivid profile portrait. Oakley turns slightly westward, her face rendered in cool blue and green tones that contrast with the warm reds, oranges, and violets of her decorated jacket. Warhol sharpens each medal and ribbon with bright outlines, creating an almost sculptural effect. Her hat tilts softly above her curls, and the clean white background intensifies the sense of clarity and focus. The result is a striking image that elevates Oakley as both a historical figure and a mythic symbol.

ANDY WARHOL (1928-1987) Flowers (FS II.67), 1970 screenprint in colors on Lenox Museum Board, 123/250 36 x 36 inches verso: signed Andy Warhol; stamped 123/250

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. II.67. $50,000 - $60,000

PROVENANCE Private Collection, Dallas, Texas

Flowers is one of ten screen prints from Warhol’s 1970 Flowers portfolio. The prints remain among the pop artist’s most recognized and desirable works. The collection itself represents a return to an image Warhol first explored in 1964, when he debuted Flowers at the Leo Castelli Gallery. Here, Warhol ruminates on the relationship between the natural world and commercialized society. The high contrast between the textured grass and the flattened, color-blocked flowers displays the spirited way Warhol played with this connection. Flowers exhibits bright orange, yellow, and lavender hibiscus flowers against a backdrop of neon green grass swathed in dark shadow. This work is number 123 from the edition of 250 printed by Aetna Silkscreen Products, Inc., New York and published by Factory Additions, New York.

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BILL SCHENCK (b. 1947) Running Wild on the Blood Moon, 2021 oil on canvas 30 x 40 inches signed lower left: Schenck 21 verso: signed, titled, dated PROVENANCE Private Collection, Houston, Texas $90,000 - $120,000

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BILL SCHENCK (b. 1947) 4 Mile Flats, 2016 oil on canvas 30 x 30 inches signed lower left: Schenck 16 verso: signed, titled, dated PROVENANCE Private Collection, Bentonville, Arkansas $25,000 - $35,000

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ERIC BOWMAN (b. 1960) Distant Daughter, 2026 oil on canvas 48 x 48 inches signed upper left: Bowman verso: signed, titled; label, Prix de West Invitational

PROVENANCE Private Collection, Dallas, Texas EXHIBITED Prix de West Invitational, Oklahoma City, Oklahoma $50,000 - $70,000

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LOGAN MAXWELL HAGEGE (b. 1980)

Loud Sky, 2010 oil on linen on board 8 x 6 inches signed lower right, Logan Maxwell Hagege verso: signed, titled, dated; label, Mark Sublette Gallery, Tucson PROVENANCE Private Collection, Houston, Texas $10,000 - $15,000

ED MELL (1942-2024)

Offering, 2009

ED MELL (1942-2024)

oil on board 10 x 8 inches signed lower left: Ed Mell inscribed on frame: Ed Mell verso: signed, titled, dated

Procession

PROVENANCE Private Texas Collection

$25,000 - $35,000

$12,000 - $18,000

bronze, 14/30 10 x 11.375 x 5.375 inches inscribed: © Ed Mell 14/30

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JOHN NIETO (1936-2018) Indian, 2011 oil on canvas 20 x 16 inches signed lower left: Nieto verso: signed, titled, dated PROVENANCE The collection of the artist Thence by descent to the family of the artist $15,000 - $25,000

JOHN NIETO (1936-2018) Coyote Greeting, 2001 acrylic on canvas 24 x 30 inches signed upper left: Nieto verso: signed, titled, dated PROVENANCE Private Collection, Lakewood, Colorado $15,000 - $20,000

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JOHN NIETO (1936-2018) Lot of Three: Portrait Study, 2001 Plains Portrait II, 2002 Fast Bear, 1998

acrylic on canvas 10 x 8 inches each Portrait Study, 2001: verso: signed, dated Plains Portrait II, 2002: verso: signed, dated Fast Bear, 1998: signed upper right: Nieto; verso: signed, titled, dated

PROVENANCE Private Collection, Lakewood, Colorado $10,000 - $15,000

JOHN NIETO (1936-2018) Coyote, 2016 acrylic on canvas 16 x 20 inches signed lower left: Nieto verso: signed, titled, dated PROVENANCE Private Collection, Lakewood, Colorado $6,000 - $8,000

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100

JERRY JORDAN (b. 1944) Song of My Home

oil on canvas 30 x 40 inches signed lower left: Jerry Jordan © T.A.O.S. verso: signed, titled

101

JERRY JORDAN (b. 1944) How High is the Sky?, 2024 oil on canvas 20 x 20 inches signed lower right: Jerry Jordan T.A.O.S. verso: signed, titled, dated

PROVENANCE Private Texas Collection $10,000 - $15,000

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PROVENANCE Private Collection, Houston, Texas $30,000 - $40,000

102

VICTOR HIGGINS (1884-1949) Spring Breeze, c. mid-1930s oil on canvas 38.75 x 24 inches signed lower right: Victor Higgins verso: signed and titled; stamp: Chester H. Johnson Gallery, Chicago; labels, Dallas Museum of Art; Art Museum of South Texas, Corpus Christi; Gerald P. Peters, Santa Fe PROVENANCE Chester H. Johnson Gallery, Chicago, before 1934 Collection of Anna Leise and Wally Sargent, Santa Fe, New Mexico, by 1984 King Investments, Dallas, Texas, by 1986 Gerald Peters Gallery, Santa Fe Acquired by the present owner from the above, 1999: Private Collection, Austin, Texas EXHIBITED Chester H. Johnson Gallery, Chicago, Illinois, before 1934 “Victor Higgins in New Mexico.” Art Museum of South Texas, Corpus Christi, Texas, May-July 1984 “Victor Higgins in New Mexico.” Fine Arts Museum, Museum of New Mexico, Santa Fe, New Mexico, October 14-December 2, 1984 “Visions of the West: American Art from Dallas Collections.” Dallas Museum of Art, Dallas, Texas, September-November 1986 LITERATURE Porter, Dean. “Victor Higgins: An American Master.” Peregrine Smith Books, Salt Lake City, 1991. Cat. no. 253, ill. p. 237. Stewart, Rick. “Visions of the West: American Art from Dallas Collections.” Dallas Museum of Art, Dallas, Texas, 1986. Cat. no. 39, pp. 52, 55. Udall, Sharyn Rohlfsen. “Victor Higgins in New Mexico.” Exhibition catalogue: Art Museum of South Texas, Corpus Christi, 1984. Cat. no. 41. $250,000 - $350,000

Surrounded by a Cubist mandorla, two faceless Taos Pueblo women catch the wind with their sheet and blanket in an allegory of immovability in the face of Nature’s power in this Victor Higgins masterpiece of Modernism. Spring Breeze further encapsulates and symbolizes the eternalness of American Indian culture despite constant challenges. Western women of all cultures attracted artists as both a narrative subject and a formal theme. In the 1930s, Taos artist Victor Higgins did a series of paintings of Taos Indian women in a simplified, geometric style, emphasizing their inner power and strength. Chicago art critic Inez Cunningham recognized in 1933 the inherent problems of this type of subject: “It is no easy task to paint Indian girls, no matter how impressive the romantic qualities of these daughters of the sun. There remains the fact that they are too picturesque ….” Born in Indiana, Higgins studied at the Art Institute of Chicago and in Munich and Paris. He first visited Taos in 1914, moving there in 1915. He became an active member of the Taos Society of Artists in 1917 and helped form “The New Mexico Painters” in 1923. Higgins led the way in New Mexico Modernism with artists such as Ernest Blumenschein, Kenneth Adams, and Andrew Dasburg in Taos and Los Cinco Pintores (Willard Nash, Will Shuster, Jozef Bakos, Walter Mruk, and Freemont Ellis) and B. J. O. Nordfeldt in Santa Fe. For a decade and a half beginning in the 1930s, Higgins painted a series of seated or reclining Taos Pueblo women in a simplified, geometric style. Both nude and clothed, these models were painted to emphasize their inner power and strength. Higgins’s daughter, Sara Parsons Mack recalled that her father engaged these models for 9:00 a.m. sittings but would not turn up himself until 11:00 a.m. These figure paintings became progressively more abstract and Higgins sublimated the individual features of the sitters while tilting the ground plane and flattening and making more decorative the environments the models inhabited. As Cunningham observed, “[H]e has cast off the superficial, the easy approach to success… he has finished with the appearance of things and now searches for their reality.” Revealingly, the foreground figure in Spring Breeze wears an identical costume to the model in Higgins’s Figure Composition (ca. 1935-37). Higgins authority Dean A. Porter wrote in his Victor Higgins: An American Master: “One picture which appears in the Higgins literature in the 1940s is Spring Breeze. Stylistically the picture could date as early as the mid-1930s…The artist captured two Indians whose garments were being blown about by the winds of spring. Higgins brought many of his experiments of the thirties to this canvas. Around the figural group he rotated areas of parallel brushstrokes, emphasizing the motion of swirling winds.” His Spring Breeze, like the other paintings in the series, is composed in terms of Jay Hambidge’s Dynamic Symmetry, a heavily promoted theory in the 1930s. Porter professes that “The Indian model was a vehicle for Higgins to explore texture and qualities of interacting irregular areas of color. The sensual qualities of a painting’s surface remained one of his chief concerns.” — Michael R. Grauer Historian of the American West

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103

TONY ABEYTA (b. 1965) Mountain Storm and River oil on canvas 26 x 32 inches signed lower right: Tony Abeyta PROVENANCE Private Texas Collection $20,000 - $30,000

104

JEREMY WINBORG (b. 1979) At the Ready, 2024 oil on canvas 24 x 36 inches signed lower left: J. Winborg verso: signed, titled, dated PROVENANCE Private Collection, Houston, Texas $18,000 - $24,000

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105

MARK MAGGIORI (b. 1977) Wild Thing, 2018 oil on canvas 40 x 32 inches signed lower left: Mark Maggiori 2018 verso: labels, Scottsdale Art Auction; Maxwell Alexander Gallery PROVENANCE Private Collection, Bentonville, Arkansas $70,000 - $90,000

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106

EANGER IRVING COUSE (1866-1936)

The Encampment, 1896 oil on canvas 12 x 16 inches signed lower right: E.I. Couse verso: label, Wortsman Rowe Galleries, San Francisco The Encampment is recorded in the Catalogue Raisonné held by the CouseSharp Historic Site (Taos, NM) as catalogue raisonné no. 0494. PROVENANCE Private Collection, Arlington, Texas $30,000 - $50,000

107

JOSEPH HENRY SHARP (1859-1953)

