CELEBRATING THE LEGACY OF A TRUE VISIONARY
On July 4, 2023 we lost William “Bill” Kerr, a true visionary in the world of art. Along with his wife Joffa, Bill was one of the ten founding Trustees of the National Museum of Wildlife Art. He leaves behind a rich and indelible legacy through the museum’s impeccably curated collection, the countless relationships he forged and the many artists that he inspired and supported though his patronage.
When the museum opened its doors in 1987, the Kerr’s vast personal collection of wildlife art formed the core of the institution’s permanent collection, anchored by what is now the largest body of work by Carl Rungius in the United States. Today, it is the only official wildlife art museum in this country and stands as a testament of the Kerr’s vision, philanthropy and dedication to preserving our natural world through artistic excellence.
In recognition of Bill Kerr’s enduring impact on the museum and the Jackson art community as a whole, Trailside Galleries and Gerald Peters Gallery, partners in the Jackson Hole Art Auction, are pleased to donate a portion of the September 2023 auction sales to help further the mission of the museum to foster and inspire our connections with wildlife and nature.
“Nature is as fragile as it is fierce. Our institution holds and cares for some of humankind’s most thoughtful and spirited portrayals of the natural world as we have known it. That is a legacy we have the opportunity to embellish and preserve.”
– Bill Kerr
ANNUAL LIVE SALE
SEPTEMBER 16
PM MDT
17TH
SATURDAY,
12:30
Lord
etching with drypoint
6 ⅞ x 9 inches
signed lower right: C. Rungius
PROVENANCE:
The John Hanna Co., Detroit, MI (label verso) Private Collection, Wilson, WY
LITERATURE:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989 example Illus. Plate 2.
$3,000 – $5,000
The Traveler
etching with drypoint
11 ¼ x 13 ¾ inches
signed lower right: C Rungius titled lower left: The Traveler
PROVENANCE: From a Private Collection
LITERATURE:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989 example Illus. Plate 30.
$3,000 – $5,000
Dall Sheep
etching with drypoint
8 x 11 inches
signed lower right: C. Rungius
PROVENANCE: From a Private Collection
LITERATURE:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989 example Illus. Plate 21.
$3,000 – $5,000
8
1 CARL RUNGIUS (1869–1959)
2 CARL RUNGIUS (1869–1959)
3 CARL RUNGIUS (1869–1959)
of the Canyon
An Old Fighter
etching with drypoint
6 ¾ x 8 ⅞ inches
signed lower right: C. Rungius
PROVENANCE:
The John Hanna Co., Detroit, MI (label verso) Private Collection, Wilson, WY
LITERATURE:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989 example Illus. Plate 3.
$3,000 – $5,000
Osborne’s
etching with drypoint
6 ⅞ x 8 ⅞ inches
signed lower right: C. Rungius
PROVENANCE:
The John Hanna Co., Detroit, MI (label verso)
Private Collection, Wilson, WY
LITERATURE:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989 example Illus. Plate 10.
$1,800 – $2,400
Alarmed
etching with drypoint
6 ¾ x 8 ⅞ inches
signed lower right: C. Rungius
PROVENANCE:
The John Hanna Co., Detroit, MI (label verso) Private Collection, Wilson, WY
LITERATURE:
Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, Missoula, MT, 1989 example Illus. Plate 6.
$2,000 – $4,000
European Moose (Elch), 1924
etching on paper, 61/100 16 x 25 inches
signed lower right: Willy. Kuhnert (artist cipher) dated and editioned lower left: 1924 61-100 (artist cipher)
PROVENANCE: From a Private Collection
LITERATURE: Charles Weschler, The Animal Art of Wilhelm Kuhnert, Co-published by LiveOak Press, Inc. & Wildlife Art News, 1995. Plate 117.
$2,000 – $4,000
9
4 CARL RUNGIUS (1869–1959)
5 CARL RUNGIUS (1869–1959)
6 CARL RUNGIUS (1869–1959)
Caribou
7 FRIEDRICH WILHELM KUHNERT (1865–1926)
8 FRIEDRICH WILHELM KUHNERT (1865–1926)
Red Deer (Rotwild), 1920
etching on paper, 13/25
13 ½ x 20 ½ inches
signed and dated lower right: Willy. Kuhnert 1920 editioned lower left: 13-25
PROVENANCE:
From a Private Collection
LITERATURE:
Charles Weschler, The Animal Art of Wilhelm Kuhnert, Co-published by LiveOak Press, Inc. & Wildlife Art News, 1995. Plate 77.
$1,500 – $2,500
10 FRIEDRICH WILHELM KUHNERT (1865–1926)
Antelopes and Zebra (Kuhantilopen und Zebra), 1923
etching on paper, 48/100
5 ¾ x 7 ¾ inches
signed lower right: Willy. Kuhnert dated and editioned lower left: 1923 48-100
PROVENANCE:
From a Private Collection
LITERATURE:
Charles Weschler, The Animal Art of Wilhelm Kuhnert, Co-published by LiveOak Press, Inc. & Wildlife Art News, 1995. Plate 114.
$700 – $1,000
9 FRIEDRICH WILHELM KUHNERT (1865–1926)
Fleeing Moose (Fluchtende Elche), 1924
etching on paper, 32/100
7 x 12 inches
signed lower right: Willy. Kuhnert dated and editioned lower left: 1924 32-100 (artist cipher)
PROVENANCE: From a Private Collection
LITERATURE:
Charles Weschler, The Animal Art of Wilhelm Kuhnert, Co-published by LiveOak Press, Inc. & Wildlife Art News, 1995. Plate 120.
$1,000 – $2,000
11 FRIEDRICH WILHELM KUHNERT (1865–1926)
Female Wild Pig with Young (Bache mit Frischlingen), 1920
etching on paper, 63/80
9 ½ x 13 ½ inches
signed and dated lower right: Willy. Kuhnert 1920 editioned lower left: 63-80
PROVENANCE:
From a Private Collection
LITERATURE:
Charles Weschler, The Animal Art of Wilhelm Kuhnert, Co-published by LiveOak Press, Inc. & Wildlife Art News, 1995. Plate 75.
$500 – $700
10
watercolor on paper
23 ¼ x 35 ⅛ inches
signed lower right: Helen West verso: titled and signed
PROVENANCE:
Houlihan Gallery, Cody, WY
From a Private Collection
$300 – $500
14
Grouse
oil on board 23 ¼ x 29 ⅛ inches
signed lower right: Amundsen
PROVENANCE:
Houlihan Gallery, Cody, WY
From a Private Collection
$1,000 – $2,000
watercolor on paper 18 x 24 inches
signed lower right: Helen West verso: titled and signed
PROVENANCE:
Houlihan Gallery, Cody, WY From a Private Collection
$300 – $500
15
oil on canvas 21 x 30 inches
signed and dated lower right: Amundsen ‘75
PROVENANCE:
Houlihan Gallery, Cody, WY
From a Private Collection
$3,000 – $5,000
11
12 HELEN WEST (1926– ) Resting Place
13 HELEN WEST (1926– ) Ducks in the Down Timber
RICHARD AMUNDSEN (1928–1997)
RICHARD AMUNDSEN (1928–1997) Grizzly with Geese, 1975
16 RICHARD AMUNDSEN (1928–1997)
Brittany and Bobwhite oil on board 21 ¾ x 29 ¼ inches signed lower right: Amundsen
PROVENANCE:
Houlihan Gallery, Cody, WY From a Private Collection
$2,000 – $3,000
17 RICHARD AMUNDSEN (1928–1997)
Black Labrador and Pheasants oil on board 21 ¾ x 29 ¼ inches signed lower right: Amundsen
PROVENANCE:
Houlihan Gallery, Cody, WY From a Private Collection
$2,000 – $3,000
18 ARTHUR RENSHAW (20th Century)
Rocky Mountain High
acrylic on canvas 32 x 48 inches
signed lower right: Renshaw
PROVENANCE: From a Private Collection
$4,000 – $6,000
12
19 THOMAS DEDECKER (1951– )
Glowing Sunset and Reflections, 2023
oil on masonite
40 x 30 inches
signed lower right: Thomas deDecker
verso: titled, signed and dated
PROVENANCE:
The Artist
$3,000 – $5,000
20 THOMAS DEDECKER (1951– )
A Calm and Serene Setting Sun, 2023
oil on masonite
36 x 36 inches
signed lower left: Thomas deDecker
verso: titled, dated and signed
PROVENANCE:
The Artist
$3,000 – $5,000
13
Sitting Bear
bronze
2 ¾ x 2 ½ x 1 ¾ inches
inscribed: Goodwin stamped: C CALHOUN’S 1632
PROVENANCE:
From a Private Collection
$500 – $1,000
oil on board
9 ¼ x 7 ¾ inches
signed lower right: ~ / Frazier verso: titled, dated and signed
PROVENANCE: Private Collection, Ann Arbor, MI
$1,000 – $2,000
oil on canvas board 24 x 30 inches signed lower right: Michael Coleman
“I love the secret places that wildlife inhabit. The mysterious and misty waterfalls that lie deep in the forests and woods, captivate me to this day. Black bears are just a few of my favorite animals to portrait. I can only imagine the roar of the waterfalls, the soft steps taken across the mossy rocks, sticks, and twigs, and the cool mist on my face. What’s not to love?!”
— Michael Coleman
PROVENANCE: The Artist
$6,000 – $9,000
14
21 LUKE FRAZIER (1970– )
Tubby, 2010
22 PHILIP R. GOODWIN (1881–1935)
23 MICHAEL COLEMAN (1946– )
In Secret Places - Black Bears, 2023
PROVENANCE:
From the Collection of Ruthe and Stan Reese
$4,000 – $6,000
37
PROVENANCE:
From a Private Collection
$4,000 – $6,000
15
24 JIM WILCOX (1941– ) Mt. Moran and Friends oil on board
24 x 36 inches signed lower right: Jim Wilcox verso: titled
25 GARY KAPP (1942– ) Grand Teton oil on canvas
½ x 49 ¼ inches signed lower right: Gary Kapp
26 LINDSAY SCOTT (1955– )
From Out in Left Field
colored pencil on paper 22 ½ x 27 inches
signed lower right: Lindsay Scott
“A chance encounter whilst on a quiet stroll through the habitat shared by these very different beings. A moment that speaks of the interconnectedness of life.” — Lindsay Scott
PROVENANCE:
Out of Africa in Montana Gallery, Bozeman, MT (label verso)
The Artist
$7,000 – $10,000
27 SANDY SCOTT (1943– )
Moose Head
bronze, 10/21
15 ⅜ x 10 ¼ x 11 ½ inches
inscribed: © S Scott 10/21
PROVENANCE:
From a Private Collection
$800 – $1,200
28 RICHARD LOFFLER (1956– )
The Thin Horn Train, 1991
bronze, 1/15
11 ½ x 65 ⅜ x 7 ½ inches
inscribed: R. Loffler 1991 1/15 “The Thin Horn Train”
PROVENANCE:
From the Collection of Paul and Carla McCombs
$4,000 – $6,000
16
In the Land of Giants, 1998
bronze, 14/35
20 x 21 ¼ x 11 inches
inscribed: 14/35 Rowe © 98
PROVENANCE:
From a Private Collection
$2,500 – $3,500
oil on board
8 ⅞ x 10 ⅞ inches
verso: estate stamp
PROVENANCE:
J.N. Bartfield Galleries, New York, NY (label verso)
Scottsdale Art Auction, Scottsdale, AZ (label verso)
Tierney Fine Art, Bozeman, MT (label verso)
March in Montana
Out of Africa in Montana Gallery, Bozeman, MT (label verso)
From a Private Collection
$2,500 – $4,500
Moose Valley
oil on canvas
7 x 13 inches
signed lower right: G Coheleach ©
PROVENANCE: The Artist
$1,200 – $1,800
oil on canvas
20 x 16 inches
signed lower left: Swinney © ORA
verso: signed
PROVENANCE:
Astoria Fine Art, Jackson, WY (label verso)
Private Collection, Ann Arbor, MI
$1,000 – $2,000
17
29 KEN ROWE (1954– )
30 GUY COHELEACH (1933– )
31 GEORGE BROWNE (1918–1958)
Mule Deer Rack
32 CAROL SWINNEY (21st Century)
Sunrise Sunset
33 THOMAS QUINN (1938– )
Procession, 2012
gouache and watercolor on paper 24 5/8 x 38 ¼ inches
signed and dated upper left: Thomas Quinn © 2012
PROVENANCE:
Santa Fe Art Auction, Santa Fe, NM, 2016 From a Private Collection
$15,000 – $25,000
18
Romping Black Bear, 1996
bronze, 20/35
11 x 20 x 7 inches
inscribed: © 1996 BUNN 20/35
