2018 Jackson Hole Art Auction by Art Gallery Publication

T R A I L S I D E G A L L E R I E S & G E R A L D P E T E R S G A L L E RY P R E S E N T

S E S S I O N I • S E P T E M B E R 14 , 2 018 | S E S S I O N I I • S E P T E M B E R 15 , 2 018

COVE R : LO T 2 81 ARTHUR FITZWILLIAM TAIT (1819-1905), A Slight Chance, 1883, oil on canvas, 20 x 30 inches, $400,000 – $600,000 FRO NTI S P I E C E : LO T 2 31 JOHN CLYMER (1907-1989), Territorial Dispute, oil on board, 24 x 40 inches, $150,000 – $250,000

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

LOT 327

ALBERT BIERSTADT (1830-1902), Source of the Snake River, oil on paper mounted on canvas, 14 x 19 inches, $300,000 â&#x20AC;&#x201C; $500,000

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

SCHEDULE OF EVENTS

SESSION I Live auction will be held at the Center for the Arts 265 South Cache, Jackson, Wyoming SESSION I AUC TION PREVIEW Thursday, September 13th | 10:00am – 7:00pm Friday, September 14th | 9:00am – 12:00pm Previews held at Trailside Galleries 130 East Broadway, Jackson, Wyoming LIGHT LUNCH

Friday, September 14th | 11:00am SESSION I LIVE AUC TION Friday, September 14th | 12:00pm MDT

SESSION II All events will be held at the Center for the Arts 265 South Cache, Jackson, Wyoming SESSION II AUC TION PREVIEWS Friday, September 14th | 10:00am – 7:00pm Saturday, September 15th | 9:00am – 12:00pm BBQ LUNCHEON Saturday, September 15th | 11:00am SESSION II LIVE AUC TION Saturday, September 15th | 12:00pm MDT

J A C K S O N H O L E A R T A U C T I O N PA R T N E R S Roxanne Hofmann Trailside Galleries trailsidegalleries.com (866) 549-9278

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

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

JACKSON HOLE ART AUC TION Absentee and phone bidding arrangements must be made by: 5:00pm MDT on September 13th for Session I 5:00pm MDT on September 14th for Session II Telephone bidders are encouraged to leave absentee bids in case of technical difficulties Please direct all inquiries to (866) 549-9278 Register online and view auction results at: www.jacksonholeartauction.com Online Bidding available through Bidsquare

LOT 2 30

BOB KUHN (1920-2007), Basic Training, 1980, acrylic on masonite, 16 x 35 1/2 inches, $90,000 â&#x20AC;&#x201C; $120,000

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

P R E S E N T E D BY T R A I L S I D E GA L L E R I E S & G E R A L D P E T E R S GA L L E RY Â©

SESSION I LO T 1 – LO T 160 FR IDAY, S E P TE MB E R 14TH 12: 00P M MDT CE N TE R FO R TH E A R TS 265 S O U TH CACH E J ACK S O N , WYO MIN G

P R E S E N T E D BY T R A I L S I D E GA L L E R I E S & G E R A L D P E T E R S GA L L E RY

1 BOB KUHN (1920-2007) Doodles Leading to Lazy Time pencil on paper 8 ⅛ x 10 ¼ inches (sight) signed lower right: Kuhn PROVENANCE: From a Private Collection $1,000 – $2,000

2 BOB KUHN (1920-2007) Bear with Fish conte crayon on paper 6 ½ x 6 inches (sight) signed lower left: Kuhn PROVENANCE: From a Private Collection $1,500 – $2,500

3 BOB KUHN (1920-2007) Ngare Ndare Farm, 1975 watercolor on paper 9 ½ x 13 ¾ inches (sight) signed lower right: NGARE NDARE FARM/1975 Kuhn PROVENANCE: Gallery Jamel, Waldorf, MD (label verso) Private Collection, Pomfret, MD $2,000 – $4,000

—8—

4 EDWARD BOREIN (1872-1945) Mission Santa Barbara No. 2 etching and drypoint 8 ¼ x 11 ¼ inches (sight) signed lower right: Edward Borein verso: titled PROVENANCE: Private Collection, San Diego, CA $1,500 – $2,500

5 EDWARD BOREIN (1872-1945) An Old Time Christmas - Mission Santa Barbara etching and drypoint 10 x 8 inches (sight) signed lower right: Edward Borein PROVENANCE: Private Collection, San Diego, CA $1,000 – $2,000

6 E.W. DEMING (1860-1942) Two Caballeros Leaving Town watercolor on paper 13 x 10 inches (sight) signed lower right: E.W. Deming. verso: titled PROVENANCE: Kennedy Galleries, Inc., New York, NY (label verso) Being sold to benefit the acquisitions fund of an American art museum. $1,500 – $2,500

—9—

7 EMIL W. LENDERS (1865-1934) Buffalo Hunt oil on canvas 24 ⅜ x 36 ¼ inches signed lower left: EM. LeNders (artist cipher) PROVENANCE: Being sold to benefit the acquisitions fund of an American art museum. $3,000 – $5,000

8 CARL VON HASSLER (1887-1969) The San Juan Indian, 1937 oil on canvas 12 x 10 inches signed lower right: Von Hassler PROVENANCE: Alcala Gallery, La Jolla, CA (label verso) Private Collection, Sheridan, WY $1,500 – $2,500

9 CAROLUS VERHAEREN (1908-1956) Rock Vista oil on canvas 19 x 25 ½ inches signed lower left: Carolus Verhaeren PROVENANCE: Private Collection, Sheridan, WY $1,000 – $2,000

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10 JOHN YOUNG-HUNTER (1874-1955) Crow Indian Sketch oil on paper 24 ¼ x 36 inches unsigned PROVENANCE: Being sold to benefit the acquisitions fund of an American art museum. $3,000 – $5,000

11 LEROY GREENE (1893-1974) Charlie Ten Bear, 1963 oil on canvas 24 x 20 inches signed lower left: LEROY GREENE -63PROVENANCE: Private Collection, Sheridan, WY $2,000 – $3,000

12 GERALD IRA DIAMOND CASSIDY (1879-1934) Navajo Weaver pen, ink, wash, and gouache on paper 11 ¾ x 10 ¼ inches (sight) signed lower right: Gerald Cassidy PROVENANCE: Owings-Dewey Fine Art, Santa Fe, NM (label verso) Biltmore Galleries, Scottsdale, AZ (label verso) From a Private Collection $3,000 – $5,000 — 11 —

13 JOE BEELER (1931-2006) Seein’ God’s Country oil on canvas 12 x 9 inches signed lower right: JOE BEELER CA verso: titled PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From the Collection of Mr. Jack Rosenthal From the Collection of Mr. Michael Rosenthal, by descent $2,000 – $4,000

14 JOE BEELER (1931-2006) Range Partners bronze 28/30 13 x 14 x 9 inches inscribed verso: JOE BEElER PROVENANCE: From the Collection of Mr. Bill Nance $2,000 – $3,000

15 ROBERT PUMMILL (1936- ) Out to the Cow Camp oil on canvas 18 x 26 inches signed lower left: Pummill CA ‘92 verso: titled and dated PROVENANCE: Big Horn Gallery, Cody, WY Private Collection, Jackson, WY $4,000 – $6,000

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16 ANDY THOMAS (1957- ) Over That Way oil on canvas 9 x 12 inches signed lower left: ANDY THOMAS verso: titled, signed, dated PROVENANCE: From an Arizona Collection $3,000 – $5,000

17 BILL ANTON (1957- ) Horse Heaven, 2017 oil on linen on board 8 x 10 inches signed lower right: Bill Anton verso: titled, signed, dated PROVENANCE: The Artist From a Wyoming Collection $2,000 – $4,000

18 BILL ANTON (1957- ) Pride and Joy, 2017 oil on linen on board 12 x 16 inches signed lower right: Bill Anton verso: titled, signed, dated PROVENANCE: The Artist From a Wyoming Collection $3,000 – $5,000

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19 JIM REY (1939- ) No Time to Waste oil on canvas 20 x 30 inches signed lower right: Jim Rey 94 PROVENANCE: Private Collection, Jackson, WY $2,000 – $4,000

20 BILL NEBEKER (1942- ) Born to this Land bronze 4/25 13 ½ x 12 x 7 inches inscribed verso: © BILL NEBEKER CA 4/25 1995 PROVENANCE: From the Collection of Mr. Bill Nance $2,000 – $4,000

21 DAN MIEDUCH (1947- ) Mission Accomplished oil on canvas 12 x 16 inches signed lower left: © DAN MIEDUCH 2000 PROVENANCE: Private Collection, Tucson, AZ $2,000 – $4,000

— 14 —

22 ROBERT HAGAN (1947- ) No Time to Wait oil on canvas 30 x 40 inches signed lower right: Robert HAGAN PROVENANCE: Private Collection, Jackson, WY $3,000 – $5,000

23 ROBERT HAGAN (1947- ) Showing Who’s Boss oil on canvas 30 x 60 inches signed lower left: Robert HAGAN © PROVENANCE: Private Collection, Jackson, WY $5,000 – $7,000

24 ROBERT HAGAN (1947- ) Taking Him Down oil on canvas 30 x 40 inches signed lower right: Robert HAGAN PROVENANCE: Private Collection, Jackson, WY $3,000 – $5,000

— 15 —

25 DAVID HALBACH (1931- ) Hopi Mixed Dance watercolor, gouache, and pencil on paper 9 ½ x 20 ½ inches (sight) signed lower left: DAVID HALBACH CA © ‘08 PROVENANCE: Private Collection, Ann Arbor, MI $3,000 – $5,000

26 DAVID HALBACH (1931- ) Ojibway watercolor and pencil on paper 10 ½ x 18 inches (sight) signed lower left: DAVID HALBACH CA © ‘94 PROVENANCE: Private Collection, Prescott, AZ EXHIBITED: Friends of the Phippen Showcase the Cowboy Artist of America, Phippen Museum, Prescott, AZ, October 14, 2006 - February 11, 2007 (label verso) $2,000 – $4,000

27 HERB MIGNERY (1937- ) At the Water’s Edge bronze 3/9 40 ½ x 17 ½ x 18 inches inscribed left side: MigNERY CA PROVENANCE: Private Collection, Jackson, WY $4,000 – $6,000 — 16 —

28 ROY ANDERSEN (1930 -) River Crow oil on linen on board 9 x 12 inches signed lower left: Roy Andersen- (artist cipher) verso: titled and signed PROVENANCE: From an Arizona Collection $3,000 – $5,000

29 ROY ANDERSEN (1930 -) The Scout oil on board 7 ½ x 5 ½ inches signed lower left: Roy Andersen- CA PROVENANCE: The Legacy Gallery, Scottsdale, AZ (label verso) From an Arizona Collection A copy of Jan E. Adkins’ book Dream Spinner: The Art of Harry Andersen will accompany this lot. $3,000 – $5,000

30 DAVE POWELL (1954- ) Quest for the Bull Shield Cape oil on canvas 20 x 30 inches signed lower right: DAVE POWELL * verso: titled, signed, dated PROVENANCE: Bozeman Trail Gallery, Sheridan, WY (label verso) Private Collection, Sheridan, WY $3,000 – $5,000

— 17 —

31 GARY NIBLETT (1943- ) Navajo Neighbors oil on canvas 28 ¼ x 38 ¼ inches signed lower left: GARY NIBLETT CA verso: titled and signed PROVENANCE: From a Private Collection $5,000 – $7,000

32 RAY SWANSON (1937-2004) Chilichin Beto Night

33 GLENNA GOODACRE (1939- ) End of the Dance

watercolor on paper 24 x 12 inches signed lower right: Ray Swanson © CA verso: signed and numbered

bronze 21/35 32 x 13 x 12 inches inscribed verso: G. Goodacre 21/35 ©

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

PROVENANCE: From a Private Collection $4,000 – $6,000 — 18 —

34 JERRY JORDAN (1944- ) Spirit Welcome oil on canvas 42 x 46 inches signed lower left: Jerry Jordan © T.A.O.S. PROVENANCE: Private Collection, Sheridan, WY $10,000 – $15,000

35 MIAN SITU (1953- ) Navajo Maiden oil on board 11 ¾ x 8 ¾ inches signed lower right: Mian Situ verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $3,000 – $5,000

— 19 —

36 BRETT JAMES SMITH (1958- ) Meadow Camp oil on canvas 16 x 20 inches signed lower right: Brett J Smith © verso: titled and signed PROVENANCE: Private Collection, Sheridan, WY $3,000 – $5,000

37 KYLE SIMS (1980- ) Like a Moth to a Flame oil on canvas 30 x 26 inches signed lower right: ksims verso: titled, signed, dated PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $7,000 – $10,000

— 20 —

38 LUKE FRAZIER (1970- ) Needing a Furlough oil on board 14 x 18 inches signed lower right: L. Frazier verso: titled, signed, dated PROVENANCE: From an Arizona Collection $3,000 – $5,000

39 DAN OSTERMILLER (1956- ) Le Grand-Pere bronze 2/20 19 ½ x 18 x 19 inches inscribed verso: © Dan Ostermiller 2000 2/20 PROVENANCE: From a Private Collection $4,000 – $6,000

— 21 —

40 GREG BEECHAM (1954- ) Arctic Royalty oil and mixed media on canvas 30 x 30 inches signed upper right: GBEECHAM © (artist cipher) verso: titled and signed PROVENANCE: Private Collection, Coral Gables, FL $7,000 – $10,000

41 SHERRY SALARI SANDER (1941- ) Wolf on Rock bronze 29/35 12 ½ x 12 ¾ x 6 ½ inches inscribed left verso: S.SANDER ©85 PROVENANCE: From the Collection of Ms. Doyen McIntosh $1,000 – $2,000

42 SCOTT CHRISTENSEN (1962- ) Alpine Lake oil on canvas 20 x 24 inches signed lower left: CHRISTENSEN © PROVENANCE: Private Collection, Wilson, WY $4,000 – $6,000 — 22 —

43 LUKE FRAZIER (1970- ) North of North oil on board 18 x 24 inches signed lower right: L. Frazier verso: titled, signed, dated PROVENANCE: From an Arizona Collection EXHIBITED: The Wild West, Phippen Museum, Prescott, AZ, July 20 - October 29, 2012 (label verso) $5,000 – $7,000

44 SHERRY SALARI SANDER (1941- ) Sunny & 40 Below bronze 11/35 11 x 25 x 13 ½ inches inscribed right: SSANDER 88 © PROVENANCE: Private Collection, Scottsdale, AZ $2,000 – $4,000 — 23 —

45 HARRY ANDERSON (1906-1996) Talking Wires Take Over from the Pony Express, 1966 gouache on board 21 x 27 inches signed lower left: Harry Anderson PROVENANCE: General Drafting Co, Convent Station, NJ (label verso) Private Collection, West Palm Beach, FL $5,000 – $7,000

46 HARRY JACKSON (1924-2011) Pony Express III, 1977 bronze 120/1000 8 ⅛ x 9 7/8 x 6 ¼ inches inscribed front: PEIII ©Harry Jackson 1977 stamped verso: WFS ITALIA PROVENANCE: From a Private Collection $2,000 – $3,000

47 HARRY JACKSON (1924-2011) The Marshal III, 1979 bronze 387/1000 10 x 11 x 3 3/8 inches inscribed front: ©Harry Jackson 79 MAIII PROVENANCE: From a Private Collection $2,000 – $3,000

— 24 —

48 RAY STRANG (1893-1957) Rounding the Bend oil on canvas 28 x 38 inches signed lower right: Ray C. Strang PROVENANCE: Private Collection, West Palm Beach, FL $5,000 – $7,000

49 OLEG STAVROWSKY (1927- ) Water Wagon on the Columbia oil on canvas 24 x 36 inches signed lower right: Oleg Stavrowsky PROVENANCE: Private Collection, Roslyn, WA $3,000 – $5,000

— 25 —

50 SUZANNE BAKER (1939- ) North on Goodale Pass oil on canvas 24 x 28 inches signed lower right: S. BAKER © verso: titled and signed PROVENANCE: El Prado Galleries, Sedona, AZ (label verso) Private Collection, Phoenix, AZ $2,000 – $4,000

51 MORGAN WEISTLING (1964- ) Ranch Hand oil on canvas 12 x 9 inches signed lower right: MORGAN WEISTLING 2002© verso: titled, signed, dated PROVENANCE: Private Collection, Wilson, WY $3,000 – $5,000

52 MICHAEL STACK (1947- ) River Sunset oil on canvas 18 x 24 inches signed lower right: MICHAEL StACk 84 verso: titled PROVENANCE: From a Private Collection $3,000 – $5,000

— 26 —

53 XIANG ZHANG (1954- ) Next Drive oil on canvas 50 x 36 inches signed lower left: XIANG ZHANG © PROVENANCE: Private Collection, Wilson, WY $10,000 – $15,000

54 BILL OWEN (1942-2013) West Texas Bulls, 1982 oil on canvas 16 x 20 inches signed lower right: Bill OWEN CA © 1982 PROVENANCE: Overland Trail Galleries, Jackson, WY From the Collection of Mr. Ronald Campbell $4,000 – $6,000

55 CLARK KELLEY PRICE (1945- ) Dust Eaters oil on canvas 20 x 30 inches signed lower left: Clark Kelley Price (artist cipher) 97 © PROVENANCE: Private Collection, San Diego, CA $3,000 – $5,000

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56 GARY NIBLETT (1943- ) Drifting On oil on canvas 30 x 40 inches signed lower right: ©GARY NIBLETT ‘79 CA verso: titled PROVENANCE: Being sold to benefit the acquisitions fund of an American art museum. $7,000 – $10,000

57 GARY NIBLETT (1943- ) Down the Wash oil on canvas 22 x 28 inches signed lower left: GARY NIBLETT © verso: titled and signed PROVENANCE: Being sold to benefit the acquisitions fund of an American art museum. $3,000 – $5,000

58 RICHARD D. THOMAS (1939- ) The North Forty oil on canvas 20 x 30 inches signed lower right: RICHARD D. THOMAS verso: titled, signed, dated PROVENANCE: From a Private Collection $4,000 – $6,000

— 28 —

59 MARTIN GRELLE (1954- ) Day in the Rain acrylic on linen 18 x 14 inches signed lower left: * Martin Grelle 1984 AiCA verso: titled PROVENANCE: Private Collection, Oak Harbor, WA $7,000 – $10,000

60 HERB MIGNERY (1937- ) The Letter bronze 18/20 21 x 15 x 9 inches inscribed verso: © HERB MIGNERY 1981 PROVENANCE: From a Private Collection $2,000 – $4,000

61 BILL OWEN (1942-2013) Watering Hole at Redlands, 1997 oil on board 18 x 24 inches signed lower left: © Bill Owen CA 1997 verso: titled and signed PROVENANCE: Cowboy Artists of America, Phoenix Art Museum, Phoenix, AZ, October-November, 1997 (label verso) Private Collection, Bonita, CA $4,000 – $6,000 — 29 —

62 BILL ANTON (1957- ) Now or Never oil on board 24 x 36 inches signed lower right: Bill Anton verso: titled and signed PROVENANCE: The Artist From a Wyoming Collection $15,000 – $25,000

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63 KENNETH RILEY (1919-2015) Sagebrush Express acrylic and pen on paper 4 x 4 ½ inches (sight) signed lower right: Kenneth Riley CA PROVENANCE: The Artist, by descent $4,000 – $6,000

64 KENNETH RILEY (1919-2015) Brothers acrylic and pen on paper 5 ¼ x 3 inches (sight) signed lower right: Kenneth Riley PROVENANCE: The Artist, by descent $4,000 – $6,000

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65 RAY SWANSON (1937-2004) Sandstone Country oil on canvas 16 x 24 inches signed lower right: Ray Swanson © PROVENANCE: From a Private Collection $4,000 – $6,000