PROVENANCE Private Texas Collection

Pueblo of Laguna, New Mex. oil on canvasboard 10.25 x 14 inches signed lower right: JH Sharp verso: titled; label, Addison Rowe Gallery, Santa Fe

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$30,000 - $50,000

108

W. HERBERT DUNTON (1878-1936)

Pack Mules, Mexico, 1910 oil on canvas on board 6 x 8 inches signed lower right: W. Herbert Dunton Mexico 1910 inscribed lower left: “To my friend Lulla Fabien from Herb Dunton” verso: inscribed “Taos, NM 1919, Pack Mules [illegible]” PROVENANCE Private collection, Arlington, Texas $30,000 - $50,000

109

ERNEST MARTIN HENNINGS (1886-1956)

Hunting Rabbits oil on canvasboard 14 x 14 inches signed lower left: E. Martin Hennings verso: label, Fenn Galleries, Santa Fe PROVENANCE Private Collection, Houston, Texas $80,000 - $100,000

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110

BIRGER SANDZEN (1871-1954) Wild Horse Creek, Graham County, Kansas, 1939 oil on board 20 x 24 inches signed lower right: Birger Sandzen verso: inscribed “Wild Horse Creek, Graham County, Kansas 1939 Birger Sandzen, Lindsborg, Kansas”

PROVENANCE Edna J. Tuttle (professor of art at Kansas Wesleyan University and student of Birger Sandzen), Salina, Kansas Private Collection, Manhattan, Kansas $40,000 - $60,000

Wild Horse Creek, Graham County, Kansas is recorded in the Sandzen catalogue as number 1744 at the Birger Sandzen Memorial Gallery in Lindsborg, Kansas.

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111

WOLF KAHN (1927-2020)

PROVENANCE Private Collection, Dallas, Texas

Glade, 2009

$90,000 - $120,000

oil on canvas 52 x 36 inches signed lower right: W. Kahn verso: titled, dated; labels: Ameringer Yohe Fine Art, New York; Morrison Gallery, Kent, Connecticut

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112

ROBERT HENRI (1865-1929) La Trinidad (Gypsy of Madrid), c. 1906 oil on canvas 78 x 38.5 inches signed lower left: Robert Henri verso: signed and titled; label, Carolina Art Association Proceeds of the sale of this lot to benefit the direct care of collections at the National Cowboy & Western Heritage Museum. PROVENANCE Chapellier Galleries, New York Jasper D. Ackerman (purchased from above, 1970) National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma (gifted by above, 1978) EXHIBITED New York School of Art Galleries, January 14-26, 1907 Carolina Art Association Annual Exhibition of Paintings. Gibbes Memorial Art Building, Charleston, South Carolina, March 1909 “Spanish Sojourns: Robert Henri and the Spirit of Spain.” Telfair Museum, Savannah, Georgia, October 18, 2013 March 9, 2014 LITERATURE American Art News, January 19, 1907. Mentioned in a letter from Robert Henri to his parents, dated June 29, 1906. “Spanish Sojourns: Robert Henri and the Spirit of Spain.” Telfair Books, Savannah, Georgia, 2013. Cat. no. 5, ill. pp.12, 21, 85. $800,000 - $1,200,000

A Romani woman from Madrid, Spain, with hand on hip challenges the viewer of this Robert Henri masterpiece. Wearing a traditional Romani loose-fitting blouse, heavy pleated polka dot skirts, apron, angora sheepskin vest, headscarf (tied around her neck), and ear bangles, La Trinidad (Gypsy of Madrid) encapsulates the multi-ethnic Andalusian culture that Henri captured in this stunning full-length portrait. A giant in early 20th-century American art, Robert Henri (pronounced HEN-RYE) studied at the Pennsylvania Academy of the Fine Arts and the Académie Julian and École des Beaux Arts in Paris. He taught at the Philadelphia School of Design for Women, the New York School of Art and was elected to the National Academy of Design (NAD) in 1906. Henri organized a radical exhibition in 1908 including his paintings and those of William Glackens, George Luks, Everett Shinn, John Sloan, Maurice Prendergast, Ernest Lawson, and Arthur B. Davies. Called “The Eight” these artists came to be called the “Ashcan School.” In 1913, Henri was included in the “Armory Show” and continued to be an influential and popular teacher at the progressive Art Students League in New York from 1915 until 1927. A fascination with Spain spawned a “Spanish craze” in the United States from the 1890s through the 1920s that deeply influenced history, literature, art, culture, architecture, and food in the US. Captivated by Spain’s multiethnic culture, painter Robert Henri traveled to Spain seven times between 1900 and 1926. His Spanish portraits include dancers, bullfighters, street performers, peasants, and “gypsies.” (“Gypsy” is a derogatory term for the Romani, an ethnic group which originated in modern India.) Henri’s Spanish Roma Woman (The Spanish Gypsy), painted in 1912, was part of the Armory Show and became the first painting of the Ashcan School purchased by the Metropolitan Museum of Art. The model for La Trinidad (Gypsy of Madrid) may have affected Henri so deeply that the sitters in his late portraits The Spanish Gypsy (Dolores) and Dolores (Gypsy), Madrid, Spain, both 1924, look remarkably similar to La Trinidad. Henri’s Spanish portraits, including La Trinidad, reflect the influence of Spanish masters Diego Velasquez and Francisco Goya, and the Dutch master Frans Hals, whose work he studied in the Prado. He exhibited La Trinidad in New York and Philadelphia in 1907. La Trinidad graced the cover of Dean Krakel’s 1977 memoir, Adventures in Western Art. Largely a series of Krakel’s reminiscences as a “wheeler/dealer” in historic Western American art while working at the Gilcrease Museum in Tulsa, and as founding director of the National Cowboy Hall of Fame & Western Heritage Center in Oklahoma City, he recounted in the endnotes his “bagging” of La Trinidad. — Michael R. Grauer Historian of the American West The Lone Star Art Auction is pleased to offer this Henri masterpiece with the proceeds of the sale of this lot to benefit the direct care of collections at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.

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113

CHARLES SCHREYVOGEL (1861-1912) The Schreyvogel Farm oil on canvas 25 x 34 inches signed lower right: Chas. Schreyvogel Proceeds of the sale of this lot to benefit the direct care of collections at the National Cowboy & Western Heritage Museum. PROVENANCE The estate of the artist By descent to the artist’s daughter Ruth Carothers (née Schreyvogel) Purchased from the above by the National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma $4,000 - $6,000 114

CHARLES SCHREYVOGEL (1861-1912) New Jersey Landscape oil on canvas 22 x 40 inches signed lower left: C. Schreyvogel Proceeds of the sale of this lot to benefit the direct care of collections at the National Cowboy & Western Heritage Museum. PROVENANCE The estate of the artist By descent to the artist’s daughter Ruth Carothers (née Schreyvogel) Purchased from the above by the National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma $3,000 - $5,000

115

CHARLES SCHREYVOGEL (1861-1912) Thatched House in Germany, 1879 oil on paperboard 8 x 5 inches (board) signed lower right: Chas. Schreyvogel 1879 Proceeds of the sale of this lot to benefit the direct care of collections at the National Cowboy & Western Heritage Museum.

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PROVENANCE The estate of the artist By descent to the artist’s daughter Ruth Carothers (née Schreyvogel) Purchased from the above by the National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma $1,000 - $1,500

116

HENRI DELATTRE (1801-1867) Durham Sire, 1858 oil on canvas 23.5 x 29 inches signed lower right: H. DeLattre 1858 Proceeds of the sale of this lot to benefit the direct care of collections at the National Cowboy & Western Heritage Museum. PROVENANCE National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma $4,000 - $6,000

117

WILLIAM GILBERT GAUL (1855-1919)

Hunting Antelope with Cheetah (Disengaging the Cheetah from its Prey), c. 1892-1894 oil on board 16 x 24 inches Proceeds of the sale of this lot to benefit the direct care of collections at the National Cowboy & Western Heritage Museum. PROVENANCE National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma LITERATURE Fortune, J. “Hunting with the Cheetah.” The Century Magazine, Vol. XLVII, 1894. Engraving illustrated p. 572. $3,000 - $5,000

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118

GUSTAVE BAUMANN (1881-1971) Cordova Plaza, 1943 color woodcut on paper, ed. of 200 13.25 x 11 inches (paper); 16 x 13 inches (folio) titled lower left; signed lower right: Gustave Baumann Published exclusively for the members of The Woodcut Society in an edition of 200, print is presented in its original portfolio and features an essay by George William Eggers. PROVENANCE Private Collection, Fort Worth, Texas $5,000 - $7,000

119

WALTER JOSEPH PHILLIPS (1884-1963) Above Lake Louise color woodcut on paper, ed. of 200 8.5 x 7 inches (paper); 16 x 13 inches (folio) signed lower right: Walter Phillips Published exclusively for the members of The Woodcut Society in an edition of 200, print is presented in its original portfolio and features an essay by the artist. PROVENANCE Private Collection, Fort Worth, Texas $3,000 - $5,000

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120

KENNETH M. ADAMS (1897-1966) Zinnias oil on board 24 x 20 inches signed lower left: Kenneth M. Adams verso: label, Nedra Matteucci Galleries, Santa Fe PROVENANCE Private Collection, Dallas, Texas $8,000 - $10,000

121

KATHRYN WOODMAN LEIGHTON

(1875-1 952)

Cherokee Brave Iron Eyes Cody oil on canvas 30 x 25 inches signed lower right: Kathryn Leighton verso: titled PROVENANCE Private Collection, Dallas, Texas $8,000 - $12,000

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A group of cowboys form a rope corral around the remuda of horses while one ropes out a mount from his string in The Round-Up. Cowboys in the background herd white-faced Hereford cows and their calves in the foreground, likely depicting a move from one pasture to another, in Cattle on the Move. Thoroughbred horses graze on short-grass prairie with tall cottonwoods along a river in the background in Thorough-Breds. Just to the right of center in the middle ground of thoroughbred horses, and the only equine not grazing, stands a mule. Besides being one of the most lavish, modern and prestigious buildings in the nation upon its completion in 1911, the Littlefield bank building in Austin, Texas, held six large-scale paintings by future famed Taos Colony artist E. Martin Hennings. George Washington Littlefield became a successful cattleman and rancher after fighting with one of the more notable units in the Civil War, Terry’s Texas Rangers. He was one of the earliest ranchers in the region; his 1877 LIT Ranch (and its brand) still exist near Channing, Texas. With his surplus of wealth, Littlefield began his career in banking, doubling his capital in a short amount of time, and built the nine-story building in downtown Austin. Before Chicago artist Hennings first visited Taos in 1917, Littlefield commissioned Hennings to produce art that would hang in his new office at the new American National Bank building in Austin. Wanting to be surrounded by his ranch, cattle, and horses, the works portray life on the Yellow House Ranch on the Texas South Plains (formerly part of the XIT Ranch) and the LFD Farm in the Pecos Valley in New Mexico. Littlefield supplied Hennings with photographs taken on both ranches on which the painter based the ranching scenes. Hennings’s resulting six paintings (he actually created nine) depicted “the most handsome and heaviest [white face] bull, a cowboy selecting his mount form a … rope corral, … a large herd of [white face] cattle … on a drive… a group of sleek horses [and mules] grazing, cattle lazing in a field, and apple trees weighted down by their fruit.” — Michael R. Grauer Historian of the American West