PROVENANCE: From a Private Collection
$6,000 – $9,000
acrylic on canvas
24 x 36 inches
signed lower right: Seerey-Lester ©
PROVENANCE:
Jackson Hole Art Auction, Jackson, WY, 2018 (label verso)
Private Collection, Jackson, WY
$8,000 – $12,000
19
34 KENNETH BUNN (1938–2020)
35 JOHN SEEREY-LESTER (1945–2020)
Two Bulls
Yellowstone Buffalo
oil on canvas board
12 x 16 inches
signed lower right: Nicholas Coleman (artist cipher)
PROVENANCE:
Astoria Fine Arts, Jackson, WY (label verso)
Private Collection, Jackson, WY
$2,000 – $3,000
Peace in the Valley
oil on canvas laid on board
36 x 48 inches
signed lower right: Paul Dykman
PROVENANCE:
West Lives On Gallery, Jackson, WY (label verso)
From a Private Collection
$5,000 – $7,000
After the Grain Spill
bronze, 10/35 12 ⅜ x 22 ⅛ x 9 inches
inscribed: SS Sander (artist cipher) © 10/35
PROVENANCE: Private Collection, Jackson, WY
$1,500 – $2,500
20
36 NICHOLAS COLEMAN (1978– )
37 SHERRY SANDER (1941– )
38 PAUL DYKMAN (1953– )
PROVENANCE:
Mountain Trails Gallery, Jackson Hole, WY (label verso) The Artist Private Collection, Jackson, WY
$4,500 – $6,500
PROVENANCE:
The Artist Private Collection, Jackson, WY
21
39 SCOTT CHRISTENSEN (1962– ) Spring Thaw
oil on board 24 x 30 inches signed lower left: S Christensen © verso: signed and titled
$4,000 – $6,000
40 SCOTT CHRISTENSEN (1962– ) Spring Into Summer oil on board 24 x 36 inches signed lower left: S Christensen © verso: signed and titled
oil on board
24 x 36 inches
signed lower right: S Christensen © verso: signed and titled
PROVENANCE:
Mountain Trails Gallery, Jackson Hole, WY (label verso)
The Artist
Private Collection, Jackson, WY
$4,000 – $6,000
oil on board 30 x 40 inches signed lower left: S Christensen © verso: signed and titled
PROVENANCE: The Artist Private Collection, Jackson, WY
$5,000 – $7,000
22
41 SCOTT CHRISTENSEN (1962– ) July at 11,000’
42 SCOTT CHRISTENSEN (1962– ) Feels Like Fall
Lookouts
oil on canvas 40 x 36 inches
signed lower left: Will Burlingame
PROVENANCE:
Husberg Fine Arts Gallery, Scottsdale, AZ (label verso) From the Collection of the Meyer Estate
$2,000 – $3,000
oil on canvas 18 x 24 inches
signed lower left: KEN LAAGER
PROVENANCE: From a Private Collection
$1,000 – $2,000
oil on canvas 24 x 36 inches
signed and dated lower right: KEN LAAGER © 1995
PROVENANCE:
Husberg Fine Arts, Scottsdale, AZ (label verso)
From a Private Collection
$2,000 – $4,000
23
43 WILLIAM BURLINGAME (1942– )
44 KEN LAAGER (1953– )
Water in Arizona
45 KEN LAAGER (1953– )
Horsethief Moon, 1995
White Man Who Scalps Himself, 1981
oil on board 24 x 44 inches
signed and dated lower right: hw johnson (artist cipher) CA © 1981
PROVENANCE:
CAA Museum, Kerrville, TX (label verso)
From a Private Collection
$4,000 – $6,000
O-Kee-Pa, 1997
oil on canvas 39 ¾ x 32 inches
signed and dated lower right: KEN LAAGER © 1997
PROVENANCE:
Husberg Fine Arts, Scottsdale, AZ (label verso) From a Private Collection
$3,000 – $5,000
24
46 KEN LAAGER (1953– )
47 HARVEY JOHNSON (1921–2005)
oil on canvas 32 x 16 inches
PROVENANCE: Jim Fowler’s Period Gallery West, Scottsdale, AZ (label verso) Private Collection, Paradise Valley, AZ
$2,000 – $4,000
PROVENANCE: Private Collection, Paradise Valley, AZ
$4,000 – $6,000
oil on canvas 40 x 24 inches
PROVENANCE: From a Private Collection
$3,000 – $5,000
25
48 CHARLES WINFIELD MILLER (1922–1995) The Path Maker, 1986
signed and dated lower right: Charles Winfield Miller © ‘86
49 CHARLES WINFIELD MILLER (1922–1995) Pony Raid, 1987
signed and dated lower right: CHARLES WINFIELD MILLER © ‘87 verso: titled
50 JOE BEELER (1931–2006) Speaker of the House bronze, 6/40 17 ¾ x 9 ¼ x 9 ¾ inches
inscribed: JOE BEElER (artist cipher) CA stamped: 6/40 BRONZE SMITH
bronze, 6/20 12 x 10 x 11 inches
inscribed: JOE BEELER (artist cipher) CA 6/20
stamped: BUFFALO BRONZE WORKS
PROVENANCE:
From a Private Collection
$1,000 – $2,000
“How
bronze 23 x 22 x 15 inches
inscribed: C Kauba
stamped: “How - Kola!”
PROVENANCE: From a Private Collection
$2,000 – $4,000
bronze, 9/20 12 x 8 x 8 inches
inscribed: JOE BEELER (artist cipher) CA 9/20 stamped: (buffalo symbol)
PROVENANCE: From a Private Collection
$3,000 – $5,000
bronze 9 ¾ x 28 x 6 inches
inscribed: C Kauba
PROVENANCE: From a Private Collection
$4,000 – $6,000
26
51 JOE BEELER (1931–2006) Crow Scout
52 JOE BEELER (1931–2006) White Mountain Chief
53 CARL KAUBA (1865–1922)
- Kola!”
54 CARL KAUBA (1865–1922) Indian Attack (War Party)
Furs for Fofarraws, 1989
oil on board
20 x 32 inches
signed and dated lower right: hw johnson (artist cipher) CA © 1989
PROVENANCE: From a Private Collection
EXHIBITED:
CAA Silver Anniversary Exhibit, Cowboy Artists of America Museum, April 21 - Sept. 2, 1990, Kerrville, TX (label verso)
$4,000 – $6,000
A Bent’s Fort Welcome, 1991
oil on board
24 x 36 inches
signed and dated lower right: hw johnson (artist cipher) CA ‘91
PROVENANCE:
Cowboy Artists of America, 26th Annual Sale & Exhibition, Phoenix Art Museum, October 26-November 24, 1991
From a Private Collection
EXHIBITED:
Cowboy Artists of America, 26th Annual Sale & Exhibition, Phoenix Art Museum, October 26-November 24, 1991
$5,000 – $7,000
27
55 HARVEY JOHNSON (1921–2005)
56 HARVEY JOHNSON (1921–2005)
Untitled oil on canvas 31 ⅜ x 47 ⅜ inches signed lower left: TOM DARRO
PROVENANCE: Private Collection, Fredericksburg, TX
$7,000 – $10,000
Concord
mixed media, 1/2 14 ½ x 23 x 12 ½ inches
Includes signed certificate of authenticity from the House of Wychopen.
PROVENANCE:
From a Private Collection
$5,000 – $7,000
28
57 TOM DARRO (1946–2023)
©
58 STAN WYCHOPEN (1941–2009)
Coach Series Q20, 1995
The Moonlight Journey
20 x 29 ¼ inches
PROVENANCE: Private Collection, Paradise Valley, AZ
$4,000 – $6,000
Good Friends, Good Horses, Great Coffee
oil on canvas
34 ⅜ x 44 ¼ inches
signed lower left: Hughes
PROVENANCE:
The May Gallery, Scottsdale, AZ From a Private Collection
$6,000 – $8,000
29
59 DAVID MANN (1948– )
oil on board
signed lower right: D. Mann
60 BILL HUGHES (1932–1992)
Camp
oil on board
24 x 42 inches
signed and dated lower right: hw johnson (artist cipher) CA © 1982
PROVENANCE:
Cowboy Artists of America, 17th Annual Sale & Exhibition, Phoenix Art Museum, October 15-November 21, 1982
From a Private Collection
EXHIBITED:
Cowboy Artists of America, 17th Annual Sale & Exhibition, Phoenix Art Museum, October 15-November 21, 1982
$6,000 – $9,000
Into the North Wind bronze, 5/30 20 x 16 x 8 ½ inches
inscribed: Joe Beeler (artist cipher) stamped: (cipher) Buffalo Bronze Works
PROVENANCE:
From a Private Collection
$2,000 – $3,000
Taking Cover, 1983
oil on canvas 30 ⅛ x 20 ⅛ inches
signed and dated lower right: Carl Hantman / 83
PROVENANCE:
From the Collection of Paul and Carla McCombs
$1,000 – $2,000
30
62 JOE BEELER (1931–2006)
63 CARL HANTMAN (1933– )
61 HARVEY JOHNSON (1921–2005)
of the Running Iron Men, 1982
oil on canvas
31 ¾ x 51 5/8 inches
signed and dated lower right: © Gary Carter CA 97
PROVENANCE:
Cowboy Artists of America, 32nd Annual Sale & Exhibition, Phoenix Art Museum, 1997 Private Collection, Wyoming
EXHIBITED:
Cowboy Artists of America, 32nd Annual Sale & Exhibition, Phoenix Art Museum, 1997
$10,000 – $20,000
31
64 GARY CARTER (1939– )
The Prize, 1997
65 MARTIN GRELLE (1954– )
Heart of a Lion, 2008
watercolor on paper
51 ½ x 40 inches
signed and dated lower left: Martin Grelle (artist cipher) © 2008
PROVENANCE:
Cowboy Artists of America, 43rd Annual Sale & Exhibition, Phoenix Art Museum, 2008
Private Collection, Rockford, IL
EXHIBITED:
Cowboy Artists of America, 43rd Annual Sale & Exhibition, Phoenix Art Museum, 2008
$20,000 – $30,000
32
PROVENANCE: Private Collection, Ann Arbor, MI
$4,000 – $6,000
PROVENANCE:
The Closson Art Galleries, Cincinnati, OH (label verso)
From the Collection of Paul and Carla McCombs
EXHIBITED:
Straight White Shield, The Life and Works of John Hauser, Retrospective Exhibition, February 3-25th, 2012, Cincinnati Art Galleries, LLC, Cincinnati, OH (label verso)
$6,000 – $9,000
33
66 HERB MIGNERY (1937– ) At the Water’s Edge bronze, 2/9 38 ¾ x 18 x 18 inches inscribed: Mignery CA 2/9
67 JOHN HAUSER (1859–1913) Return from the Hunt watercolor and pencil on paper
12 ¾ x 20 ⅛ inches
signed lower right: John Hauser
68 RUSS VICKERS (1923–1997)
Dash for Safety, 1986
oil on canvas
8 x 10 inches
signed and dated lower right: Russ Vickers © 86 verso: titled, dated and signed
PROVENANCE:
From a Private Collection
$1,500 – $2,500
70 RUSS VICKERS
Wood, Grass and Water
oil on board 4 x 12 inches
signed lower right: Russ Vickers © verso: titled and signed
PROVENANCE:
From a Private Collection
$1,000 – $2,000
69 RUSS VICKERS (1923–1997)
Talents of the Cook, 1987
oil on canvas 20 x 30 inches
signed and dated lower right: Russ Vickers © 87
PROVENANCE:
From a Private Collection
$3,000 – $5,000
71
Entering the Dreaded Mountains
oil on board 4 x 12 inches
signed lower right: Russ Vickers © verso: titled and signed
PROVENANCE:
Settlers West, Tucson, AZ (label verso)
From a Private Collection
$1,000 – $2,000
72
There’s Water and Grass About 4 Miles Ahead, 1984
oil on board 4 x 12 inches
signed and dated lower right: Russ Vickers © 84 verso: titled, dated and signed
PROVENANCE:
The May Gallery, Scottsdale, AZ (label verso)
From a Private Collection
$1,000 – $2,000
34
(1923–1997)
RUSS VICKERS (1923–1997)
RUSS VICKERS (1923–1997)
Monument Valley oil on masonite board 30 x 40 inches
signed lower left: R. Brownell McGrew
PROVENANCE: Private Collection, Paradise Valley, AZ
$8,000 – $12,000
The Ancient Ones watercolor on paper 17 ½ x 23 ½ inches
signed lower right: M. Rippel ©
verso: titled and signed
PROVENANCE:
From a Private Collection
$2,500 – $4,500
35
73 R. BROWNELL MCGREW (1916–1994)
74 MORRIS RIPPEL (1930–2009)
76 ROD GOEBEL (1946–1993)
The Taos Range, 1981
oil on canvas
28 x 44 inches
signed and dated lower right: Rod Goebel 1981 verso: titled, dated and signed
PROVENANCE:
National Academy of Western Art (label verso) Private Collection, Paradise Valley, AZ
$4,000 – $6,000
75 ORELAND JOE, SR. (1958– )
Ganado Red, 1995
alabaster
17 x 19 x 8 inches
inscribed: OCJoE (artist cipher) CA © 95
PROVENANCE:
Cowboy Artists of America, 30th Annual Sale & Exhibition, Phoenix Art Museum, 1995 From a Private Collection
EXHIBITED:
Cowboy Artists of America, 30th Annual Sale & Exhibition, Phoenix Art Museum, 1995
$2,500 – $4,500
77 FRITZ WHITE (1930–2010)
Navajo Magic
bronze, 5/24
38 x 22 x 15 inches
inscribed: © fritz white (artist cipher) CA 5/24
PROVENANCE: From a Private Collection
$5,000 – $7,000
36
