Settlers West Gallery presents our 50th Anniversary Great American West catalog and show

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The Great American West

Settlers West Celebrates 50 Years november 20, 2021


On

August 1st of 1971, I unlocked the gallery doors at 10am sharp, and Settlers West was officially open for business. Dressed in my best, with great anticipation I sat back at the makeshift desk awaiting the arrival of my first client. No one came in! By late morning I had taken off my jacket, loosened my tie and had begun losing faith, when at last the bell on the door jingled and in walked … get ready … the mailman looking for the previous tenant of the space. But, it got better. There are so many people to thank for 50 years of business, and I will touch but a few. Learning the business was watching people like Paul Masa, Van Kirke Nelson,  Jimmy Fowler and Bob Drummond, who made trades and sales of art seem less complicated and actually kind of fun. Being in the right place at the right time was never so true as when a group of artists who became known as the Tucson Seven began to show with the gallery. First, Harley Brown and Tom Hill, then came Duane Bryers, Kenneth Riley, Howard Terpning, Don Crowley and Bob Kuhn. Loyal and true, no other gallery could boast of such a roster. These were exciting times, with shows selling out and collectors clamoring for more. Many of those clients have become close friends throughout the breadth of the gallery. I’ve been blessed with Mike Salkowski, who over 30 years ago began as a gallery assistant doing a myriad of tasks and today manages the operation way better than I. Others have come and gone, but each employee left their mark with kindness and grace, making my life a cakewalk. I also value the partnership and friendships shared with Mike and Lisa Overby and Pete and Turkey Stremmel in the Coeur d’Alene Art Auction, ranked number one in the world of Western Art. Lastly are the tremendous contributions made by two fine women, Patti Johnson and Melody Johnson, who offered their wise solace, inspiration and effort throughout the years. Now, as I sit back and reflect, a sense of joy sweeps over me ushered in by all the kindnesses that have come my way through Settlers West. I am deeply grateful to all who have made this journey possible.

– Stuart Johnson


The Great American West november 20, 2021

show opening – 5:30 pm  ·  purchase draw – 7 pm

Additional work by participating artists may be viewed on our website at www.settlerswest.com Please contact Mike Salkowski or Stuart Johnson for further information.

Fine American Art Since 1971

6420 North Campbell Ave.  Tucson, Arizona 85718  520.299.2607  info@settlerswest.com


D

arrell R. Kipp, the late Blackfeet historian and a close friend of Howard Terpning wrote, “The eye cannot always see what the heart knows, but when both understand the secret, writing pictures demand the hand of the artist. All Indians, Blackfeet or not, see the sinaxin [Blackfeet word for ‘writing pictures’] through their own world. Like the gallery visitor, they may at one time give quick and casual look, at other times stand awed and silent when their observation reveals a truth. It is a true artist who can capture the eye and the heart in the sinaxin. The sinaxin of the artist keep the spirit of the people and place alive.”

B

y 1883 the buffalo were gone. The Native people could not understand how that could happen. They thought there might be a secret place that the buffalo went to hide, but they could never find a hiding place. Deer and elk also became scarce, and hunters often came back to the lodge with no meat to feed their families. One can only imagine the desperation they felt. – Howard Terpning

HOWARD TERPNING No Meat for the Lodge oil 34 × 40 $ 420,000 – sold by silent bid



M

y grandfather ran away from home in Slovenia when he was 14 and made his way eventually to Wyoming, where he became a cowboy and worked for years until he had saved enough to buy his first ranch. He and Grandma went on to buy other ranches, and had the most beautiful place along the Green River where they raised cattle and hay. I got to spend quite a few summers there, where I learned how to irrigate, milk cows, and put up hay, and once in a while I got to ride and move cattle. It was on the ranch that I did my first oil painting when I was eleven years old. I was thinking of those memories as I painted this, and imagined my granddad riding along dreaming of the day he’d be riding on his own piece of the Great Wide Open!

ROBERT DUNCAN In the Great Wide Open oil 36 × 36 $ 18,500 –4–


T

his scene was inspired by a recent summer outing with my family near our home in western Montana. The warmth of the day and the light sparkling on the water made for an enchanting memory and a fun painting.