122

123

124

ERNEST MARTIN HENNINGS

(1886-1956)

The Round-Up (Yellow House Division XIT Ranch), c. 1910

Cattle on the Move (Yellow House Division XIT Ranch), c. 1910

Thorough-Breds (Littlefield LFD Farm Near Roswell, New Mexico), c. 1910

oil on canvas 35 x 129 inches signed lower right: E. Martin Hennings

oil on canvas 35 x 144 inches verso: label, The Museum of Fine Arts, Houston

oil on canvas 35 x 119 inches

$350,000 - $450,000

$300,000 - $400,000

$200,000 - $300,000

PROVENANCE George Washingon Littlefield (commissioned from the artist, c. 1910) American National Bank, Austin, Texas, 1911-1950s M Bank, Bank One, JP Morgan Chase (ownership transferred from above during bank acquisitions) Private collection, Dallas, Texas (purchased from the above, 1997)

EXHIBITED Panhandle-Plains Historical Museum, Canyon, Texas, September 9, 2011January 20, 2012

LITERATURE Gracy II, David B. “A Man Absolutely Sure of Himself: Texan George Washington Littlefield”, the University of Oklahoma Press, 2019. Illustrated fig. 29, 31, 35, 37; pp. 257-258, 260.

National Ranching and Heritage Center, Lubbock, Texas, SeptemberOctober 2012 ADDITIONAL EXHIBIT, LOT 123 “The Texas Landscape 1900-1986.” The Museum of Fine Arts, Houston, May 17- September 7, 1986

Rogan, Octavia F. Interview with George Washington Littlefield, San Antonio Express, June 4, 1916.

The Lone Star Art Auction is pleased to offer these three monumental oil paintings by E. Martin Hennings depicting rare glimpses into turn-of-the-century ranch life at famous and historic West Texas and New Mexico ranches. Each lot includes a copy of the book by David B. Gracy II, A Man Absolutely Sure of Himself: Texan George Washington Littlefield.

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122

123

124

125

ALFREDO RODRIGUEZ (b. 1954)

Out of the Canyon, 1994 oil on canvas 30 x 36 inches signed lower left: A. Rodriguez © verso: signed, titled, dated PROVENANCE Private Collection, West Hartford, Connecticut $9,000 - $12,000

126

PETER HURD (1904-1984) El Arco Iris watercolor on paper 16 x 27 inches signed lower right: Peter Hurd, El Arco Iris verso: labels, Gerald Peters Gallery, Santa Fe; Santa Fe Art Auction

PROVENANCE Private Texas Collection $4,000 - $6,000

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127

CLARK HULINGS (1922-2011) Siesta oil on linen 16 x 20 inches signed lower right: Hulings verso: titled on label, Grand Central Art Galleries, New York PROVENANCE Private Collection, Houston, Texas $12,000 -$16,000

128

WILSON HURLEY (1924-2008)

PROVENANCE Private Texas Collection

Cabezon, 1972

EXHIBITED

oil on canvas 24 x 40 inches signed lower right: Wilson Hurley 1972 verso: labels, Baker Gallery of Art, Lubbock, Texas; Panhandle-Plains Historical Museum

Panhandle-Plains Historical Museum, Canyon, Texas $15,000 - $25,000

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130

ROBERT DAUGHTERS (1929-2013) Tall Trees oil on canvas 14 x 11 inches signed lower right: R. Daughters verso: titled 129

PROVENANCE Private Texas Collection

ROBERT DAUGHTERS (1929-2013)

$5,000 - $7,000

Taos Pueblo Elder oil on canvas 20 x 16 inches signed lower right: R. Daughters verso: titled PROVENANCE Private Collection, Houston, Texas $12,000 - $18,000 131

GLADYS ROLDAN-DE-MORAS (b. 1965)

El Baile oil on linen on masonite 20 x 10 inches signed lower right: Roldan-de-Moras PROVENANCE Private Collection, Ashland, Oregon $4,000 - $6,000

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132

GLADYS ROLDAN-DE-MORAS (b. 1965) Fiesta oil on linen 36 x 24 inches signed lower right: Roldan-de-Moras verso: signed, titled, inscribed: “Mi Ciudad (Guadalupe Trigo)” PROVENANCE Private Collection, Ashland, Oregon $7,000 - $10,000

133

GLADYS ROLDAN-DE-MORAS (b. 1965)

Trio oil on linen on masonite 22 x 28 inches signed lower left: Roldan-de-Moras verso: signed, titled PROVENANCE Private Collection, Houston, Texas $7,000 - $10,000

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134

DAVID BATES (b. 1952) Zydeco II, 1995 polychrome bronze (unique) 32 x 18 x 16.25 inches inscribed under base: Bates © 1995; foundry mark: Walla Walla PROVENANCE Private Collection, Dallas, Texas $125,000 - $175,000

David Bates is widely recognized for his bold, American modernist style, which spans a diverse range of media including oil on canvas and panel, works on paper, and hand-painted bronze, aluminum, and wood. A graduate of Southern Methodist University’s Master of Fine Art program in 1978, Bates furthered his education through the Whitney Museum of American Art’s Independent Study Program in New York. His distinctive aesthetic characterized by thick, expressive brushstrokes and vibrant, contrasting colors runs consistently across both his paintings, drawings and sculptural works. Bates draws heavily on his Southern roots, capturing scenes from coastal and inland Texas with emotional clarity and painterly force. In the 1990s, he collaborated with foundries in Walla Walla, Washington, and Houston, Texas, to produce a significant body of large-scale bronze and mixed media sculptures, depicting both figures and still lifes with the same intensity as his two-dimensional works. Following Hurricane Katrina in 2005, Bates’s focus turned to the devastation in New Orleans, creating emotionally charged portraits of survivors and stark representations of the storm’s aftermath. Bates’s work is steeped in personal memory and marked by an immediacy that resonates deeply. The Lone Star Art Auction is pleased to offer five original and unique works by the artist including a polychrome bronze sculpture, a painted metal and wood relief, and three works on paper.

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135

DAVID BATES (b. 1952) Katrina Portrait XIV (Weeping Woman IV), 2006-2007 charcoal and watercolor on paper 41 x 26 inches initialed center right: B. verso: labels, Dunn and Brown Contemporary, Dallas; Arthur Roger Gallery, New Orleans PROVENANCE Violet “Vi” Soo Wun Loo (former chairman of the board, Honolulu Museum of Art) Private Collection, Waipahu, Hawaii (purchased from the estate of the above) EXHIBITED “David Bates: The Storm.” Arthur Roger Gallery, New Orleans, Louisiana, October 4, 2008 - January 17, 2009 “David Bates: The Katrina Paintings.” Kemper Museum of Contemporary Art, Kansas City, Missouri, May 21August 22, 2010 “David Bates: The Katrina Paintings.” Knoxville Museum of Art, Knoxville, Tennessee, October 29, 2010February 13, 2011 $40,000 - $50,000

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136

DAVID BATES (b. 1952)

PROVENANCE Private Collection, Dallas, Texas

El Dia de los Muertos, 1995 painted wood and metal relief (unique) 64 x 30 x 12 inches signed on right edge: Bates 95

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$125,000 - $175,000

137

DAVID BATES (b. 1952) Rescue, 2007 mixed media on paper 30 x 42 inches (paper) signed lower left: Bates verso: label, Dunn and Brown Contemporary, Dallas PROVENANCE Private Collection, Dallas, Texas EXHIBITED “David Bates: The Katrina Paintings.” Kemper Museum of Contemporary Art, Kansas City, Missouri, May 21-August 22, 2010 “David Bates: The Katrina Paintings.” Knoxville Museum of Art, Knoxville, Tennessee, October 29, 2010February 13, 2011 $40,000 - $50,000

138

DAVID BATES (b. 1952) The Red, 1990 mixed media on paper 30 x 48 inches (paper) signed lower right: Bates 90, titled lower left verso: labels, Charles Cowles Gallery, Inc., New York; Struve Gallery, Chicago

PROVENANCE Private Texas Collection EXHIBITED “Public Territory Exhibition.” Struve Gallery, Chicago, Illinois, 1991 $40,000 - $50,000

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139

JULIAN ONDERDONK (1882-1922) Old Oak Tree and Bluebonnets, West Texas Military Academy Grounds, San Antonio, Texas, 1919-1920 oil on board 9 x 12 inches signed lower right: Julian Onderdonk verso: signed, titled, dated PROVENANCE Private Collection, Dallas, Texas $80,000 - $100,000

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140

JULIAN ONDERDONK (1882-1922)

Golden Countryside oil on canvas 16 x 24 inches signed lower left: Julian Onderdonk PROVENANCE Private Texas Collection $15,000 - $25,000

141

JULIAN ONDERDONK (1882-1922) Texas Landscape watercolor on paper 4.75 x 8.75 inches (sight) signed lower left: Julian Onderdonk

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PROVENANCE Private Collection, Cheshire, Connecticut $7,000 - $10,000

142

HAROLD OSMAN (H.O.) KELLY (1884-1955) Spring at the Corners, 1949 oil on canvasboard 13.75 x 20 inches signed lower right: Kelly verso: label, Dallas Museum of Fine Arts, inscribed: Spring at the Corners-- Another pleasant memory of driving fat shorthorn steers slowly through the green spring countryside; with frequent stops for refreshment. The beer is good now, but it was ‘really something’ along the road. -Lent by Mrs. E.L. McLarty, Galveston Lot includes collection of letters from the artist to the original owner, including sketches and photographs; documentation of the 1950 exhibit in Dallas, some forms bearing the signature of DMFA director Jerry Bywaters; newspaper clippings about the artist.