66 JOE BEELER (1931- 2006) Whiskey Guard bronze 5/45 20 x 18 x 11 ¼ inches inscribed verso: JOE BEELER CA stamped verso: BRONZE SMITH PROVENANCE: From a Private Collection $4,000 – $6,000

67 CHARLES WINFIELD MILLER (1922-1995) Blazoned Shirt of War, 1989 oil on canvas 24 x 36 inches signed lower right: CHARLES WINFIELD MILLER (artist cipher) lower left: ©89 verso: titled, signed, dated PROVENANCE: Dan May Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $3,000 – $5,000

— 32 —

68 KENNETH RILEY (1919-2015) Gathering the Horses acrylic and pen on paper 4 x 6 ¾ inches (sight) signed lower right: Kenneth Riley PROVENANCE: The Artist, by descent $5,000 – $7,000

69 MAYNARD DIXON (1875-1946) Cavalry Soldier pastel and charcoal on paper 18 ¼ x 15 inches (sight) signed lower left: MAYNARD DIXON (artist cipher) PROVENANCE: From a Private Collection $5,000 – $7,000

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The present work was acquired by the Servanti Family from Jacob Ruppert, the brewer who owned the Yankees – for their restaurant The Clam Broth (with the bronzes illustrated in an archival photograph from the 1940’s). The restaurant was a famous landmark in Hoboken, opened in 1899, with clientele ranging from Woodrow Wilson to local celebrity Frank Sinatra. When the restaurant was sold in 1970, the collection of Remington bronzes went to Marie Servanti Garibaldi and her husband Dr. Louis Garibaldi. Their only child was the famous jurist Marie Garibaldi – the first woman to serve on the New Jersey Supreme Court and at her death she bequeathed the collection to the Newark Museum. PROVENANCE: Collection of Jacob Ruppert, (1867-1939), New York, NY Servanti Family Collection, Hoboken, NJ (acquired for The Clam Broth House, before 1939) Collection of Marie Servanti Garibaldi and Dr. Louis Garibaldi, New Jersey (by descent in 1970) Collection of Judge Marie Garibaldi, New Jersey (by descent) From the Estate of the Honorable Marie Garibaldi to benefit the Newark Museum

70 FREDERIC REMINGTON (1861-1909) The Bronco Buster, modeled 1895 cast by 1939

71 FREDERIC REMINGTON (1861-1909) Trooper of the Plains, modeled 1909 cast by 1939

bronze 22 x 18 ½ x 11 inches inscribed front right: Copyrighted by Frederic Remington stamped verso: ROMAN BRONZE WORKS N.Y.

bronze 3 25 ½ x 24 x 7 ½ inches inscribed front left: Copyright by Frederic Remington inscribed verso: Roman Bronze Works N.Y. numbered underneath: No. 3

$5,000 – $7,000

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72 FREDERIC REMINGTON (1861-1909) The Cheyenne, modeled 1901 cast by 1939 bronze 31 21 ½ x 22 ½ x 8 inches inscribed front center: Copyright by Frederic Remington inscribed verso: Roman Bronze Works N.Y. numbered underneath: N 31 $5,000 – $7,000

73 FREDERIC REMINGTON (1861-1909) The Scalp, modeled 1898 cast by 1939 bronze 24 x 22 x 9 inches inscribed verso: Copyright by Frederic Remington inscribed front: Roman Bronze Works N.Y. $5,000 – $7,000

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74 JAMES RALSTON (1896-1987) Custer’s Last Hope, 1959 oil on canvas 48 x 72 inches signed lower right: JKRALSTON- 59 verso: titled, signed, numbered PROVENANCE: Private Collection, Jackson, WY LITERATURE: Lawrence A. Frost, The Custer Album: A Pictorial Biography of General George A. Custer, Superior Publishing Company: Seattle, WA, 1964, illus. p. 15 $15,000 – $25,000

— 36 —

75 JAMES RALSTON (1896-1987) Return of the War Party, 1954 oil on canvas 48 x 72 inches signed lower right: JKRALSTON-54 verso: titled, signed, numbered PROVENANCE: Private Collection, Jackson, WY $15,000 – $25,000

— 37 —

76 JAMES RALSTON (1896-1987) River Fort, 1954 oil on canvas 48 x 72 inches signed lower right: JKRALSTON- 54 verso: titled, signed, numbered PROVENANCE: Private Collection, Jackson, WY $12,000 – $18,000

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77 JAMES RALSTON (1896-1987) Goin’ to Town, 1958 oil on canvas 48 x 72 inches signed lower left: JKRALSTON-58 verso: titled, signed, numbered PROVENANCE: Private Collection, Jackson, WY $10,000 – $15,000

78 JAMES RALSTON (1896-1987) The Attack, 1950 oil on canvas 48 x 80 inches signed lower left: JKRALSTON- 1950 verso: titled, signed, numbered PROVENANCE: Private Collection, Jackson, WY $12,000 – $18,000

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79 RUSSELL CASE (1966- ) Before the Storm oil on board 10 x 18 inches signed lower right: (artist cipher) Russell Case verso: titled, signed, dated PROVENANCE: From an Arizona Collection $3,000 – $5,000

80 HARLEY BROWN (1939- ) Flower of the Plains

81 HARLEY BROWN (1939- ) Chief

pastel on paper 12 ¼ x 9 inches (sight) signed lower right: HARLEY BROWN CA

pastel on paper 20 ½ x 16 ½ inches (sight) signed lower right: HARLEY BROWN

PROVENANCE: Private Collection, Ann Arbor, MI

PROVENANCE: Private Collection, British Columbia, Canada

$2,000 – $4,000

$3,000 – $5,000 — 40 —

82 ROSS STEFAN (1934-1999) Arivaca Vaqueros oil on canvas 18 x 24 inches signed lower left: Ross Stefan verso: titled and signed PROVENANCE: Private Collection, Sheridan, WY $3,000 – $5,000

83 MEHL LAWSON (1942- ) Spring Showers bronze 5/35 15 ¼ x 17 x 11 inches inscribed verso: MEHL LAWSON - 89 - CA PROVENANCE: From a Private Collection $2,000 – $4,000

84 WILSON HURLEY (1924-2008) Bob Lougheed’s Back Field, 1975 oil on masonite 12 x 16 inches signed lower right: Wilson Hurley verso: titled and dated PROVENANCE: Owens Gallery, Oklahoma City, OK (label verso) From a Private Collection $3,000 – $5,000

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85 JOHN DEMOTT (1954- ) Pouncing Fox oil on board 18 x 22 inches signed lower right: DEMOTT 2012 © verso: signed and dated PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Coral Gables, FL $3,000 – $5,000

86 KENT ULLBERG (1945- ) Waiting for Sockeye bronze AP/50 7 x 11 x 6 ½ inches inscribed front: © Ullberg PROVENANCE: From the Collection of Mr. Anthony Greene, Jackson, WY $1,000 – $2,000

87 CLYDE ASPEVIG (1951- ) Sedona oil on canvas 14 x 14 inches signed lower right: C. ASPEVIG PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Essex, CT $3,000 – $5,000

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88 CLYDE ASPEVIG (1951- ) Winter Landscape oil on board 16 ¾ x 12 ¾ inches signed lower right: C. ASPEVIG verso: signed and dated PROVENANCE: The Artist Private Collection, Allyn, WA $3,000 – $5,000

89 MATT SMITH (1960- ) Clear and Cold oil on board 14 x 18 inches signed lower right: Matt Smith verso: titled, signed, dated PROVENANCE: Private Collection, Scottsdale, AZ $3,000 – $5,000

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90 JAMES REYNOLDS (1926-2010) Morning Mist, 1987 oil on canvas 14 x 20 inches signed lower left: James Reynolds 1987 PROVENANCE: From a Private Collection $4,000 – $6,000

91 SANDY SCOTT (1943- ) The Dough Boys Bookends bronze 41/100 10 x 10 x 6 (each) inches left: inscribed verso: SANDY SCOTT ©2000 THE DOUGH BOYS right: inscribed verso: SANDY SCOTT ©01 PROVENANCE: Wilcox Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $1,500 – $2,500

92 TERRY DONAHUE (1956- ) Hiding in Plain Sight pastel on paper 28 x 21 ¼ inches (sight) signed lower left: T. Donahue PROVENANCE: From a Private Collection $3,000 – $5,000

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93 JOHN SEEREY-LESTER (1946- ) Two Bulls acrylic on canvas 24 x 36 inches signed lower left: Seerey-Lester © PROVENANCE: Private Collection, Pomfret, MD $7,000 – $10,000

94 SHERRY SALARI SANDER (1941- ) Sunday Brunch bronze 1/35 11 x 9 ½ x 9 ½ inches inscribed back left: SSANDER 85© PROVENANCE: From a Private Collection $2,000 – $3,000

95 FRANCOIS KOCH (1944- ) Autumn Creek oil on canvas 12 x 18 inches signed lower right: Francois Koch- © PROVENANCE: From a Texas Collection $2,000 – $4,000 — 45 —

96 ALFREDO RODRIGUEZ (1954- ) Preparée oil on canvas 34 x 22 inches signed lower left: A. Rodriquez © ‘88 PROVENANCE: Private Collection, Mount Pleasant, SC $8,000 – $12,000

97 HAROLD LLOYD LYON (1930- ) Tripped Up oil on canvas 24 x 36 inches signed lower left: Lyon PROVENANCE: Kodner Gallery, St. Louis, MO (label verso) Private Collection, Sheridan, WY $2,000 – $4,000

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98 JIM NORTON (1953- ) High Country Splendor oil on canvas 24 x 32 inches signed lower left: Jim C. Norton © verso: titled, signed, dated, numbered PROVENANCE: From a Private Collection $7,000 – $10,000

99 DAVID MANUEL (1940- ) An American Legend - John Wayne bronze 16/35 31 x 24 ½ x 12 ½ inches inscribed front: MANUEL © 1984 inscribed front: titled stamped verso: WE PROVENANCE: Private Collection, Jackson, WY $3,000 – $5,000

100 R.S. RIDDICK (1952- ) Night Shift oil on canvas 24 x 30 inches signed lower left: R.S. Riddick © verso: titled, signed, dated PROVENANCE: Pacific House Publishing, Tuscon, AZ (label verso) From a Private Collection $5,000 – $8,000

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101 KEN LAAGER (1953- ) June Bride oil on canvas 24 x 30 inches signed lower right: KEN LAAGER PROVENANCE: Trailside Galleries, Jackson, WY (label verso) Private Collection, Mount Pleasant, SC $3,000 – $5,000

102 MICHAEL COLEMAN (1946- ) Native Reflections oil on board 18 x 16 inches signed lower left: MICHAEL COLEMAN © PROVENANCE: From a Private Collection $4,000 – $6,000

103 PAT HAPTONSTALL (1943-1995) Reflective Dreams, 1989 bronze 12/18 19 ½ x 6 ¾ x 9 inches inscribed left: Pat Haptonstall © 1989 12/18 PROVENANCE: From the Collection of Bill Nance EXHIBITED: Cowboy Artists of America, Phoenix Museum of Art, Phoenix, AZ, October, 1998 (label verso) $2,000 – $4,000 — 48 —

105 VIC PAYNE (1960- ) Thunder at Little Big Horn

106 KEN LAAGER (1953- ) The White River Massacre

bronze 10/100 20 x 23 ¼ x 12 ½ inches inscribed left verso: © VIC PAYNE

oil on board 16 ¾ x 12 inches signed lower left: KEN LAAGER verso: titled and dated

PROVENANCE: Private Collection, Jackson, WY

$3,000 – $5,000

$1,000 – $2,000

— 49 —

107 WILLIAM GOLLINGS (1878-1932) Red Grade, 1900 oil on canvas 12 x 18 inches signed lower right: Gollings (artist cipher) 00 PROVENANCE: The Artist Private Collection, Sheridan, WY From the Collection of Ms. Valerie Lloyd, by descent $6,000 – $9,000

108 ELIZABETH DAVEY LOCHRIE (1890-1981) Cattle Drive, 1954 oil on board 21 ¾ x 30 inches signed lower left: E. Lochrie 1954 verso: titled and signed PROVENANCE: Private Collection, Sheridan, WY $3,000 – $5,000

— 50 —

109 OSCAR BERNINGHAUS (1874-1952) Adobe Houses, ca. 1945 watercolor and pencil on paper 9 ¾ x 11 ½ inches unsigned verso: letter of authenticity PROVENANCE: From a Private Collection EXHIBITED: Western Art from Valley Collections, Phoenix Art Museum, Phoenix, AZ, June 3 - September 11, 1977 (label verso) $7,000 – $10,000

110 FRANK PAUL SAUERWEIN (1871-1910) Return of the Swallows oil on canvas 18 x 12 inches signed upper left: F.P. Sauerwein PROVENANCE: Fenn Galleries, Ltd., Santa Fe, NM (label verso) Private Collection, Inverness, IL $2,000 – $3,000

— 51 —

111 ROBERT W. WOOD (1889-1979) Rocky Mountain Stream oil on canvas 25 x 30 inches signed lower right: Robt. Wood PROVENANCE: From a Private Collection $5,000 – $7,000

112 JOHN FERY (1859-1934) Jackson Hole oil on board 14 x 21 ¾ inches signed lower left: J. Fery PROVENANCE: Private Collection, Jackson, WY $4,000 – $6,000

113 CHARLES CHRISTIAN EISELE (1854-1919) Black Cañon of the Gunnison, Colo oil on canvas 22 x 36 inches signed lower left: C. Eisele PROVENANCE: From a Private Collection $4,000 – $6,000

— 52 —

114 ROBERT W. WOOD (1889-1979) Zena N.Y. oil on canvas 28 x 36 inches signed lower left: -Robert Woodverso: titled PROVENANCE: Private Collection, Sheridan, WY $5,000 – $7,000

115 ROBERT W. WOOD (1889-1979) Autumn Pond oil on canvas 18 x 24 inches signed lower left: - Robert Wood verso: titled and signed PROVENANCE: Kodner Gallery, St. Louis, MO (label verso) Private Collection, Sheridan, WY $3,000 – $5,000 — 53 —

116 CLYDE ASPEVIG (1951- ) Ducks Landing oil on canvas 16 x 20 inches signed lower left: © ASPEVIG 79 PROVENANCE: The Artist Private Collection, Allyn, WA $3,000 – $5,000

117 ROBERT BATEMAN (1930- ) Oyster Catcher (study)

118 ROBERT BATEMAN (1930- ) Fur Seal (study)

acrylic and pencil on paper 10 x 4 inches (sight) signed lower right: Robert Bateman 1986 ©

acrylic and pencil on paper 8 x 4 inches (sight) signed lower right: Robert Bateman 1987 ©

PROVENANCE: Ponderosa Art Gallery, Hamilton, MT (label verso) Private Collection, Pomfret, MD

$2,000 – $3,000

$2,000 – $3,000 — 54 —

119 KYLE SIMS (1980- ) Mammoth Showdown oil on canvas 25 x 40 inches signed lower left: ksims verso: titled, signed, dated PROVENANCE: The Artist Trailside Galleries, Jackson, WY (label verso) From a Private Collection $8,000 – $12,000

120 SANDY SCOTT (1943- ) Teton Tribute Bookends bronze 12/100 11 x 6 x 8 (each) inches inscribed right: SANDY SCOTT ©02 inscribed left: SANDY SCOTT ©02 PROVENANCE: The Artist From the Collection of Mr. Anthony Greene, Jackson, WY $1,500 – $2,500

121 KYLE SIMS (1980- ) Oppositional Defiant oil on board 9 x 13 inches signed lower right: kyle sims verso: titled, signed, dated PROVENANCE: From an Arizona Collection $2,000 – $3,000

— 55 —

122 MICHAEL COLEMAN (1946- ) The Ever Present Pheasant

123 MICHAEL COLEMAN (1946- ) Willow Ptarmigan Goose

oil on board 18 x 16 inches signed lower left: MICHAEL COLEMAN ©

PROVENANCE: From a Private Collection

$3,000 – $5,000

$2,000 – $4,000

124 MICHAEL ALBRECHTSEN (1962- ) Shadow at Sula Creek oil on canvas 30 x 40 inches signed lower left: Michael Albrechtsen verso: titled and signed PROVENANCE: From a Private Collection $4,000 – $6,000

— 56 —

125 BONNIE MARRIS (1951- ) Fox on the Rocks oil on canvas 22 x 18 inches signed lower right: BLMarris © PROVENANCE: From a Private Collection EXHIBITED: Masters of the American West, Autry Museum of Western Heritage, Los Angeles, CA, 2000 $6,000 – $9,000

126 DAN OSTERMILLER (1956- ) Indigo’s Dream bronze 7/20 7 ¼ x 21 ½ x 17 ½ inches inscribed verso: © Dan Ostermiller 7/20 2001 PROVENANCE: From a Private Collection $4,000 – $6,000

— 57 —

127 CHAD POPPLETON (1976- ) High Tailing It oil on canvas 24 x 36 inches signed lower left: Chad Poppleton verso: titled, signed, dated PROVENANCE: The Artist (label verso) Private Collection, Coral Gables, FL $7,000 – $10,000

128 CHAD POPPLETON (1976- ) Under Mama’s Watch oil on canvas 14 x 20 inches signed lower right: Chad Poppleton PROVENANCE: From a Texas Collection $2,000 – $4,000

129 RALPH OBERG (1950- ) An Evening Challenge oil on board 16 x 24 inches signed lower right: Oberg © ‘87 verso: titled, signed, dated PROVENANCE: From the Collection of Mr. James M. Wells The proceeds from the sale of this lot will be donated to the Rocky Mountain Elk Foundation. $3,000 – $5,000

— 58 —

130 CONRAD SCHWIERING (1916-1986) Touch of Spring, 1968 oil on board 16 x 24 inches signed lower left: Schwiering (artist cipher) © verso: titled and numbered PROVENANCE: The Artist Private Collection, Idyllwild, CA $5,000 – $7,000

131 LUKE FRAZIER (1970- ) Bootleggers oil on board 12 x 12 inches signed lower right: L. Frazier verso: titled, signed, dated PROVENANCE: From an Arizona Collection EXHIBITED: The Wild West, Phippen Museum, Prescott, AZ, July 20 - October 29, 2012 (label verso) $2,000 – $3,000

132 BILL SAWCZUK (1945- ) Old Bar BC by the Snake oil on board 20 x 24 inches signed lower right: SAWCZUK verso: titled, signed, dated PROVENANCE: Trailside Galleries, Jackson, WY Private Collection, Jackson, WY $2,000 – $3,000

— 59 —

133 JOHN SEEREY-LESTER (1946- ) Daybreak at Aitong oil on canvas 36 x 36 inches signed lower right: Seerey-Lester © PROVENANCE: The Artist From a Private Collection $8,000 – $12,000

134 MICHAEL COLEMAN (1946- ) Majestic Elephant & The Essence of Royalty oil on board 18 x 16 inches (each) Majestic Elephant: signed lower right: MICHAEL COLEMAN © The Essence of Royalty: unsigned PROVENANCE: From a Private Collection $6,000 – $9,000 (for the pair) — 60 —

135 PIP MCGARRY (1955- ) Leopard Hideout, 2017 oil on canvas 24 ⅛ x 28 ⅛ inches signed lower right: PIP MCGARRY -2017PROVENANCE: The Artist $6,000 – $9,000

136 PIP MCGARRY (1955- ) Taking a Dip, 2018 oil on canvas 14 ¼ x 18 ¼ inches signed lower right: PIP MCGARRY -2018“Far out in the Mopane forests of Northern Botswana, we witnessed this young bull elephant bathing in a small lagoon, as we traveled from the Okavango Delta to the Savute National Park. This bull was enjoying temporary relief from the heat and insects.”—Pip McGarry PROVENANCE: The Artist $3,000 – $5,000

— 61 —

137 MARY ROBERSON (1948- ) Bull Elk with Petroglyphs oil on canvas 35 x 35 inches unsigned PROVENANCE: Private Collection, Jackson, WY $3,000 – $5,000