BRENT COTTON When the Light Dances oil 33 × 36 $ 16,000 –5–


NIKOLO BALKANSKI Sunset Park oil 18 × 24 $ 4,200

HARLEY BROWN Tradition Begins pastel 22 × 16 $ 6,500

–6–


T

he rider knows that the moment his horse’s hooves leave the ground will be his steadiest aim for a shot. Meanwhile, his target has reached a turning point in which he has made the instinctive decision to be the aggressor instead of the victim.

D. EDWARD KUCERA Turning Point oil 36 × 48 $ 21,000

–7–


T

he rowdy crowd fell quiet as the sweet notes filled the room and patrons turned to watch the performance. The gentle melodies made hearts grow tender. Lovely voices. Ah, this is a good night to run a saloon.

ANDY THOMAS Harmony in the West oil 29 × 22 $ 25,900 –8–


T

he ornate and splendid Misión San Xavier del Bac, near today’s Tucson, was at the northern most reach of Spain in the New World. Remote, harsh, and over one thousand miles from Mexico City, the missions were connected by a network of primitive roads. This painting depicts a caravan of loaded carettas proceeding on into the cooler temperatures of the night, aided by a full moon. In the dimming nocturnal light, the air would be filled with the sounds of creaking wheels and the shouts of the drivers urging their oxen on.

CHARLES FRITZ Loaded Carettas on the Road to Misión San Xavier oil 33 × 56 $ 32,000

–9–


is my favorite time F allof year to paint. This scene with the cottonwood tree and red Virginia creeper, along with backlit horses and the dappled play of light on the green grass, really caught my eye.

A. T. COX Warm Fall Days oil 18 × 24 $ 27,500

– 10 –


STEVE BURGESS Majestic oil 16 × 20 $ 5,200

ROBERT PETERS Navajo Ways oil 20 × 16 $ 6,500

– 11 –


M

y fascination with the Pony Express led me to create this nocturnal painting of an Express rider coming through Lookout Pass headed to Simpson Springs. The famed trail was ridden both day and night at maximum speed for the conditions. If you have ever been in the high desert at night under a full moon, you’ll know about that serene and haunting feeling that I wanted to create here. Light is color, and with less light the palette becomes a narrowing but awesome artist’s challenge.

BRUCE CHEEVER Moonlight Rider, Pony Express 1860 oil 26 × 36 $ 11,900

– 12 –


up in Northwest G rowing Montana I spent many morning and afternoon car rides on the Going-to-theSun Highway ascending to Logan’s Pass in Glacier National Park. I’ve always associated this view as one of the most iconic in the park. In Beacon I wanted to focus on the most pronounced elements of the scene and try to capture its massive, fantastic beauty.

COLT IDOL Beacon oil 60 × 48 $ 13,500 – 13 –


SUSAN TERPNING Ute Camp Strays oil 24 × 30 $ 4,250

ANN HANSON Feather Fan-cy oil 16 × 20 $ 6,000

– 14 –


M

y latest painting, as with many of my works, is historical yet symbolic. It focuses on the Burnett cattle empire and the historic Four Sixes Ranch in Guthrie, Texas. The ranch was founded in 1870 by Captain Samuel “Burk” Burnett. Legend infers that he won the ranch in a high stakes poker game holding an unmatched hand of four sixes. In my painting, Burnett is seen whipping and spurring his mount to the front of a cattle stampede during a lightning storm. The painting symbolizes passion, vision and determination in the midst of overwhelming odds. It is most certainly symbolic of the great American West and the fighting spirit demonstrated by many in overcoming the raging storms of life. KIM WIGGINS Thunderstruck oil 36 × 48 $ 33,000

– 15 –


in 1797 near the F ounded Salinas River, Misión San Miguel Arcángel lies approximately eight miles north of Paso Robles, California. One of only a few missions that have not been fully restored, I have walked the church grounds and painted this subject many times. It holds both memories and reverence.