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PROVENANCE Mrs. E.L. McLarty, Galveston (purchased from the artist in 1949) Private Collection, Nacogdoches, Texas EXHIBITED “H.O. Kelly: Paintings.” Dallas Museum of Fine Arts, January 15 - February 12, 1950 $30,000 - $50,000

143

ROBERT PREUSSER (1919-1992) Fiery Fragments oil on canvas 24 x 55.5 inches signed lower right: Preusser PROVENANCE Private Collection, Pensacola, Florida $10,000 - $15,000

144

ROBERT PREUSSER (1919-1992) Horizontal Rhythm, 1951 oil on parchment mounted on board 21.5 x 34 inches signed lower right: Preusser

PROVENANCE Mr. and Mrs. C.J. Zabcik, Houston, Texas Private Collection, Pensacola, Florida EXHIBITED “Robert Preusser in Houston: A Retrospective.” Transco Gallery, Houston, Texas, October 26November 30, 1990 $6,000 - $8,000

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145

LEON SHULMAN GASPARD (1882-1964)

Evelyin in Russia oil on canvas laid on board 10.5 x 7.375 inches signed lower right: Leon Gaspard (illegible date) verso: titled PROVENANCE Private Texas Collection $20,000 - $30,000

146

EDOUARD CORTES (1882-1969) Les Ilots, Bretagne oil on board 18.75 x 22 inches signed lower right: Edouard Cortes PROVENANCE 1969, Atelier Edouard Cortes Private Collection, France Private Texas Collection LITERATURE Verdier, Nicole. “Edouard Cortès Catalogue Raisonné de L’œuvre Peint” - Volume I, Contexte, Paris, 2002. Illustrated cat. no. 170. p. 174. $25,000 - $35,000

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147

EDOUARD CORTES (1882-1969) La Place de la République au Crépuscule, Paris, c. 1925-30 oil on canvas 13 x 18 inches signed lower left: Edouard Cortes

La Place de la République au Crépuscule, Paris, is recorded in The Virtual Catalogue Raisonné for the Complete Works of Edouard Leon Cortes (1882-1969) as catalogue raisonné no. EC001386. Letter of authenticity included with this lot. Lot includes the original purchase receipt from GM Lotinga Ltd. Fine Art Galleries, London, dated 1964.

148

EDOUARD CORTES (1882-1969) La Place Clichy, Paris, c. 1955-60 oil on canvas 13 x 18 inches signed lower left: Edouard Cortes verso: label, Maxwell Galleries LTD, San Francisco La Place Clichy, Paris, is recorded in The Virtual Catalogue Raisonné for the Complete Works of Edouard Leon Cortes (1882-1969) as catalogue raisonné no. EC001385. Letter of authenticity included with this lot. PROVENANCE Private Collection, West Hartford, Connecticut $15,000 -$25,000

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PROVENANCE Private Collection, West Hartford, Connecticut $15,000 - $25,000

149

JOHN COWAN (1920-2008) Eager Pair, 1980 watercolor on paper 22 x 30 inches signed lower left: Cowan verso: inscribed in artist’s hand, “Eager Pair” copyright 1980, John P. Cowan; artist label inscribed, “Eager Pair” 22 x 30 No. 1194; label, Meredith Long and Company, Houston PROVENANCE Private Collection, Dallas, Texas $90,000 - $120,000

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150

JOHN COWAN (1920-2008) Dove Tank, 1972 watercolor on paper 9 x 12 inches (paper) signed lower left: Cowan inscribed lower right: “To Munson & Evelyn from Jack & Lois” Lot includes a letter from the artist dated 1972. PROVENANCE Evelyn Davis Smith and Munson Smith, Rockport, Texas Private Collection, Lakewood, Washington $15,000 -$25,000

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151

HERB BOOTH (1942-2014) Brush Country Bobs watercolor on paper 10.5 x 14.5 inches (sight) signed lower right: Herb Booth PROVENANCE Private Collection, Dallas, Texas $4,000 - $7,000

152

HERB BOOTH (1942-2014) Goose Pitching In watercolor on paper 29 x 41 inches signed lower right: Herb Booth verso: label, Meredith Long & Company, Houston

PROVENANCE Private Collection, Granbury, Texas $4,000 - $6,000

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153

REVEAU BASSETT (1897-1981)

154

Caddo Lake Geese oil on canvas 24 x 30 inches signed lower right: Reveau Bassett verso: label, Victor Lallier, Dallas

REVEAU BASSETT (1897-1981)

Spoonbills, Herons, and Egrets pastel on paper 7.75 x 9.5 inches (sight) signed lower left: Reveau Bassett

PROVENANCE The Estate of Reveau Bassett Private Texas Collection

$15,000 - $25,000

$3,000 - $5,000

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155

REVEAU BASSETT (1897-1981)

Little Sandy Mallards 156

oil on canvas 22 x 28 inches signed lower left: Reveau Bassett

REVEAU BASSETT (1897-1981)

Setting In, 1974 PROVENANCE The Estate of Reveau Bassett Private Texas Collection

pastel on paper 19.25 x 25 inches (sight) signed lower left: Reveau Bassett Oct. ‘74

$15,000 - $25,000

PROVENANCE Private Collection, Dallas, Texas $5,000 - $7,000

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157

ROBERT LOUGHEED (1910-1982) Texas Deer Country, 1970 oil on canvasboard 16 x 20 inches signed lower right: Robert Lougheed verso: signed, titled, dated; inscribed: “Big Bend Country west of the San Francisco Ranch” PROVENANCE Private Collection, San Antonio, Texas $5,000 - $7,000

158 LOT WITHDRAWN

GRANT MACDONALD (b. 1944) Daybreak at Bosque del Apache, 2000 oil on canvas 40 x 60 inches signed lower right: Grant MacDonald © 2000 verso: signed, titled; label, Altermann Galleries, Dallas, Houston, Santa Fe PROVENANCE Private Collection, Athens, Texas $5,000 - $7,000

159

BOB KUHN (1920-2007) Rogue Grizzly, 1966 gouache on paper 9.5 x 13.5 inches (sight) verso: signed, inscribed: “Sketch for Remington 150 anniv. calendar 1966” PROVENANCE Private Collection, Houston, Texas LITERATURE Davis, Tom. “The Art of Remington Arms.” Sporting Classics & Remington Arms Co., 2003. Illustrated p. 57. $9,000 - $12,000

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160

DAVID SHEPHERD (1931-2017) Elephant oil on canvas 7 x 10 inches signed lower right: David Shepherd PROVENANCE Private Collection, Houston, Texas $4,000 - $6,000

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161

AIDEN LASSELL RIPLEY (1896-1969) Grouse Near the Apples

watercolor on paper 18.25 x 29 inches (sight) signed lower left: A. Lassell Ripley © verso: labels, The Sporting Gallery & Bookshop, New York; The Guild of Boston Artists, Boston

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PROVENANCE Private Collection, Midland, Texas $20,000 - $30,000

162

AIDEN LASSELL RIPLEY (1896-1969) Geese at Plimhimmon watercolor on paper 18.75 x 29 inches (sight) signed lower left: © A. Lassell Ripley PROVENANCE Private Collection, Midland, Texas $20,000 - $30,000

163

AIDEN LASSELL RIPLEY (1896-1969) Partridge Hunting, 1937 watercolor on paper 16.25 x 22.5 inches (sight) signed lower right: A. Lassell Ripley 1937 PROVENANCE Private Collection, Midland, Texas $6,000 - $9,000

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164

ANDREW PETERS (b. 1954) Lily Pads oil on canvas 54 x 72 inches signed lower right: Andrew Peters PROVENANCE Private Collection, Westbrook, Connecticut $15,000 - $25,000

165

ANDREW PETERS (b. 1954) Lake of Glass oil on canvas 30 x 40 inches signed lower left: Andrew Peters PROVENANCE Private Collection, Port Ludlow, Washington $10,000 - $15,000

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166

JOSE VIVES-ATSARA (1919-2004) Sunset, Blanco River, Texas, 1970 oil on canvas 30 x 48 inches signed lower right: Vives-Atsara verso: signed, titled, dated PROVENANCE Private Collection, Tomball, Texas $20,000 - $30,000

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167

JOSE VIVES-ATSARA (1919-2004) The Swamp, New Orleans oil on board 16 x 20 inches signed lower right: Vives-Atsara verso: signed, titled PROVENANCE Private Collection, Swansea, Massachusetts $4,000 - $6,000

168

JOSE VIVES-ATSARA (1919-2004) En el Mercado, Mexico, 1964 oil on canvas 40 x 30 inches signed lower left: Vives-Atsara verso: signed, titled, dated PROVENANCE Private Collection, Marshall, Texas $3,000 - $5,000

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169

G. HARVEY (1933-2017) Old Feed Trough oil on canvas 12 x 16 inches signed lower left: G. Harvey verso: titled PROVENANCE Private Texas Collection $8,000 - $12,000

170

G. HARVEY (1933-2017) El Capitan Peak-Guadalupe Mts. oil on canvas 20 x 24 inches signed lower right: G. Harvey verso: titled

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PROVENANCE Private Collection, Plano, Texas $10,000 - $15,000

171

G. HARVEY (1933-2017) Guadalupe Reflections, 1966 oil on canvas 24 x 30 inches signed lower left: G. Harvey 1966 verso: titled PROVENANCE Private Collection, San Antonio, Texas 172

$12,000 - $18,000

G. HARVEY (1933-2017) Bluebonnets oil on canvas 10 x 8 inches signed lower right: G. Harvey PROVENANCE Private Collection, Allen, Texas $6,000 - $9,000

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173

G. HARVEY (1933-2017) A Breed Apart II, 1981 bronze, 98/100 10 x 9 x 4 inches inscribed: 98/100 A Breed Apart G. Harvey © 1981; foundry mark: TK Mesa (Mesa Bronze Foundry, Center Point, Texas) PROVENANCE Private Collection, Palm Desert, California $7,000 - $9,000

174

G. HARVEY (1933-2017) The Homecoming, 1993 bronze, 180/200 16.5 x 12 x 9 inches inscribed: The Homecoming © G. Harvey 1993; foundry mark: MTK (Mesa Bronze Foundry, Center Point, Texas), 180/200 PROVENANCE Private Texas Collection $5,000 - $8,000

175

G. HARVEY (1933-2017) One of a Kind, 1994 bronze, 87/100 12.5 x 5 x 5 inches inscribed: 87/100 1994 G. Harvey ©; foundry mark: Mesa (Mesa Bronze Foundry, Center Point, Texas)