138 MARY ROBERSON (1948- ) American Bison oil on canvas 57 x 48 inches signed lower right: ROBERSON 98 PROVENANCE: Private Collection, Jackson, WY $4,000 – $6,000

— 62 —

139 BILL SCHENCK (1947- ) The Cadillac Ranch

140 AMY RINGHOLZ (1978- ) Inspire

oil on canvas 57 7/8 x 36 7/8 inches verso: signed and dated

oil on canvas 48 x 24 inches signed lower left: RINGHOLZ verso: titled, signed, dated

PROVENANCE: From the Collection of Mr. Richard Rosenthal

$4,000 – $6,000

141 THOM ROSS (1953- ) Moonrise acrylic on canvas 48 x 48 inches signed upper right: Ross verso: titled PROVENANCE: From the Collection of Mr. Richard Rosenthal $4,000 – $6,000

— 63 —

142 WALT GONSKE (1942- ) Taos Winter Day oil on canvas 30 x 40 inches signed lower left: GONSKE NAWA verso: titled, signed, numbered PROVENANCE: National Academy of Western Art, National Cowboy and Western Heritage Museum, Oklahoma City, OK (label verso) From a Private Collection $4,000 – $6,000

143 SHERRIE MCGRAW (1954- ) Green Vase with Pink Roses oil on board 12 x 9 ⅛ inches signed lower right: McGraw PROVENANCE: Trailside Galleries, Scottsdale, AZ Private Collection, Scottsdale, AZ $3,000 – $5,000

144 CONRAD SCHWIERING (1916-1986) Fireweed oil on board 12 x 18 inches signed lower right: Schwiering (artist cipher) © PROVENANCE: From a Private Collection $2,000 – $4,000 — 64 —

145 CONRAD SCHWIERING (1916-1986) Rugged Country oil on board 16 x 20 inches signed lower right: Schwiering © verso: titled and numbered PROVENANCE: From a Private Collection $5,000 – $7,000

146 CURT WALTERS (1950- ) Blois on the River Loire oil on canvas 16 x 12 inches signed lower left: CuRt WAltERS verso: titled PROVENANCE: Altermann & Morris Galleries, Scottsdale, AZ (label verso) Private Collection, Essex, CT $1,500 – $2,500

— 65 —

147 ROBERT DUNCAN (1952- ) Wood for the Fire oil on board 20 x 16 inches signed lower left: RDuncan ©’11 verso: titled, signed, dated PROVENANCE: From a Private Collection $2,000 – $4,000

148 LEE KROMSCHROEDER (1951- ) Children and Birds in Flower Garden oil on board 23 x 24 ¾ inches signed lower right: Kromschroeder PROVENANCE: From a Private Collection $2,000 – $4,000

— 66 —

149 GEORGE HALLMARK (1949- ) San Xavier oil on board 24 x 20 inches signed lower left: © Hallmark verso: titled and signed PROVENANCE: Private Collection, Prescott, AZ $5,000 – $7,000

150 JAMES BOREN (1921-1990) Squire of Bracketville, 1971 watercolor on paper 20 ¾ x 28 ¾ inches (sight) signed lower right: JAMES BOREN 1971 CA PROVENANCE: Private Collection, Ann Arbor, MI $3,000 – $5,000

— 67 —

151 CONRAD SCHWIERING (1916-1986) Goin’ Home oil on board 16 x 24 inches signed lower right: Schwiering © verso: titled PROVENANCE: From a Private Collection $5,000 – $7,000

152 JIM WILCOX (1941- ) Changing Seasons oil on canvas 40 x 30 inches signed lower right: JIM WILCOX-© verso: titled PROVENANCE: Wilcox Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $7,000 – $10,000

— 68 —

153 GEORGE NORTHUP (1940- ) Eagle in Flight bronze 1/4 46 x 20 ½ x 12 inches inscribed verso: NORTHRUP PROVENANCE: From the Collection of Dr. Norm Roland From the Collection of Mr. Anthony Greene, Jackson, WY $3,000 – $5,000

154 ROD GOEBEL (1946-1993) July on Trail Creek oil on canvas 29 x 24 inches signed lower right: ROD GOEBEL verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $2,000 – $4,000

155 EARL CARPENTER (1931- ) Antelope Flats Encampment oil on canvas 12 x 16 inches signed lower right: Earl Carpenter PROVENANCE: May Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $1,000 – $2,000

— 69 —

156 DONALD RICKS (1929-1996) Grand Tetons - Fall oil on canvas 30 x 40 inches signed lower right: Don Ricks © PROVENANCE: From the Collection of Mr. Anthony Greene, Jackson, WY $3,000 – $5,000

157 JORGE MAYOL (1948- ) Grizzly Bear oil on board 13 x 10 inches signed lower right: JORGE MAYOL ©00 PROVENANCE: Gordon Bailey, Carmel, CA From the Collection of Mr. Anthony Greene, Jackson, WY $800 – $1,200

— 70 —

158 BRENT LAWRENCE (1962- ) Elk Triptych patinated stainless steel 36 x 72 inches signed lower right: Brent Lawrence PROVENANCE: Astoria Fine Art, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $3,000 – $5,000

159 TIM SHINABARGER (1966- ) Great Northern bronze 21/35 20 ¼ x 16 x 9 inches inscribed verso: © Shinabarger PROVENANCE: Legacy Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $4,000 – $6,000

160 EARL CARPENTER (1931- ) Moran with Lupine oil on canvas 14 x 18 inches signed lower left: Earl Carpenter verso: titled PROVENANCE: The May Gallery, Jackson, WY (label verso) From the Collection of Mr. Anthony Greene, Jackson, WY $800 – $1,200 — 71 —

— 72 —

SESSION II LO T 161 – LO T 386 SATU R DAY, S E P TE MB E R 15TH 12: 00P M MDT CE N TE R F O R TH E A R TS 265 S O U TH CACH E J ACK S O N , WYO MIN G

P R E S E N T E D BY T R A I L S I D E GA L L E R I E S & G E R A L D P E T E R S GA L L E RY

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161 CARL RUNGIUS (1869-1959) Goats etching and drypoint 7 ⅞ x 10 ⅞ inches signed lower right: C. Rungius PROVENANCE: Private Collection, Portland, ME LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, illus. plate 13 $4,000 – $6,000

162 CARL RUNGIUS (1869-1959) The Stranger etching and drypoint 7 ⅞ x 10 ⅞ inches signed lower right: C. Rungius PROVENANCE: Private Collection, Portland, ME LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, illus. plate 14 $3,000 – $5,000

— 74 —

163 CARL RUNGIUS (1869-1959) Morning Mist etching and drypoint 6 ¼ x 8 3/8 inches signed lower right: C. Rungius verso: titled PROVENANCE: Harlow, McDonald & Co., New York, NY (label verso) Private Collection, Oceanside, CA LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, illus. plate 12 $4,000 – $6,000

164 CARL RUNGIUS (1869-1959) Challenged etching and drypoint 7 ⅞ x 10 ⅞ inches signed lower right: C. Rungius PROVENANCE: Private Collection, Portland, ME LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, illus. plate 37 $4,000 – $6,000

165 CARL RUNGIUS (1869-1959) The Rivals etching and drypoint 6 ¼ x 8 3/8 inches signed lower right: C. Rungius verso: titled PROVENANCE: Harlow, McDonald & Co., New York, NY (label verso) Private Collection, Oceanside, CA LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, illus. plate 11 $4,000 – $6,000

— 75 —

166 EDWARD BOREIN (1872-1945) Bronk Rider watercolor on paper 5 ¼ x 6 ¾ inches (sight) signed lower right: Edward Borein verso: signed and numbered PROVENANCE: De la Guerra Studios, Santa Barbara, CA (label verso) From a Private Collection $5,000 – $7,000

167 OLAF WIEGHORST (1899-1988) Cowboy with Reata watercolor on paper 14 ¾ x 11 ¾ inches (sight) signed lower left: O-Wieghorst (artist cipher) © PROVENANCE: From the Collection of Mr. Gregory Nymeyer $4,000 – $6,000 — 76 —

168 WILL JAMES (1892-1942) Bronc Rider, 1926 watercolor and pencil on paper 20 x 15 inches signed lower left: WILL JAMES III ~’26 verso: titled and dated PROVENANCE: From the Estate of Harry Jackson $8,000 – $12,000

169 WILL JAMES (1892-1942) Illustration for “Sand”, 1928 charcoal on paper 20 x 15 inches signed lower left: WILL JAMES -’28 PROVENANCE: From the Estate of Harry Jackson LITERATURE: Will James, Sand, Grosset & Dunlap: New York, NY, 1929, illus. cover $7,000 – $10,000

— 77 —

170 BOB KUHN (1920-2007) Tolling up Antelope - 1870s, 1966 gouache on paper 9 ⅞ x 13 ⅝ inches (sight) verso: signed and dated PROVENANCE: The Artist From the Collection of Phil McBride Saks Galleries, Denver, CO LITERATURE: Remington Arms, 150th Anniversary Calendar, 1966, illustrated Tom Davis, The Art of Bob Kuhn, Briar Patch Press: Camden, SC, 1989, illus. p.76 Tom Davis, The Art of Remington Arms, Sporting Classics & Remington Arms: Altona, Canada, 2003, illus. p. 32-33 Depicts Remington Sporting Rifle No. 1 (1867). $8,000 – $12,000

171 BOB KUHN (1920-2007) Bluebills in a Snow Storm, 1966 gouache on paper 8 x 12 inches (sight) signed lower right: -BOB KUHN PROVENANCE: The Artist From the Collection of Phil McBride Saks Galleries, Denver, CO $3,000 – $5,000 — 78 —

172 DAVID MAASS (1929- ) Canadas Landing oil on board 26 x 42 inches signed lower right: Maass PROVENANCE: Russell A. Fink Gallery, Lorton, VA Private Collection, Cameron, MT $10,000 – $20,000

173 BOB KUHN (1920-2007) Steady Son - 1820s, 1966 gouache on paper 9 ⅞ x 13 ⅝ inches (sight) verso: signed and dated PROVENANCE: The Artist From the Collection of Phil McBride Saks Galleries, Denver, CO LITERATURE: Remington Arms, 150th Anniversary Calendar, 1966, illustrated Tom Davis, The Art of Bob Kuhn, Briar Patch Press: Camden, SC, 1989, illus. p.77 Tom Davis, The Art of Remington Arms, Sporting Classics & Remington Arms: Altona, Canada, 2003, illus. p. 22-23 Depicts Remington Percussion Lock—First Remington Rifle (1816). $8,000 – $12,000 — 79 —

174 ROBERT BATEMAN (1930- ) Homesteaders acrylic on board 24 x 36 inches signed lower right: Robert Bateman 1968 © PROVENANCE: Private Collection, Pomfret, MD $10,000 – $15,000

175 ROBERT BATEMAN (1930- ) Gambel’s Quail oil on board 10 x 6 inches signed lower left: Robert Bateman 1994 © PROVENANCE: From a Private Collection $3,000 – $5,000

— 80 —

177 BONNIE MARRIS (1951- ) The Size of Her Universe, 2018 oil on canvas 36 x 48 inches signed lower right: BLMarris © “All members of a wolf pack take great joy and care in raising the pups of the alpha pair. There are designated nannies, and those that guard the den—but the pride and watchfulness of the mother is very much like us. She stares in wonderment of her pup. The mortality rate of wild wolf pups is very high, unfortunately, so I chose to show just one pup. Perhaps the others are in the den sleeping.” –Bonnie Marris PROVENANCE: The Artist $20,000 – $30,000

178 BOB KUHN (1920-2007) Coyote (Illustration) gouache and pencil on paper 10 ½ x 7 ⅞ inches (sight) signed lower right: -Bob Kuhn PROVENANCE: From a Private Collection $7,000 – $10,000 — 81 —

179 KEN CARLSON (1937- ) Bison oil on board 12 x 18 inches signed lower right: CARLSON PROVENANCE: From a Texas Collection $8,000 – $12,000

180 TIM SHINABARGER (1966- ) On the Fight bronze 16/30 17 x 26 ¼ x 13 inches inscribed left verso: © Shinabarger PROVENANCE: Private Collection, Almont, CO $5,000 – $7,000

181 KEN CARLSON (1937- ) Black Timber Bugler oil on board 10 x 13 inches signed lower left: CARLSON PROVENANCE: From the Collection of Curtice and Bob McCloy LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p.67 $6,000 – $9,000

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182 LUKE FRAZIER (1970- ) The Surveyor oil on board 24 x 36 inches signed upper left: L. Frazier verso: titled, signed, dated PROVENANCE: From a Private Collection $8,000 – $12,000

183 BOB KUHN (1920-2007) Three Bears conte crayon on paper 9 x 12 inches signed lower middle: - BOB KUHN PROVENANCE: From a Private Collection $2,000 – $4,000

184 BOB KUHN (1920-2007) Idea Sketch - Out on a Limb conte crayon on paper 6 ¾ x 9 inches (sight) signed lower right: -BOB KUHN PROVENANCE: From a Private Collection $1,500 – $2,500

— 83 —

185 ROBERT MEYERS (1919-1970) Escape at Dry Fork, 1969 oil on canvas 30 x 42 inches signed lower left: Meyers (artist cipher) verso: titled, signed, numbered PROVENANCE: The Artist From the Collection of Mr. Harold Ruth, Billings, MT Private Collection, Billings, MT LITERATURE: Marylee M. Moreland and Gary L. Temple, Robert W. “Bob” Meyers: Artist of the South Fork (1919-1970), Patagonia Publishing Company, 2006, illus. p.23 & p.49 $8,000 – $12,000

186 DAN METZ (1951- ) Halfway to Heaven oil on canvas 30 x 40 inches signed lower right: METZ © verso: titled PROVENANCE: From the Collection of Mr. A. Oscar Carlson $8,000 – $12,000 — 84 —

187 JASON RICH (1970- ) The Last Gate oil on board 36 x 48 inches signed lower right: J. RICH verso: titled and dated PROVENANCE: Private Collection, Almont, CO $10,000 – $15,000

188 ANDY THOMAS (1957- ) The Pursuit

189 CLARK KELLEY PRICE (1945- ) Solid Gold

oil on canvas 10 x 8 inches signed lower right: ANDY THOMAS

oil on canvas 30 x 40 inches signed lower left: © Clark Kelley Price 06 (artist cipher) CA

PROVENANCE: Private Collection, Paradise Valley, AZ

PROVENANCE: From an Arizona Collection

$3,000 – $5,000

$6,000 – $9,000

— 85 —

190 BILL ANTON (1957- ) In the Canadian Rockies oil on board 40 x 50 inches signed lower left: Bill Anton verso: titled, signed, dated PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $25,000 – $45,000

— 86 —

191 MARTIN GRELLE (1954- ) The Neighbor’s Mare oil on canvas 14 x 18 inches signed lower right: * MARTIN GRELLE 1989 (cross) © PROVENANCE: Private Collection, Paradise Valley, AZ $10,000 – $15,000

192 RICHARD D. THOMAS (1939- ) Stage to Cripple Creek oil on canvas 42 x 30 inches signed lower left: Richard D. THOMAS ‘91 © verso: titled, signed, dated, numbered PROVENANCE: From a Private Collection $8,000 – $12,000

— 87 —

193 ROY ANDERSEN (1930- ) The Shadow Trail oil on canvas 18 x 24 inches signed lower left: Roy Andersen- CA lower right: RA PROVENANCE: Private Collection, Ann Arbor, MI $8,000 – $12,000

194 ROY ANDERSEN (1930- ) The Horned Chief

195 HARLEY BROWN (1939- ) Long Otter - Crow

oil on canvas 9 x 12 inches signed lower left: Roy Andersen- CA

pastel on paper 20 ½ x 15 ¾ inches (sight) signed lower right: HARLEY BROWN

PROVENANCE: Legacy Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY

PROVENANCE: Private Collection, Paradise Valley, AZ $3,000 – $5,000

$3,000 – $5,000

— 88 —

196 JIM NORTON (1953- ) Out of the Shadows oil on board 24 x 18 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated PROVENANCE: Private Collection, Almont, CO EXHIBITED: Jim Norton, CAA, Steamboat Art Museum, Steamboat Springs, CO, December 17, 2010 - April 3, 2011 (label verso) $5,000 – $7,000

197 Z.S. LIANG (1953- ) Morning Sun oil on canvas 20 x 16 inches signed lower right: Z.S. LIANG verso: titled PROVENANCE: From a Private Collection $10,000 – $15,000

— 89 —

198 TOM DARRO (1946- ) A Chief ’s Blessing for His Daughters, 2018 oil on canvas 30 x 48 inches signed lower right: ©TOM DARRO verso: signed, dated, numbered “Tribal life on the plains was filled with many dangers. Here a powerful Crow chief performs a deeply personal prayer for his young daughters that they be blessed with strength and safety.”—Tom Darro PROVENANCE: The Artist $18,000 – $24,000

199 JIM NORTON (1953- ) The Summer Grass oil on canvas 30 x 40 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated, numbered PROVENANCE: The Artist Trailside Galleries, Jackson, WY Private Collection, Jackson, WY $20,000 – $30,000 — 90 —

— 91 —

201 ROY ANDERSEN (1930- ) The Crow Lance Way oil on canvas 48 x 58 inches signed lower right: Roy Andersen- CA PROVENANCE: Legacy Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $50,000 – $75,000

— 92 —

202 KENNETH RILEY (1919-2015) Camp Site oil on canvas 8 x 12 inches signed lower right: Kenneth Riley CA verso: titled and signed PROVENANCE: Private Collection, Almont, CO $15,000 – $25,000

203 TOM LOVELL (1909-1997) The Hunter, 1991 pastel and pencil on paper 10 ¾ x 8 inches (sight) signed lower right: TOM LOVELL 1991 PROVENANCE: From a Private Collection $5,000 – $7,000

— 93 —

204 CHARLIE DYE (1906-1972) After a Bunch Quitter oil on canvas 24 x 30 inches signed lower right: Charlie Dye (artist cipher) © PROVENANCE: O’Brien’s Art Emporium, Scottsdale, AZ (label verso) From the Collection of Mr. Horace Gray III $30,000 – $50,000

— 94 —

205 BILL OWEN (1942-2013) Dry Wash oil on canvas 24 x 30 inches signed lower right: Bill OWEN (artist cipher) PROVENANCE: Trailside Galleries, Jackson, WY From the Collection of Renee H. Buzarde $10,000 – $15,000

206 WILLIAM ACHEFF (1947- ) Evening Watch oil on canvas 13 ⅛ x 16 ¼ inches signed lower right: Acheff 2015 verso: titled, signed, dated PROVENANCE: From a Texas Collection $18,000 – $24,000

207 JAMES REYNOLDS (1926-2010) Roping a Stray oil on board 24 x 36 inches signed lower right: James E Reynolds PROVENANCE: Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) From a Private Collection $20,000 – $30,000

— 95 —

208 BILL ANTON (1957- ) The Boys and Burro Creek oil on board 24 x 36 inches signed lower left: Bill Anton verso: titled and signed PROVENANCE: The Artist Trailside Galleries, Jackson, WY (label verso) Private Collection, Jackson, WY $12,000 – $18,000

209 G. HARVEY (1933-2017) Desert Showers oil on board 11 x 6 inches signed lower right: G. Harvey - © verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From the Collection of Marilyn Krone $10,000 – $15,000

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210 CONRAD SCHWIERING (1916-1986) Cathedral in the Sky, 1972 oil on board 48 x 48 inches signed lower right: Schwiering (artist cipher) © verso: titled, dated, numbered PROVENANCE: The Artist From the Collection of Jack and Elaine Rosenthal EXHIBITED: Whitney Gallery of Western Art, Buffalo Bill Historical Center, Cody, WY, 1970 season (label verso) LITERATURE: Robert Wakefield, Schwiering and the West, North Plains Press: Aberdeen, SD, 1973, illus. p.35 $30,000 – $50,000