78 BUCK MCCAIN (1943– )
Indians and Pueblo oil on canvas 34 x 50 ¼ inches
signed lower right: McCain
PROVENANCE: Private Collection, Paradise Valley, AZ
$7,000 – $10,000
80 BOB BOOMER (1946– )
Legends of the Spirits, 1997
manzanita wood 13 ⅜ x 19 ⅞ x 9 ½ inches
inscribed: Bob Boomer © 97 aica
PROVENANCE: From a Private Collection
$800 – $1,200
79 ORELAND JOE, SR. (1958– )
Morning Prayer, 2009
alabaster 10 x 11 ¾ x 4 5/8 inches
inscribed: (artist cipher) Joe (artist cipher) © 09
PROVENANCE: From a Private Collection
$1,000 – $2,000
81 BOB BOOMER (1946– )
The Healer, 2013
manzanita wood 20 ¼ x 7 x 8 ½ inches
inscribed: Bob Boomer © 2013
PROVENANCE: From a Private Collection
$1,200 – $1,800
37
82 HAROLD VON SCHMIDT (1893–1982)
The Intruders
oil on canvas 30 x 30 inches
signed upper left: HAROLD VON SCHMIDT
PROVENANCE:
Les Mansfield, Lakewood, OH (label verso)
Arizona West Galleries, Inc., Scottsdale, AZ (label verso)
From a Private Collection
LITERATURE:
Saturday Evening Post, Feb. 28, 1942, “Sugarfoot” by Clarence Budington Kelland
$3,000 – $5,000
83 ROBERT FARRINGTON ELWELL (1874-1962)
Prairie Fire
oil on board 20 x 16 inches
signed lower left: R. Farrington Elwell - (artist cipher) Arizona
PROVENANCE:
From the Collection of Paul and Carla McCombs
LITERATURE:
All Western Magazine, December 1933, cover illustration
$3,000 – $5,000
84
Old Man of the Desert, 1987
pastel on paper 29 x 21 inches
signed and dated lower right: © (artist cipher) CA Mel Warren 1987
verso: signed and dated
PROVENANCE: From a Private Collection
$5,000 – $7,000
38
MELVIN CHARLES WARREN (1920–1995)
The
and
watercolor on paper
13 ¼ x 24 inches
signed and dated lower right: Donald Teague 1947
PROVENANCE:
From a Private Collection
LITERATURE:
For Publication in the Saturday Evening Post (label verso)
$7,000 – $10,000
Mustang Round Up
watercolor on paper 8 x 9 inches
signed lower right: Edward Borein
PROVENANCE: From a Private Collection
$10,000 – $15,000
39
85 EDWARD BOREIN (1872–1945)
86 DONALD TEAGUE (1897–1991)
Middle
the Low, 1947
Handwritten Letter and Drawing to Friend Charlie, 1931
pen and ink on paper 7 ½ x 9 ¾ inches
signed letter: May 14, 1933, Bill James
drawing: Best Wishes, Will James ‘31
PROVENANCE:
From a Private Collection
$3,000 – $5,000
Come to Rest, 1934
charcoal on paper 10 x 12 ½ inches
signed and dated lower left: Will James ‘34 titled lower center: Come to Rest
PROVENANCE:
From the Estate of Harry Jackson
$3,000 – $5,000
Handwritten Letter and Drawing to Friend Jack
pen and ink on paper 8 x 7 ¼ inches
signed letter: Sep 15, ‘27, Bill James
Includes postmarked envelope
PROVENANCE:
From a Private Collection
$3,000 – $5,000
Young Cowboy Scout
pen and ink on paper 11 x 9 inches
signed lower right: Will James titled lower right: Young Cowboy Scout
PROVENANCE:
From the Estate of Harry Jackson
$2,000 – $4,000
40
88 WILL JAMES (1892–1942)
89 WILL JAMES (1982–1942)
90 WILL JAMES (1892–1942)
87 WILL JAMES (1892–1942)
91
Marie (Study for Sacajawea), 1980
bronze
9 x 7 x 8 inches
inscribed: SUHII © Harvey Jackson 80
PROVENANCE: From the Estate of Harry Jackson
$800 – $1,200
bronze
16 ¾ x 7 ⅜ x 9 ¾ inches
inscribed: © Harry Jackson 1983 POM 20
stamped: WFS Italia
PROVENANCE:
From the Estate of Harry Jackson
$800 – $1,200
bronze, 12/250
10 x 6 ¼ x 6 ¼ inches
inscribed: © Harvey Jackson 80 OL 12/250
PROVENANCE:
From the Estate of Harry Jackson
$1,200 – $1,800
94
Where the Trail Forks, 1964
bronze
19 ¾ x 7 ¼ x 5 ¾ inches
inscribed: © H Jackson 64
PROVENANCE:
From the Estate of Harry Jackson
$2,000 – $4,000
41
HARRY JACKSON (1924–2011)
92 HARRY JACKSON (1924–2011) Portrait of a Man, 1983
93 HARRY JACKSON (1924–2011) Ol’ Sabertooth, 1980
HARRY JACKSON (1924–2011)
95 CHARLIE DYE (1906–1972)
Top Hand
oil on board
24 x 36 inches
signed lower right: Charlie Dye (artist cipher)
PROVENANCE:
From the Collection of Mary F. Dye Estate (label verso)
O’Brien’s Art Emporium INC., Scottsdale, AZ (label verso)
From the Collection of the Meyer Estate
EXHIBITED:
Whitney Gallery of Western Art, Cody, WY (1969 Season) (label verso)
LITERATURE:
Paul Weaver, Charlie Dye: One Helluva Western Painter, Published by Petersen Prints, Los Angeles, Illus. p. 27
$50,000 – $75,000
42
Picking
signed
PROVENANCE:
From a Private Collection
$8,000 – $12,000
Untitled,
pencil
signed and dated lower right: M. MAGGIORI / 2015
PROVENANCE:
Private Collection, Scottsbluff, NE
$4,000 – $6,000
signed
PROVENANCE: From a
$8,000 – $12,000
43
96 JIM C. NORTON (1953–2023)
a Good One oil on canvas
24 x 32 inches
lower left: Jim C. Norton (artist cipher) © verso: signed
98 JIM C. NORTON (1953–2023) Evening Shadows, 1990 oil on canvas 24 x 32 inches
lower left: Jim C. Norton (artist cipher) © verso: titled, signed and dated
Private Collection
97 MARK MAGGIORI (1977– )
2015
on paper
8 x 8 inches
99 MARTIN GRELLE (1954– )
Lunch Break, 1996 oil on canvas 9 x 12 inches
signed and dated lower right: + Martin Grelle © *96 (artist cipher) CA
PROVENANCE:
Overland Gallery of Fine Art, Scottsdale, AZ (label verso)
Private Collection, Furry Creek, British Columbia
$6,000 – $9,000
100 BILL ANTON (1957– ) A Cautious Approach
oil on board 10 x 12 inches
signed lower right: Bill Anton verso: titled and signed
PROVENANCE:
Private Collection, Furry Creek, British Columbia
$3,000 – $5,000
101 DAN MIEDUCH (1947– )
‘T Ain’t Brain Surgery, 1990
oil on board 20 x 30 inches
signed and dated lower right: Dan Mieduch 1990 ©
PROVENANCE: From a Private Collection
$3,000 – $5,000
44
oil on board 30 x 36 inches
PROVENANCE:
National Academy of Western Art Exhibition, National Cowboy Hall of Fame, 1974 From a Private Collection
EXHIBITED:
National Academy of Western Art Exhibition, National Cowboy Hall of Fame, 1974
$15,000 – $25,000
Cuttin’ ‘Em In
oil on board
30 x 40 inches
signed lower left: Schwiering (artist cipher) ©
PROVENANCE:
Purchased directly from the artist, 1971 From a Private Collection
$15,000 – $25,000
45
102 CONRAD SCHWIERING (1916–1986)
103 CONRAD SCHWIERING (1916–1986) Home to Calve, 1974
signed lower right: Schwiering © (artist cipher) verso: dated and titled
104 TUCKER SMITH (1940– )
Drift Fence, 2007
oil on linen
40 x 36 inches
signed lower left: Tucker Smith 07
PROVENANCE:
From a Private Collection
$70,000 – $100,000
46
105 BONNIE MARRIS (1951– ) A Bond So Strong, 2023 oil on canvas 36 x 48 inches signed lower right: B L Marris
“All members of a wolf pack, brothers and sisters, aunts and uncles, bond with each other through communication and through play. But the bond between the alpha male and the alpha female wolf is one of the strongest bonds found in a society. It lasts until the death of one. The bond is celebrated daily with rubs, licking, playing and affection. It’s a bond, as humans, we all should envy.”
— Bonnie Marris
PROVENANCE:
The Arist
$20,000 – $30,000
106 WINCHESTER REPEATING ARMS COMPANY Double “W” Cartridge Display 34 x 50 inches
PROVENANCE: From a Private Collection $10,000 – $20,000
47
107 ROBERT PUMMILL (1936– )
Wyoming Ranch Station, 1989
oil on canvas
32 x 48 inches
signed lower right: pummill (artist cipher) CA © ‘89
PROVENANCE:
National Academy of Western Art (label verso) From a Private Collection
$15,000 – $25,000
108 ROBERT PUMMILL (1936– )
Western Exposure, 1988
oil on canvas 24 x 36 inches
signed and dated lower right: -pummill- (artist cipher) CA © ‘88
PROVENANCE: From a Private Collection
$8,000 – $12,000
48
109 RICHARD D. THOMAS (1939–2019)
Branding Day on the Huckaba, 2001
oil on canvas
42 x 60 inches
signed lower left: Richard D. Thomas
verso: titled, signed and dated
PROVENANCE:
Trailside Galleries
From a Private Collection
$8,000 – $12,000
110 DAN MIEDUCH (1947– )
Too Soon the Wind, Too Late the Rain, 1988
oil on board
24 x 36 inches
signed and dated lower left: (artist cipher) Dan Mieduch 1988
verso: titled (One Went That - A - Way)
PROVENANCE:
From a Private Collection
$8,000 – $12,000
49
111 MARTIN GRELLE (1954– )
In the Texas Dust, 2003
oil on linen
24 x 18 inches
signed and dated lower right: + Martin Grelle 2003 (artist cipher) CA
PROVENANCE:
Private Collection, Furry Creek, British Columbia
$20,000 – $30,000
112 FREMONT ELLIS (1897–1985)
On Hondo Creek
oil on canvas 25 ¼ x 30 inches
signed lower right: Fremont Ellis
PROVENANCE:
Private Collection, Prescott, AZ
$8,000 – $12,000
50
bronze, 2/25
25 x 11 x 12 ½ inches
inscribed: BILL NEBEKER © 1985 2/25 (artist cipher) CA
PROVENANCE: From a Private Collection
$3,000 – $5,000
Lazy Days
oil on linen
24 x 36 inches
signed lower right: Francois KocH
verso: signed and titled “Heydays are also for horses.”
—Francois Koch
PROVENANCE: The Artist
$5,000 – $7,000
bronze
12 ½ x 23 x 12 ¾ inches
inscribed: Bustin’ One © Harry Jackson 59
PROVENANCE: From the Estate of Harry Jackson
$2,500 – $4,500
51
114 BILL NEBEKER (1942– )
Weatherin’ The Chores, 1985
115 HARRY JACKSON (1924–2011) Bustin’ One, 1959
113 FRANCOIS KOCH (1944– )
116 HOWARD TERPNING (1927– )
Status Symbols, 1982
oil on canvas 34 x 26 inches
signed lower left: © Terpning 1982 (artist cipher) CA verso: titled and signed
Often referred to as the Storyteller of the Native American, Howard Terpning’s realistic paintings are among the most sought after and acclaimed images ever produced of Native American traditions, customs, and history. Deep dedication to the accurate, compassionate and insightful depiction of Native American culture is masterfully rendered in his historical works.
Born in Oak Park, IL in 1927, he attended the Chicago Academy of Fine Art and the American Academy of Art. He worked in commercial art in Chicago before moving to New York City where he had a successful career as an illustrator for popular magazines and movie posters.
Terpning moved to Tucson, Arizona in 1977 to document Native American culture and the American West. In 1979, he was elected to the National Academy of Western Art and the Cowboy Artists of America. Over the last five decades, his work has garnered every top award in Western art including several Gold Medals from the Cowboy Artists of America, two Prix De West Purchase Awards from the National Cowboy and Western Heritage Museum, the Hubbard Award for Excellence and the Autry National Center of the American West’s Lifetime Achievement Award.
Describing this painting, the artist wrote, “The figures and horses on the hide tell the story of this Plain Indian’s many war exploits. His war shield has powerful medicine and is a symbol of his belief in its power. The lance is a weapon with which he is proud to pose.”