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PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $3,000 - $5,000

176

ROBERT HARRISON (b. 1948)

A Majestic View Near Wimberley (Texas) oil on canvas 36 x 48 inches signed lower left: Robert Harrison PROVENANCE Private Collection, San Antonio, Texas $10,000 - $15,000

177

ROBERT HARRISON (b. 1948) Prickly Pear and Old Oak Tree oil on canvas 30 x 40 inches signed lower left: Robert Harrison

PROVENANCE Private Collection, San Antonio, Texas $6,000 - $8,000

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178

HENRY RASCHEN (1854-1937) The Prospector, 1910 oil on board 24 x 36 inches signed lower right: H. Raschen 1910 verso: label, Kodner Gallery, St. Louis PROVENANCE Private Collection, Dallas, Texas $8,000 - $12,000

179

WILLIAM GILBERT GAUL (1855-1919) Scanning Ahead oil on canvas 21 x 14 inches signed lower left: Gilbert Gaul verso: signed; label, The Owings Gallery, Santa Fe PROVENANCE Private Collection, Dallas, Texas $3,000 - $5,000

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180

TYLER CROW (b. 1989) Morning Orders, 2012 oil on canvas 30 x 30 inches signed lower right: Tyler Crow ‘12 © PROVENANCE Private Collection, Claude, Texas $7,000 - $10,000

181

WAYNE BAIZE (b. 1943) Cowboy to the Bone oil on canvas 24 x 18 inches signed lower right: Wayne Baize CA © PROVENANCE Private Collection, Claude, Texas $5,000 - $7,000

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182

BRUCE GREENE (b. 1953) A Swing and a Miss oil on canvas 16 x 20 inches signed lower right: Bruce R. Greene CA PROVENANCE Private Collection, Claude, Texas $4,000 - $6,000

183

JIM C. NORTON (1953-2023)

The Old Trapper, 1998 oil on board 18 x 24 inches signed lower left: Jim C. Norton CA verso: signed, titled, dated PROVENANCE Private Collection, Houston, Texas $4,000 - $6,000

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184

GARY NIBLETT (b. 1943) The Rabbit Hunters, 1979 oil on canvas 24 x 36 inches signed lower left: © Gary Niblett ‘79 CA verso: titled PROVENANCE Private Collection, Dallas, Texas $6,000 - $9,000

185

GARY NIBLETT (b. 1943) The Scout watercolor on paper 7.5 x 9.5 inches (sight) signed lower right: Gary Niblett CA S.F.W.S. verso: signed, titled; label, Fenn Galleries, Santa Fe

186

ROBERT PUMMILL (b. 1936) Prepared for Combat oil on canvas 12 x 18 inches signed lower right: Pummill © PROVENANCE Private Collection, Houston, Texas $4,000 - $6,000

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PROVENANCE Private Collection, Houston, Texas $1,000 - $1,500

187

ROBERT PUMMILL (b. 1936) Texas Legacy, 2011 oil on canvas 12 x 20 inches signed lower left: Pummill © verso: artist’s label, dated PROVENANCE Private Collection, Houston, Texas $4,000 - $6,000

188

RICHARD THOMAS (1939-2019) Trade Goods, 1994 oil on canvas 24 x 36 inches signed lower right: © Richard D. Thomas ‘94 verso: signed, titled, dated; label, Texas Art Gallery, Dallas

PROVENANCE Private Collection, Plano, Texas $7,000 - $10,000

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189

KARL HASSMAN (1868-1933) The Trophy, 1907 oil on canvas 36 x 28 inches signed lower left: K. Hassman 1907 verso: signed; inscribed “Warpath”; label, Kennedy Galleries, Inc., New York PROVENANCE Private Collection, Arlington, Texas $6,000 - $10,000

190

DAVID MANN (b. 1948) A Dark Day oil on canvas 16 x 20 inches signed lower right: D. Mann PROVENANCE Private Collection, Houston, Texas $3,000 - $4,000

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191

DAVID MANN (b. 1948) On the Run oil on board 14 x 11 inches signed lower right: D. Mann verso: labels, Altermann Galleries, Dallas, Houston, Santa Fe PROVENANCE Private Collection, Houston, Texas $2,000 - $3,000

192

DAVID MANN (b. 1948) Strength of the Bear oil on board 16 x 12 inches signed lower right: D. Mann verso: labels, Altermann Galleries, Dallas, Houston, Santa Fe

PROVENANCE Private Collection, Houston, Texas $2,000 - $3,000

193

DAVID MANN (b. 1948) Comanche Springs oil on canvas 12 x 9 inches signed lower left: David Mann PROVENANCE Private Collection, Houston, Texas $1,500 - $2,500

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194

JAMES ROBINSON (1944-2015)

November oil on canvas 30 x 40 inches signed lower left: Robinson © verso: signed, titled PROVENANCE Private Collection, Houston, Texas $12,000 - $18,000

195

JAMES ROBINSON (1944-2015) Last Light oil on canvas 24 x 36 inches signed lower left: Robinson © verso: signed, titled

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PROVENANCE Private Texas Collection $10,000 - $15,000

196

JAMES ROBINSON (1944-2015) Bee Cave Falls oil on canvas 24 x 36 inches signed lower right: Robinson TA verso: titled

PROVENANCE Private Collection, Bearden, Arkansas $8,000 - $12,000

197

JAMES ROBINSON (1944-2015)

The Way It Really Is acrylic on board 24 x 30 inches signed lower right: Robinson verso: label, Meinhard Galleries, Inc., Houston PROVENANCE Private Collection, Sioux Falls, South Dakota $6,000 - $8,000

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198

BOB WYGANT (1927-2008)

Pale Morning Mist acrylic on board 20 x 30 inches signed lower right: Bob Wygant TA verso: labels, Altermann Galleries, Santa Fe; Altermann & Morris Galleries, Dallas/Houston/Santa Fe/ Hilton Head Island PROVENANCE Private Texas Collection $5,000 - $7,000

199

OTIS DOZIER (1904-1987) White Crane, 1980 oil on canvas 30 x 40 inches signed lower right: Otis Dozier ‘80 verso: dated PROVENANCE Private Texas Collection $5,000 - $8,000

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201

DE FORREST JUDD (1916-1993)

Dead Tree, 1955 oil on board 16 x 12 inches signed lower right: De Forrest Judd ‘55 verso: label with signature and title; partial label, Dallas Museum of Fine Arts

200

FRED DARGE (1900-1978)

Bronco Buster oil on canvasboard 6 x 8 inches signed lower right: F. Darge

PROVENANCE Private Collection, Arlington, Texas

PROVENANCE Private Collection, Dallas, Texas

$3,000 - $5,000

$2,000 - $3,000

202

TOM LEA (1907-2001) Stagemen (Mural Study for the San Antonio Post Office), 1938

pencil and ink on paper, mounted on masonite 6.5 x 13.75 inches signed lower right: Tom Lea, 1938 on mat: signed lower right, Tom Lea; inscribed lower left: Mural Study

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PROVENANCE Private Collection, Nacogdoches, Texas $7,000 - $10,000

203

KYLE POLZIN (b. 1974) Summer Shadows oil on canvas 9 x 12 inches signed lower left: Polzin © verso: signed; label, Adams Gallery, Fredericksburg, Texas PROVENANCE Private Collection, Allen, Texas $3,000 - $5,000

204

A.D. GREER (1904-1998) Texas Landscape oil on canvas 16 x 20 inches signed lower right: A.D. Greer PROVENANCE Private Collection, Overland Park, Kansas $1,500 - $2,500

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205

MARK HAWORTH (b. 1952) The Midas Touch, 2010 oil on canvas 18 x 24 inches signed lower right: Haworth verso: signed, titled, dated PROVENANCE Private Collection, Houston, Texas $3,000 - $5,000

206

MARK HAWORTH (b. 1952) Cactus oil on canvas 16 x 20 inches signed lower right: Haworth PROVENANCE Private Collection, Houston, Texas $2,000 - $4,000

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207

ROBERT WOOD (1889-1979)

Mountain Retreat, 1945 oil on canvas 25 x 30 inches signed lower left: Robert Wood ‘45 verso: titled PROVENANCE Private Collection, Dallas, Texas $3,000 - $5,000

208

ROBERT WOOD (1889-1979)

Texas Landscape oil on canvas 22 x 28 inches signed lower right: Robt. Wood PROVENANCE Private Collection, Dallas, Texas $2,000 - $4,000

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209

GEORGE KOVACH (b. 1942)

Old Oak Tree and Bluebonnets oil on canvas 16 x 20 inches signed lower right: GE Kovach PROVENANCE Private Collection, Lakeside, Texas $2,000 - $3,000

210

GEORGE KOVACH (b. 1942)

Road to the Barn oil on canvas 24 x 36 inches signed lower right: GE Kovach PROVENANCE Private Collection, Lakeside, Texas $3,000 - $5,000

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211

MARK KEATHLEY (b. 1963) Western Landscape oil on canvas 24 x 44 inches signed lower left: Keathley PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $2,000 - $4,000

212

ROBERT PETERS (b. 1960) Sonoran Spring oil on canvas 20 x 18 inches signed lower right: Robert Peters PROVENANCE Private Collection, Houston, Texas $2,000 - $3,000

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213

BETTINA STEINKE (1913-1999) Two Indian Maidens pastel on paper 21 x 14 inches signed lower right: Bettina Steinke PROVENANCE Private Collection, Tulsa, Oklahoma $2,500 - $3,500

214

BETTINA STEINKE (1913-1999) Figure Study, c. 1987 pastel on paper 22.75 x 17 inches (sight) signed lower left: Bettina Steinke verso: label, The Thomas Gilcrease Museum, Tulsa, Oklahoma PROVENANCE Private Collection, Tulsa, Oklahoma EXHIBITED “Gilcrease Rendezvous ‘87: Painting and Drawings by Bettina Steinke.” The Thomas Gilcrease Museum, Tulsa, Oklahoma, May 1-July 5, 1987 $2,500 - $3,500

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215

BURT PROCTER (1901-1980) Indonesian Nature Girl oil on board 35 x 18 inches signed lower left: Burt Procter PROVENANCE Private Collection, Naples, Florida $1,500 - $2,000

216

CYRUS AFSARY (b. 1940) Arizona Tribesman oil on canvas 16 x 12 inches signed lower right: Cyrus Afsary PROVENANCE Private Collection, Houston, Texas $1,500 - $2,500