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211 JAMES MORGAN (1947- ) Wintering Trumpeters oil on canvas 30 x 48 inches signed lower right: JIM - MORGAN © PROVENANCE: The Artist Private Collection, TX From a Private Collection, 2004 EXHIBITED: National Cowboy & Western Heritage Museum, Oklahoma City, OK, National Academy of Western Art Prix de West, 2000. $20,000 – $25,000

212 PINO D’ANGELICO (1939-2010) Special Day

213 RICHARD SCHMID (1934- ) Female Nude

oil on canvas 40 x 30 inches signed lower right: pino

oil on canvas 20 x 16 inches signed lower right: Schmid verso: titled, signed, dated, numbered

PROVENANCE: From the Collection of Marilyn Krone $18,000 – $24,000

PROVENANCE: Blair Galleries, Ltd., Santa Fe, NM (label verso) Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $12,000 – $18,000

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214 GEORGE HALLMARK (1949- ) The Flower Seller oil on canvas 30 x 40 inches signed lower right: © Hallmark PROVENANCE: From a Private Collection $15,000 – $25,000

215 RICHARD SCHMID (1934- ) Gretchen conte crayon on board 20 x 30 inches signed lower right: Schmid PROVENANCE: From a Private Collection $5,000 – $10,000

216 RICHARD SCHMID (1934- ) Captain John’s Tomatoes oil on canvasboard 9 x 13 ¼ inches signed lower left: Schmid 2007 verso: titled, signed, dated, numbered PROVENANCE: From a Private Collection $20,000 – $30,000 — 99 —

217 PINO D’ANGELICO (1939-2010) Lady with Children on Beach, 2008 oil on canvas 50 x 40 inches signed lower left: pino verso: signed and dated PROVENANCE: From a Private Collection $30,000 – $50,000

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218 RICHARD SCHMID (1934- ) Aspen Grove oil on canvas 22 x 28 inches signed lower right: Schmid verso: titled, signed, dated, numbered PROVENANCE: From a Private Collection $20,000 – $30,000

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219 CLYDE ASPEVIG (1951- ) Summer Greens oil on canvas 24 x 36 inches signed lower left: C. ASPEVIG verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $15,000 – $25,000

220 TUCKER SMITH (1940- ) Dexter oil on board 10 x 12 inches signed lower left: Tucker Smith 98 PROVENANCE: Private Collection, Almont, CO $8,000 – $12,000

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221 TUCKER SMITH (1940- ) Ahead of the Storm oil on canvas 24 x 32 inches signed lower left: Tucker Smith 08 PROVENANCE: The Artist {Coeur d’Alene Auction, July 26, 2008, lot 33} From the Collection of Mr. Anthony Greene, Jackson, WY $60,000 – $90,000

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222 BOB KUHN (1920-2007) A Last Running Look, 2001 acrylic on masonite 16 x 24 inches signed lower left: Kuhn verso: signed and dated PROVENANCE: From the Collection of Mr. Stephen Krasemann $55,000 – $75,000

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223 BOB KUHN (1920-2007) Watchful Eyes acrylic on masonite 12 ½ x 10 inches signed lower right: Kuhn PROVENANCE: From a Private Collection $25,000 – $45,000

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224 BOB KUHN (1920-2007) Nap Time acrylic on board 5 ¾ x 13 ¼ inches signed lower left: Kuhn PROVENANCE: Gregory James Gallery, New Milford, CT (label verso) Private Collection, Bridgewater, CT $10,000 – $15,000

225 BOB KUHN (1920-2007) Mulies in a Spruce Thicket, 1995 acrylic on masonite 12 x 12 inches signed lower right: Kuhn 95 verso: signed and dated PROVENANCE: From a Texas Collection $30,000 – $40,000 — 106 —

226 KEN CARLSON (1937- ) Bachelor Bighorns, 2018 oil on board 30 x 26 inches signed lower left: CARLSON “Bighorn rams are bachelors, secluded from the ewes except for the mating season. The rams band together and migrate according to the season, either to the valleys in winter or higher elevations in summer. During the autumn mating season, the rams duel for breeding rights and seek groups of ewes.”—Ken Carlson PROVENANCE: The Artist $30,000 – $40,000

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227 MICHAEL COLEMAN (1946- ) North American Mammals (Set of 9) oil on board 18 x 16 inches (each) signed lower left: MICHAEL COLEMAN © PROVENANCE: From a Private Collection $30,000 – $50,000 (for the set) — 108 —

228 JOHN CLYMER (1907-1989) Out of the Silence oil on board 20 x 30 inches signed lower right: John Clymer verso: titled and signed PROVENANCE: Grand Central Art Galleries Inc., New York, NY (label verso) From the Estate of P. Huber Hanes Jr., President and CEO of Hanes Corporation $50,000 – $75,000

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229 BOB KUHN (1920-2007) His Elegance acrylic on masonite 13 ⅛ x 23 ¾ inches signed lower left: Kuhn verso: titled PROVENANCE: The Artist Private Collection, Bridgewater, CT $35,000 – $55,000

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230 BOB KUHN (1920-2007) Basic Training, 1980 acrylic on masonite 16 x 35 ½ inches signed mid-left: Kuhn verso: titled and signed PROVENANCE: Altermann & Morris Galleries, Dallas, TX (label verso) Stremmel Galleries Ltd., Reno, NV (label verso) From the Collection of Mr. Anthony Greene, Jackson, WY $90,000 – $120,000

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231 JOHN CLYMER (1907-1989) Territorial Dispute oil on board 24 x 40 inches signed lower left: John Clymer Widely recognized for recording western history and wildlife in his art, John Ford Clymer was born in Ellensburg, Washington in 1907. Clymer developed an interest in art from a very early age. Following high school, he moved to Vancouver, British Columbia, where he worked as an illustrator and attended art school. In 1930, Clymer attended the Wilmington Academy in Delaware, where he encountered and found inspiration from the illustrator and western artist, N.C. Wyeth. In 1932, Clymer married his childhood sweetheart Doris and moved to Westport, Connecticut to join the artist gathering there. During World War II, Clymer and illustrator Tom Lovell joined the Marines. Stationed in Washington State, they spent their time painting war illustrations. After the war Clymer decided to create historical paintings. In order to accurately depict the West in his work, Clymer researched and traveled throughout the region. In 1966, Clymer and his wife settled down in the quiet western town of Jackson, Wyoming, to better pursue Clymer’s interest in painting local western people and regional wildlife. Clymer received many honors, including the National Academy of Western Art’s Prix de West Award and the National Museum of Wildlife Art’s Rungius Medal. His hometown of Ellensburg, Washington established the Clymer Museum. Clymer’s family generously donated the contents of his studio to the National Museum of Wildlife Art in Jackson Hole, Wyoming. In Territorial Dispute Clymer combines the drama with which he typically depicted western and Native American subjects with the subject matter of wildlife. While many of Clymer’s wildlife paintings are leisurely and even peaceful, in this painting Clymer elevates the subject to a new level, treating it with the same intensity with which he completed his epic historical scenes. PROVENANCE: From the Collection of Mr. Anthony Greene, Jackson, WY $150,000 – $250,000

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232 JOHN CLYMER (1907-1989) Rocky Mountains Big Horns oil on board 20 x 30 inches signed lower left: John Clymer PROVENANCE: The Eddie Basha Collection, Chandler, AZ $50,000 â&#x20AC;&#x201C; $75,000

233 KEN CARLSON (1937- ) Slashear - Portrait of an Old Fighter oil on board 24 x 36 inches signed lower left: KEN CARLSON PROVENANCE: Private Collection, Almont, CO LITERATURE: Tom Davis, From the Tundra to Texas: The Art of Ken Carlson, Collectors Covey: Dallas, TX, 1994, illus. p. 77 $20,000 – $30,000

234 KEN CARLSON (1937- ) Bighorns on the Ridge oil on board 22 ½ x 34 ½ inches signed lower right: CARLSON PROVENANCE: Private Collection, Almont, CO $20,000 – $30,000

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235 CLYDE ASPEVIG (1951- ) Evening at Island Park oil on canvas 40 x 60 inches signed lower left: C. Aspevig PROVENANCE: From a Wyoming Collection $50,000 – $75,000

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236 KEN CARLSON (1937- ) Pronghorn in Winter oil on board 18 x 27 inches signed lower right: CARLSON PROVENANCE: Private Collection, Bridgewater, CT $20,000 – $30,000

237 TIM SHINABARGER (1966- ) Sundown bronze 12/40 16 ¼ x 17 ½ x 8 ½ inches inscribed center verso: © Shinabarger verso: titled PROVENANCE: Private Collection, Almont, CO $2,000 – $4,000

238 ROBERT LOUGHEED (1910-1982) Grizzly Country, 1981 oil on board 12 x 16 inches signed lower right: ROBERT LOUGHEED (artist cipher) © CA verso: titled, signed, dated, numbered PROVENANCE: Astoria Fine Art, Jackson, WY (label verso) From a Private Collection $6,000 – $9,000

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239 OLAF WIEGHORST (1899-1988) Cowboy on Horseback oil on board 16 x 20 inches signed lower right: O. WIEGHORST PROVENANCE: The Artist Collection of Svend and Ragnhild Poulsen Collection of Gun Petersson, by descent Private Collection, Sweden $10,000 – $15,000

240 OLAF WIEGHORST (1899-1988) Retaliation oil on canvas 30 x 30 inches signed lower right: O. WiEghorst (artist cipher) verso: titled and signed PROVENANCE: Rainone Galleries, Inc., Arlington, TX (label verso) Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) From a Texas Collection $20,000 – $30,000 — 118 —

241 HERMAN HANSEN (1854-1924) Two Cheyenne Scouts & The Short Cut, 1905 watercolor and pencil on paper 29 ⅛ x 19 ⅜ inches (each) signed lower right: H.W. HANSEN Two Scouts: titled verso PROVENANCE: Two Scouts: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Sheridan, WY The Short Cut: Jim Fowler Period West Gallery, Scottsdale, AZ (label verso) Maxwell Gallery, San Francisco, CA (label verso) Private Collection, Sheridan, WY $40,000 – $60,000 (for the pair)

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242 N.C. WYETH (1882-1945) Untitled (Portrait of a Cowboy), 1908 oil on canvas on board 10 ½ x 10 ½ inches initialed lower center: N.C.W. Newell Convers Wyeth, better known as N.C. Wyeth, grew up on a farm in Massachusetts at the end of the nineteenth century. Wyeth showed his artistic talent early, and studied at the Massachusetts Normal Art School in Boston. In 1902, Wyeth received the opportunity that would shape the rest of his career and firmly cement his place in the canon of American art—to study with the father of American illustration, Howard Pyle. Arguably the most successful of Pyle’s protégés, Wyeth encapsulated all of his teachings and within two years was well on his way to establishing his own career. Wyeth ventured west in 1904 and 1906, spending vital time observing, studying, and absorbing all the rich subject matter of the west. In his own words, Wyeth described this early attraction, saying “The West appealed to me as it would to a boy; a sort of external effervescence of spirit seemed to be all that substantiated my work.”1 With trips to both Arizona and Colorado, Wyeth not only worked as a cowboy but also lived with the Navajo for a short time. He received numerous commissions for western subjects from Scribner’s, The Saturday Evening Post, and many more. Executed in 1908, Wyeth’s Untitled (Portrait of a Cowboy) undoubtedly draws inspiration from Wyeth’s personal experience in the West just two years prior. One of five illustrations that Wyeth created for Hamlin Garland’s short story “The Outlaw and the Girl,” published in the The Ladies’ Home Journal in 1908, this piece served to introduce the male protagonist of the story. Billed as ‘A Singular Romance of a Girl in the Rocky Mountains,’ the story follows New Yorker Alice Mansfield’s ill-fated travels into the West. When her surveying party becomes stranded, Alice holes up in a deserted mountain cabin where she meets the rugged ex-Rough Rider, Hall McCord. As the story progresses it becomes clear that McCord is an outlaw, and like all good westerns the story ends with a tragic clash between McCord and the Sheriff’s posse—leaving the girl heartbroken. Wyeth’s depiction of McCord draws upon iconic images of the American cowboy. Replete with hat, bandana, plaid shirt, and chiseled features—Wyeth presents McCord as a dashing romantic interest for the protagonist Alice. The shadow dropping across McCord’s face, as well as his gaze—cast to the side—hint at a darker side to this seemingly wholesome character. 1

Douglas Allen and Douglas Allen, Jr., N.C. Wyeth: The Collected Paintings, Illustrations and Murals, Crown Publishers, INC., New York, NY, 1972, p. 53

PROVENANCE: Probably Curtis Publishing Co. Philadelphia, PA Charles W. Hargens Jr., Carversville, PA (until 1997) By descent From a Private Collection LITERATURE: Hamlin Garland, The Outlaw and the Girl, Ladies’ Home Journal 25, no. 6, May 1908, illus. p. 7 Douglas Allen and Douglas Allen, Jr., N.C. Wyeth: The Collected Paintings, Illustrations and Murals, Crown Publishers, INC.: New York, NY, 1972, p. 261 Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings, Scala: London, United Kingdom, 2008, I.213 (1266), p. 176. $80,000 – $120,000

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243 FRANK TENNEY JOHNSON (1874-1939) Rocky Steeps oil on canvas 20 ¼ x 14 ¼ inches signed lower left: F. Tenney Johnson verso: titled PROVENANCE: Rainone Galleries, Inc., Arlington, TX (label verso) From a Private Collection $35,000 – $55,000

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244 EDGAR PAYNE (1883-1947) Sierra Lake oil on canvas 22 ¼ x 26 ¼ inches signed lower right: EDGAR PAYNE PROVENANCE: Owings-Dewey Fine Art, Santa Fe, NM (label verso) Private Collection, Sheridan, WY $30,000 – $50,000

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245 WILLIAM GOLLINGS (1878-1932) Crow Camp, 1921 oil on board 6 x 10 inches signed lower right: Gollings 1921 (artist cipher) verso: titled and dated PROVENANCE: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Northbrook, IL $40,000 – $60,000

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246 WILLIAM GOLLINGS (1878-1932) Game Hunter, 1905 oil on board 11 ⅞ x 8 ⅞ inches signed lower right: Gollings (artist cipher) 05 PROVENANCE: Private Collection, Sheridan, WY $20,000 – $30,000

247 JOHN FERY (1859-1934) End of the Day oil on canvas 23 1/8 x 35 1/8 inches signed lower right: J.Fery PROVENANCE: The Artist Private Collection, California From a Montana Collection $10,000 – $15,000

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248 FRANK TENNEY JOHNSON (1874-1939) Branding a Maverick, 1913 oil on canvas 34 x 24 inches signed lower left: Frank Tenney Johnson - 1913 Frank Tenney Johnson was born in 1874 in Big Grove, Iowa, near the old Overland Trail. While the trail had ceased to be the main thoroughfare it once was, the tales of explorers, covered wagons, and Indian parties filled Johnson’s mind with ideas from childhood. After his mother passed away, Johnson’s father sold the family farm and moved them to Milwaukee in 1888. After attending high school in Milwaukee for one year, Johnson dropped out, determined to pursue his artistic endeavors fulltime. Johnson scrounged up what little money he had and enrolled in art classes taught by the watercolorist F.W. Heine. After a short apprenticeship with Heine, Johnson began studying with Richard Lorenz, a member of the Society of Western Painters. While continuing his studies, Johnson got a job with a local engraving firm and began to make a small living from his work with commercial entities throughout the city. Johnson saved his money and spent what he could to travel to the Indian country in South Dakota, to study and sketch from life. With the death of his aunt in 1895, Johnson inherited enough money to travel to New York to further his studies. He joined the Art Students League and studied under John Henry Twachtman. Johnson’s money ran out after five months, and he returned to Milwaukee. In 1986 he met and married his life-long love Vinnie Reeve and in 1902 they moved back to New York. Johnson then began his studies at the New York School of Art with Robert Henri and William Merritt Chase. Looking for illustrative work in the city, Johnson had the opportunity to create advertisements for Winchester rifles, at which he excelled. Furthermore, he met the editor of Field & Stream, who in 1904 paid for Johnson to take a rail tour of the west. This trip proved to be the most pivotal moment in Johnson’s career. From the Colorado cowboys to the Cheyenne rodeo and back down to Navajo country in New Mexico, Johnson sketched his way across the west. During this venture Johnson not only observed the west, but he truly got his hands dirty. He participated in cattle roundups, branding, and more—experiencing the cowboy way of life from the saddle rather than the studio. Following this influential trip west, Johnson returned to New York and cemented his place as a premier illustrator—sought after by numerous magazines and publishers. In 1912 Johnson made another trip west, where he spent five months travelling through South Dakota, Montana, California, New Mexico, and Colorado. Later that year he became a member of the prestigious Salmagundi Club, a clear sign of his growing success. With the west fresh on his mind, Johnson painted Branding a Maverick in 1913. Unlike some of his contemporaries, Johnson had the hands-on experience from which to depict this classic western scene. During this period Johnson experienced immense commercial success, which allowed him artistic freedom not afforded him in prior years. Able to draw upon his authentic understanding of the west, Johnson did not strictly adhere to the text he illustrated, but rather let his vision dictate the outcome rather than being hemmed in by the constraints of an illustrator. In the 1920’s Johnson moved to Alhambra, California, where he sought to focus on his oil paintings rather than his illustrations. Johnson’s studio became a meeting place for leading western artists like Edward Borein and Charles M. Russell. In 1931 Johnson built a cabin and studio on the Shoshone River in Wyoming, near the east gate of Yellowstone Park, where he spent his summers. PROVENANCE: Grand Central Galleries, New York, NY (label verso) Collection of Robert E. Peters, Paradise Valley, AZ Kodner Gallery, St. Louis, MO (label verso) Private Collection, Sheridan, WY $175,000 – $275,000

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249 OLAF CARL SELTZER (1877-1957) Blackfoot Warrior watercolor, gouache, and pencil on paper 8 ¼ x 11 ½ inches signed lower left: O.C. SELTZER PROVENANCE: From a Private Collection $8,000 – $12,000

250 VICTOR HIGGINS (1884-1949) Fish Ponds 2 watercolor on paper 12 x 15 3/4 inches signed lower left: VICTOR HIGGINS PROVENANCE: From the Collection of Kelly Stephens $15,000 – $25,000 — 128 —

251 EANGER IRVING COUSE (1866-1936) Autumn Flute Song, 1924 oil on canvas 12 ¼ x 16 inches signed lower left: EI - COUSE- N.A. PROVENANCE: Private Collection, Sheridan, WY $40,000 – $60,000

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252 GERALD IRA DIAMOND CASSIDY (1879-1934) Navajo Woman and Child mixed media on board 17 ½ x 23 ⅜ inches signed lower right: Gerald Cassidy PROVENANCE: Private Collection, Arizona From the Collection of Rollin W. King, Dallas, TX, 2013 Estate of Rollin W. King, 2015 From a Private Collection $30,000 – $50,000

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253 GERALD IRA DIAMOND CASSIDY (1879-1934) Taos Indian oil on canvas 16 x 20 inches signed lower right: Gerald Cassidy (artist cipher) PROVENANCE: Rosenstock Arts, Denver, CO Collection of Arthur J. Stegall, Jr., AZ (acquired 1980 from the above) {Christie’s, New York, May 21, 2008, Lot 33} From a Private Collection $125,000 – $175,000

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254 WILLIAM R. LEIGH (1866-1955) Mohavi Basket Connoisseur, 1949 oil on canvas 19 x 18 inches signed lower left: W.R. LEIGH © 1949. PROVENANCE: Gerald Peters Gallery, Santa Fe, NM Private Collection, Carefree, AZ LITERATURE: June DuBois, W.R. Leigh: The Definitive Illustrated Biography, The Lowell Press: Kansas City, MO, 1977, illus. p.69 $40,000 – $60,000

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255 CARL OSCAR BORG (1879-1947) Apache Water Carrier oil on panel 20 x 16 inches signed lower left: CARL OSCAR BORG PROVENANCE: From a Private Collection $10,000 – $15,000