PROVENANCE:
Auction at the River Oaks Country Club, Houston, TX, hosted by Altermann & Morris Galleries, Houston, TX (label verso) From a Private Collection
$200,000 – $500,000
52
53
20 x 24 inches
signed: O - Wieghorst (artist cipher) CA
PROVENANCE:
Laguna Beach Art Assn. (label verso) From a Private Collection
$20,000 – $30,000
54
117 OLAF WIEGHORST (1899–1988)
Navajo Horsemen oil on canvas
118 HAROLD VON SCHMIDT (1893–1982)
Return of the War Party, 1925
oil on canvas
27 x 36 ¼ inches
signed and dated lower right: Harold von Schmidt 1925
PROVENANCE:
Eric Von Schmidt
J.N. Bartfield Galleries, New York, NY (label verso)
From a Private Collection
LITERATURE:
Walt Reed, Harold Von Schmidt Draws and Paints the Old West, 1972, Northland Press, Illus. p. 90
Walt Reed, The Western Art of Harold Von Schmidt, A Peacock Press/Bantam Book, 1976, Illus. back cover $15,000 – $25,000
55
The War Party, 1896
watercolor and gouache on paper 15 ⅜ x 9 5/8 inches signed and dated lower right: John Hauser 96
PROVENANCE: Brannin Family Foundation (label verso) From a Private Collection
EXHIBITED: Thomas Gilcrease Institute of American History and Art, Tulsans Collect Americana, October 3-31, 1979 (label verso)
$6,000 – $9,000
Chief Joseph, 1905
watercolor on paper 13 ½ x 10 ½ inches signed and dated lower right: E.S. Paxson - 1905
PROVENANCE: From a Private Collection
$7,000 – $10,000
56
119 JOHN HAUSER (1859–1913)
120 EDGAR SAMUEL PAXSON (1852–1919)
57
121 KENNETH RILEY (1919–2015)
A Captured Mount acrylic on board 12 x 18 inches
signed lower right: Kenneth Riley (artist cipher) CA
PROVENANCE:
Scottsdale Art Auction, Scottsdale, AZ (label verso) From a Private Collection $15,000 – $25,000
122 EDGAR ALWIN PAYNE (1883–1947)
Packers oil on canvas 25 x 30 inches
signed lower right: EDGAR PAYNE
PROVENANCE:
From a Private Collection
$40,000 – $60,000
58
Buffalo
oil on canvas
22 x 36 inches
signed lower right: Hoffman
PROVENANCE:
Jackson Hole Art Auction, Jackson, WY, 2008 (label verso)
From a Private Collection
$10,000 – $20,000
The
oil on linen on board
20 x 30 inches
signed and dated lower left: C. Aspevig 08
PROVENANCE:
Juniper Ridge Studios, Billings, MT (label verso)
Scottsdale Art Auction, Scottsdale, AZ, 2011 (label verso)
From a Private Collection
$10,000 – $15,000
59
123 FRANK HOFFMAN (1888–1958)
124 CLYDE ASPEVIG (1951– )
Terrace-Mammoth Hot Springs, 2008
125 JOHN FERY (1859–1934)
American Fork Canyon
oil on canvas 20 x 30 inches
signed lower left: J Fery verso: titled
PROVENANCE:
From a Private Collection
$8,000 – $12,000
126 JAMES JOHN AUDUBON (1785–1851)
Fish Hawk or Osprey, Plate 81
aquatint engraving with original hand color
Robert Havell, 1827-1838
38 x 25 1/8 inches
PROVENANCE:
Private Collection, Dallas, TX
$25,000 – $45,000
60
127
HERMANN HERZOG (1832–1932)
Landscape with Waterfall and Angler, 1868
oil on canvas
28 ⅜ x 42 ⅜ inches signed and dated lower left: H Herzog 1868
Born 1832 in Bremen, Germany, Hermann Herzog began his studies in 1948 at the famed Düsseldorf Academy. Deeply influenced by his teachers, who urged him to travel in search of scenic beauty and inspiration, he trained while traveling extensively throughout Europe. His travels led him to paint sweeping Romantic landscapes, depicting unique views of fjords, lakes, waterfalls and mountains.
Herzog exhibited paintings in Germany and France, winning a prize at the Paris Salon in 1863. Distinguished patrons of his work included Queen Victoria, the Grand Duke Alexander of Russia and other members of royalty. While still living in Germany, Herzog sent paintings to the Pennsylvania Academy’s annual exhibitions from 1863 to 1869, establishing an American market for his work.
After immigrating to the United States in 1869, he settled in Philadelphia and traveled widely throughout the eastern United States, painting landscape scenes of Niagara Falls, the Chesapeake Bay, New Hampshire’s White Mountains and the Maine coast.
By the mid 1870s he ventured west and discovered the rugged, mountainous landscapes of Utah, Oregon and California’s Yosemite Valley. Throughout his career, he remained steadfast in his romantic view of the world, his canvases painted in a polished, realistic manner, imbued with luminous light.
Today his work can be found in several museum collections, including the Smithsonian’s American Art Museum, the Farnsworth Art Museum, the Metropolitan Museum of Art, the Cincinnati Art Museum, and the National Museum of Wildlife Art in Jackson, Wyoming. Hermann Herzog continued to paint until his death in 1932 at the age of 99.
PROVENANCE:
From a Private Collection
$25,000 – $45,000
61
128 CARL RUNGIUS (1869–1959)
Caribou
oil on canvas
47 x 49 ½ inches
signed lower right: C. Rungius
Widely recognized as the premier painter of North American wildlife, Carl Rungius was born in Germany in 1869 and classically trained at the Royal Academy of Arts in Berlin. He first came to North America in 1894 on a hunting trip to Maine and stayed on to spend the following summer hunting in Wyoming.
Those experiences, along with the opportunity to study and sketch animals at the Bronx Zoo, led to a highly successful career as an illustrator for the leading outdoor publications of the day. By 1904, however, Rungius had ceased illustrating entirely to work full time as a studio artist.
That same year, naturalist Charles Sheldon invited Rungius on a four-month expedition to the Yukon where he first witnessed caribou in the wild. Rungius would later observe even more caribou after 1910 when he started traveling to Banff, Alberta, Canada. Banff became a second home for Rungius, where he built a house and studio known as “The Paintbox.” At this point, caribou began to appear regularly as subjects in his paintings.
Painted circa 1925-1930, Caribou showcases Rungius’s strong sense of design, coupled with his knowledge of anatomy, born of years of experience in the field. His expressive handling of the subject makes the animals one with both the landscape depicted and the compositions in which they are placed. The painting is bold and vigorous in color and brushwork. Rungius sets the caribou in a snowy landscape juxtaposed against a blue sky and a background of a sunlit pinkish hillside.
The painting has been in a prominent New York family collection and has never been exhibited to the public (aside from when it was sold ca. 1930 at Arthur H. Harlow & Co., Inc, New York, NY (label verso)).
This work will be included in the forthcoming Catalogue Raisonné, currently being prepared by Adam Duncan Harris, Ph.D., Grainger/Kerr Director of the Carl Rungius Catalogue Raisonné.
PROVENANCE:
Arthur H. Harlow & Co., Inc, New York, NY (label verso) circa 1930 By descent, in a Private New York Family Collection
$500,000 – $700,000
62
63
129 TUCKER SMITH (1940– )
Soda Springs, 1978
oil on canvas
16 x 28 ⅛ inches
signed and dated lower right: Tucker Smith © 78
PROVENANCE:
Carson Gallery of Western American Art, Denver, CO (label verso)
From a Private Collection
$25,000 – $35,000
130 TUCKER SMITH (1940– )
Desert Muley, 2000
oil on canvas
24 x 32 inches
signed and dated lower left: Tucker Smith 00
Most of the mule deer of Wyoming winter on the desert. Many remain there all year. This area is about fifty miles south from where we live. — Tucker
PROVENANCE:
Trailside Galleries, Scottsdale, AZ and Jackson, WY (label verso)
From a Private Collection
LITERATURE:
Tucker Smith, The Paintings of Tucker Smith: A Celebration of Nature, Graphic Arts Books, 2004, Illus. p.155
$35,000 – $55,000
Smith
64
PROVENANCE:
From the Collection of Bob and Curtice McCloy
LITERATURE:
Tom Davis, Patrons Without Peer, Collectors Covey, Dallas, TX, 2009, Illus. p. 83
$7,000 – $10,000
PROVENANCE:
From the Collection of Bob and Curtice McCloy
LITERATURE:
Tom Davis, Patrons Without Peer, Collectors Covey, Dallas, TX, 2009, Illus. p. 64
$7,000 – $10,000
PROVENANCE:
J.N. Bartfield Galleries, New York, NY (label verso)
From a Private Collection
$18,000 – $24,000
65
131 KEN CARLSON (1937– ) Morning Respite oil on board 13 x 10 inches signed lower left: Carlson
132 KEN CARLSON (1937– ) Dusk on the Flats - Whitetail oil on board 10 x 13 inches signed lower left: Carlson
133 KEN CARLSON (1937– ) Lofty Terrain oil on board 18 x 36 inches signed lower right: CARLSON
One
oil on board
28 x 48 inches
signed
verso: titled and signed
PROVENANCE:
Private Collection, Minnetonka, MN
Jackson Hole Art Auction, Jackson, WY, 2012 (label verso)
Private Collection, Wilson, WY
$10,000 – $15,000
PROVENANCE: From the Collection of Bob and Curtice McCloy
$8,000 – $12,000
PROVENANCE: From a Private Collection
$4,000 – $6,000
66
134 LUKE FRAZIER (1970– )
Sleepy Bear, 2006
lower right: l. Frazier dated lower left: © 06
135 TIM SHINABARGER (1966– ) Mother’s Watch
bronze, 8/35 22 5/8 x 21 ⅛ x 16 ½ inches inscribed: © Shinabarger 8/35
136 TOM MANSANAREZ (1963– ) The Seal Hunter, 2006 oil on canvas
24 x 18 inches
signed lower left: Tom Manzanarez © 2006
137
CARL BRENDERS (1937– )
Lookout Tower, Timberwolves, 2009
mixed media on board
43 ¼ x 31 ¾ inches signed and dated lower left: © Brenders 2009
Born near Antwerp, Belgium in 1937, Carl Brenders has drawn since childhood. He studied at the Fine Arts Academy in Antwerp and later at Berchem. His love for all creatures is evident in his masterful attention to detail. Brenders’ insistence on anatomical perfection in his paintings stems from his philosophy that nature, itself, is perfection. A dedicated conservationist, Brenders has raised awareness for environmental and conservation causes through his art, which enjoys international acclaim.
Of his painting Lookout Tower - Timberwolves he says: “Why are most people so fascinated with wolves? If one looks at these four wolves on a cliff, the harmony of their colors and wonderful proportions of their bodies, as well as the resemblance to our dear German Shepherds and Huskies, explains everything. The teamwork in their hunting strategy has fascinated many biologists and naturalists. It is the same for most dog species like the Wild Dogs in Africa and the Dingoes in Australia, to name a few. Just like lions hunting in groups, the wolves can lay down big prey like moose, elk and caribou. Even a bear isn’t safe facing a big pack of wolves. One might wonder why wolves are so shy of humans. The story of Little Red Riding Hood is still in people’s minds. This fairy tale gave the wolf a bad reputation. Wolves avoid humans, as humans are their worst enemy.”
He adds: “The inspiration for this painting came when I flew back to Europe after a wonderful field work trip (hunting with my camera). As I am unable to sleep in planes, I often make sketches for future paintings. With a ball-point pen and a little sheet of paper, one sketch was enough to create this painting. The scenery in this painting is typical of Western America with Lodgepole Pine and Rocky Mountain Maple. I mostly paint not what I have seen, but what I dream of seeing in the wild. This painting was done as a celebration for the success of the reintroduction of the wolves in Yellowstone National Park. As a wolf-lover, I am thankful to the people who worked hard to reintroduce the wolf into Yellowstone National Park. A wild area like this isn’t complete without this wonderful predator.”