GEORGE HALLMARK Sombras de San Miguel oil 40 × 40 $ 42,500 – 16 –


I

n 1790 the Creek and Choctaw tribes used a game of lacrosse to settle a dispute over the rights to a beaver pond. The pictorial depiction of that historic game featured here gives testimony to the passion and aggressiveness with which the game was played. Lacrosse played a serious role in Native American culture. The ceremonialism surrounding the preparation and rituals required for the game were identical to those practiced before leaving for war. The tribesmen used the game for curative purposes as well as a vent for aggression, recreation and wagering, and to settle serious disputes between tribes. The Cherokee name for the game seems the most fitting – Little Brother of War.

GREG KELSEY Little Brother of War bronze 59 × 24 × 18 $ 15,800 – final casting available – 17 –


B

ack in my days of canoeing, some of our favorite places to stop were at large rocks with petroglyphs. They can be found on the Allegheny and Susquehanna rivers in Pennsylvania. I love the glyph showing the hunter with one of his arms turning into a deer and the other holding his bow. It’s easy to see how his day went. One little image tells the whole story. Now, that is creative.

ROBERT GRIFFING Where His Ancestors Once Passed oil 24 × 30 $ 26,000

– 18 –


PHIL STARKE The Medicine Bow Mountain Range oil 26 × 36 $ 6,800

SCOTT ROGERS El Vaquero bronze 18 × 17 × 8.5 $ 4,200

– 19 –


T

he warm russet and gold leaves of autumn seem to sway gently to his whispering wind song. His enchanting courtship melody embraces her thoughts. This Lakota brave shares his autumn serenade, hoping to capture her heart.

R. S. RIDDICK Autumn Serenade oil 54 × 36 $ 72,000 – 20 –


A

fresh snowfall can transform a mundane setting into something captivating. It creates simplicity in both form and value that is pleasing to the eye. This large male lion is stealthily emerging from his snowy sanctuary.

DANIEL SMITH Winter Canopy acrylic 20 × 30 $ 14,500

– 21 –


MICK DOELLINGER With One Eye Open bronze 5.5 × 16.5 × 7 $ 3,600

ROSS BUCKLAND Cooler Climbs oil 30 × 24 $ 6,500

DARCIE PEET Humbling – Approaching Denali oil 20 × 30 $ 5,200 – 22 –


I

t’s autumn in Montana, the nights are getting longer and the people are spending more time inside the lodges huddled around small fires. This is a time for storytelling and a time to retell old adventures and heroic deeds. In this lodge, Grandfather has a special story about the great angry bear which attacked the peoples’ camp one fall night when he was just a boy. No doubt these wide-eyed listeners will be keenly aware of every sound outside their tipi on this particular night.

DON OELZE The Bear Story oil 38 × 42 $ 16,500 – 23 –


W

hile traveling through both Canyon de Chelly and Canyon del Muerto, I came across this scene that was remindful of life from a previous century. The varnished towering cliffs, mature cottonwood with signs of early autumn and the still intact hogan were the ideal elements for Canyon Life – Past and Present.

KENNY McKENNA Canyon Life – Past and Present oil 48 × 36 $ 22,900 – 24 –


I

went out last year specifically to photograph buffalo again. I wanted action and REALLY got it. Bulls were balling and fighting and dust was everywhere, adding to the depths and textures. One big bull was especially magnificent with his black head and the flying tufts of his cape. He rolled and head-butted, and then began to gallop. They all followed, bucking and running. Fantastic!

BONNIE MARRIS Chasing the Devil oil 36 × 48 $ 22,500

– 25 –


I

’m always looking for an excuse to paint a mountain landscape that features cold clear water cascading down a rocky slope. The majesty of such a scene sets the stage for another majestic subject – that of a Native American, astride his horse in battle regalia. His perfect pose presents a timeless and noble image, back to an age when this warrior was able to freely roam in the high country.

C. MICHAEL DUDASH High Country Majesty oil 40 × 34 $ 25,000 – 26 –


RICHIE CARTER Walking Down That Past oil 19 × 20 $ 3,200

ANTONIO DI DONATO When Courage Must Be Stronger Than Fear oil 24 × 30 $ 5,000

– 27 –


I

n the late 19th century, Western photographers saw the end of the Native American traditions and way of life, and some referenced the title The Vanishing Race. One hundred-plus years later the old way of life vanished for most everyone, native or not. From the rear viewpoint this photo fits that meaning, but what about from the other side of the hill?