217

JOSEPH IMHOF (1871-1955) Red Blanket watercolor on paper on board 21.75 x 14.75 inches (sight) signed lower right: Jos. A. Imhof, Taos verso: inscribed: “Joseph A. Imhof, artist; His own fireside (Ranch House) Hunta Chuta (Beaded Shirt), Taos N.M.”; label, Parsons Fine Art, Taos PROVENANCE Private Collection, Dallas, Texas $3,000 - $5,000

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218 LOT WITHDRAWN

220

HARRY ANDREW JACKSON (1924-2011)

219

Ol’ Sabertooth, 1991

HARRY ANDREW JACKSON

polychrome bronze, 19/20 20 x 7 x 6 inches inscribed: H. Jackson 66 19P

polychrome bronze, 4/50 10 x 6.5 x 6.5 inches inscribed: © Harry Jackson 80, artist’s thumbprint; stamped: OLP4P and foundry mark: WFS Italia (Welding Forging Service, Vicenza, Italy) signed in paint: Harry Jackson 1991

PROVENANCE Collection of Bob Moses, Jr., Houston, Texas

$1,500 - $2,500

$1,000 - $1,500

(1924-2011)

The Gunsil, 1966

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221

VIC PAYNE (b. 1960) Into the Valley of Deep Shadows polychrome bronze, 22/50 24 x 34 x 13 inches inscribed: © Vic Payne 22/50 PROVENANCE Private Collection, Tulsa, Oklahoma $5,000 -$8,000

222

SCOTT ROGERS (b. 1960) The Law Remembers, Fate Has Been Suffered, 2010 (pair) bronze, 18/30 19 x 10 x 9 inches (each) inscribed: The Law Rememberd [sic] Scott Rogers © 2010 18/30 Fate Has Been Suffered Scott Rogers © 2010 18/30 PROVENANCE Private Collection, Houston, Texas $3,000 - $5,000

223

SCOTT ROGERS (b. 1960) The Trail Maker bronze, 1/30 9.5 x 12.5 x 7 inches inscribed: D.S Rogers © 1/30; foundry mark: Hoka Hey Fine Arts PROVENANCE Private Collection, Houston, Texas $1,500 - $2,500

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224

JOHN WADE HAMPTON (1918-2000)

Riding Point, 1981 oil on canvas 20 x 36 inches signed lower left: JW Hampton CA © 1981 verso: signed, titled, dated; label, Scottsdale Art Auction PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $3,000 - $5,000

225

JOHN WADE HAMPTON (1918-2000)

Watching the Sunrise, 1962 oil on canvas 24 x 36 inches signed lower left: JW Hampton ‘62 PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $3,000 - $5,000

226

JOHN WADE HAMPTON (1918-2000)

Ropin’ a Wild One, 1963 oil on canvas 24 x 36 inches signed lower left: JW Hampton ‘63 PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $3,000 - $5,000

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227

FRED HARMAN, JR. (1902-1982) Ornery Critter oil on canvas 24 x 40.5 inches signed lower right: © Fred Harman, artist’s cypher, CA PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $3,000 - $5,000

228

FRED HARMAN, JR. (1902-1982) Impatient Wait oil on canvas 18.25 x 24 inches signed lower right: © Fred Harman, artist’s cypher, CA PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $1,500 - $2,500 229

FRED HARMAN, JR. (1902-1982) Full of Spook oil on canvas 14 x 24 inches signed lower right: Fred Harman, artist’s cypher, CA PROVENANCE Collection of Bob Moses, Jr., Houston, Texas LITERATURE Harman, Fred. “The Great West in Paintings.” The Swallow Press, Chicago, Illinois, 1969. Illustrated, cover, p. 89. $1,500 - $2,500

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230

FRED HARMAN, JR. (1902-1982) Cowboy Chores, 1968 oil on canvas 24 x 20 inches signed lower right: Fred Harman, artist’s cypher verso: artist’s label PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $1,500 - $2,500

231

JOE GRANDEE (1906-1972) A Fast Shot watercolor and gouache on board 24 x 20 inches signed lower right: Joe Grandee © verso: titled

PROVENANCE Collection of Bob Moses, Jr., Houston, Texas $1,500 - $2,500

232

KIM MACKEY (b. 1953) Honor Before Death—The Coup Strike oil on canvas 12 x 16 inches signed lower left: Mackey O.P.A. © verso: signed, titled; label, Altermann Galleries: Dallas, Houston, Santa Fe PROVENANCE Private Collection, Houston, Texas $2,000 - $3,000

- 127 -

233

JOHN FAWCETT (b. 1952) Indian on Paint: Lone Scout oil on board 16 x 20 inches signed lower left: Fawcett © PROVENANCE Private Collection, Houston, Texas $2,000 - $3,000

234

JOHN FAWCETT (b. 1952) Contemplation oil on board 14 x 11 inches signed lower left: Fawcett © PROVENANCE Private Collection, Houston, Texas $1,500 - $2,500

235

DONNA HOWELL-SICKLES (b. 1949)

Thoughts of a Cowgirl, 1994 mixed media on paper 30 x 44 inches (paper) signed lower right: Donna Howell-Sickles © 94 PROVENANCE Private Collection, Dallas, Texas $3,000 - $5,000

- 128 -

236

RAMON KELLEY (b. 1939) Thru the Aspen, 1974 oil on canvas 14 x 18 inches signed lower left: Ramon K 74 verso: signed, titled, dated PROVENANCE Private Collection, Centennial, Colorado $2,500 - $3,500

237

DAN BODELSON (b. 1949) Cohorts oil on canvas 14 x 18 inches signed lower right: Bodelson verso: signed, titled PROVENANCE Private Collection, Houston, Texas $2,000 - $3,000

238

DAN BODELSON (b. 1949) Hit and Run oil on board 9 x 12 inches signed lower left: Bodelson verso: signed, titled PROVENANCE Private Collection, Houston, Texas $1,500 - $2,500

- 129 -

239

KARIN HOLLEBEKE (b. 1950) Sunup, 1995 oil on canvas 14 x 18 inches signed lower right, K. Hollebeke © 95 verso: signed, titled, dated PROVENANCE Private Collection, Houston, Texas $2,000 - $3,000

240

WILLIAM DE LA MONTAGNE CARY (1840-1922)

The Bountiful Harvest oil on canvas, mounted on masonite 31 x 39 inches signed lower right: Wm. de la M. Cary

- 130 -

PROVENANCE Private Collection, Bertram, Texas $3,000 - $7,000

Addendum OCTOBER 31, 2026 FINE ART AUCTION LATE ADDITIONS AND WITHDRAWN LOTS

LATE ADDITIONS

42-A

G. HARVEY (1933-2017) The Outpost, 1968 oil on canvas 24 x 36 inches signed lower left: G. Harvey 1968 verso: titled PROVENANCE Private Collection, Wichita, Kansas $30,000 - $50,000

- II -

43-A

G. HARVEY (1933-2017) After Dinner, 2004 oil on canvas 16 x 12 inches signed lower right: G. Harvey © verso: signed, titled; label, Altermann Galleries, Santa Fe PROVENANCE Private Collection, Celina, Texas $35,000 - $45,000

- III -

43-B

G. HARVEY (1933-2017) Flower Merchant, 1999 oil on canvas 16 x 12 inches signed lower right: G. Harvey © verso: signed, titled PROVENANCE Private Collection, Celina, Texas $30,000 - $40,000

93-A

LOGAN MAXWELL HAGEGE (b. 1980)

Feather and Hat watercolor on paper 5 x 5.5 inches (sight) initialed upper right: LMH PROVENANCE Private Collection, Dallas, Texas $5,000 - $8,000

- IV -

111-A

WOLF KAHN (1927-2020)

Yellow and Magenta pastel on paper 20.75 x 28.75 inches (sight) signed lower right: W. Kahn PROVENANCE Private Collection, Fort Worth, Texas $15,000 - $25,000

111-B

WOLF KAHN (1927-2020)

Thurber Barn, 2006 pastel on paper 12 x 17.5 inches (paper) signed lower right: W. Kahn verso: label, Jerald Malberg Gallery, Charlotte, North Carolina PROVENANCE Private Collection, Fort Worth, Texas $6,000 - $8,000

-V-

126-A

MORRIS RIPPEL (1930-2009) House of Many Kivas watercolor on board 13.5 x 22 inches (board) signed lower left: M. Rippel © verso: signed, titled on backing PROVENANCE Private Collection, Oklahoma City, Oklahoma $6,000 - $9,000

128-A

WILSON HURLEY (1924-2008) A Box Elder in Canyon del Muerto, 1973

oil on canvas 20 x 30 inches signed lower left: Wilson Hurley 1973 verso: label, Baker Gallery of Fine Art, Lubbock

- VI -

PROVENANCE Private Collection, Canyon, Texas $9,000 - $12,000

138-A

DAVID BATES (b. 1952) Hand II, 2002 bronze (unique) 14 x 24.5 x 7.5 inches inscribed: foundry mark under base: © WWF (Walla Walla Foundry) 1/1 PROVENANCE Private Collection, Chicago, Illinois $40,000 - $60,000

- VII -

138-B

DAVID BATES (b. 1952) White Roses, 2007 woodcut in fifteen colors on paper, presentation proof 46.75 x 35 inches (paper) signed lower right: Bates 07 PROVENANCE Private Collection, Fort Worth, Texas $15,000 - $20,000

138-C

DAVID BATES (b. 1952) Sunflowers, 2008 woodcut in nineteen colors on paper, 6/60 46.75 x 35 inches (paper) signed lower right: Bates 08 PROVENANCE Private Collection, Fort Worth, Texas $15,000 - $20,000

- VIII -

138-D

JON FLAMING (b. 1962) Thrown, West Texas Rodeo, 2020 oil on canvas 48 × 36 inches signed lower left: Jon Flaming ‘20 PROVENANCE Private Collection, Fort Worth, Texas $30,000 - $50,000

- IX -

138-E

BILLY HASSELL (b. 1957) Storm Warnings, 1989 oil on canvas 60 x 72 inches verso: signed, titled, dated PROVENANCE Private Collection, Fort Worth, Texas $25,000 - $35,000

-X-

138-F

BILLY HASSELL (b. 1957) House Finches and Crab Apples, Northern New Mexico, 2025 oil on canvas 36 x 36 inches signed lower right: Hassell 2025 verso: signed, titled, dated

138-G PROVENANCE Private Collection, Fort Worth, Texas $10,000 - $15,000

BILLY HASSELL (b. 1957) Horny Toad, 2003 oil on canvas 16 x 16 inches signed lower right: Hassell 2003 verso: titled; label, William Campbell Contemporary Art, Fort Worth