256 ALICE COUTTS (1879-1973) Study for Little Mendocino oil on board 7 x 5 inches signed lower right: Alice Coutts PROVENANCE: From a Private Collection $3,000 – $5,000

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257 GERALD IRA DIAMOND CASSIDY (1879-1934) Pueblo Mother oil on canvas 31 x 22 inches signed lower right: Gerald Cassidy PROVENANCE: Private Collection, Santa Barbara, CA $75,000 – $125,000

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258 RAPHAEL LILLYWHITE (1891-1958) Untitled (Journey Home) oil on masonite 25 ¼ x 31 ¼ inches signed lower left: Raphael Lillywhite PROVENANCE: From a Private Collection $5,000 – $10,000

260 GRACE CARPENTER HUDSON (1865-1937) Twins, 1896 oil on canvas 12 x 8 inches signed lower left: G Hudson ‘96 verso: signed PROVENANCE: Thomas Nygard Gallery, Bozeman, MT (label verso) Biltmore Galleries, Scottsdale, AZ (label verso) From a Private Collection $18,000 – $24,000

259 RAPHAEL LILLYWHITE (1891-1958) Untitled (Round-Up) oil on masonite 25 ¾ x 32 inches signed upper left: Raphael Lillywhite PROVENANCE: From a Private Collection $5,000 – $10,000

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261 DAVID SHEPHERD (1931-2017) Leopards at the Waterhole, 2008 oil on canvas 18 x 28 inches signed lower right: -David Shepherd- 08 verso: titled and dated PROVENANCE: From a Private Collection $20,000 – $30,000

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262 FRIEDRICH WILHELM KUHNERT (1865-1926) Tiger on Watch, 1901 oil on board 8 ½ x 10 ½ inches signed lower left: -Wilh. Kuhnert 1901 verso: signed and titled PROVENANCE: From a Private Collection $15,000 – $25,000

263 JONATHAN KENWORTHY (1943- ) Leopard Looking Back bronze AP/10 5 ½ x 13 ¼ x 6 ½ inches inscribed verso: KENWORTHY 66 PROVENANCE: From a Private Collection $6,000 – $9,000

264 FRIEDRICH WILHELM KUHNERT (1865-1926) Tiger etching on paper 24/60 9 ½ x 12 ½ (plate) inches signed lower right: Wilh. Kuhnert numbered lower left: 24/60 PROVENANCE: From a Private Collection $1,000 – $2,000

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265 FRIEDRICH WILHELM KUHNERT (1865-1926) Collection of 50 Drawings pencil, gouache, and wash on paper 10 x 12 inches (each, approx.) signed PROVENANCE: From a Private Collection LITERATURE: Wilhelm Haacke and Wilhelm Kuhnert, Das Thierleben der Erde [Animal Life on Earth], 3 volumes, Martin Oldenbourg: Berlin, Germany, 1901, illustrated. $50,000 – $75,000

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266 BOB KUHN (1920-2007) Down to the Scraps, 1995 acrylic on masonite 12 x 20 inches signed lower left: Kuhn 95 PROVENANCE: The Artist From a Private Collection $35,000 – $55,000

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267 BOB KUHN (1920-2007) Wild Chorus acrylic on masonite 14 ¼ x 30 inches signed lower left: Kuhn PROVENANCE: From the Collection of Mr. Fred Glick $50,000 – $75,000

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268 ROBERT BATEMAN (1930- ) Evening Light acrylic on board 28 x 48 inches signed lower right: Robert Bateman 1995 © PROVENANCE: Private Collection, Pomfret, MD $30,000 – $50,000

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269 CARL BRENDERS (1937- ) Black Bear mixed media on illustration board 21 x 27 ¼ inches (sight) signed lower left: © CBrenD 86 PROVENANCE: Private Collection, Plymouth, MN $12,000 – $18,000

270 KENT ULLBERG (1945- ) Waiting for Sockeye bronze 3/20 27 1/4 x 45 x 21 inches inscribed front: © Ullberg stamped front: ACC PROVENANCE: From the Collection of Mr. Anthony Greene, Jackson, WY $8,000 – $12,000

271 STEVE BURGESS (1960- ) Snow Patrol, 2018 oil on board 24 x 30 inches signed lower left: Steve Burgess “‘On the ragged edge of the World I’ll roam. / And the home of the Wolf will be my home’. So wrote Robert Service in his poem. For me as a Wildlife Artist the Wolf is one of my favorite subjects to paint and would be a greater loss to us than some exotic rodent because they epitomize the American wilderness as no other animal does, they fill the folklore of childhood, the woods and the mountains and in this painting by depicting a lone Wolf I have tried to evoke the feeling of solitude in the deep forest.”—Steve Burgess PROVENANCE: The Artist $8,000 – $12,000 — 143 —

272 TIM SHINABARGER (1966- ) Through the Jungle bronze 3/35 27 ½ x 27 x 23 ¾ inches inscribed center verso: © Shinabarger PROVENANCE: Private Collection, Almont, CO $8,000 – $12,000

273 TIM SHINABARGER (1966- ) Whitetail Buck bronze 17/40 18 x 15 ¾ x 5 ½ inches inscribed left verso: ©Shinabarger PROVENANCE: Private Collection, Almont, CO $2,000 – $4,000

274 TIM SHINABARGER (1966- ) On the Barren Lands bronze 35/35 23 x 24 x 10 ½ inches inscribed lower right: © Shinabarger verso: 35/35 PROVENANCE: Private Collection, Bridgewater, CT $7,000 – $10,000

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275 KENNETH BUNN (1938- ) Striding Grizzly bronze 3/7 28 3/4 x 53 x 18 inches inscribed front: BUNN © PROVENANCE: From the Collection of Mr. Anthony Greene, Jackson, WY $30,000 – $50,000

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276 SYDNEY LAURENCE (1865-1940) Food Cache with Mount McKinley oil on canvas 20 ¼ x 16 ¼ inches signed lower left: Sydney Laurence PROVENANCE: John R. Howard Fine Art, Missoula, MT (label verso) Private Collection, Inverness, IL $25,000 – $35,000

277 ARTHUR BURDETT FROST (1851-1928) Putting Out Decoys, 1916 watercolor and gouache on paperboard 16 ¾ x 14 ½ inches (sight) signed lower right: A.B. FROST verso: titled and dated PROVENANCE: Scribner’s Magazine, New York, NY (label verso) From a Private Collection LITERATURE: Jesse Lynch Williams, Good Hunting, Scribner’s Magazine, vol. 60, November 1916, illus. p. 525 $7,000 – $10,000 — 146 —

278 SYDNEY LAURENCE (1865-1940) Mountain Landscape oil on masonite 16 x 20 inches signed lower right: Sydney Laurence PROVENANCE: Private Collection, Inverness, IL $10,000 – $15,000

279 W.H.D. KOERNER (1878-1938) A Life in the Northwest oil on canvas 24 x 16 inches signed lower left: W.H.D. Koerner verso: titled, signed, numbered PROVENANCE: Private Collection, Santa Monica, CA $6,000 – $9,000

280 CARL RUNGIUS (1869-1959) Moose Head oil on canvasboard 9 x 12 inches signed lower right: C Rungius PROVENANCE: From a Private Collection $20,000 – $30,000

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281 ARTHUR FITZWILLIAM TAIT (1819-1905) A Slight Chance, 1883 oil on canvas 20 x 30 inches signed lower left: A.F. Tait NY 83 One of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born near Liverpool, England, in 1819. At the age of twelve, Tait secured a position working for Agnew’s, an art dealer in Manchester. During his time with Agnew’s, Tait became an adept lithographer. Largely self-taught, Tait spent his evenings learning to paint by copying works at the Royal Institute. His first taste of the American West came when he assisted George Catlin with his Indian Gallery in London and Paris in the 1840s. In 1850 Tait immigrated to the United States to pursue his career as an artist. Just two years later Currier & Ives began to publish his work, which proved to be the beginning of his rise to fame. Around this same time, Tait traveled to the Adirondack Mountains, where he found great inspiration in the wildlife, landscape, and sporting activities there. The region would continue to inspire Tait’s work for the remainder of his life. Tait not only painted sporting scenes, but also became an avid huntsman and naturalist, which lent an air of authenticity to his work that greatly appealed to the nineteenth-century art market. In 1854 Tait became an associate of the National Academy of Design, and he participated in their annual exhibitions for over fifty years during his long career. Painted in 1883, A Slight Chance epitomizes Tait’s developed technique and intimate knowledge of the Adirondack region. Two hopeful hunters glide across the foreground, the first poised with his shotgun on the bow of the canoe, while the second quietly maneuvers their craft around a log that serves as their last remaining bit of cover. Their prey—a pair of deer—graze in the exposed lush grasses on the opposite bank of the river. Tait depicts the most charged moment of anticipation, the hunters have not yet emerged, but some noise has alerted the wildlife—birds take flight across the river and the deer raise their heads to gaze towards the hunters. The next moment will determine the success or failure of their venture, and as the title implies, they have a slight chance. PROVENANCE: Edward Schenck, New York, April 3-4, 1883 Norman James, Baltimore, Maryland {The Anderson Galleries, New York, November 14-16, 1928, lot 471} Yale University Art Gallery, New Haven, Connecticut Vose Galleries, Boston, Massachusetts, 1969 (acquired from the above) Private Collection, circa 1969 (acquired from the above) Private Collection, by descent {Sotheby’s, New York, May 20, 2015, lot 83} From a Private Collection LITERATURE: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist in the Adirondacks, Newark, Delaware, 1986, no. 83.7, illus. p. 263-64 $400,000 – $600,000

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282 W.H.D. KOERNER (1878-1938) Their Meeting Ground, 1931 oil on canvas 28 ⅛ x 40 ⅛ inches signed lower left: W.H.D. KOERNER 1931 verso: titled, signed, dated PROVENANCE: The Artist, by descent From a Private Collection $20,000 – $30,000

283 FRANK HOFFMAN (1888-1958) Bringing Home the Bacon oil on board 16 x 20 inches signed lower left: Hoffman (artist cipher) verso: titled PROVENANCE: From a Private Collection $12,000 – $18,000

284 W.H.D. KOERNER (1878-1938) Old Monterey, 1933 oil on canvas 28 ¼ x 40 ⅛ inches signed lower left: W.H.D. KOERNER 1933 verso: titled, signed, dated, numbered PROVENANCE: The Artist, by descent From a Private Collection $50,000 – $75,000

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285 PAOLO PETROVICH TROUBETZKOY (1866-1938) Catchin’ Up, 1921 bronze 19 x 18 inches inscribed: © 1921 Paul Troubetzkoy stamped: Cire Perdue C. Valsuani Referred to by George Bernard Shaw as “the most astonishing sculptor of modern times,” Paolo Petrovich Troubetzkoy was the son of Russian diplomat Prince Peter Petrovich Troubetzkoy. Born in Lago Maggiore, Italy in 1866 Troubetzkoy spent time in Italy, France, England, the United States, and Russia. While he studied briefly with Ernesto Bazzaro in Milan, Troubetzkoy’s formal artistic education was short-lived and he was largely self-taught. A member of the aristocracy, Troubetzkoy moved freely in the circles of the elite throughout Europe and made a name for himself sculpting portrait busts and statuettes in his note-worthy impressionistic style. Leo Tolstoy, Grand Duchess Elizabeth Feodorovna, Count Sergei Yulyevich Witte, and many others numbered themselves among his clients. Troubetzkoy received early acclaim in Italy and Paris, before exhibiting at the World’s Columbia Exhibition in Chicago in 1893. The following year his bronze Indian Scout won the gold medal at the National Exhibition in Rome. Modeled after performers in Buffalo Bill’s Wild West Show in Milan, Indian Scout serves as an early example of Troubetzkoy’s successful foray into western sculpture. Despite his distinctly European roots, Troubetzkoy also had an intimate connection with America. He may have received his aristocratic name from his Russian father, but he received a prevailing interest in the west from his American mother, opera singer Ada Winans. Troubetzkoy’s star continued to rise, and he saw immense critical success throughout the early 1900s. While in New York for an exhibition at Knoedler & Co in 1914, WWI took hold of the global stage, and Troubetzkoy found it safest to remain stateside. During this period he brought his talent for portraiture from the European elite to the American—among his sitters were Franklin D. Roosevelt, Gertrude Vanderbilt Whitney, and James Van Buren. In 1919 Troubetzkoy won a commission in Los Angeles for a monument honoring Los Angeles Times owner General Harrison Gray Otis, who had passed away in 1917. Inspired by his transcontinental train ride from New York to Los Angeles, Troubetzkoy returned to the western subject matter he had begun exploring decades earlier. It was during this period that he created Catchin’ Up, an intimate portrayal of two cowboys. While Remington and Russell explored the west through a lens of realism, Troubetzkoy brought his emotional impressionism to the subject—a refreshing and powerful take on an iconic American theme. PROVENANCE: From a Private Collection $75,000 – $125,000

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286 THOMAS MORAN (1837-1926) Laguna, New Mexico Looking from the East, 1892 watercolor, gouache, and pencil on paper 9 ⅜ x 12 ⅜ inches (sight) signed lower left: Laguna, New Mexico from the East June 14th 1892 T.Moran. verso: titled and dated PROVENANCE: The Estate of David Lamb From a Private Collection EXHIBITED: “The Moran Family Legacy,” Guild Hall, East Hampton, NY, October 25, 1997-January 11, 1998 (label verso) $75,000 – $125,000

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288 EDWARD CURTIS (1868-1952) Geronimo - Apache, 1907 photogravure 15 ½ x 10 ¾ inches PROVENANCE: From a Private Collection $12,000 – $18,000

287 EDWARD CURTIS (1868-1952) In the Bad Lands, 1904 photogravure 14 x 17 ¼ inches PROVENANCE: From a Private Collection $3,000 – $5,000

289 EDWARD CURTIS (1868-1952) Eskadi - Apache & Vash Gon, Jicarilla, 1903 & 1904 photogravure 17 ½ x 11 inches (each) PROVENANCE: From a Private Collection $5,000 – $7,000 (for the pair) — 155 —

290 OSCAR BERNINGHAUS (1874-1952) Indian Turning the Soil oil on board 16 x 20 inches signed lower right: O.E. Berninghaus PROVENANCE: Private Collection, Sheridan, WY $50,000 – $75,000

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291 WILLIAM R. LEIGH (1866-1955) Jackson Lake, 1912 oil on canvas 22 ¼ x 33 ¼ inches signed lower right: W.R.LEIGH © verso: dated and numbered PROVENANCE: Midwestern Galleries, Cincinnati, OH (label verso) Mongerson Wunderlich, Chicago, IL (label verso) From a Private Collection EXHIBITED: Masters of Western Landscape, Rosenstock Arts, Denver, CO, May 8 - 30, 1981 $50,000 – $75,000

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292 OSCAR BERNINGHAUS (1874-1952) Taos Field of Workers, 1950 oil on canvas 25 x 30 inches signed lower right: O.E. BERNINGHAUS / -50 Oscar E. Berninghaus, born in 1874 in St. Louis, Missouri, displayed his inclination for art at an early age. At sixteen he quit school to work for a lithography company and later attended night classes at the School of Fine Arts in St. Louis. In 1899, the Denver and Rio Grand Railroad hired him to travel west to sketch and produce watercolors of the mountain scenery, people, and villages. It was during this journey that Berninghaus encountered the magic of Taos, the Pueblo, and its Native inhabitants. Berninghaus continued to return to Taos almost every summer for the next twenty-five years. As early as 1905, his work received critical acclaim in the newspapers with some writers comparing him to Frederic Remington. In the summer of 1915, Berninghaus co-founded the famous Taos Society of Artists along with Joseph Henry Sharp, Bert Geer Phillips, Ernest Blumenschein, E.I. Couse, and Herbert Dunton. In 1925, Berninghaus moved permanently to New Mexico where he continued to paint in Taos until the time of his death. For the majority of his career, Berninghaus painted from life—live models and plein air landscapes. However, towards the end of his career the people and terrain of Taos became so ingrained in the artist’s mind that he could paint just as accurately from memory as from life. A cornerstone of the Taos community, Berninghaus earned the trust and respect of Pueblo members, and as a result was given unprecedented access to the kivas and sacred dances. This intimate relationship between artist and subject lends an unshakeable authenticity to Berninghaus’ work. While Russell and Remington viewed the cowboy or the Plains Indians as hallmarks of American art and identity, Berninghaus saw his work and that of his contemporaries in Taos as something undeniably American. He described this, saying “I think the colony in Taos is doing much for American art. From it I think will come a distinctive art, something definitely American—and I do not mean that such will be the case because the American Indian and his environment are the subjects. But the canvases that come from Taos are as definitely American as anything can be.”1 Painted in 1950, just two years prior to the artist’s death, Taos Field of Workers embodies Berninghaus’ fully matured style and the depth of his artistic skill. Larger than many of the figures in his work, the central figures in this painting fill the foreground as they toil to work the land. The Pueblo lies in the distance behind them—the entire scene dwarfed by the towering Sangre de Cristo mountains. Ever an important element in Berninghaus’ work, the enchanting New Mexico light suffuses the entire scene in a warm glow, setting the stage for this daily drama of agrarian survival. 1

Mary Carroll Nelson, The Legendary Artists of Taos, Watson-Guptill: New York, NY, 1980, p.41

PROVENANCE: Mission Gallery, Taos, NM Collection of Dorothy & William Harmsen, CO, 1967 The Harmsen Art Museum Foundation Denver Art Museum, 2001 (deaccessioned in 2011) From a Private Collection EXHIBITED: Colorado Springs Fine Arts Center, Colorado Springs, CO, October 6 – November 6, 1972 LITERATURE: Dorothy Harmsen, Harmsen’s Western Americana: A Collection of one Hundred Western Paintings with Biographical Profiles of the Artists, Northland Press: Flagstaff, AZ, 1971, p. 20, illus. p. 21 Sugar and Spice, (quarterly publication of Jolly Rancher Candies) Fall 1978, illus. cover $400,000 – $500,000

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293 FREMONT ELLIS (1897-1985) Early Spring Aspens oil on canvas 28 ⅛ x 36 ⅛ inches signed lower right: FREMONT F. ELLIS verso: titled and signed PROVENANCE: From the Collection of Mr. Dennis DeVona $25,000 – $35,000

294 FREMONT ELLIS (1897-1985) Summer Aspens in the Canyon oil on canvas 20 x 25 inches signed lower right: FREMONT.ELLIS PROVENANCE: From a Private Collection $15,000 – $25,000

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295 E. MARTIN HENNINGS (1886-1956) Evening on Taos Mountain oil on canvas 24 x 30 inches signed lower right: E. Martin Hennings PROVENANCE: From a Private Collection $30,000 – $50,000

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296 WILLIAM DE LA MONTAGNE CARY (1840-1922) Blind Crossing oil on canvas 20 x 30 ¼ inches signed lower right: Wm de la M. Cary PROVENANCE: The Artist Collection of Clinton Cary (artist’s son) From the Collection of Clinton Cary Rodell, by descent $30,000 – $50,000

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297 OTTO SOMMER (1811-1911) Beef for the Troops, 1867 oil on canvas 28 x 44 inches signed lower right: Otto Sommer N.Y. / 1867. PROVENANCE: {Eldred’s, Maine, July 20, 1995, lot 111} From a Private Collection $50,000 – $100,000

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298 G. HARVEY (1933-2017) Tete a Tete, 1995 oil on board 12 x 9 inches signed lower right: G. Harvey- © verso: titled, signed, dated PROVENANCE: From the Collection of Marilyn Krone $12,000 – $18,000

299 FRANK TENNEY JOHNSON (1874-1939) Stella Seated & The Whittler, 1896 pencil on paper 13 x 9 inches (each) Stella Seated: signed lower right: Frank T Johnson - 96 NY Jan - 21 Whittler: signed lower left: Frank T. Johnson. Feb-11-96. New York. PROVENANCE: From a Private Collection $5,000 – $7,000 (for the pair)