WILLIAM ACHEFF Re-Emergence oil 24 × 16 $ 22,500 – 28 –


T

his scene, which has long drawn my gaze, speaks to me of much of our human condition: religion and agriculture, life and death, cold and warmth (note the propane tank), light and shadow, and time and eternity. It was bitterly cold the day I did the plein air study for this piece, and I stood with my back against the fence of this small country cemetery, embraced by winter’s chill but resolute against it, like the old stones standing beside me.

MARK BOEDGES Winter’s Long Embrace oil 24 × 36 $ 13,000

– 29 –


BONITA ROBERTS Princess of the Northern Plains oil 14 × 11 $ 1,600

DAN MIEDUCH Season of the Buffalo oil 18 × 24 $ 7,500

– 30 –


Americans N ative recognized the buffalo as a symbol of their strength, food and unity. This painting depicts the preparation involved for the Channeling the Buffalo Ceremony. It was hoped that by performing this sacred ritual the spirit of the buffalo would return in massive herds for their provision and livelihood.

ALFREDO RODRIGUEZ Preparing the Buffalo Ceremony oil 24 × 36 $ 19,000

– 31 –


T

he Nevada Northern Railway was built primarily to reach a major copper-producing area in White Pine County, Nevada. The railway, constructed in 1905-06, extended northward about 140 miles from Ely, to connections with the Western and Southern Pacific Railroads. Because of these rail connections with the West Coast of the United States, Number 93 and other locomotives of the line occasionally would haul mixed trains of freight and passengers. Big Ninety-Three is shown here, sometime in the late 1910s or early 1920s, at the NNR’s East Ely Station. BRADLEY SCHMEHL Big Ninety-Three at East Ely oil 24 × 36 $ 20,000

– 32 –


T

his beautiful yet fierce warrior forges her own path as she makes her way through the autumn brush. Her travels take her somewhere between the heavens and Mother Earth. She is at one with the universe as she crosses that golden path under the indigo sky.

JEREMY WINBORG Golden Pathway, Indigo Sky oil 60 × 30 $ 30,000 – 33 –


T

he end of another long day on the trail – do it all again tomorrow. The mountains to the West tell our travelers they are now halfway to Oregon, and the beginning of their new life. So much uncertainty, yet they are filled with hope, knowing that together as a family they will prevail.

TODD CONNOR Together oil 40 × 30 $ 16,500 – 34 –


DEBORAH BERNIKLAU Solitude oil 24 × 18 $ 5,200

FRANCOIS KOCH Golden Days oil 14 × 24 $ 8,000

– 35 –


W

hile traveling along the South Fork outside of Cody, Wyoming, I came across this herd of mule deer bucks. As I observed them confidently making their way through the tall grass, golden in the evening light, I couldn’t help but be amazed at how regal they seemed adorned with their crowns of antlers. I knew I had to find a way to capture this scene on canvas.

DUSTIN VAN WECHEL Lords of the South Fork oil 24 × 36 $ 9,500

– 36 –


A

landscape painter is in love with everything that this land can provide. September on the Merced River was inspired by the many trips I made to paint Yosemite. A beautiful morning, just outside of the park, was the inspiration for this painting. The sun had started to peek out and everything became a wonderful mystery. Just a hint of fall had started and the water level was low, making for the perfect match of shapes, color and harmony.

CINDY BARON September on the Merced River oil 30 × 28 $ 10,500 – 37 –


KENNETH YARUS Havasu Journey oil 46 × 30 $ 7,300

IAN RAMSAY Fish Processing Dock – Chinook, Washington, Circa 1980 gouache 20 × 23 $ 2,700

– 38 –


T

he 2,200 mile trek from the Midwest to Oregon and California was used by nearly 400,000 settlers, miners, farmers, and families in the 20 years from 1840-60. Among the many hardships they encountered were the breakdown of wagons and coaches. Here, the Cheyenne braves come upon a group of settlers soaking the wheels, preventing them from shrinking and dislodging the iron rims … a curious thing!