PROVENANCE:
Private Collection, Duxbury, MA
Jackson Hole Art Auction, Jackson, WY, 2010 (label verso)
From a Private Collection
EXHIBITED:
Southeastern Wildlife Exposition, Charleston, SC., 2010
$60,000 – $90,000
67
PROVENANCE: From a Private Collection
$40,000 – $60,000
68
138 TUCKER SMITH (1940– ) Vigilance, 2016 oil on canvas 18 x 24 inches signed and dated lower right: Tucker Smith 16
Processional
oil on canvas 31 x 47 inches
signed lower left: Lanford Monroe
PROVENANCE:
From a Private Collection
LITERATURE:
R.E.C. (Chipper) Thompson, Homefields: The Art of Lanford Monroe, Sporting Classics & Islet Bay Press, 2007, Illus. pp.88-89
$25,000 – $45,000
69
139 LANFORD MONROE (1950–2000)
140 CONRAD SCHWIERING (1916–1986)
Snap of a Twig, 1973
oil on board
30 x 40 inches
signed lower right: Schwiering (artist cipher) © verso: titled and dated
PROVENANCE:
National Academy of Western Art Exhibition, National Cowboy Hall of Fame, 1973
From a Private Collection
EXHIBITED:
National Academy of Western Art Exhibition, National Cowboy Hall of Fame, 1973
$8,000 – $12,000
141 CONRAD SCHWIERING (1916–1986)
Winter Haven
oil on board 32 ⅜ x 38 ¼ inches
signed lower left: Schwiering (artist cipher) © verso: titled
PROVENANCE: From a Private Collection
$15,000 – $25,000
70
First Light, 2023
oil on linen on panel 30 x 42 ⅛ inches
signed lower left: - Bruce · Cheever ©
“The golden light of dawn strikes the highest ramparts of a foreboding world, as a hunting party readies themselves in camp for a new day ahead. This painting is about catching the sweet light, that is all too fading.” — Bruce Cheever
PROVENANCE:
The Artist
$12,000 – $18,000
Afternoon Convection, 2023
oil on canvas mounted on gator foam 30 x 30 inches
signed lower right: boedges
“I lived along the Front Range of Colorado for many years and every summer afternoon storms would billow up in the high mountains. The best time to paint was just as the convection was getting started in the late morning and early afternoon; the rising cumulus clouds casting beautiful patterns of shadows on the jagged peaks, forcing some ridges into stark relief against the bright clouds, and illuminating others in the warm glow of the direct sun. The true depth and scale of the mountains was greatly accentuated by such high contrast. But not for long. As the storms continued to rise, they would eventually blow over and bathe the high country in a high overcast.” — Mark Boedges
PROVENANCE:
The Artist
$12,000 – $18,000
71
142 BRUCE CHEEVER (1958– )
143 MARK BOEDGES (1973– )
144 CHAD POPPLETON (1976– )
The Mission Range, 2010 oil on canvas 30 x 43 inches
signed lower right: Chad Poppleton verso: titled, signed and dated
PROVENANCE: From a Private Collection
$8,000 – $12,000
145 DAN KNEPPER (1961-) Extended Family, 2023 oil on canvas 30 x 40 inches
signed lower right: Knepper verso: titled and signed
“These elk were part of a much larger herd on a mountain opposite us. They eventually came down the mountain, across the valley to come up our side, and pass us in an endless parade.” — Dan Knepper
PROVENANCE: The Artist
$7,000 – $10,000
146 DAN KNEPPER (1961-) Transitions, 2023 oil on canvas 30 x 40 inches
signed lower right: Knepper verso: titled and signed
“I liked the symbolism of passing through the gate into the golden sunlit field, with the dark clouds receding over the distant mountains.” — Dan Knepper
PROVENANCE: The Artist
$7,000 – $10,000
72
PROVENANCE:
73
147 TUCKER SMITH (1940– ) The Bear, 2004 oil on canvas 30 x 40 inches signed and dated lower left: Tucker Smith 04
Gerald Peters Gallery, Santa Fe, NM (label verso) From a Private Collection
$60,000 – $90,000
148 KEN CARLSON (1937– )
Uncertain Outcome oil on board 25 x 50 inches signed lower right: Carlson
PROVENANCE: From the Collection of Bob and Curtice McCloy
LITERATURE:
Tom Davis, Patrons Without Peer, Collectors Covey, Dallas, TX, 2009, Illus. pp. 72-73
$35,000 – $55,000
74
oil on board
36 x 30 inches
signed lower right: l. Frazier dated lower left: © 23
verso: titled, signed and dated
“A cacophony of sound from Bluetick and Redbone hounds bring a large male mountain lion to bay on a ledge of granite. The cat has the high ground, but where to go through the dog pack? He is, as they say, between a rock and a hard place.” — Luke Frazier
PROVENANCE:
The Artist
$18,000 – $24,000
oil on board 30 x 30 inches
signed lower left: l. Frazier dated lower right: © 18
“In 2001, a week after the horrific September 11th attacks on our country, I found myself at 9 thousand feet, traversing Wilcox Pass near Jasper National Park in Alberta, Canada. My heart was full, of both happiness and sorrow; grateful to be alive, mournful for those who lost their precious lives. As I sat, thankful for all of God’s gifts in my life, a band of six bighorn sheep fed within feet of me, and then bedded down. This incredible scene that lay before me spoke to my soul; the title of the forthcoming painting was like a sweet, still voice.” — Luke Frazier
PROVENANCE:
The Artist
$15,000 – $25,000
75
149 LUKE FRAZIER (1970– ) Up to Here in Hounds, 2023
150 LUKE FRAZIER (1970– ) Rams at Heaven’s Gate, 2018
151
Campfire Tales
oil on canvas
30 x 40 inches
signed lower right: - Nicholas Coleman - ©
“I love the outdoors; each day refreshed, and an opportunity for change. I am endlessly enthralled, captivated, and compelled to paint what I paint. In each painting, the landscape, animal, figure is unique. It’s like wondering: “What’s over the next hill?” You can’t stop!” — Nicholas Coleman
PROVENANCE:
The Artist
$10,000 – $20,000
152
Rushing Waters
oil on linen
36 ¼ x 48 inches
signed lower right: Francois Koch
verso: signed and titled
“The beauty and power of rushing water is always an inspiration to me.”
— Francois Koch
PROVENANCE:
The Artist
$15,000 – $25,000
76
NICHOLAS COLEMAN (1978– )
FRANCOIS KOCH (1944– )
signed lower left: Lanford Monroe
PROVENANCE:
From the Collection of Paul and Carla McCombs
$10,000 – $20,000
20 x 30 inches
signed lower right: Lanford Monroe
PROVENANCE:
Private Collection, Wilson, WY
$5,000 – $7,000
77
153 LANFORD MONROE (1950–2000)
Landscape with Horse and Pony oil on canvas
34 ¼ x 48 ¼ inches
154 LANFORD MONROE (1950–2000) Pelican In Flight Over A Lake oil on canvas
155 RON KINGSWOOD (1959– )
Sandhill Cranes, 2016
oil on canvas
40 ½ x 35 ⅜ inches
signed and dated lower right: Kingswood 16
“In late fall, I will often drive to an area near where I live and observe thousands of sandhill cranes congregating for migration. This was the impetus for this work; the common name refers to habitat like that at the North Platte River, on the edge of Nebraska’s sandhills on the American great plains.” — Ron Kingswood
PROVENANCE:
The Artist
$10,000 – $20,000
156 RON KINGSWOOD (1959– )
Partridge, 2016
oil on canvas
34 x 37 ½ inches
signed and dated lower left: Kingswood 2016
“I very much enjoy watching and painting upland game birds, such as pheasants, grouse, and partridge. The red-legged partridge, originally from France, Spain, and Portugal, was introduced to Great Britain in the 18th century, and has since become an important game bird there.” — Ron Kingswood
PROVENANCE:
The Artist
$8,000 – $12,000
78
157 DUSTIN VAN WECHEL (1974– )
Rollin’ Thunder, 2023
oil on linen
30 x 40 inches
signed lower left: D Van Wechel
“Bison have long been a favorite subject of mine. They provide me a wealth of inspiration from which to draw interesting narratives in my work about their behavior, their history, and their unique place in the American West. With “Rollin’ Thunder,” I hoped to capture the feeling of what it is to be amongst a herd of moving bison — a glimpse into the mega-herds of 200 years ago.” — Dustin Van Wechel
PROVENANCE:
The Artist
$10,000 – $15,000
158 DUSTIN VAN WECHEL (1974– )
Hidden Valley Goats, 2017
oil on linen
40 x 30 inches
signed lower left: D Van Wechel
verso: titled, signed, dated
PROVENANCE:
Jackson Hole Art Auction, Jackson, WY, 2017 (label verso)
From a Private Collection
$10,000 – $20,000
79
159 ROBERT
acrylic and gold leaf on canvas
36 x 72 inches
signed and dated lower right: Robert Bateman 2004 ©
PROVENANCE:
The Robert Bateman Studio, British Columbia, CA Gerald Peters Gallery, Santa Fe, NM From a Private Collection
LITERATURE:
Robert Bateman, Bateman New Works, Illus. pp. 50-51
EXHIBITED:
Birds in Art, Leigh Yawkey Woodson Art Museum, Wausau, WI, 2004
$50,000 – $75,000
80
BATEMAN (1930– ) Serengeti Dusk, 2004
81
oil on canvasboard 36 x 48 inches
signed lower right: Bill Anton
verso: titled and signed
PROVENANCE:
From the Collection of Paul and Carla McCombs
EXHIBITED:
Western American Art South of the Sweet Tea Line, Booth Western Art Museum, Cartersville, Georgia, September 27, 2014-January 25, 2015
$15,000 – $25,000
oil on board 30 x 40 inches
signed lower right: Bill Anton
verso: titled and signed
PROVENANCE: From a Private Collection
$15,000 – $25,000
82
161 BILL ANTON (1957– )
Emerald Oasis
162 BILL ANTON (1957– ) Hydro Therapy
The Last Look, 1988 oil on board 24 x 30 inches signed lower left: Jim C. Norton © NWR verso: titled, signed and dated
PROVENANCE: From a Private Collection
$7,000 – $10,000
The Wild Ones, 1989
oil on canvas 24 x 32 inches signed lower left: Jim C. Norton © NWR verso: titled, dated and signed
PROVENANCE:
Trailside Galleries, Scottsdale, AZ and Jackson, WY (label verso) From a Private Collection
$7,000 – $10,000
oil on board 18 x 24 inches signed lower left: Bill Anton verso: titled and signed
PROVENANCE: From a Private Collection
$7,000 – $10,000
83
163 JIM C. NORTON (1953–2023)
164 BILL ANTON (1957– ) Where Hobbles Are Handy
165 JIM C. NORTON (1953–2023)
Before Sundown, 1986
oil on canvas
36 x 50 inches
signed and dated lower right: - pummill - (artist cipher) CA © ‘86
PROVENANCE:
The May Gallery, LTD., Scottsdale, AZ (label verso)
Altermann Galleries & Auctioneers, Santa Fe, NM (label verso)
From a Private Collection
$15,000 – $25,000
Early Morning Mist, 1987
oil on canvas
30 x 40 inches
signed and dated lower right: - pummill - (artist cipher) CA © ‘1987
PROVENANCE: From a Private Collection
$12,000 – $18,000
84
166 ROBERT PUMMILL (1936– )
167 ROBERT PUMMILL (1936– )
168
Smoking Up
bronze, no. 92 (posthumous cast)
12 ½ x 10 x 7 inches
numbered: No 92 inscribed: (artist cipher) CM Russell
PROVENANCE:
Private Collection, Newport Beach, CA
$7,000 – $10,000
169
Study for Desert Cottonwoods #1 and #2
colored pencil on paper 3 ½ x 4 ½ inches (each) unsigned
PROVENANCE:
Mark Sublette, Medicine Man Gallery, Inc., Tucson, AZ (label verso) Collier Gallery LTD, Scottsdale, AZ (label verso)
From the Collection of Ronald and Jacquelyn Feller, Tucson, AZ
$8,000 – $12,000
170
The Scouts
oil on paper 8 ¼ x 10 ¾ inches
initialed lower right: CD
PROVENANCE:
Pearl Fincher | Museum of Fine Arts (label verso)
Bradford’s Auction Gallery (label verso)
From a Private Collection
$4,000 – $6,000
85
CHARLES RUSSELL (1864–1926)
MAYNARD DIXON 1875–1946)
CHARLIE DYE (1906–1972)
171 FREDERIC REMINGTON (1861–1909)
Feeding the Dogs (Hunting Musk Ox: Feeding Sledge Dogs in the Barren Grounds), 1895-1896
oil en grisaille on canvas
22 ⅛ x 20 inches
signed lower right: Frederic Remington
Born in 1861, in Canton, NY, Frederic Remington was the son of Seth Pierre Remington, a newspaper publisher, and Clara Sackrider Remington.1 He studied at the Yale School of Fine Arts from 1878 – 1879, but following the death of his father in 1880, he did not return to school, opting instead to work as a reporter for the Albany Morning Express. Later that summer, he vacationed and sketched in the Montana Territory, one of which was published in the Harper’s Weekly of February 25, 1882.2 He continued to sketch during travels through the New Mexico and Arizona Territories as well as Texas over the next two years.
By 1887, Remington’s illustrations were regularly published in the various Harper’s publications (Bazaar, Monthly, Weekly, Young People) in addition to Scribner’s, Collier’s, and Century, among others. His works were exhibited widely: at The National Academy of Design, the American Watercolor Society, Boston Arts Club, the 1889 Paris International Exposition (he won the silver medal for his painting Last Lull in the Fight, now lost), the 1893 World’s Columbian Exposition in Chicago, and the Pennsylvania Academy of the Fine Arts. He continued to travel extensively throughout the Western States and territories, Canada, and Mexico, with additional excursions to Florida, Cuba, Europe, and Algiers. Beginning in the 1880s, his travels included time at Crow and Blackfeet Indian reservations, the Indian Territory (present day Oklahoma), the battlegrounds of Little Bighorn (July 1876) and Wounded Knee (December 1890), and Buffalo Bill Cody’s ranch in Wyoming. He made his last trip West in September of 1908 and died at his home in Ridgefield, CT in December 1909.
Remington’s work can be divided into several categories, and this current example belongs to the most prolific of Remington’s oeuvre: illustrations. In the late 1880s and 1890s, these were primarily done en grisaille for easy reproduction in publications. Feeding the Dogs belongs to the artist’s mature painting style, where the tightly rendered compositions of his earlier work had developed into more modeled figures and lively, fluid scenes.3 The circular arrangement of the figure and the four dogs in the foreground is repeated several times, two dogs and a figure are visible in the middle ground and three additional figures and their dogs are arranged around the lodge in the background. The piece of food suspended between the primary figure’s outstretched arm and the two dogs leaping towards it and the raised whip of one of the other men convey a sense of action within the scene.