300 JOHN FALTER (1910-1982) Study for San Francisco Weekend tempera on board 13 ¼ x 17 ¼ inches signed lower left: J. Falter PROVENANCE: Private Collection, Manitou Springs, CO $5,000 – $7,000

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301 CHARLES WYSOCKI (1928-2002) Melodramas in the Mist, 1987 oil on canvas 26 x 30 inches signed lower right: ©Charles Wysocki verso: titled, signed, dated PROVENANCE: The Charles Wysocki Gallery, Lake Arrowhead, CA (label verso) From a Private Collection $8,000 – $12,000

302 ARTHUR FITZWILLIAM TAIT (1819-1905) Barn Scene oil on board 13 x 10 inches signed lower left: A.F. Tait PROVENANCE: Private Collection, Denver, CO $6,000 – $9,000

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303 THOMAS HART BENTON (1889-1975) Study for the Pathfinder, 1925 oil on board 14 x 11 inches signed lower right: T. Benton In 1919 Thomas Hart Benton began his self-commissioned mural series The American Historical Epic, which he conceived of as a series of seventy-five mural panels that would visually tell the history of the United States from the fifteenth century through the 1920s. Benton completed ten panels in the series and placed all of them on display in New York between 1923 and 1928 in the hopes of receiving a formal commission. Although the artist’s efforts did not immediately lead to any commissions, the mural program provided a glimpse into the type of large-scale, public work that would make Benton famous in the following decade. The Pathfinder, now in the collection of the Nelson-Atkins Museum of Art (Kansas City, Missouri) was part of the second set of five murals that comprised the series. Study for The Pathfinder is the oil study that Benton used to prepare his largescale painting. Benton, who turned to American subjects with an intensely personal tone, used this series as a way of documenting the progress of American civilization.1 The Pathfinder depicts John Charles Frémont, who was born in 1813 and died in 1890. A relative of the artist’s, Frémont married Jessie Benton, daughter of Thomas Hart Benton’s great uncle. Benton learned of Frémont’s endeavors while working on this mural series and found his muse for the main figure. Frémont gained the nickname Pathfinder in the 1840s when he was leading expeditions through the American frontier and acting as guide along with other legendary figures, like Kit Carson. As a military officer, Frémont led an expedition over the Santa Ynez Mountains during the Mexican-American War to capture Santa Barbara, which lead to the surrender of Mexican General Pío Pico. Frémont’s political career includes a short stint as a U.S. Senator for California as well as presidential candidate for the anti-Lincoln Radical Republicans. Towards the end of his life, Frémont served as governor of the Arizona Territory. In his study for The Pathfinder, with its spatial discord and expressive contours, Benton reflects the upheaval of American society and the turmoil precipitated by its growth. The setting invokes America’s past, before industrialization when Americans lived off the land. The turbulence of the brush strokes and the arresting sharpness of color reflect the changes that modern America inflicted on the land and its people. The subject matter itself, a white mountain man watching a group of Native American hunters, emphasizes a loss of the native values originally associated with American civilization. Focusing on images of the past allowed Benton to “project [a broad range of American experiences] into a style of painting that would be rooted more in the agrarian past than in the urban present but would take into account all those experiences.”2 Ironically Benton used his undeniably modern American style to harken back to the country’s past, challenging change while stylistically echoing it. 1

Matthew Baigell, Thomas Hart Benton (New York: Harry N. Abrams, Inc., 1989), 92.

Baigell, Matthew. Thomas Hart Benton: A New Concise NAL Edition., New York: Harry N. Abrams, 1975, pg. 55.

PROVENANCE: Collection of the Artist Private Collection, New York, NY James Goodman Gallery, New York, NY From a Private Collection $175,000 – $225,000

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304 JOSEPH HENRY SHARP (1859-1953) Floral Still Life oil on canvas 16 x 20 inches signed lower right: JH SHARP PROVENANCE: From a Texas Collection $15,000 – $25,000

305 NORMAN ROCKWELL (1894-1978) Study for Fixing a Flat

306 EUSTACE ZIEGLER (1881-1969) Alaskan Daughter

pencil on tissue paper 17 ⅛ x 15 ½ inches (sight) signed lower right: Best wishes to my good and patient friend Hank Townsend. Sincerely Norman Rockwell

oil on canvas 18 x 15 inches signed lower left: ZIEGLER (artist cipher) verso: signed and dated

PROVENANCE: Private Collection, Pomfret, MD

PROVENANCE: Private Collection, Byron Center, MI

$15,000 – $25,000

$8,000 – $12,000 — 168 —

307 DEAN CORNWELL (1892-1960) Illustration for The Enchanted Hill, 1924 oil on canvas 36 x 30 inches signed lower left: DC 24 PROVENANCE: Private Collection, West Palm Beach, FL LITERATURE: Peter B. Kyne, The Enchanted Hill, Cosmopolitan, 1924, illustrated Patricia Janis Broder, Dean Cornwell: Dean of Illustrators, Collectors Press: Portland, OR, 2000, illus. p.67 $50,000 – $75,000

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308 EDWARD POTTHAST (1857-1927) Bright Angel Trail, Grand Canyon, 1911 oil on canvas 30 x 24 inches signed lower left: E Potthast Born in Cincinnati in 1857 to German immigrant parents, Edward Henry Potthast received his education at the McMicken School of Design. Potthast spent over a decade studying with Thomas Noble at McMicken, working as a lithographer and illustrator to support himself during his studies. Throughout the 1880s Potthast traveled to Europe, where he continued his artistic education in Antwerp, Munich, and Paris. In 1896 Potthast moved to New York City, where he found work with popular magazines like Harper’s, Scribner’s, and Century. Potthast also pursued his academic artistic career during this period, exhibiting at the Art Institute of Chicago and the National Academy of Design, where he became an associate member in 1899—the same year he won the Thomas B. Clarke prize for best figure painting. After developing a strong market for his work in New York, Chicago, and Cincinatti, Potthast gave up his commercial lithography work and devoted all of his attention to painting. Most well-known for his sunny impressionistic scenes of Coney Island and Rockaway Beach, Potthast went beyond the New England coast in search of inspiration—he headed west. In 1910 Potthast joined fellow artist Thomas Moran on a Santa Fe Railroad sponsored trip to the Grand Canyon. Along with four other artists, they were also accompanied by Nina Spaulding Stevens, assistant director of the Toledo Museum of Art. She described the moment Potthast first saw the canyon, writing, “The artists were led to the rim with their eyes closed, that the vision might burst upon them for the first time in its entirety. All was still with the silence of infinity.”1 Inspired by the grandeur of the canyon, the quality of light and color, Potthast made several return trips to the Grand Canyon. Painted in 1911, just a year after his first trip to the Grand Canyon, Bright Angel Trail, Grand Canyon evokes the immensity of the canyon and its profound effect upon the artist. A myriad maze of shifting light and color, the landscape of the Grand Canyon proved to be a perfect match for Potthast’s impressionistic style. The small figures of horses and people dot the trail beneath the rim, heading down into the expansive depths. Potthast effectively conveys the enormity of the landscape, placing the human element as a mere footnote, while nature rules supreme. 1

Joni L. Kinsey, The Majesty of the Grand Canyon: 150 Years in Art, (Pomegranate: Portland, OR, 2004), p.39

PROVENANCE: Kennedy Galleries, New York, NY Chapellier Gallery, New York, NY William M. Hackman Trust, 1981 {Sotheby’s, New York, 29 November 2006, lot no. 207} From a Private Collection EXHIBITED: Desert Caballeros Western Museum, Wickenburg, AZ, January – March, 2010. $200,000 – $400,000

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309 MARTIN GRELLE (1954- ) Morning Chores acrylic on canvas 20 x 18 inches signed lower right: (cross) MARTIN GRELLE CA © *04 verso: titled and signed PROVENANCE: Private Collection, Paradise Valley, AZ EXHIBITED: Cowboy Artists of America, Phoenix Art Museum, Phoenix, AZ, October 23 - November 21, 2004 (label verso) $20,000 – $30,000

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310 KENNETH RILEY (1919-2015) Night Brigade acrylic on masonite 12 x 18 inches signed lower right: Kenneth Riley CA PROVENANCE: From a Private Collection $10,000 – $20,000

311 KENNETH RILEY (1919-2015) High Plains acrylic on masonite 8 x 11 ½ inches signed lower right: Kenneth Riley CA PROVENANCE: Private Collection, Prescott, AZ EXHIBITED: Friends of the Phippen Showcase the Cowboy Artists of America, Phippen Museum, Prescott, AZ, October 14, 2006 - February 11, 2007 (label verso) $12,000 – $18,000 — 173 —

312 BONNIE MARRIS (1951- ) Freedom oil on canvas 24 x 36 inches signed lower right: BL Marris© PROVENANCE: From a Private Collection $10,000 – $15,000

313 RAY SWANSON (1937-2004) Can We Share? oil on canvas 38 x 26 inches signed lower right: Ray Swanson CA © verso: titled PROVENANCE: Prix de West Invitational, National Cowboy Hall of Fame, Oklahoma City, OK (label verso) Private Collection, Ann Arbor, MI $12,000 – $18,000 — 174 —

314 MARTIN GRELLE (1954- ) Prairie Wolves acrylic on canvas 9 x 12 inches signed lower right: (cross) MARTIN GRELLE © CA 2006 * verso: titled, signed, dated PROVENANCE: Private Collection, Paradise Valley, AZ EXHIBITED: Cowboy Artists of America, Phoenix Art Museum, Phoenix, AZ, October 19 - November 19, 2006 (label verso) $15,000 – $25,000

316 WILLIAM ACHEFF (1947- ) Jewel of the Southwest oil on canvas 44 x 26 inches signed lower right: Wm. Acheff 1989 verso: titled, signed, dated PROVENANCE: Nedra Matteuci Galleries, Santa Fe, NM (label verso) From a New York Collection $70,000 – $100,000 — 176 —

317 JENNESS CORTEZ (1944- ) A Tale of Two Cultures oil on mahogany panel 30 x 36 inches signed lower right: © Cortez 2005 PROVENANCE: Private Collection, Naples, FL LITERATURE: Karen Rechnitzer Pope, Homage to the Creative Spirit: The Paintings of Jenness Cortez, AMI Publishers: Averill Park, New York, 2011, illus. p.91 Homage to: Frederick Sackrider Remington (1861-1909), A Dash for the Timber, 1889, Amon Carter Museum $75,000 – $125,000

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318 KENNETH RILEY (1919-2015) Being Pursued, 1989 acrylic on board 12 x 16 inches signed lower right: Kenneth Riley © CA 89 PROVENANCE: From a Texas Collection $15,000 – $20,000

319 KENNETH RILEY (1919-2015) Autumn Passage, 1986 acrylic on board 15 ⅛ x 13 ⅞ inches signed lower right: Kenneth Riley 86 CA © PROVENANCE: Cowboy Artists of America, Phoenix Art Museum, Phoenix, AZ (label verso) Private Collection, Bonita, CA $10,000 – $15,000

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320 KENNETH RILEY (1919-2015) Midnight Solitude acrylic on masonite 12 x 16 inches signed lower right: Kenneth Riley Kenneth Riley attended the Kansas City Art Institute where he studied drawing with Thomas Hart Benton. Riley later earned a scholarship to attend the Art Students League and Grand Central Art School in New York, where he studied under Harvey Dunn—one of America’s most influential artists and teachers. After WWII, Riley spent the next twenty-five years making a name for himself as a much sought after illustrator for major magazines including The Saturday Evening Post, National Geographic, Reader’s Digest, McCalls, Redbook and Life Magazine, among many others. In later years Riley shifted focus and became a highly sought after western artist. Utilizing the original journals of western adventurers, artists, and others, Riley developed his narratives from actual events. Using an abstract approach and a stunning, sophisticated palette, he focused his art on the history and culture of the American west; notably the life, culture, and philosophies of the Apache, Mandan, and Plains tribes. Using rich layers of color and dramatic design, his paintings offer not only a literal story, but also an allegorical and spiritual interpretation of Native American life and culture. In 1973 Riley became a charter member of the National Academy of Western Art, and in 1982 was voted into the Cowboy Artists of America. Riley won the coveted Prix De West Award in 1995. His original works are displayed at major venues and museums across the nation including the White House, the Smithsonian Institute, The Air Force Academy, and the Little Bighorn Battlefield National Monument in Montana. The Booth Museum added a work by Kenneth Riley to their permanent collection in 2018. PROVENANCE: The Artist, by descent $25,000 – $45,000

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321 EDWARD BOREIN (1872-1945) War Party on the Move, 1913 ink and gouache on paperboard 21 ½ x 27 ½ inches (sight) signed lower right: EDWARD BOREIN Verso Image: Untitled (Native American Figure Study) pencil and ink on paperboard 19 ½ x 25 ½ inches unsigned PROVENANCE: Phoenix Art Museum From a Private Collection $60,000 – $90,000

Verso

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322 OSCAR BERNINGHAUS (1874-1952) Why the Mail Was Late watercolor and gouache on paper 15 x 20 ½ inches (sight) signed lower right: O.E. BERNINGHAUS PROVENANCE: Kodner Gallery, St. Louis, MO (label verso) Private Collection, Sheridan, WY LITERATURE: Martin Kodner, Oscar Edmund Berninghaus, 1874-1952: St. Louis-Born Painter of Western Scenes, Gateway Heritage, 4, Winter 1983-1984, illus. p. 44 $30,000 – $50,000

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323 MARION IDA KAVANAGH WACHTEL (1870-1954) Lake Mary oil on canvas 28 x 36 inches signed lower left: Marion Kavanagh Wachtel verso: titled and signed PROVENANCE: From a Private Collection $20,000 – $30,000

324 ALBERT BIERSTADT (1830-1902) Scene in the Rocky Mountains of Colorado oil on paper mounted on board 19 ½ x 14 inches signed lower left: ABierstadt PROVENANCE: Kennedy Galleries, Inc., New York, NY (label verso) From a Private Collection $25,000 – $35,000 — 182 —

325 THOMAS HILL (1829-1908) Yosemite Falls, 1886 oil on canvas 24 1/4 x 16 1/4 inches signed lower right: T. Hill. verso: titled, signed, dated PROVENANCE: From a Private Collection $12,000 – $18,000

326 WILLIAM SAMUEL PARROTT (1843-1915) View of Mount Hood oil on canvas 19 x 26 inches signed lower right: W.S. PARROTT. PROVENANCE: From a Private Collection $5,000 – $7,000

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327 ALBERT BIERSTADT (1830-1902) Source of the Snake River oil on paper mounted on canvas 14 x 19 inches signed lower right: ABierstadt Unlike so many celebrated artists, Albert Bierstadt saw great financial success and critical acclaim during his lifetime. Born in Soligen, Germany, in 1830 Bierstadt immigrated to the United States as a toddler; settling with his family in New Bedford, Massachusetts. In 1853 Bierstadt returned to Germany to pursue his formal artistic training at the Royal Academy in Dusseldorf, studying alongside Worthington Whittredge, Emmanuel Leutze, and Carl Wimar. Upon returning to the United States in 1857, Bierstadt painted the mountain ranges of the East Coast, developing his skill as a landscape painter. Renowned for his paintings of the American west, Bierstadt first traveled west in 1859 as part of Frederick Lander’s road building crew. Like John Mix Stanley had done for Isaac Stevens’ expedition, Bierstadt served to provide a visual record of the journey and to depict the grandeur of the West. Enchanted by the Rockies, Bierstadt developed a keen interest in Wyoming’s branch of them, known as the Wind River Range. Like Thomas Moran, and others before him, Bierstadt also fell under the spell of Yellowstone’s magic. A land of surreal geothermal features, towering waterfalls, and unbelievable beauty, Yellowstone is also the birth place of Western Wyoming’s largest river—the Snake. In Source of the Snake River Bierstadt clearly expresses his love and admiration of the region as well as artistic ability. The meticulously detailed foreground gives way to softly rendered mountains—the stylistic contrast effectively conveys the enormity of these peaks, creating a sense of vast space despite the scale of the piece. Snow lingers on the mountain tops, and the bright green of the wooded hillsides below speak to the natural flow of the melt, leading the eye down into the valley. Rather than showing us the immensity of the river in its fullness, Bierstadt gives the viewer only a glimmer of water, perfectly framed between the rise and fall of the hills in the foreground. Unpopulated, untouched, untainted, the wilderness at the source of the Snake is shown here in its pristine primal beauty; embodying the freedom, expansion, and American pride that marked the late nineteenth-century. Throughout his time in Wyoming and the West, Bierstadt sketched, photographed, and meticulously recorded his surroundings. Returning to the East Coast, he created numerous large scale paintings of the region. PROVENANCE: Private Collection, Kansas City, Missouri, circa 1935 Private Collection, by descent (her grandchildren) From a Private Collection $300,000 – $500,000

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328 HENRY BALINK (1882-1963) Chief Little Bear, 1936 oil on canvas 20 x 16 inches signed lower left: HENRY. E. BALINK. SANTA. FE. N.M. CHIEF. LITTLE. BEAR. PROVENANCE: Private Collection, Sheridan, WY $18,000 – $24,000

329 EDWARD CURTIS (1868-1952) Francisca Chiwiwi-Isleta

330 EDWARD CURTIS (1868-1952) A Mixed-Blood Coast Pomo

photogravure 15 ½ x 11 ½ inches

photogravure 15 ½ x 11 ¼ inches

PROVENANCE: From a Private Collection

$1,500 – $2,500

$1,500 – $2,500 — 186 —

331 ALEXANDER HARMER (1856-1925) Watching Signal Fires at Sunset, 1890 oil on canvas 30 x 50 inches signed lower right: Alex F. Harmer PROVENANCE: Private Collection, Santa Barbara, CA From a Private Collection EXHIBITED: Alexander F. Harmer 1856-1925, James M. Hansen Galleries, Santa Barbara, CA, September 27 – October 16, 1982 LITERATURE: James M. Hansen, Alexander F. Harmer 1856 – 1925, Santa Barbara, CA, 1982, illus. plate 18 $50,000 – $100,000

— 187 —

332 KEN CARLSON (1937- ) The Spoils of the Victor oil on board 24 x 36 inches signed lower right: CARLSON PROVENANCE: From the Collection of Mr. Stephen Krasemann $20,000 – $30,000

333 MICHAEL COLEMAN (1946- ) A Sunny Spot - Red Fox oil on board 18 x 16 inches signed lower left: © MICHAEL COLEMAN PROVENANCE: From a Private Collection $3,000 – $5,000

334 RALPH OBERG (1950- ) Prairie Portrait oil on board 20 x 24 inches signed lower right: Oberg. verso: titled and signed PROVENANCE: From a Private Collection $4,000 – $6,000

— 188 —

335 LUKE FRAZIER (1970- ) Morning Bugler, 2018 oil on board 30 x 36 inches signed lower left: L. Frazier “Mature bull elk make quite a display during the fall rut—his bugle is a guttural screaming crescendo, letting all rivals know of his presence. Elk love deep dark timber, and when they venture out into the light, it can be a spectacular sight.”—Luke Frazier PROVENANCE: The Artist $15,000 – $25,000

336 BONNIE MARRIS (1951- ) Desperados oil on board 18 x 37 ¾ inches signed lower left: BLMarris © verso: titled, signed, dated PROVENANCE: From the Collection of Ms. Angie Baca $8,000 – $12,000

— 189 —

337 KEN CARLSON (1937- ) Mule Deer oil on board 18 x 27 inches signed lower left: CARLSON PROVENANCE: Private Collection, Bridgewater, CT $20,000 – $30,000

338 BRUCE CHEEVER (1958- ) Double Trouble, 2018 oil on board 34 x 44 inches signed lower left: - Bruce Cheever © “In my painting Double Trouble a mother black bear brings her young cubs to a mountain stream and encourages them to imitate her actions while searching for fish. Born relatively helpless, she instinctively teaches her cubs all she knows in a short two years. Ever vigilant at protecting her young and providing for their every need, she is the master of balancing youthful curiosity and play, with the hard lessons of eventual survival on their own.”—Bruce Cheever PROVENANCE: The Artist $15,000 – $20,000 — 190 —