JOHN FAWCETT A Curious Thing oil 24 × 30 $ 12,500

– 39 –


M

y painting, Three of a Kind, depicts three cheetahs in a typical pose resting and surveying their surroundings on an elevated vantage point. In the distance on the right side of the painting you see roaming wildebeest, and I put in a single zebra … see if you can spot him. He is portrayed very small in the distance but can be seen clearly on the original painting, so perhaps a visit to the gallery to see it in person? I called the painting Three of a Kind to play off a poker theme, as the second painting I have created for this special 50th anniversary show portrays two male lions entitled, Pair of Kings.

BRUCE K. LAWES Three of a Kind oil 20 × 30 $ 9,500

– 40 –


I

t’s not unusual to see horses standing in the shade of a road sign in open country. The enjoyment of painting for me is discovering a scene that seems possible but doesn’t exist in the real world. When the scene begins to unfold on the canvas there is always the option of exploring subtle forms of symbolism. The juxtaposition of the horses sheltered by a commercial advertisement was a challenge. What to put on the sign was a dilemma with endless options. The final result can be appreciated at face value or interpreted by the viewer.

PHIL EPP The Sign acrylic 30 × 40 $ 8,200

– 41 –


SHEILA COTTRELL Cowgirls Gone Wild oil 24 × 24 $ 6,000

SCOTT TALLMAN POWERS Ranch Boss oil 12 × 24 $ 3,800

– 42 –


T

his is the daughter of a chief and I wanted the viewer to focus on the subject by employing simple shapes, patterns and soft tones. Hopefully, the image of her royalty shines through.

JOHN DeMOTT Prairie Princess oil 24 × 30 $ 13,500

– 43 –


STEPHANIE CAMPOS Fool Bull charcoal 28 × 20 $ 6,900

DANIEL K. TENNANT Autumn in the Adirondacks gouache 25 × 35 $ 5,500

– 44 –


ORELAND JOE Warhorses and Medicine Beings ink / acrylic 30 × 40 $ 9,200


WILLIAM ACHEFF  ·  NIKOLO BALKANSKI  ·  CINDY BARON  ·  DEBORAH BERNIKLAU  ·  MARK BOEDGES  ·  HARLEY BROWN  ·  ROSS BUCKLAND  ·  STEVE BURGESS STEPHANIE CAMPOS  ·  RICHIE CARTER  ·  BRUCE CHEEVER  ·  TODD CONNOR  ·  BRENT COTTON  ·  SHEILA COTTRELL  ·  A. T. COX  ·  JOHN DeMOTT  ·  ANTONIO DI DONATO MICK DOELLINGER  ·  C. MICHAEL DUDASH  ·  ROBERT DUNCAN  ·  PHIL EPP  ·  JONI FALK  ·  JOHN FAWCETT  ·  CHARLES FRITZ  ·  MARTIN GRELLE  ·  ROBERT GRIFFING GEORGE HALLMARK  ·  ANN HANSON  ·  COLT IDOL  ·  ORELAND JOE  ·  GREG KELSEY  ·  FRANCOIS KOCH  ·  D. EDWARD KUCERA  ·  BRUCE K. LAWES  ·  BONNIE MARRIS KENNY McKENNA  ·  DAN MIEDUCH  ·  DENIS MILHOMME  ·  DON OELZE  ·  DARCIE PEET  ·  ROBERT PETERS  ·  SCOTT TALLMAN POWERS  ·  IAN RAMSAY  ·  R. S. RIDDICK BONITA ROBERTS  ·  ALFREDO RODRIGUEZ  ·  SCOTT ROGERS  ·  BRADLEY SCHMEHL  ·  DANIEL SMITH  ·  TIM SOLLIDAY  ·  PHIL STARKE  ·  DANIEL K. TENNANT SUSAN TERPNING  ·  HOWARD TERPNING  ·  ANDY THOMAS  ·  DUSTIN VAN WECHEL  ·  KIM WIGGINS  ·  JEREMY WINBORG  ·  DAVID WRIGHT  ·  KENNETH YARUS

Fine American Art Since 1971

6420 North Campbell Ave.  Tucson, Arizona 85718  520.299.2607  info@settlerswest.com