In December 1895, Harper’s Monthly began publishing Caspar W. Whitney’s “On Snow-Shoes to the Barren Grounds.” The article spanned five issues, all accompanied by illustrations. Three main illustrations by Remington were included in each issue, the current example is the penultimate work for the end of the story. Whitney’s story describes his adventure to hunt in the Barren Grounds (or Barren Lands), an approximately 200,000-square-mile-area in northern Canada. The tundra region is nearly uninhabited and, at the time, accessible only by canoe during the summer months and by sled and snowshoe the rest of the year. The latter allowed better access to the area to hunt muskox.4
In a letter to Owen Wister (historian and writer of Western fiction,1860 – 1938) in October 1895, the artist noted that he was working on illustrations for Whitney’s Harper’s Monthly article. A second letter from Whitney to the artist on December 7, 1895, acknowledged that Whitney was pleased with the work and asked for additional illustrations. Since it is unclear if Remington had finished in December or was still working on the project in early 1896, the catalogue raisonne dates the current example and other illustrations for the story published in the February, March, and April issues with a date range of 1895 – 1896.5
PROVENANCE:
Ten Eyck Family, New York State
[Sale: Sotheby’s, May 30, 1985, lot 101] Private Collection, Florida, acquired directly from the above
LITERATURE:
Caspar W. Whitney, “On Snow-Shoes to the Barren Grounds,” Part V, Harper’s Monthly, April 1896, p. 721, Illus.
Harold McCracken, Frederic Remington, Artist of the Old West (Philadelphia: J.B. Lippincott Co., 1947), p. 132
Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné, Volume II, (Cody, WY: Buffalo Bill Historical Center, 1996), p. 572, no. 2030, Illus.
$80,000 – $120,000
86
1 The primary source on Remington is Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné (Cody, WY: Buffalo Bill Historical Center, 1996)
2 A few of Remington’s initial drawings accepted by Harper’s were redrawn by artists William Allen Rogers (1854 – 1931) and Bror Thure de Thulstrup (1884 – 1930), prior to publication. By 1886, Harper’s publicized Remington’s drawings as they were submitted. Hassrick, p. 861
3 Ibid., p. 13
4 Caspar W. Whitney, “On Snow-Shoes to the Barren Grounds,” Part I, Harper’s Monthly, December 1895, p. 10 5 Hassrick, p. 567
87
oil on board
21 ½ x 37 ⅜ inches
signed and dated lower right: Dan Mieduch 1994 ©
PROVENANCE:
From a Private Collection
$10,000 – $15,000
bronze, 31/40 22 ½ x 8 ½ x 11 inches inscribed: JOE BEELER (artist cipher) CA stamped: BRONZE SMITH 31/40
PROVENANCE:
Private Collection, Paradise Valley, AZ
$4,000 – $6,000
88
173 JOE BEELER (1931–2006) Scout for the Long Knives
172 DAN MIEDUCH (1947– )
Dominion Over the Earth, 1994
Dazzle
24 x 36 inches
signed and dated lower left: © Dan Mieduch 2006
PROVENANCE:
From a Private Collection
$6,000 – $9,000
36 x 48 inches
signed lower left: Nicholas Coleman ©
PROVENANCE:
From a Private Collection
$8,000 – $12,000
89
174 DAN MIEDUCH (1947– )
Painted Piebalds, 2006 oil on board
175 NICHOLAS COLEMAN (1978– ) Horse Camp at Dusk oil on canvas
PROVENANCE:
From a Private Collection
$7,000 – $10,000
PROVENANCE:
From a Private Collection
$8,000 – $12,000
PROVENANCE: From a Private Collection
$4,000 – $6,000
90
177 JOHN NIETO (1936–2018) Lone Wolf (Vision Quest), 2014
acrylic on canvas 30 x 24 inches signed upper right: nieto verso: titled, signed and dated
176 JOHN NIETO (1936–2018) General George Custer, 2017
acrylic on canvas 30 x 24 inches signed lower right: nieto verso: titled, signed and dated
178 EARL BISS (1947–1998) Three Riders oil on canvas 24 x 18 inches signed upper right: Biss
PROVENANCE:
From the Collection of Ronald and
$10,000 – $15,000
dated lower left: SCHENCK 18
PROVENANCE:
From the Collection of Ronald and Jacquelyn Feller, Tucson, AZ
$8,000 – $12,000
PROVENANCE:
From the Collection of Ronald and
$3,000
Feller, Tucson, AZ
91
179 ED MELL (1942– ) Electric Storm, 2011 oil on linen board 10 x 15 inches signed lower left: Ed Mell verso: titled, signed and dated
Jacquelyn Feller, Tucson, AZ
181 ED MELL (1942– ) Two Horses bronze, 28/35 9 x 17 x 6 ¼ inches inscribed: Ed Mell 28/35
Jacquelyn
– $5,000
180 BILL SCHENCK (1947– ) Respite on the Old Santa Fe Trail, 2018 oil on canvas 36 x 41 ¾ inches signed and
182 JOHN NIETO (1936–2018)
Standing Bear
acrylic on canvas
9 x 12 inches
signed lower right: Nieto
PROVENANCE: From a Private Collection
$2,000 – $3,000
183 DAN NAMINGHA (1950– )
Parrot Kachina, 1988
acrylic on canvas
80 x 60 inches
signed and dated lower right: Namingha 1988 verso: titled, dated and signed
PROVENANCE:
Gerald Peters Gallery, Santa Fe, NM (label verso)
Gerald P. Peters (label verso) Private Collection, Paradise Valley, AZ
$6,000 – $9,000
184 CARLOS HALL (1928–1997)
Upper Colonias - Cow Creek
oil on canvas
20 ¼ x 30 ⅛ inches
signed lower right: Carlos Hall © Taos verso: titled
PROVENANCE:
Santa Fe Art Auction, Santa Fe, NM, 2017 (label verso)
Private Collection, Big Sky, MT
$2,000 – $4,000
92
PROVENANCE:
Trailside Galleries, Jackson, WY and Scottsdale, AZ (label verso) Private Collection, Big Sky, MT
$15,000 – $25,000
PROVENANCE:
Altermann Galleries and Auctioneers, Santa Fe, NM (label verso) Private Collection, Big Sky, MT
$6,000 – $9,000
93
185 CLYDE ASPEVIG (1951– ) Country Bridge
oil on canvas
28 x 36 inches
signed lower left: C. Aspevig verso: titled and signed
186 WALT GONSKE (1942– ) At Red Mountain Pass-Colorado oil on linen 34 x 30 inches signed lower left: Gonske NAWA verso: signed and titled
PROVENANCE:
94
187 WILSON HURLEY (1924–2008) Juan Tabo Canyon, Sandia Mountains, Mide oil on canvasboard 48 x 76 inches signed lower right: Wilson Hurley verso: titled
From the Collection of Paul and Carla McCombs
$40,000 – $60,000
188
RAY SWANSON (1937–2004)
Navajo Playmates, 1991
oil on canvas laid on board 40 ⅛ x 60 ⅛ inches signed lower right: Ray Swanson (artist cipher) © verso: titled, signed and dated
PROVENANCE:
From a Private Collection
LITERATURE:
Tom O’Keefe, The Art of Ray Swanson - Celebrating People and Lifestyles, Old Paint Publishing Co., 1994, Illus. pp. 116-117
$35,000 – $55,000
95
189 HOWARD TERPNING (1927– )
Blackfeet Regalia, 1992
oil on board
28 x 22 inches
signed and dated lower right: © Terpning 1992 (artist cipher) CA
PROVENANCE:
Texas Art Gallery, Dallas, TX (label verso)
From a Private Collection
$100,000 – $200,000
96
Crossing the North Fork, 1980
oil on board
18 x 35 5/8 inches
signed and dated lower right: McCarthy (artist cipher) © 1980 verso: titled, dated and signed
PROVENANCE:
From a Private Collection
$18,000 – $24,000
Arapaho oil on board
13 ½ x 12 inches
signed lower left: O - Wieghorst (artist cipher) ©
PROVENANCE:
From the Collection of the Meyer Estate
$8,000 – $12,000
97
190 FRANK C. MCCARTHY (1924–2002)
191 OLAF WIEGHORST (1899–1988)
192 OLAF WIEGHORST (1899–1988)
Untitled
watercolor and ink on paper
8 x 7 inches
signed lower right: o - wieghorst (artist cipher)
PROVENANCE:
From a Private Collection
$3,000 – $5,000
194 OLAF WIEGHORST (1899–1988)
El Caballero
watercolor on paper
6 ½ x 8 ¼ inches
signed lower left: O. Wieghorst (artist cipher)
PROVENANCE:
From a Private Collection
$3,000 – $5,000
193 OLAF WIEGHORST (1899–1988)
Untitled
watercolor and ink on paper 10 ¾ x 8 5/8 inches
signed lower left: O - Wieghorst (artist cipher)
PROVENANCE:
From the Collection of the Meyer Estate
$3,000 – $5,000
195 OLAF WIEGHORST (1899–1988)
Untitled
watercolor and ink on paper 10 ⅛ x 8 ¾ inches
signed lower left: O - Wieghorst (artist cipher)
PROVENANCE:
The May Gallery, Jackson, WY (label verso)
From the Collection of the Meyer Estate
$3,000 – $5,000
98
32 ¾ x 49 inches
signed
verso: titled, signed and dated
PROVENANCE: From a Private Collection
$8,000 – $12,000
99
196 RICHARD THOMAS (1939–2019) Winter Reconnaissance, 1995
oil on canvas
and dated lower right: © Richard D. Thomas ‘95
197 JOHN CLYMER (1907–1989)
Last of the Buffalo (Buffalo Killers)
oil on board
24 x 36 inches
signed lower left: J clymer
verso: titled (Buffalo Killers)
During his long and very successful artistic career, John Clymer developed a highly effective process for painting the history of the American West. Along with his wife Doris, he would thoroughly research the subject of each painting and gather all of the critical visual elements in a particular scene. No detail was spared, from the setting of the subject, the climate and weather of the area and the historic period of time. Once the research was completed, they would both travel to the proposed site for the painting, thus getting a firsthand feeling for the area. This painstaking process resulted in paintings that are not only rich in accurate historical detail but which also meticulously capture the essence of their geographical settings. Clymer was adept at recreating historical events while at the same time drawing the viewer into the physical scene.
By the time Clymer joined the Cowboy Artists of America organization in 1969 he had already achieved a highly successful career as both an illustrator and easel painter. Clymer painted more than 70 cover illustrations for the Saturday Evening Post, many of them western scenes, thus bringing images and the lore of the West to thousands of Americans. Born in Ellensburg, Washington in 1907, he was particularly interested in depicting the history of the Pacific Northwest, creating sensitive and detailed depictions of Native Americans and their interactions with the white culture.
About the subject of buffalo hunting, Clymer wrote, “The Plains Indians were dependent upon the buffalo for nearly all of their needs, including the food they ate and the hides for their robes and their tipis. Everything was used, even the bones and sinew for tools and sewing. With horses the Indians could outrun the buffalo and were assured of an ample supply of food whenever buffalo could be located.”
PROVENANCE:
West Lives On Gallery, Jackson, WY (label verso) Santa Fe Art Auction Limited Co, Santa Fe, NM (label verso)
Gerald Peters Gallery, Santa Fe, NM (label verso) Morris and Whiteside Galleries, Hilton Head Island, SC (label verso)
Private Collection, New Mexico Private Collection, Jackson, WY
$175,000 – $275,000
100
101
Illustrating for magazines and calendars for more than 30 years and shifting to easel painting in 1970, Kuhn often depicted wildlife scenes and studies of his travels from Alaska to Africa. Bob Kuhn’s masterworks of wildlife art and the world he conjures confirm that, as Tom Davis wrote in his book, The Art of Bob Kuhn, he is simply without peer.