339 LINDSAY SCOTT (1955- ) Yellowstone Sageland oil on canvas 21 ½ x 46 inches signed lower left: LINDSAY SCOTT verso: numbered PROVENANCE: The Artist $10,000 – $15,000

340 TUCKER SMITH (1940- ) Big Sheep Mountain oil on board 9 x 12 inches signed lower left: Tucker Smith 08 PROVENANCE: Private Collection, Almont, CO $9,000 – $12,000

341 LUKE FRAZIER (1970- ) The Three Sisters oil on board 30 x 36 inches signed lower left: L Frazier lower right: ©08 verso: titled, signed, dated PROVENANCE: From an Arizona Collection EXHIBITED: The Wild West, Phippen Museum, Prescott, AZ, July 20 - October 29, 2012 (label verso) $10,000 – $15,000

— 191 —

342 AMY RINGHOLZ (1978- ) Crowned Giant, 2018 oil on canvas 36 x 48 inches signed lower right: RINGHOLZ verso: titled, signed, dated “This piece is a portrait of our local favorite here in Jackson. The moose is quite the character with its strange proportions and features. I love to show character and expression in my wildlife. I use bright bold colors to celebrate their beauty, and the bull moose is an especially grand subject to study.”—Amy Ringholz PROVENANCE: The Artist $8,000 – $12,000

343 WILLIAM ACHEFF (1947- ) Function and Art, 2018 oil on canvas 15 ¼ x 21 ½ inches signed lower right: Acheff 2018 “Throughout human history, the necessity for utilitarian pottery and other useful implements spawned individual expressions in design.”—William Acheff PROVENANCE: The Artist $20,000 – $25,000 — 192 —

344 R. TOM GILLEON (1942- ) Paha Sapa oil on canvas 60 x 60 inches signed lower right: R Tom Gilleon verso: titled and signed PROVENANCE: From the Collection of Mr. Richard Rosenthal $100,000 – $150,000

— 193 —

345 BO BARTLETT (1955- ) Deer oil on linen 56 x 76 ¼ inches signed lower left: BO lower right: IGN PROVENANCE: Kristy Stubbs Gallery, Dallas, TX From a Private Collection $125,000 – $200,000

— 194 —

346 FRITZ SCHOLDER (1937-2005) Poppy oil on canvas 68 x 80 inches signed lower right: Scholder PROVENANCE: Private Collection, Los Angeles, CA $20,000 – $40,000

347 FRITZ SCHOLDER (1937-2005) Indian with Porcupine Headdress acrylic on linen 28 x 28 inches signed upper left: Scholder PROVENANCE: Private Collection, Los Angeles, CA $15,000 – $25,000

— 195 —

348 STANLEY MELTZOFF (1917-2006) Jewfish 6 - Sabbath Reef Worship, Belize, 2000 oil on canvas mounted on board 24 x 32 ½ inches signed lower right: SM PROVENANCE: From the Estate of Stanley Meltzoff $25,000 – $35,000

— 196 —

349 STANLEY MELTZOFF (1917-2006) Barracuda 2, 1988 oil on canvas mounted on board 24 x 41 ¾ inches verso: titled, signed, dated PROVENANCE: From the Estate of Stanley Meltzoff $10,000 – $15,000

350 STANLEY MELTZOFF (1917-2006) Black Marlin 12 oil on canvas mounted on board 23 ¾ x 42 inches unsigned PROVENANCE: From the Estate of Stanley Meltzoff $10,000 – $15,000

351 STANLEY MELTZOFF (1917-2006) Jacks 2 - Jacks and Squid School, 2000 oil on canvas mounted on board 20 x 24 (oval sight) inches signed lower left: SM verso: titled, signed, dated PROVENANCE: From the Estate of Stanley Meltzoff LITERATURE: Stanley Meltzoff and Mike Rivkin, Stanley Meltzoff: Picture Maker, Silverfish Press, Korea, 2010, illus. p.86 $20,000 – $30,000

— 197 —

352 ELDRIDGE HARDIE (1940- ) Afternoon Drift watercolor on paper 14 x 21 inches (sight) signed lower left: EldridgE HardiE verso: titled and signed PROVENANCE: Private Collection, Sagle, ID LITERATURE: Eldridge Hardie and Nick Lyons, The Paintings of Eldridge Hardie: Art of a Life in Sport, Stackpole Books: Mechanicsburg, PA, 2002, illus. cover and p.47 $4,000 – $6,000

353 LUKE FRAZIER (1970- ) The Old Pro oil on board 18 x 24 inches signed lower left: Luke Frazier lower right: © 08 verso: titled, signed, dated PROVENANCE: From an Arizona Collection $5,000 – $7,000

354 DAVID MAASS (1929- ) Mallards Taking Flight oil on board 26 x 36 inches signed lower right: Maass PROVENANCE: Private Collection, Cameron, MT $10,000 – $15,000

— 198 —

355 ROBERT ABBETT (1926-2015) Stonewall Brittany, 1990 oil on board 24 x 36 inches signed lower left: abbett ©’90 verso: titled, signed, dated PROVENANCE: From a Texas Collection $25,000 – $35,000

— 199 —

356 CLYDE ASPEVIG (1951- ) Zion National Park oil on canvas 30 x 40 inches signed lower left: C. ASPEVIG 84 PROVENANCE: From the Collection of Mr. Frank Pierce $20,000 – $30,000

357 JAMES REYNOLDS (1926-2010) A Break in the Weather, 1989 oil on canvas 18 x 24 inches signed lower left: James Reynolds 1989 © PROVENANCE: O’Brien’s Art Emporium, Scottsdale, AZ (label verso) From a Private Collection $12,000 – $18,000

358 CONRAD SCHWIERING (1916-1986) Pfeiffer Cabin oil on board 20 ¼ x 30 ¼ inches signed lower left: Schwiering (artist cipher) © PROVENANCE: Private Collection, Los Angeles, CA $6,000 – $9,000

— 200 —

359 SCOTT CHRISTENSEN (1962- ) Summer oil on board 40 x 60 inches signed lower right: Christensen verso: titled PROVENANCE: From the Collection of Mr. Horace Gray III $15,000 – $25,000

360 CURT WALTERS (1950- ) Havasu Falls oil on canvas 50 x 40 inches signed lower right: Curt Walters PROVENANCE: Private Collection, Scottsdale, AZ $25,000 – $35,000

— 201 —

361 MIAN SITU (1953- ) Riding with Company oil on canvas 24 x 34 inches signed lower left: Mian Situ verso: titled and signed PROVENANCE: Trailside Galleries, Jackson, WY (label verso) From a Private Collection $15,000 – $20,000

362 CARRIE BALLANTYNE (1956- ) Steve Yellowtail - Crow Cowboy colored pencil on paper 21 x 13 ½ inches signed lower left: CL Ballantyne verso: titled and signed PROVENANCE: Prix de West Invitational, National Cowboy Hall of Fame, Oklahoma City, OK (label verso) Altermann Galleries, Santa Fe, NM Big Horn Galleries, Cody, WY From the Collection of Mr. Richard Rosenthal $18,000 – $24,000 — 202 —

363 KRYSTII MELAINE (1963- ) Aokaki’tsiiksi - Blackfeet Scouts oil on canvas 56 x 40 inches signed lower right: Krystii Melaine verso: titled, signed, dated, numbered PROVENANCE: The Artist $20,000 – $30,000

364 CYRUS AFSARY (1940- ) Celebration oil on canvas 24 x 30 inches signed lower left: CYRUS AFSARY PROVENANCE: Prix de West Invitational, National Cowboy Hall of Fame, Oklahoma City, OK (label verso) Private Collection, Almont, CO $12,000 – $18,000

— 203 —

365 GARY NIBLETT (1943- ) Before the Attack oil on canvas 24 x 36 inches signed lower right: © GARY NIBLETT ‘88 CA verso: titled and signed PROVENANCE: From a Private Collection $6,000 – $9,000

366 HERB MIGNERY (1937- ) Gauging the Crosswinds bronze 9/9 49 x 23 x 19 inches inscribed verso: Mignery CA ‘06, FNSS 9/9 PROVENANCE: From a Wyoming Collection $8,000 – $12,000

367 DAN MIEDUCH (1947- ) The Spirit Mask, 2018 oil on board 24 x 36 inches signed lower left: © -DAN MIEDUCH- 2018 “The most prized possession among the hunting cultures of the American west was the war horse. These horses were bred and trained to be fearless in battle and to run down human and animal alike. The spirit mask on this Lakota lad’s horse shows he is a war leader or pipe carrier. The leather cutouts in the shape of horns are to imbue the animal with the speed of an antelope. The bird of prey feathers on the forelock, give him the keen vision and cleverness of an eagle.”—Dan Mieduch PROVENANCE: The Artist $15,000 – $25,000 — 204 —

368 MICHAEL COLEMAN (1946- ) Evening at the Bitterroot - Crow oil on board 20 x 40 inches signed lower right: MICHAEL COLEMAN - © verso: titled PROVENANCE: J.N. Bartfield Galleries, New York, NY (label verso) From a New York Collection 369 JIM NORTON (1953- ) Wind in His Hair oil on board 15 x 12 inches signed lower left: Jim C Norton CA verso: titled, signed, numbered, dated PROVENANCE: Private Collection, Ann Arbor, MI $3,000 – $5,000

370 DAVID HALBACH (1931- ) Soyohim (Mixed Dance - Hopi) watercolor and pencil on paper 14 ¾ x 21 inches (sight) signed lower right: DAVID HALBACH CA © ‘96 verso: titled and signed PROVENANCE: Cowboy Artists of America, Phoenix Art Museum, Phoenix, AZ (label verso) Private Collection, Bonita, CA $4,000 – $6,000 — 205 —

$10,000 – $15,000

371 KENNETH RILEY (1919-2015) Kanagan, British Columbia - Bighorns, 1978 acrylic on board 8 x 16 inches signed lower right: Kenneth Riley OKANAGEN, BRITISH COLUMBIA 11-78 PROVENANCE: Private Collection, Almont, CO $4,000 – $6,000

372 CONRAD SCHWIERING (1916-1986) Autumn Gold oil on board 25 x 30 inches signed lower right: Schwiering © verso: titled PROVENANCE: From a Wyoming Collection $10,000 – $20,000

373 LUKE FRAZIER (1970- ) Wilderness Song oil on board 16 x 24 inches signed lower left: L. Frazier lower right: ©07 verso: titled, signed, dated PROVENANCE: From an Arizona Collection EXHIBITED: The Wild West, Phippen Museum, Prescott, AZ, July 20 - October 29, 2012 $4,000 – $6,000

— 206 —

374 JIM WILCOX (1941- ) Snake River at Dusk oil on canvas 48 x 36 inches signed lower right: JIM WILCOX-© PROVENANCE: Wilcox Gallery, Jackson, WY From the Collection of Mr. Anthony Greene, Jackson, WY $10,000 – $15,000

375 NICHOLAS COLEMAN (1978- ) In Dog Valley, 2018 oil on board 30 x 24 inches signed lower right: -N Coleman © “I try and create peaceful scenes of Native Americans engaged in everyday rituals, always in harmony with their natural environment. Using clothing, artifacts from my own collection and the collection of my father. I focus on motifs representing indigenous customs from the years before Euro-American settlement and native relocation onto government reservations. In In Dog Valley, the two figures are returning to camp from the daily work of seeking sustenance, with particular attention to the diverse effects of natural light in the Rocky Mountain landscape.”—Nicholas Coleman PROVENANCE: The Artist $6,000 – $9,000

— 207 —

376 HOWARD ROGERS (1932- ) Evening Glow oil on canvas 20 x 36 inches signed lower right: H. RogErs © PROVENANCE: The Artist Trailside Galleries, Jackson, WY (label verso) $3,000 – $5,000

377 R.S. RIDDICK (1952- ) Like Father, Like Son

378 HOWARD ROGERS (1932- ) Riding the Rimrocks

oil on canvas 40 x 30 inches signed lower left: H.RogErs ©

PROVENANCE: Prix de West Invitational, National Cowboy Hall of Fame, Oklahoma City, OK (label verso) Private Collection, Ann Arbor, MI

PROVENANCE: The Artist Trailside Galleries, Jackson, WY (label verso) $4,000 – $6,000

$7,000 – $10,000

— 208 —

379 DAVID HALBACH (1931- ) The Last One In watercolor on paper 10 ¾ x 18 inches (sight) signed lower left: DAVID HALBACH CA © ‘91 PROVENANCE: From a Private Collection $2,000 – $3,000

380 GRAY BARTLETT (1885-1951) The Wild Bunch oil on canvas 24 x 30 inches signed lower right: Gray Bartlett (artist cipher) PROVENANCE: Grand Central Art Galleries, New York, NY (label verso) From a Private Collection $5,000 – $7,000

381 TOM BROWNING (1949- ) Hay Wagon oil on canvas 36 x 48 inches signed lower left: Tom Browning 1987 PROVENANCE: From the Collection of Mr. Jeff Legg $15,000 – $25,000 — 209 —

382 ELAINE COFFEE (1941- ) The Compelling Mood of the Gardner (Isabella Stewart Gardner Museum) oil on canvas 24 x 36 inches signed lower right: Elaine G Coffee verso: titled and signed PROVENANCE: Trailside Galleries, Scottsdale, AZ (label verso) From a Private Collection $5,000 – $7,000

— 210 —

384 RICHARD SCHMID (1934- ) White Barns oil on canvas 14 x 18 inches signed lower left: Schmid verso: titled, signed, dated, numbered PROVENANCE: Private Collection, Inverness, IL $7,000 – $10,000

385 MIAN SITU (1953- ) Early Fall oil on canvas 32 x 40 inches signed lower right: Situ Mian O.P.A PROVENANCE: Private Collection, Ann Arbor, MI $8,000 – $12,000

386 GLENNA GOODACRE (1939- ) Vietnam Women’s Memorial bronze 62/100 25 x 28 ½ x 18 inches inscribed verso: © 1993 VIETNAM WOMAN ’S MEMORIAL, INC. 62/100 G Goodacre © 1992 PROVENANCE: From a Private Collection $7,000 – $10,000 — 211 —

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

THANK YOU FOR PARTICIPATING IN THE JACKSON HOLE ART AUCTION

WE ARE CURRENTLY SEEKING QUALITY CONSIGNMENTS FOR THE 2019 AUCTION

SAVE THE DATE! SEPTEMBER 13 & 14, 2019

F O R A N O - O B L I G AT I O N A U C T I O N E S T I M AT E C O N TA C T M A D I S O N W E B B , A U C T I O N C O O R D I N AT O R 8 6 6 - 5 4 9 - 9 2 7 8 , C O O R D I N AT O R @ J A C K S O N H O L E A R TA U C T I O N . C O M V I S I T U S AT W W W. J A C K S O N H O L E A R TA U C T I O N . C O M

— 212 —

INDEX SESSION I: LOTS 1-160 SESSION II: LOTS 161-386

ABBETT, ROBERT Stone Wall Brittany, 355 ACHEFF, WILLIAM Evening Watch, 206 Function and Art, 343 Jewel of the Southwest, 316 AFSARY, CYRUS Celebration, 364 ALBRECHTSEN, MICHAEL Shadow at Sula Creek, 124 ANDERSEN, ROY The Crow Lance Way, 201

BEELER, JOE

CASE, RUSSELL

Range Partners, 14 Seein’ God’s Country, 13 Whiskey Guard, 66 BENTON, THOMAS HART Study for the Pathfinder, 303 BERNINGHAUS, OSCAR Adobe Houses, 109 Indian Turning the Soil, 290 Taos Field of Workers, 292 Why the Mail Was Late, 322 BIERSTADT, ALBERT

The Horned Chief, 194

Scene in the Rocky Mountains of Colorado, 324

River Crow, 28

Source of the Snake River, 327

The Scout, 29 The Shadow Trail, 193 ANDERSON, HARRY Talking Wires Take Over from the Pony Express, 45 ANTON, BILL The Boys and Burro Creek, 208 Horse Heaven, 17 In the Canadian Rockies, 190 Now or Never, 62 Pride and Joy, 18 ASPEVIG, CLYDE Ducks Landing, 116

BOREIN, EDWARD Bronk Rider, 166 An Old Time Christmas - Mission Santa Barbara, 5 Mission Santa Barbara No. 2, 4 War Party on the Move, 321 BOREN, JAMES Squire of Bracketville, 150 BORG, CARL OSCAR Apache Water Carrier, 255 BRENDERS, CARL Black Bear, 269 BROWN, HARLEY Chief, 81

Sedona, 87

Flower of the Plains, 80

Summer Greens, 219

Long Otter - Crow, 195

Zion National Park, 356 BAKER, SUZANNE North on Goodale Pass, 50 BALINK, HENRY Chief Little Bear, 328 BALLANTYNE, CARRIE Steve Yellowtail - Crow Cowboy, 362 BARTLETT, BO Deer, 345

Navajo Weaver, 12 Navajo Woman and Child, 252 Pueblo Mother, 257 Taos Indian, 253 CHEEVER, BRUCE Double Trouble, 338 CHRISTENSEN, SCOTT Alpine Lake, 42 Summer, 359 CLYMER, JOHN Out of the Silence, 228 Rocky Mountains Big Horns, 232 Territorial Dispute, 231 COFFEE, ELAINE The Compelling Mood of the Gardner (Isabella Stewart Gardner Museum), 382 COLEMAN, MICHAEL

Evening at Island Lake, 235

Winter Landscape, 88

Before the Storm, 79 CASSIDY, GERALD IRA DIAMOND

BROWNING, TOM Hay Wagon, 381 BUNN, KENNETH Striding Grizzly, 275 BURGESS, STEVE Snow Patrol, 271 CARLSON, KEN Bachelor Bighorns, 226 Bighorns on the Ridge, 234 Bison, 179

Evening at the Bitterroot - Crow, 368 The Ever Present Pheasant, 122 Majestic Elephant & The Essence of Royalty, 134 Native Reflections, 102 North American Mammals (set of 9), 227 A Sunny Spot - Red Fox, 333 Willow Ptarmigan Goose, 123 COLEMAN, NICHOLAS In Dog Valley, 375 CORNWELL, DEAN Illustration for “The Enchanted Hill”, 307 CORTEZ, JENNESS A Tale of Two Cultures, 317 COUSE, EANGER IRVING Autumn Flute Song, 251 COUTTS, ALICE Study for Little Mendocino, 256 CURTIS, EDWARD

Black Timber Bugler, 181

Eskadi - Apache & Vash Gon, Jicarilla, 289

Mule Deer, 337

Francisca Chiwiwi-Isleta, 329

Pronghorn in Winter, 236

Geronimo - Apache, 288

Evening Light, 268

Slashear - Portrait of an Old Fighter, 233

In the Bad Lands, 287

Fur Seal (study), 118

The Spoils of the Victor, 332

BARTLETT, GRAY The Wild Bunch, 380 BATEMAN, ROBERT

Gambel’s Quail, 175

CARPENTER, EARL

Homesteaders, 174

Antelope Flats Encampment, 155

Oyster Catcher (study), 117

Moran with Lupine, 160

BEECHAM, GREG Arctic Royalty, 40

CARY, WILLIAM DE LA MONTAGNE Blind Crossing, 296

— 213 —

A Mixed-Blood Coast Pomo, 330 D’ANGELICO, PINO Lady with Children on Beach, 217 Special Day, 212 DARRO, TOM A Chief ’s Blessing for his Daughters, 198

INDEX SESSION I: LOTS 1-160 SESSION II: LOTS 161-386

DEMING, E.W. Two Caballeros Leaving Town, 6 DEMOTT, JOHN Pouncing Fox, 85 DIXON, MAYNARD Cavalry Soldier, 69 DONAHUE, TERRY Hiding in Plain Sight, 92 DUNCAN, ROBERT Wood for the Fire, 147 DYE, CHARLIE After a Bunch Quitter, 204 EISELE, CHARLES CHRISTIAN Black Cañon of the Gunnison, Colo, 113 ELLIS, FREMONT Early Spring Aspens, 293 Summer Aspens in the Canyon, 294 FALTER, JOHN Study for San Francisco Weekend, 300 FERY, JOHN End of the Day, 247 Jackson Hole, 112 FRAZIER, LUKE Bootleggers, 131 Morning Bugler, 335 Needing a Furlough, 38 North of North, 43 The Old Pro, 353 The Surveyor, 182 The Three Sisters, 341 Wilderness Song, 373 FROST, ARTHUR BURDETT Putting Out Decoys, 277 GILLEON, R. TOM Paha Sapa, 344 GOEBEL, ROD July on Trail Creek, 154 GOLLINGS, WILLIAM Crow Camp, 245 Game Hunter, 246 Red Grade, 107 GONSKE, WALT Taos Winter Day, 142

GRELLE, MARTIN

Branding a Maverick, 248

Late Winter Passage, 315

Rocky Steeps, 243

Morning Chores, 309

Stella Seated & The Whittler, 299

The Neighbor’s Mare, 191 Prairie Wolves, 314

Leopard Looking Back, 263

Showing Who’s Boss, 23 Taking Him Down, 24 HALBACH, DAVID

KOCH, FRANCOIS Autumn Creek, 95 KOERNER, W.H.D.