141-A

FRANK REAUGH (1860-1945) West Texas Longhorns pastel on paper 5.5 x 9.125 (paper) verso inscribed with museum inventory number 1865/120 Lot includes a copy of a letter from former Panhandle-Plains Museum curator, Michael Grauer PROVENANCE Frank Reaugh’s Personal Collection at The Panhandle-Plains Historical Museum, Canyon, Texas Private Collection, Arlington, Texas $10,000 - $20,000

- XI -

PROVENANCE Private Collection, Fort Worth, Texas $4,000 - $7,000

144-A

NICOLAI IVANOVICH FECHIN (1881-1955) Girl with Purple Scarf oil on canvas on masonite 15.25 x 12.625 inches PROVENANCE Acquired directly from the artist by William S. Stimmel, Pittsburgh, Pennsylvania By descent in the Stimmel family collection to the current owner, Pittsburgh, Pennsylvania The significance of both Girl with Purple Scarf and Girl with Red Dress is further elevated by their unparalleled provenance, coming directly from the family of William S. Stimmel—Fechin’s most important early American patron. A discerning Pittsburgh-based collector, Stimmel began acquiring the artist’s works from 1910 at the Carnegie International exhibitions, assembling an ever-growing group that famously included Lady in Pink (Portrait of Natalia Podbelskaya), now a highlight of the Frye Art Museum. His support proved decisive: through his efforts, and those of fellow patron John Burnham, Fechin was able to emigrate to the United States on August 1st, 1923. Settling initially in New York, he quickly secured major portrait commissions while teaching at the Grand Central School of Art, and exhibiting at the National Academy of Design, where he was awarded the prestigious Thomas Proctor Prize for portraiture in 1924. $175,000 - $275,000

- XII -

144-B

NICOLAI IVANOVICH FECHIN (1881-1955) Girl with Red Dress, c. late 1920s oil on canvas on masonite 15.25 x 12.625 inches PROVENANCE Acquired directly from the artist by William S. Stimmel, Pittsburgh, Pennsylvania By descent in the Stimmel family collection to the current owner, Pittsburgh, Pennsylvania $175,000 - $275,000

- XIII -

146-A

EDOUARD CORTES (1882-1969) Place St. Michel, c. 1940 oil on canvas 18 x 21.5 inches signed lower right: Edouard Cortes Lot includes a copy of a letter of authenticity from David Klein PROVENANCE Private Collection, Celina, Texas LITERATURE Klein, David. “Edouard Cortes: Le Poete Parisien de la Peinture” Klein Art Gallery, Los Angeles, 1999. Illustrated p. 250. $25,000 - $35,000

- XIV -

149-A

JOHN COWAN (1920-2008)

From Behind, 1977 watercolor on paper 21.75 x 30 inches (paper) signed lower left: Cowan verso: labels, Meredith Long & Company, Houston; artist’s label PROVENANCE Private Collection, wSan Antonio, Texas $60,000 - $80,000

- XV -

150-A

JOHN COWAN (1920-2008) Santa Anita, 1967 watercolor on paper 22 x 30 inches signed lower left: Cowan Artist Ledger No. 429 PROVENANCE Private Collection, Overland Park, Kansas $20,000 - $30,000 150-B

JOHN COWAN (1920-2008) Last Race at Gulfstream, 1968 watercolor on paper 18 x 24 inches signed lower left: Cowan Artist Ledger No. 450 PROVENANCE Private Collection, Overland Park, Kansas $15,000 - $20,000

- XVI -

150-C

JOHN COWAN (1920-2008) Windmill Whitetails, 1988 giclee on paper, 1/5 owner’s edition 22 × 29.5 inches (paper) signed in image lower left: © Cowan hand-signed lower left: John P. Cowan 1/5 owner’s edition PROVENANCE Private Collection, Tomball, Texas $7,000 - $10,000

150-D

JOHN COWAN (1920-2008)

Hoggin’ Up, 2001 giclee on paper, 1/10 artist proof 22 × 29.5 inches (paper) signed in image lower left: © Cowan hand-signed lower left: John P. Cowan 1/10 artist proof PROVENANCE Private Collection, Tomball, Texas $7,000 - $10,000

- XVII -

163-A

TUCKER SMITH (b. 1940) High in the Wind River Range, 1992 oil on canvas 16 x 18 inches signed lower left: Tucker Smith 92 PROVENANCE Private Collection, Oklahoma City, Oklahoma $20,000 - $30,000

- XVIII -

163-B

163-C

TUCKER SMITH (b. 1940)

Not Forgotten, 1993

Belgian Drafts, 1992

oil on canvas 18 x 24 inches signed lower left: Tucker Smith 93 verso: label, National Academy of Western Art

oil on canvas 14 x 20 inches signed lower right: Tucker Smith 92

PROVENANCE Private Collection, Oklahoma City, Oklahoma

PROVENANCE Private Collection, Oklahoma City, Oklahoma $9,000 - $12,000

$10,000 - $15,000

- XIX -

INDEX ABEYTA, TONY Mountain Storm and River, 103

DARGE, FRED Bronco Buster, 200

ADAMS, KENNETH M. Zinnias, 120

DAUGHTERS, ROBERT Tall Trees, 130 Taos Pueblo Elder, 129

AFSARY, CYRUS Arizona Tribesman, 216 BAIZE, WAYNE Cowboy to the Bone, 181 BASSETT, REVEAU Caddo Lake Geese, 153 Little Sandy Mallards, 155 Setting In, 156 Spoonbills, Herons, and Egrets, 154 BATES, DAVID El Dia de los Muertos, 136 Katrina Portrait XIV (Weeping Woman IV) 135 Rescue, 137 The Red, 138 Zydeco II, 134 BAUMANN, GUSTAVE Cordova Plaza, 118 BEELER, JOE Turning Her Back, 16 BERTHELSEN, JOHANN St. Patrick’s Cathedral, 1 BODELSON, DAN A Cold Winter Hunt (Crow Indians), 63 Cohorts, 237 Hit and Run, 238 Plains Warrior, 64 BOOTH, HERB Brush Country Bobs, 151 Goose Pitching In, 152 BOREN, JAMES Cold Day in the Mogollon, 11 BOWMAN, ERIC Distant Daughter, 92 BROWNING, TOM Bunched Up, 60 CARSON, JIM A Minor Disagreement, 70 War Ponies Grazing, 69 CARY, WILLIAM DE LA MONTAGNE The Bountiful Harvest, 240 CLYMER, JOHN FORD Canadian Indians, Ojibwa Dancers, 74 COLEMAN, JOHN Four Bears, 17 CORTES, EDOUARD La Place Clichy, Paris, 148 La Place de la République au Crépuscule, Paris, 147 Les Ilots, Bretagne, 146 COUSE, EANGER IRVING The Encampment, 106 COWAN, JOHN Dove Tank, 150 Eager Pair, 149 COX, TIM Two Riders, 14 CROW, TYLER Morning Orders, 180

DELATTRE, HENRI Durham Sire, 116 DOOLITTLE, BEV The Silence is Broken, 2 DOZIER, OTIS White Crane, 199 DUNTON, W. HERBERT Pack Mules, Mexico, 108

HARVEY, G. (CONTINUED) Spring Shadows, 50 Steer Study, 46 Taking Stock, 57 Texas Bronc, 56 Texas Heritage (pair), 43 The Homecoming, 174 The Lily Pads, 48 The Spirit of Texas, 53 The Striped Awning, 47 The Top Hand, 44 Two Too Many, 55 Under Texas Stars, 41 You-So-N-So, 42

DYE, CHARLIE Good Hunting, 15

HASSMAN, KARL The Trophy, 189

FAWCETT, JOHN Contemplation, 234 Indian on Paint: Lone Scout, 233

HAWORTH, MARK Cactus, 206 The Midas Touch, 205

GASPARD, LEON SHULMAN Evelyin in Russia, 145

HENNINGS, ERNEST MARTIN Cattle on the Move (Yellow House Division XIT Ranch), 123 Hunting Rabbits, 109 The Round-Up (Yellow House Division XIT Ranch), 122 Thorough-Breds (Littlefield LFD Farm Near Roswell, New Mexico), 124

GAUL, WILLIAM GILBERT Hunting Antelope with Cheetah (Disengaging the Cheetah from its Prey), 117 Scanning Ahead, 179 GILLEON, R. TOM Sishiquah, 80

HENRI, ROBERT La Trinidad (Gypsy of Madrid), 112

GRANDEE, JOE A Fast Shot, 231 GREENE, BRUCE A Swing and a Miss, 182 GREER, A.D. Texas Landscape, 204 GRELLE, MARTIN A Warrior Still, 62 Young Wolf, 61

HIGGINS, VICTOR Spring Breeze, 102 HOLLEBEKE, KARIN Sunup, 239 HOWELL-SICKLES, DONNA Thoughts of a Cowgirl, 235 HULINGS, CLARK Siesta, 127

HAGEGE, LOGAN MAXWELL Loud Sky, 93 HAMPTON, JOHN WADE Riding Point, 224 Ropin’ a Wild One, 226 Watching the Sunrise, 225 HARMAN, JR., FRED Cowboy Chores, 230 Full of Spook, 229 Impatient Wait, 228 Ornery Critter, 227 HARRISON, ROBERT A Majestic View Near Wimberley (Texas), 176 Prickly Pear and Old Oak Tree, 177 HARVEY, G. A Breed Apart, 52 A Breed Apart II, 173 A Winter Stop-Over, 40 Bluebonnets, 172 El Capitan Peak-Guadalupe Mts., 170 Green Broke, 54 Guadalupe Reflections, 171 Man of the Saddle, 45 Old Feed Trough, 169 One of a Kind, 175 Sounds of Spring (Colorado), 49 Spanish Daggers and Bluebonnets, 51

- XX -

HURD, PETER El Arco Iris, 126 HURLEY, WILSON Cabezon, 128 IMHOF, JOSEPH Red Blanket, 217 JACKSON, HARRY ANDREW Cowboy Meditation, 29 Flag Bearer II, 26 Ol’ Sabertooth, 220 Pony Express III, 30 The Gunsil, 219 The Marshal (John Wayne as Rooster Cogburn), 27 Two Champs, 28 JAMES, WILLIAM Wither the Breeze Blows, 7 JORDAN, JERRY How High is the Sky?, 101 Song of My Home, 100 JUDD, DE FORREST Dead Tree, 201 KAHN, WOLF Glade, 111 KEATHLEY, MARK Western Landscape, 211 KELLEY, RAMON Thru the Aspen, 236