WE ARE PLEASED TO PRESENT A CELEBRATION OF THE LIFE AND WORK OF BOB KUHN.
gouache on illustration board 14 x 10 ½ inches
signed lower right: kuhn signed lower left: kuhn
PROVENANCE:
From the Estate of Bob Kuhn
LITERATURE:
Argosy, August 1959, cover illustration
$1,500 – $2,500
gouache on illustration board 17 ⅜ x 12 ¾ inches signed lower right: kuhn
PROVENANCE:
From the Estate of Bob Kuhn
LITERATURE:
Rhino’s Charging, Issue 10, December 1963
$4,000 – $6,000
Elephant at Amboseli, 1963
gouache on illustration board 9 ½ x 13 ½ inches dated and signed lower right: 1963 BK
PROVENANCE:
From the Estate of Bob Kuhn
LITERATURE:
Adam Duncan Harris: Bob Kuhn Drawing on Instinct, Published by University of Oklahoma Press: Norman, 2012, p. 34
EXHIBITED:
Bob Kuhn: Drawing on Instinct, National Museum of Wildlife Art, Jackson, WY, May 10 - Aug 19, 2012; traveled to: National Sporting Library and Museum, Middleburg, VA, Oct 1, 2012 - Feb 28, 2013; traveled to: Sam Noble Museum, University of Oklahoma, Norman, OK, Jun 13 - Sept 8, 2013; traveled to: Tucson Museum of Art and Historic Block, Tucson, AZ, Oct 11, 2013 - Feb 16, 2014
$7,000 – $10,000
103
198 BOB KUHN (1920–2007) Dog Hunting
199 BOB KUHN (1920–2007) Rhinos, Charging with Man
200 BOB KUHN (1920–2007)
PROVENANCE:
Private Collection, Furry Creek, British Columbia
$30,000 – $50,000
104
201 BOB KUHN (1920–2007)
Stalking Cougar
acrylic on board 16 x 12 inches signed lower left: kuhn
Spoiling for a Fight, 1987
acrylic on board
14 ½ x 18 ½ inches
signed lower left: Kuhn
verso: titled, dated and signed
PROVENANCE:
Wildlife of the American West, Jackson WY (label verso)
Collection of Joffa & Bill Kerr, Jackson, WY (label verso) Coeur d’Alene Art Auction, 2016
From a Private Collection
LITERATURE:
Bob Kuhn, Wild Harvest: The Animal Art of Bob Kuhn, p. 43
Bob Kuhn: Mammals Up Close and Personal (Los Olivos, CA: Wildling Art Museum, 2005), p. 7
Sporting Classics & Wildlife Art Magazine, 1997, illustrated
EXHIBITED:
Bob Kuhn: Wild Things, Wild Places, Wildlife of the American West Art Museum, Jackson Hole, WY. Feb 4 - Apr 17, 1992
Bob Kuhn: Mammals Up Close and Personal, Wildling Art Museum, Los Olivos, CA, Sept 17, 2005 - Jan 8, 2006
$50,000 – $75,000
105
202 BOB KUHN (1920–2007)
203 BOB KUHN (1920–2007)
Stairway to the Stars, 2003
oil on board
24 x 27 ½ inches
signed lower right: kuhn verso: signed and dated
A name synonymous with excellence in wildlife art, Bob Kuhn was born in Buffalo, NY and educated at Pratt Institute, Brooklyn, NY where he studied design, anatomy, and life-drawing. From 1940 to 1970 his illustrations were featured in the top outdoor magazines in the country, including Field and Stream, True, and Outdoor Life. Throughout his painting career, he made numerous expeditions to Africa, Canada, Alaska, and the American West. Primarily working in acrylic, Kuhn often painted simple backgrounds with horizontal bands of color and light. He also had an innate ability to capture the particular movements and personalities of wild animals.
During his illustrious career, Kuhn often returned to the subject of bighorn sheep, writing: “Wild sheep inhabit some pretty awesome sweeps of high country. To paint mountain sheep one must portray the lofty reaches of their habitat. I’m only a painter of mountains when my animal subjects haul me up to their otherwise inaccessible crags and alpine meadows.”
As a member of the Society of Animal Artists in New York, his works are featured in the permanent collections of many museums including the National Museum of Wildlife Art in Jackson, WY and the National Cowboy and Western Heritage Museum in Oklahoma City, OK, where he was awarded the coveted Prix De West Purchase Award in 1991.
PROVENANCE:
From the Collection of Bob and Curtice McCloy
LITERATURE:
Tom Davis, Patrons Without Peer, Collectors Covey, Dallas, TX, 2009, Illus. p. 129
$100,000 – $150,000
106
107
conte crayon on paper
12 ⅞ x 16 inches
signed lower right: Kuhn
PROVENANCE:
Buckingham Fine Art LTD, Markham, Ontario (label verso) Private Collection, Jackson, WY
$5,000 – $7,000
108
204 BOB KUHN (1920–2007)
Study for “A Universe of Smells”
acrylic on board
18 x 22 inches
signed upper right: Kuhn
verso: signed
“This painting is the sort I really love to do. It gives me a wonderful opportunity to play with textures and to establish a strong pattern within which all the various elements have their say. More than once I’ve made the comment that red fox are very paintable little critters. Having had a young vixen as a boarder many years ago, I feel I have an understanding of their vivacious, complex character. The traits that give them prominence in folklore make them great subjects for the likes of me.”
Kuhn
PROVENANCE:
Jackson Hole Art Auction, Jackson, WY, 2010 (label verso) Private Collection, Jackson, WY
LITERATURE:
Bob Kuhn, Tom Davis, Wild Harvest, The Animal Art of Bob Kuhn, Sporting Classics & Wildlife Art, 1997, p. 31
$120,000 – $200,000
109
205 BOB KUHN (1920–2007) A Universe of Smells
— Bob
LOT 206 & 207 EXHIBITED:
Bob Kuhn: Drawing on Instinct, National Museum of Wildlife Art, Jackson, WY, May 10 - Aug 19, 2012; traveled to: National Sporting Library and Museum, Middleburg, VA, Oct 1, 2012 - Feb 28, 2013; traveled to: Sam Noble Museum, University of Oklahoma, Norman, OK, Jun 13 - Sept 8, 2013; traveled to: Tucson Museum of Art and Historic Block, Tucson, AZ, Oct 11, 2013 - Feb 16, 2014
206
Old Tom Leopard
conte crayon on paper 11 x 13 ¾ inches signed lower left: kuhn titled lower right: Old Tom Leopard
PROVENANCE:
From the Estate of Bob Kuhn
LITERATURE:
Adam Duncan Harris: Bob Kuhn Drawing on Instinct, Published by University of Oklahoma Press: Norman, 2012, Fig 6.35, p. 190
$4,000 – $6,000
graphite on paper 7 ⅞ x 10 ½ inches signed lower right: kuhn
PROVENANCE:
From the Estate of Bob Kuhn
LITERATURE:
Adam Duncan Harris: Bob Kuhn Drawing on Instinct, Published by University of Oklahoma Press: Norman, 2012, Plate 102, p. 278
$2,000 – $4,000
conte crayon on paper 10 ¾ x 10 ½ inches signed lower right: K
PROVENANCE:
The Main Gallery, Norman, OK (label verso) From the Collection of Bob and Curtice McCloy
$3,000 – $5,000
conte crayon on paper 10 ⅜ x 14 inches signed lower right: kuhn
PROVENANCE:
The Main Gallery, Norman, OK (label verso) From the Collection of Bob and Curtice McCloy
$2,000 – $4,000
110
BOB KUHN (1920–2007)
207 BOB KUHN (1920–2007) Cape Buffalo 2686
208 BOB KUHN (1920–2007) Wolf Studies
209 BOB KUHN (1920–2007) Whitetail Deer
Rocky Mountain High, 1996
acrylic on board 18 x 19 inches
signed lower right: Kuhn verso: signed and dated
PROVENANCE:
Jackson Hole Art Auction, Jackson, WY, 2014 (label verso) From a Private Collection
LITERATURE:
Tom Davis, Patrons Without Peer, Collectors Covey, Dallas, TX, 2009, Illus. p. 126
$90,000 – $120,000
111
210 BOB KUHN (1920–2007)
Angler’s Paradise
oil on canvas board
18 x 24 inches
signed lower right: Hoffman (artist cipher)
PROVENANCE:
Radlein Art Shop, St. Paul, MN (label verso)
Vogt Auction Galleries, San Antonio, TX
From a Private Collection
EXHIBITED:
Enchanted: Taos Art from Texas Collections, Panhandle-Plains Historical Museum, Canyon, TX (label verso)
$18,000 – $24,000
112
211 FRANK HOFFMAN (1888–1958)
47
signed
PROVENANCE: From a
$8,000
PROVENANCE: From
$6,000
113
212 MICHAEL COLEMAN (1946– ) Rising Mists, Grizzlies oil on canvasboard
x 23 inches
lower right: Michael Coleman ©
Private Collection
– $12,000
213 MICHAEL COLEMAN (1946– ) In His Prime oil on board 20 x 29 ¾ inches
signed lower right: Michael Coleman ©
a Private Collection
– $9,000
Above the Rapids–Gulls and Grizzly, 2005
acrylic on canvas 30 x 48 inches
signed and dated lower right: Robert Bateman 2005 © verso: titled, dated and signed
PROVENANCE:
Spanierman Gallery, LLC, New York, NY (label verso) Jackson Hole Art Auction, Jackson, WY, 2016 Private Collection, Jackson, WY
LITERATURE:
Robert Bateman, Bateman: New Works, Illus. p. 111
$50,000 – $75,000
114
214 ROBERT BATEMAN (1930– )
Grim Evening
oil on canvas
28 x 48 inches
signed lower right: Guy Coheleach © verso: signed
“I saw three wolves’attention on some bison some years ago and I imagined how grim that evening would have been for the bison, had those wolves been larger in number. That change is easily taken care of by an artist. This is how I envisioned that scene. It must be a fairly common one in today’s Yellowstone area.” — Guy Coheleach
PROVENANCE:
The Artist
EXHIBITED:
Society of Animal Artists, Inc., 55th Annual Exhibition, Houston Museum of Natural Science, Houston, TX, 2016-2017 Tour
$8,000 – $12,000
oil on linen laid down 30 x 40 inches signed lower right: oberg verso: titled, signed, dated
PROVENANCE:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) Jackson Hole Art Auction, Jackson, WY, 2007 (label verso) From a Private Collection
$8,000 – $12,000
115
215 GUY COHELEACH (1933– )
216 RALPH OBERG (1950– )
Silent Snowshoes, 2007
oil on linen
37 x 47 inches
signed lower left: © B. K. Lawes
“The bison once roamed across most of North America in numbers that reached into the tens of millions. This great abundance provided many benefits to the Native cultures for food, clothing, and symbolic reverence. The thunder that shook the ground must have been deafening and awe inspiring. My painting depicts a herd on the move in the cold of winter, where these magnificent animals can always make their presence known. I tried to capture their physical dominance in action, in a setting that is a typical daily challenge for them.”
— Bruce K. Lawes
PROVENANCE:
The Artist
$25,000 – $45,000
116
217 BRUCE K. LAWES (1962– )
On the Move, 2023
PROVENANCE: From a Private
$30,000
117
218 RICHARD LORENZ (1858–1915)
Indian Chief oil on canvas
36 ⅛ x 22 inches
signed upper left: R. Lorenz ·
Collection
– $50,000
Elephants
oil on canvas 26 x 36 inches
signed lower left: Lindsay Scott
PROVENANCE: Private Collection, Southern Pines, NC
$5,000 – $7,000
Leopard
oil on canvas 24 x 36 inches
signed and dated lower right: Forlee 93 ©
PROVENANCE:
Hindman, The Wildlife Experience Collection Benefit
From a Private Collection
$3,000 – $5,000
Cape Buffalo
oil on canvas board 10 ¼ x 14 ¾ inches
signed lower left: Wille Kuhnert 26.7.10 Ruhudje
PROVENANCE: From a Private Collection
$5,000 – $7,000
Leopards
oil on canvas 24 x 36 inches
signed and dated lower left: Eric Forlee 89
PROVENANCE:
Charles D’Lou Gallery, Jacskon, WY (label verso)
Private Collection, Wyoming
$3,000 – $5,000
118
219 LINDSAY SCOTT (1955– )
220 FRIEDRICH WILHELM KUHNERT (1865–1926)
221 ERIC FORLEE (1949– )
in an Acacia Tree, 1993
222 ERIC FORLEE (1949– )
in an Acacia Tree, 1989
oil on canvas
18 ¼ x 24 ¼ inches
signed lower right: - Pip McGarry -
“From July to October of each year, the vast landscape of the Chobe National Park in Northern Botswana is burnt dry and starved of moisture. In the middle of the Chobe River, where the lush green Sedudu Island offers an oasis of grasses and vegetation, we witnessed this young bull elephant swimming across to feast on this bounty.” — Pip McGarry
PROVENANCE:
The Artist
$3,000 – $5,000
Masai at Rest, 1968
bronze, 1/6
18 ⅛ x 3 ½ x 5 ½ inches
inscribed: © Kenworthy 68 1/6
PROVENANCE:
Bonhams, California
From a Private Collection
$3,500 – $5,500
oil on board
20 x 30 inches
signed lower right: Steve Burgess
“Whilst on my way back to my safari lodge in the Masai Mara after a hot day out in the Talek river area, I was looking forward to a long, cool drink, or ‘Sundowner’ when I came across this lioness enjoying her own Sundowner! I immediately knew the the low, warm, evening light on the lioness would make a lovely scene for a painting and the title of the painting obviously chose itself!” — Steve Burgess
PROVENANCE: The Artist
$4,000 – $6,000
Samburu Warrior, 1968
bronze, 1/5
13 ¼ x 12 ⅜ x 3 inches
inscribed: © Kenworthy 68 1/5
PROVENANCE:
Bonhams, California
From a Private Collection
$3,500 – $5,500
119
223 PIP MCGARRY (1955– ) Crossing the Chobe
224 STEVE BURGESS (1960– ) Sundowner, 2023