Hopi Mixed Dance, 25

A Life in the Northwest, 279

Ojibway, 26

Old Monterey, 284

Soyohim (Mixed Dance - Hopi), 370 The Last One In, 379 San Xavier, 149

Children and Birds in Flower Garden, 148 KUHN, BOB

The Flower Seller, 214

Basic Training, 230

HANKS, STEVE

Bear with Fish, 2

To Believe (Philbrook Museum), 383 HANSEN, HERMAN

Bluebills in a Snow Storm, 171 Coyote (Illustration), 178

Two Cheyenne Scouts & The Short Cut, 241 HAPTONSTALL, PAT

Doodles Leading to Lazy Time, 1 Down to the Scraps, 266

Reflective Dreams, 103 HARDIE, ELDRIDGE

His Elegance, 229 Idea Sketch - Out on a Limb, 184

Afternoon Drift, 352

A Last Running Look, 222

HARMER, ALEXANDER Watching Signal Fires at Sunset, 331 HARVEY, G.

Mulies in a Spruce Thicket, 225 Nap Time, 224 Ngare Ndare Farm, 3

Desert Showers, 209

Steady Son - 1820s, 173

Tete a Tete, 298

Three Bears, 183

HENNINGS, E. MARTIN Evening on Taos Mountain, 295 HIGGINS, VICTOR

Tolling up Antelope - 1870s, 170 Watchful Eyes, 223 Wild Chorus, 267

Fish Ponds 2, 250

KUHNERT, FRIEDRICH WILHELM

HILL, THOMAS

Collection of 50 Drawings, 265

Yosemite Falls, 325

Tiger, 264

HOFFMAN, FRANK Bringing Home the Bacon, 283 HUDSON, GRACE CARPENTER Twins, 260

Tiger on Watch, 262 LAAGER, KEN June Bride, 101 The White River Massacre, 106

HURLEY, WILSON Bob Lougheed’s Back Field, 84 JACKSON, HARRY Pony Express III, 46

Their Meeting Ground, 282 KROMSCHROEDER, LEE

HALLMARK, GEORGE

End of the Dance, 33

Charlie Ten Bear, 11

KENWORTHY, JONATHAN

No Time to Wait, 22

The Marshal III, 47

GREENE, LEROY

JORDAN, JERRY Spirit Welcome, 34

HAGAN, ROBERT

GOODACRE, GLENNA Vietnam Women’s Memorial, 386

JOHNSON, FRANK TENNEY

Day in the Rain, 59

LAURENCE, SYDNEY Food Cache with Mount McKinley, 276 Mountain Landscape, 278 LAWRENCE, BRENT Elk Triptych, 158

JAMES, WILL

LAWSON, MEHL

Bronc Rider, 168 Illustration for “Sand”, 169

— 214 —

Spring Showers, 83

INDEX SESSION I: LOTS 1-160 SESSION II: LOTS 161-386

LEIGH, WILLIAM R.

MIGNERY, HERB

Jackson Lake, 291

At the Water’s Edge, 27

Mohavi Basket Connoisseur, 254

Gauging the Crosswinds, 366

LENDERS, EMIL W. Buffalo Hunt, 7 LIANG, Z.S. Morning Sun, 197 LILLYWHITE, RAPHAEL Untitled (Journey Home), 258 Untitled (Round-Up), 259 LOCHRIE, ELIZABETH DAVEY Cattle Drive, 108 LOUGHEED, ROBERT Grizzly Country, 238 LOVELL, TOM The Hunter, 203 LYON, HAROLD LLOYD Tripped Up, 97 MAASS, DAVID Canadas Landing, 172 Mallards Taking Flight, 354 MANUEL, DAVID An American Legend - John Wayne, 99 MARRIS, BONNIE Desperados, 336 Fox on the Rocks, 125 Freedom, 312 The Size of Her Universe, 177 MAYOL, JORGE Grizzly Bear, 157 MCGARRY, PIP Leopard Hideout, 135 Taking a Dip, 136 MCGRAW, SHERRIE Green Vase with Pink Roses, 143 MELAINE, KRYSTII Aokaki’tsiiksi - Blackfeet Scouts, 363 MELTZOFF, STANLEY Barracuda 2, 349 Black Marlin 12, 350 Jacks 2 - Jacks and Squid School, 351 Jewfish 6 - Sabbath Reef Worship, Belize, 348 METZ, DAN Halfway to Heaven, 186 MEYERS, ROBERT Escape at Dry Fork, 185 MIEDUCH, DAN

The Letter, 60 MILLER, CHARLES WINFIELD Blazoned Shirt of War, 67 MONROE, LANFORD Patrol, 176 MORAN, THOMAS Laguna, New Mexico Looking from

POTTHAST, EDWARD Bright Angel Trail, Grand Canyon, 308 POWELL, DAVE Quest for the Bull Shield Cape, 30 PRICE, CLARK KELLEY Dust Eaters, 55 Solid Gold, 189 PUMMILL, ROBERT Out to the Cow Camp, 15 RALSTON, JAMES

the East, 286

Custer’s Last Hope, 74

MORGAN, JAMES

Goin’ to Town, 77

Wintering Trumpeters, 211 NEBEKER, BILL Born to this Land, 20 NIBLETT, GARY

Return of the War Party, 75 River Fort, 76 The Attack, 78 REMINGTON, FREDERIC

Before the Attack, 365

The Bronco Buster, 70

Down the Wash, 57

The Cheyenne, 72

Drifting On, 56

The Scalp, 73

Navajo Neighbors, 31

Trooper of the Plains, 71

NORDAHL, DAVID Chief of Scouts, 104 NORTHUP, GEORGE Eagle in Flight, 153 NORTON, JIM High Country Splendor, 98 Out of the Shadows, 196 The Summer Grass, 199 Wind in His Hair, 369 OBERG, RALPH An Evening Challenge, 129 Prairie Portrait, 334 OSTERMILLER, DAN Indigo’s Dream, 126 Le Grand-Pere, 39 OWEN, BILL

REY, JIM No Time to Waste, 19 REYNOLDS, JAMES A Break in the Weather, 357 Morning Mist, 90 Roping a Stray, 207 RICH, JASON The Last Gate, 187 RICKS, DONALD Grand Tetons - Fall, 156 RIDDICK, R.S. Like Father, Like Son, 377 Night Shift, 100 Tender Warrior, 200 RILEY, KENNETH Autumn Passage, 319

Dry Wash, 205

Being Pursued, 318

Watering Hole at Redlands, 61

Brothers, 64

West Texas Bulls, 54

Camp Site, 202

PARROTT, WILLIAM SAMUEL View of Mount Hood, 326 PAYNE, EDGAR Sierra Lake, 244 PAYNE, VIC Thunder at Little Big Horn, 105 POPPLETON, CHAD

Gathering the Horses, 68 High Plains, 311 Kanagan, British Columbia - Bighorns, 371 Midnight Solitude, 320 Night Brigade, 310 Sagebrush Express, 63 RINGHOLZ, AMY

Mission Accomplished, 21

High Tailing It, 127

Crowned Giant, 342

The Spirit Mask, 367

Under Mama’s Watch, 128

Inspire, 140

— 215 —

INDEX SESSION I: LOTS 1-160 SESSION II: LOTS 161-386

ROBERSON, MARY American Bison, 138 Bull Elk with Petroglyphs, 137 ROCKWELL, NORMAN Study for ‘Fixing a Flat’, 305 RODRIGUEZ, ALFREDO Preparée, 96 ROGERS, HOWARD Evening Glow, 376 Riding the Rimrocks, 378 ROSS, THOM Moonrise, 141 RUNGIUS, CARL Challenged, 164 Goats, 161 Moose Head, 280 Morning Mist, 163 The Rivals, 165 The Stranger, 162 SANDER, SHERRY SALARI Sunday Brunch, 94 Sunny & 40 Below, 44 Wolf on Rock, 41 SAUERWEIN, FRANK PAUL Return of the Swallows, 110 SAWCZUK, BILL Old Bar BC by the Snake, 132 SCHENCK, BILL The Cadillac Ranch, 139 SCHMID, RICHARD

SEEREY-LESTER, JOHN Daybreak at Aitong, 133 Two Bulls, 93

THOMAS, ANDY Over That Way, 16 The Pursuit, 188

SELTZER, OLAF CARL Blackfoot Warrior, 249 SHARP, JOSEPH HENRY Floral Still Life, 304

THOMAS, RICHARD D. Stage to Cripple Creek, 192 The North Forty, 58 TROUBETZKOY, PAOLO PETROVICH Catchin’ Up, 285

SHEPHERD, DAVID Leopards at the Waterhole, 261

ULLBERG, KENT Waiting for Sockeye, 270

SHINABARGER, TIM Great Northern, 159

Waiting for Sockeye, 86

On the Barren Lands, 274 On the Fight, 180

VERHAEREN, CAROLUS Rock Vista, 9

Sundown, 237

VON HASSLER, CARL

Through the Jungle, 272 Whitetail Buck, 273

The San Juan Indian, 8 WACHTEL, MARION IDA KAVANAGH Lake Mary, 323

SIMS, KYLE Like a Moth to a Flame, 37 Mammoth Showdown, 119 Oppositional Defiant, 121 SITU, MIAN

WALTERS, CURT Blois on the River Loire, 146 Havasu Falls, 360 WEISTLING, MORGAN

Early Fall, 385

Ranch Hand, 51

Navajo Maiden, 35

WIEGHORST, OLAF

Riding with Company, 361 SMITH, BRETT JAMES Meadow Camp, 36

Cowboy on Horseback, 239 Cowboy with Reata, 167 Retaliation, 240

SMITH, MATT

WILCOX, JIM

Clear and Cold, 89

Changing Seasons, 152 Snake River at Dusk, 374

SMITH, TUCKER

Aspen Grove, 218

Ahead of the Storm, 221

Captain John’s Tomatoes, 216

Big Sheep Mountain, 340

Autumn Pond, 115

Dexter, 220

Rocky Mountain Stream, 111

Female Nude, 213 Gretchen, 215 White Barns, 384 SCHOLDER, FRITZ Indian with Porcupine Headdress, 347 Poppy, 346 SCHWIERING, CONRAD Autumn Gold, 372 Cathedral in the Sky, 210 Fireweed, 144 Goin’ Home, 151 Pfeiffer Cabin, 358 Rugged Country, 145 Touch of Spring, 130 SCOTT, LINDSAY Yellowstone Sageland, 339 SCOTT, SANDY

Zena N.Y., 114

SOMMER, OTTO Beef for the Troops, 297 River Sunset, 52

WYSOCKI, CHARLES Melodramas in the Mist, 301

STAVROWSKY, OLEG Water Wagon on the Columbia, 49 Arivaca Vaqueros, 82

ZHANG, XIANG Next Drive, 53

STRANG, RAY Rounding the Bend, 48 Can We Share?, 313 Chilichin Beto Night, 32 Sandstone Country, 65 TAIT, ARTHUR FITZWILLIAM Barn Scene, 302

ZIEGLER, EUSTACE Alaskan Daughter, 306

SWANSON, RAY

The Dough Boys Bookends, 91

YOUNG-HUNTER, JOHN Crow Indian Sketch, 10

STEFAN, ROSS

A Slight Chance, 281

WYETH, N.C. Untitled (Portrait of a Cowboy), 242

STACK, MICHAEL

Teton Tribute Bookends, 120

WOOD, ROBERT W.

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THE CREATION STATION OUR MISSION IS TO CONNECT OUR CREATIVE COMMUNITY BY PROVIDING A DEDICATED CAMPUS, SUPPORTING EXCELLENT PROGRAMMING, AND NURTURING A COLLABORATIVE SPIRIT.

VISIT JHCENTERFORTHEARTS.ORG TO VIEW OUR FULL CALENDAR

CENTER FOR THE ARTS Box Office: 307.733.4900 E-mail: info@jhcenterforthearts.org Web: jhcenterforthearts.org Address: 265 S. Cache | Jackson, WY 83001 facebook.com/thecenterjh twitter.com/thecenterjh instagram.com/thecenterjh

September 13 & 14

Artist Party

Annual Show & Sale

Jackson Hole, Wyoming Don’t miss this premiere art event showcasing more than 200 contemporary and traditional animal paintings, sculptures, and sketches by living artists. Works on display will be available for purchase during this event.

Kathryn Mapes Turner, One O’clock Fox, Oil, 24x30 inches

Buy Tickets Today | WesternVisions.org | 307-732-5445 Proceeds benefit the National Museum of Wildlife Art’s educational mission to enrich and inspire appreciation and knowledge of humanity’s relationship with nature.

Th e R u s s e l l L i v e A u c t i on 2 018

The Russell is the premiere fundraising event for the C.M. Russell Museum in Great Falls, Montana, attracting collectors, artists, and patrons from around the country. The three-day schedule of events and exhibitions culminates in The Russell Live Auction which features significant works by historic artists such as Charles M. Russell as well as the country’s most acclaimed contemporary western artists.

Much more than a Western art exhibition and sale, The Russell is a Western art experience! 400 13 th Street North | Great Falls, Montana | (406) 7278787 | cmrussell.org — 219 —

October 11, 2018

VERDI’S AIDA November 8, 2018

SAINT-SAËNS’ SAMSON AND DALILA December 13, 2018

PUCCINI'S GIRL FROM THE GOLDEN WEST January 10, 2019

VERDI’S LA TRAVIATA February 14, 2019

CILEA’S ADRIANA LECOUVREUR March 14, 2019

BIZET’S CARMEN April 11, 2019

DONIZETTI’S THE DAUGHTER OF THE REGIMENT Presented the second Thursday of every month at Jackson Hole Twin Cinema

Anna Netrebko in the title role of Cilea’s Adriana Lecouvreur | Dates and titles subject to change

GRAND TETON MUSIC FESTIVAL

Craftsmanship, defined

890 S Highway 89 â&#x20AC;˘ Jackson, Wyoming (307) 733-2306 SchmidtsCustomFraming.com

307.413.3312

spencer@tetonArtservices.com

Po box 10183

JAckson, WYoming

83002

TERMS AND CONDITIONS The following Terms and Conditions of Sale constitute Jackson Hole Art Auction, LLC’s (“Jackson Hole Art Auction”) and its agents’ and consignors’ entire agreement with prospective bidders, bidders and purchasers relative to the property listed in this catalogue. These Terms and Conditions of Sale and all other contents of this catalog are subject to amendment during or before the sale. The property will be offered by the Jackson Hole Art Auction as agent for the consignors, unless the catalogue indicates otherwise. 1.

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

All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Jackson Hole Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot.

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

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

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

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

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

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

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

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

If any applicable conditions herein are not complied with by the purchaser, the purchaser will be in default, and in addition to any and all other

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remedies available to the Jackson Hole Art Auction and its agents and consignors by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, including all fees, charges, and expenses set forth herein, the Jackson Hole Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser, or (ii) resell the purchased property, whether at auction or by private sale, or (iii) effect any combination thereof. The purchaser will be liable for any deficiency, any and all costs, handling charges, late charges, expenses, and commissions of both sales, legal fees, and expenses, collection fees, and incidental damages. In addition, a defaulting purchaser will be deemed to have granted and assigned the property or money to the Jackson Hole Art Auction or its agents and consignors or any of their affiliated companies, and the Jackson Hole Art Auction may retain and apply such property or money as collateral security for the obligations due. The Jackson Hole Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the Wyoming Uniform Commercial Code. The purchaser of each lot agrees that each lot is unique and that the Jackson Hole Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such purchaser fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Jackson Hole Art Auction shall have collected good funds. The Jackson Hole Art Auction reserves the right to hold all purchases pending collection of the total purchase price. 9.

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

10. Jackson Hole Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Jackson Hole Art Auction. 11. Unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. It is the purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price. 12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Wyoming, without regard to Wyoming rules concerning conflicts of law. 13. Prospective bidders and purchasers agree that, in the event of any controversy or claim arising out of or relating to a sale of property, the party asserting such controversy or claim shall provide written notice thereof to the other party, and that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including any controversy or claim arising from or relating to the sale, or to these Terms and Conditions of Sale, including the terms of this paragraph, shall be resolved and settled by binding arbitration in Jackson Hole, Wyoming, or such other place upon which the parties may agree, in writing; such arbitration shall be pursuant to the commercial arbitration rules of the American Arbitration Association then in effect; the award, which shall include costs of arbitration and an award of reasonable attorneys’ fees to the prevailing party, shall be final, and the judgment on the award may be entered in any court having jurisdiction. 14. The Jackson Hole Art Auction may, in its discretion and at a purchaser’s request, package and ship items as directed by the purchaser. In such event, purchaser agrees to the following conditions: a.

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

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

15. Results are sent to buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders four weeks after the sale. 16. Bidding increments will be as follow but may vary at the auctioneer’s discretion Under $2,000 $2,000 - $5,000 $5,000 - $10,000 $10,000 - $20,000 $20,000 - $50,000 $50,000 - $100,000

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

over $100,000

$10,000

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MAP OF DOWNTOWN JACKSON HOLE

TRAILSIDE GALLERIES JACKSON HOLE ART AUCTION (Gallery and Office) SESSION I PREVIEW

SPRINGHILL SUITES BY MARRIOTT

CENTER FOR THE ARTS SESSION II PREVIEW LIVE AUCTIONS SESSION I & SESSION II

Auction Coordinator: Madison Webb Auction Registrar: Megan Harrington Photography: Megan Harrington, Madison Webb Catalog Design: Maryvonne Leshe Catalog Essays: Madison Webb Graphic Design: Shane Mieske Printing: O’Neil Printing, AZ Binding: Roswell Bookbinding, AZ Auctioneer: Jason Brooks Jackson Hole Art Auction, LLC 130 East Broadway, Jackson WY 83001 | Post Office Box 1568 Tel 866 JH WY ART (866-549-9278) | Fax 307-732-1600 www.jacksonholeartauction.com © 2018 Jackson Hole Art Auction Limited Co.

LIV E AUC T ION , SEPTEM B ER 14 & 15, 2018 | 12: 00 PM M DT CEN T ER F OR T H E A RTS | 265 SOU TH C AC HE, JAC K SON, WYOM ING JACKSON H O L E A RT AUC T ION | 130 EAST B ROADWAY, JAC K SON, WY 83001 | PO B OX 1568 T EL EP H O N E 8 6 6 -5 4 9 -9 2 7 8 | FAX 307-732-1600 | JAC K SONHOLEAR TAU C TION. C OM Â© 2 018 J AC K SON HOLE AR T AU C TION, L. L. C .