KELLY, HAROLD OSMAN (H.O.) Spring at the Corners, 142 KOVACH, GEORGE Old Oak Tree and Bluebonnets, 209 Road to the Barn, 210

PETERS, ANDREW Lake of Glass, 165 Lily Pads, 164 PETERS, ROBERT Sonoran Spring, 212

KUHN, BOB Rogue Grizzly, 159

PHILLIPS, WALTER JOSEPH Above Lake Louise, 119

LEA, TOM Stagemen (Mural Study for the San Antonio Post Office), 202 LEIGH, WILLIAM ROBINSON Mirage, 86

POLZIN, KYLE A Lone Star Legacy, 71 Still Life with Shell, 73 Summer Shadows, 203 Vaquero, 72

LEIGHTON, KATHRYN WOODMAN Cherokee Brave Iron Eyes Cody, 121

POPPLETON, CHAD Greeting the Camp, 59

LOUGHEED, ROBERT Texas Deer Country, 157

PREUSSER, ROBERT Fiery Fragements, 143 Horizontal Rhythm, 144

MACDONALD, GRANT Daybreak at Bosque del Apache, 158 MACKEY, KIM Honor Before Death-The Coup Strike, 232 MAGGIORI, MARK Wild Thing, 105 MANN, DAVID A Dark Day, 190 Comanche Springs, 193 Crow Delegation, 68 Greeting the Storm Spirits, 67 Lead Scout, 66 On the Run, 191 Strength of the Bear, 192 MANUEL, DAVID John Wayne American, 19 MCGARY, DAVE Eye of the Storm (Bust), 18 MELL, ED Offering, 94 Procession, 95 MIEDUCH, DAN Uncanny, 5 MOYERS, JOHN The Drummer, 10 NIBLETT, GARY The Rabbit Hunters, 184 The Scout, 185 NIETO, JOHN Coyote, 99 Coyote Greeting, 97 Indian, 96 Lot of Three: Portrait Study; Plains Portrait II; Fast Bear, 98

PROCTER, BURT Indonesian Nature Girl, 215

County, Kansas, 110 SCHENCK, BILL 4 Mile Flats, 91 Running Wild on the Blood Moon, 90 SCHREYVOGEL, CHARLES New Jersey Landscape, 114 Thatched House in Germany, 115 The Schreyvogel Farm, 113 SHARP, JOSEPH HENRY Pueblo of Laguna, New Mex., 107 SHEPHERD, DAVID Elephant, 160 SLAUGHTER, WILLIAM Bluebonnets, 20 Bluebonnets and Fence, 22 Bluebonnets with Blooming Cactus, 23 Bluebonnets with Rock House, 21 Fall Scene with Barn, 25 Fall Trees, 24

PUMMILL, ROBERT Prepared for Combat, 186 Texas Legacy, 187 The Last Stage, 4

SMITH, DE COST Portrait of a Log Cabin, 3

RASCHEN, HENRY The Prospector, 178

STEINKE, BETTINA Figure Study, 214 Two Indian Maidens, 213

REESE, WILLIAM F. Winter Hunter, 8 REMINGTON, FREDERIC SACKRIDER White Otter at Bay Emptied His Magazine Gun, 76 RIPLEY, AIDEN LASSELL Geese at Plimhimmon, 162 Grouse Near the Apples, 161 Partridge Hunting, 163 ROBERTS, GARY LYNN Afternoon Visit, 9 ROBINSON, JAMES Bee Cave Falls, 196 Last Light, 195 November, 194 The Way It Really Is, 197 RODRIGUEZ, ALFREDO Out of the Canyon, 125 ROGERS, SCOTT The Law Remembers, Fate Has Been Suffered (pair), 222 The Trail Maker, 223 ROLDAN-DE-MORAS, GLADYS El Baile, 131 Fiesta, 132 Trio, 133

SPEED, GRANT In the Wake of the Mountain Men, 218

STRAIN, JOHN PAUL The Mountain Lion Hunters, 6 THOMAS, ANDY Hightail to Freedom, 58 THOMAS, RICHARD Trade Goods, 188 VIVES-ATSARA, JOSE En el Mercado, Mexico, 168 Sunset, Blanco River, Texas, 166 The Swamp, New Orleans, 167 WADDELL, THEODORE Angus, 81 WARHOL, ANDY Annie Oakley (FS II.378), 88 Flowers (FS II.67), 89 Toy Painting: Fish (Unique), 87 WARREN, MELVIN CHARLES Stop at the Old Place, 78 Trail to Eagle Nest, 79 WIEGHORST, OLAF CARL Sundown, 77

RUSSELL, CHARLES MARION The Brave, 75

WIGGINS, KIM Evening on McKinney (Dallas, Texas), 83 Picacho: Spring Irrigation, 85 Rio Hondo, 84 Thunderstruck (6666 Ranch), 82

RYAN, TOM The Haloed Cross, 12

WINBORG, JEREMY At the Ready, 104

OWEN, BILL Third Generation, 13

SALINAS, PORFIRIO After Spring Rains, 35 Autumn Colors, 36 Bullfighter, 39 Fall in the Hill Country, 38 Ranch Road, 37 Vibrant Hill Country Autum, 34

WOOD, ROBERT Bluebonnets, 33 Bluebonnets and Cactus, 32 Fields of Blue, 31 Mountain Retreat, 207 Texas Landscape, 208

PAYNE, VIC Into the Valley of Deep Shadows, 221

SANDZEN, BIRGER Wild Horse Creek, Graham

NORTON, JIM C. The Old Trapper, 183 OELZE, DON Behind Broken Walls, 65 ONDERDONK, JULIAN Golden Countryside, 140 Old Oak Tree and Bluebonnets, West Texas Military Academy Grounds, San Antonio, Texas, 139 Texas Landscape, 141

- 131 -

WYGANT, BOB Pale Morning Mist, 198

ADDENDUM INDEX BATES, DAVID Hand II, 138-A Sunflowers, 138-C White Roses, 138-B

HASSELL, BILLY Horny Toad, 138-G House Finches and Crab Apples, Northern New Mexico, 138-F Storm Warnings, 138-E

CORTES, EDOUARD Place St. Michel, 146-A

HURLEY, WILSON A Box Elder in Canyon del Muerto, 128-A

COWAN, JOHN From Behind, 149-A Hoggin’ Up, 150-D Last Race at Gulfstream, 150-B Santa Anita, 150-A Windmill Whitetails, 150-C

KAHN, WOLF Thurber Barn, 111-B Yellow and Magenta, 111-A REAUGH, FRANK West Texas Longhorns, 141-A

FECHIN, NICOLAI IVANOVICH Girl with Purple Scarf, 144-A Girl with Red Dress, 144-B

RIPPEL, MORRIS House of Many Kivas, 126-A SMITH, TUCKER Belgian Drafts, 163-C High in the Wind River Range, 163-A Not Forgotten, 163-B

FLAMING, JON Thrown, West Texas Rodeo, 138-D HAGEGE, LOGAN MAXWELL Feather and Hat, 93-A HARVEY, G. After Dinner, 43-A Flower Merchant, 43-B The Outpost, 42-A

WITHDRAWN LOTS

158

218

DAN BODELSON

GRANT MACDONALD

GRANT SPEED

(b. 1949)

(b. 1944)

(1930-2011)

A Cold Winter Hunt (Crow Indians)

Plains Warrior

Daybreak at Bosque del Apache, 2000

In the Wake of the Mountain Men, 1977

oil on canvas 40 x 60 inches

bronze, 9/30 31 x 32 x 12 inches

oil on canvas 48 x 66 inches

oil on canvas 44 x 30 inches

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AUCTION TERMS AND CONDITIONS AUCTIONEER AND AUCTION:

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.

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.

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.

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The following chart governs current bidding increments.

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: 22% for Live In-Person Bidding, Telephone Bidding, and Absentee or Proxy Bidding. 22% for Online Bidding on the Auction website at lonestarartauction.com. 27% for Online Bidding on Invaluable and LiveAuctioneers.

CURRENT BID INCREMENTS:

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Under $2,000 $2,000 – $5,000 $5,000 – $10,000 $10,000 – $20,000 $20,000 – $50,000 $50,000 – $100,000 Over $100,000

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CREDIT: In order to place bids, Bidders who have not established credit with the Auctioneer must either furnish satisfactory credit information (including two collectibles-related business references) or supply valid credit card information along with a social security number, well in advance of the Auction. Bidders should preregister at least two business days before the start of the Auction (exclusive of holidays or weekends) to allow adequate time to contact references. Credit will be granted at the discretion of Auctioneer. Additionally, Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide their social security number or the last four digits thereof so a credit check may be performed prior to Auctioneer’s acceptance of a bid. Check writing privileges and immediate delivery of merchandise may also be determined by pre-approval of credit based on a combination of criteria: Auctioneer history, related industry references, bank verification, a credit bureau report and/or a personal guarantee for a corporate or partnership entity in advance of the auction venue.

BIDDING OPTIONS: 1. Presentment of Bids: Non-Internet bids (including but not limited to podium, phone, and mail bids) are treated similar to floor bids in that they must be on-increment or at a half increment (called a cut bid). Any podium, phone, or mail bids that do not conform to a full or half increment will be rounded up to the nearest full or half increment and this revised amount will be considered your high bid. 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

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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 Commissions 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 4, 2026. 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 Commissions 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.

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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 per lot. 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.

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.

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

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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

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NOW ACCEPTING CONSIGNMENTS FALL 2027 AUCTION

FRANK TENNEY JOHNSON (1874-1939), The Lawless Frontier, 1930, oil on canvas, 25 x 30.25 inches SOLD 2025 Auction: $234,000

CONSIGN NOW

PAINTINGS • SCULPTURE • COMPLIMENTARY APPRAISALS for more information visit lonestarartauction.com or call 469.608.7600 Presented By: Great American West, LLC and Phil Berkebile, Jr. 8333 Douglas Avenue, Suite 360 • Dallas, TX 75225 469.608.7600 • info@lonestarartauction.com • 22% Buyer's Premium Auctioneer: Jason Brooks, TX License No. 16216

DOUGLAS CENTER TOWER, 8333 DOUGLAS AVENUE, SUITE 360, DALLAS, TEXAS 75225 469.608.7600 | LONESTARARTAUCTION.COM PRESENTED BY: GREAT AMERICAN WEST, LLC AND PHIL BERKEBILE, JR. EMAIL: INFO@LONESTARARTAUCTION.COM