225 JONATHAN KENWORTHY (1943– )
226 JONATHAN KENWORTHY (1943– )
227 DAVID SHEPHERD (1931–2017)
Greater Kudu, 1970
oil on canvas 14 x 18 inches
signed and dated lower right: David Shepherd 1970
PROVENANCE: Coeur d’Alene Art Auction, 2006 Private Collection, Dallas, TX
$20,000 – $40,000
228 JONATHAN KENWORTHY (1943– )
Mother and Child, 2002
bronze, 1/9 14 ½ x 7 x 11 ¼ inches inscribed: 1/9 © Kenworthy 2002
PROVENANCE:
Bonhams, California From a Private Collection
$10,000 – $15,000
120
Leopard Skidding to a Halt, 1968
bronze, 1/10
6 ¼ x 11 ⅛ x 9 inches
inscribed: © Kenworthy 68 1/10
PROVENANCE:
Bonhams, California
From a Private Collection
$4,000 – $6,000
Grants Gazelle, 1969
bronze, 5/5
5 ¾ x 11 ¼ x 4 inches
inscribed/stamped: © KENWORTHY ‘69 5/5
PROVENANCE:
Hindman, Chicago
From a Private Collection
$3,000 – $5,000
African Dancer, 1976
bronze, 1/5 15 x 11 ¼ x 5 ¼ inches
inscribed: 1/5 © KENWORTHY ‘76
PROVENANCE: Frank Peege Auktionscontor From a Private Collection
$4,000 – $6,000
121
231 JONATHAN KENWORTHY (1943– )
229 JONATHAN KENWORTHY (1943– )
230 JONATHAN KENWORTHY (1943– )
Ted
watercolor on paper
22 x 20 ¾ inches
signed lower right: gSnidow © CA
PROVENANCE: From a Private Collection
$3,000 – $5,000
Awestruck
oil on board
29 ¼ x 47 ¼ inches
signed lower left: Bill Anton ©
PROVENANCE: From a Private Collection
$18,000 – $25,000
Special
bronze, 129/250
11 ⅛ x 13 ¾ x 4 ¾ inches
inscribed: “Special Times” 1990 © 129/250 G. Harvey 1990/©
PROVENANCE: From a Private Collection
$3,000 – $5,000
122
232 BILL ANTON (1957– )
233 G. HARVEY (1933–2017)
Times, 1990
234 GORDON SNIDOW (1936– )
West of Cody, 1990
oil on board
12 x 18 inches
signed and dated lower right: Tucker Smith 90 verso: titled
PROVENANCE:
Settlers West, Tucson, AZ (label verso)
From the Collection of Bob and Curtice McCloy
LITERATURE:
Tom Davis, Patrons Without Peer, Collectors Covey, Dallas, TX, 2009, Illus. p. 210
$15,000 – $25,000
New Horizon
oil on board 30 x 40 inches
signed lower left: Bill Anton ©
verso: titled and signed
PROVENANCE:
Trailside Galleries, Scottsdale, AZ and Jackson, WY (label verso)
From a Private Collection
$12,000 – $18,000
123
235 TUCKER SMITH (1940– )
236 BILL ANTON (1957– )
Stubble Fields and Willow
oil on board 32 x 42 inches
signed lower left: C. Aspevig
PROVENANCE: Private Collection, Dallas, TX
$12,000 – $18,000
It’s Gonna Be a Doozy, 1991
oil on board 18 x 24 inches
signed and dated lower left: © Dan Mieduch 1991
PROVENANCE:
Trailside Galleries, Scottsdale, AZ and Jackson, WY (label verso) From a Private Collection
$4,000 – $6,000
124
237 DAN MIEDUCH (1947– )
238 CLYDE ASPEVIG (1951– )
oil on canvas 40 x 30 inches
signed and dated lower right: (artist cipher) Martin Grelle © 1990
verso: titled and signed
The painting “September Search” is set down in the hill country of south central Texas. Usually in Texas, July & August are tremendously hot & dry, which is why the grass in the foreground is so dry in color. In September, however, rains begin to return and it seems to turn everything around (especially “attitudes”). In a lot of areas where cattle have been grazed through the summer, cowboys go out to find where they are and see which need to be worked on again or moved to another place. All these things have come together in “September Search”. — Martin Grelle
PROVENANCE:
Overland Trail Fine Art Galleries, Scottsdale, AZ
From the Estate of Sidney and Ruth Schultz
$25,000 – $35,000
125
239 MARTIN GRELLE (1954– ) September Search, 1990
240 JOSEPH HENRY SHARP (1859–1953)
California Mums in Studio Window
oil on canvas 20 x 24 ½ inches
signed lower right: JHSHARP
verso: titled and signed
PROVENANCE:
From a Private Collection
$15,000 – $25,000
241 R. BROWNELL MCGREW (1916–1994)
When Shadows Steal oil on masonite board 31 ¾ x 37 ¾ inches
signed lower right: R. Brownell McGrew
verso: titled
PROVENANCE:
From a Private Collection
$5,000 – $7,000
126
Jasper
oil on masonite board
30 ¼ x 40 inches
signed lower right: R. Brownell McGrew
verso: titled
PROVENANCE:
Old Town Galleries, San Diego, CA (label verso)
From a Private Collection
LITERATURE:
Arizona Highways Magazine, July 1969, Illus. in color, p. 26
$20,000 – $40,000
127
242 R. BROWNELL MCGREW (1916–1994)
Manygoats Starts Home
243 RAY SWANSON (1937–2004)
Up From Watering, 1989
oil on board 26 x 19 ⅞ inches signed and dated lower right: Ray Swanson (artist cipher) CA © 89 verso: titled and signed
PROVENANCE: Private Collection, Paradise Valley, AZ
$3,000 – $5,000
244 RAY SWANSON (1937–2004)
Navajos at Castle Butte, 1980
oil on canvas 50 x 38 inches signed and dated lower right: Ray Swanson © 80
PROVENANCE: From a Private Collection
LITERATURE:
Tom O’Keefe, The Art of Ray Swanson - Celebrating People and Lifestyles, Old Paint Publishing Co., 1994, Illus. p. 130
$15,000 – $25,000
128
245
The Feather
oil on board 23 ¾ x 29 ½ inches
signed lower right: Alexander Selytin ©
PROVENANCE:
From a Private Collection
$1,500 – $2,500
247
Out of The Mystic Past
bronze, 5/15
21 x 47 x 24 inches
inscribed: © fritz white 5/15 (artist cipher) CA
PROVENANCE:
From a Private Collection
$6,000 – $9,000
oil on board 10 x 8 inches
signed and dated lower left: griffing © 2011
verso: titled and signed
PROVENANCE:
From the Collection of Ronald and Jacquelyn Feller, Tucson, AZ
$4,000 – $6,000
248 FRITZ WHITE (1930–2010)
Stalking the Night Shadow, 1987
bronze, 12/17
36 x 20 x 24 inches
inscribed: © fritz white (artist cipher) CA 1987 12/17
PROVENANCE:
From a Private Collection
$4,000 – $6,000
129
ALEXANDER SELYTIN (20th/21st Century)
246 ROBERT GRIFFING (1942– )
Seneca War Chief, 2011
FRITZ WHITE (1930–2010)
Don Troiani is a traditional academic realist painter known for his highly accurate historical and military paintings of the American Civil War and American Revolution. Born in New York City in 1949, he studied at the Pennsylvania Academy of Fine Arts and New York City’s Art Students League, between 1967 and 1971. A lifelong military enthusiast, his personal library and artifact collections from the Civil War, the War of 1812, the American Revolutionary War and World War II, are amongst the greatest in the country. His vast collection of uniforms, equipage, insignia, and weapons contribute to the unique dimension of realism for which he is well known. Historical backdrops are studied first hand, often sending the artist hundreds of miles from home to examine battlefields and structures. Due to the meticulous research, it is often years between a painting’s conception and execution.
PROVENANCE:
The Artist
From a Private Collection
$25,000 – $45,000
130
249 DON TROIANI (1949– )
Eagle of the 8th, 1988
oil on canvas
42 x 42 inches
signed and dated lower right: Don Troiani © 88
oil on canvas
60 x 72 ⅛ inches
signed and dated lower right: AD Shaw © 2000 verso: titled, signed and dated
PROVENANCE: From a Private Collection
$3,000 – $5,000
bronze, AP/26 38 x 23 x 11 inches
inscribed: © 1984 James Nathan Muir SAHA (artist cipher) stamped: AP/26
PROVENANCE: From a Private Collection
$3,000 – $5,000
bronze, 7/35 18 ¾ x 14 x 15 ¾ inches
inscribed: JOE BEElER (artist cipher) CA stamped: 7/35
PROVENANCE: Private Collection, Paradise Valley, AZ
$10,000 – $15,000
131
251 JAMES NATHAN MUIR (1945– ) Stainless Banner, 1984
252 JOE BEELER (1931–2006) Chief Goes to Washington
250 A.D. SHAW (21st Century) Along the Weber, 2000
253 FREDERIC REMINGTON (1861-1909)
Untitled (“How the Derby Was Won,” jockey), 1889 oil on canvas
17 x 26 inches
unsigned
PROVENANCE:
Barridoff Auctions
From a Private Collection
LITERATURE:
Peter H. Hassrick, Melissa J. Webster, Frederic Remington, A Catalogue Raisonné Volume I, p. 184
ILLUSTRATION:
Scribner’s Magazine (July 1889), p. 24, line engraving
$8,000 – $12,000
254 FREDERIC REMINGTON (1861-1909)
Yaboo, 1889
oil on canvas on board
12 x 10 inches
signed lower right: FREDERIC REMINGTON
PROVENANCE:
Barridoff Auctions
From a Private Collection
LITERATURE:
Peter H. Hassrick, Melissa J. Webster, Frederic Remington, A Catalogue Raisonné Volume I, p. 184
ILLUSTRATION:
Scribner’s Magazine (July 1889), p. 40, line engraving
$20,000 – $40,000
132
The Bridge - Close of a City Day, 1886–1926
oil on canvas
48 ⅛ x 76 ⅛ inches signed and dated lower left: Henry R. Poore 1886-1926 verso: titled and signed
Born on the east coast, and raised in California, Henry Rankin Poore moved to New York in 1876. He studied for a year in the National Academy of Design Antique School, studied in Philadelphia at the Pennsylvania Academy of Fine Arts under Peter Moran, traveled to New Mexico in 1882 to study and illustrate the Pueblo Indians for the U.S. government, and made a similar trip West at the end of the 1880s.
In 1883, after graduating from the University of Pennsylvania, Poore left for two and a half years to Europe, where his teachers included William-Adolphe Bouguereau. In England, he became enamored of fox hunting, and the depiction of hunting dogs became a standard subject for him.
After a second European trip to France and England in the early 1890s, Poore returned home to become professor of composition at the Pennsylvania Academy of Fine Arts. In 1896, he married Katherine Goodnow Stevens, moved to Orange, New Jersey, and beginning around the turn of the century, Poore spent summers at the art colony at Old Lyme, Connecticut. He developed a new subject, hazy, soft landscapes without animals during this time. Poore published Pictorial Composition and the Critical Judgment of Pictures in 1903, which he described as a “handbook for students and lovers of art”. In it, he recommended both painters and photographers consider how to draw the viewer “into the picture” as he did.
PROVENANCE:
From a Private Collection
LITERATURE:
Ripley Hitchcock, ed., The Art of the World, Volume I (New York: D. Appleton and Company, 1896), opp. p. 75. Engraving after The Bridge
EXHIBITED:
World’s Columbian Exposition (Chicago World’s Fair), Chicago, Illinois, 1893 South Carolina Inter-State and West Indian Exposition, American World’s Fair, Charleston, South Carolina, December 1, 1901, to June 20, 1902
$8,000 – $12,000
hand colored lithograph 19 ½ x 28 ½
unsigned
PROVENANCE: From a Private Collection
$4,000 – $6,000
Torremolinos
oil on board 20 x 24 inches
signed lower right: Hulings
PROVENANCE: From a Private Collection
$8,000 – $12,000
133
255 HENRY RANKIN POORE (1859–1940)
256 FANNY F. PALMER (1812–1876)
American Express Train
inches
257 CLARK HULINGS (1922–2011)
oil on canvas
36 x 32 inches
signed lower left: Gonske verso: signed and titled
PROVENANCE:
Trailside Galleries, Scottsdale, AZ and Jackson, WY (label verso)
From a Private Collection
$5,000 – $7,000
oil on canvas 34 x 54 inches
signed lower right: Gonske © NAWA verso: signed, titled
PROVENANCE:
Private Collection, Paradise Valley, AZ
$10,000 – $20,000
oil on board
30 x 40 inches
signed lower left: L. Sisson
PROVENANCE:
From James S. Fowler Personal Collection (label verso)
Wadle Galleries LTD, Santa Fe, NM (label verso) Private Collection, Paradise Valley, AZ
$3,000 – $5,000
134
258 WALT GONSKE (1942– ) Taos Garden
259 WALT GONSKE (1942– )
Sunlit Floral
260 LAURENCE SISSON (1928–2015) Cloud Symphony
Yosemite oil on canvas
29 x 29 inches
signed lower right: Peter McIntyre
PROVENANCE:
Miner’s Gallery Americana INC., Carmel, CA (label verso)
Private Collection, Paradise Valley, AZ
$10,000 – $20,000
oil on board
13 ⅛ x 17 ⅛ inches
signed lower left: Schmid
PROVENANCE:
Private Collection, Whitefish, MT
$7,000 – $10,000
135
261 PETER MCINTYRE (1910–1995)
262 RICHARD SCHMID (1934–2021) Winter Landscape
Owl
oil on board 19 x 24 inches
signed lower right: Murray
PROVENANCE:
Private Collection, Jackson, WY
$2,500 – $3,500
Coyote oil on board 28 x 28 inches signed lower right: Murray
PROVENANCE: Private Collection, Jackson, WY
$3,500 – $5,500
136
263 RICHARD MURRAY (1948– )
264 RICHARD MURRAY (1948– )
Flaxen Pony
oil on board
48 ¼ x 66 inches signed lower right: Murray
verso: titled and signed
PROVENANCE: Private Collection, Jackson, WY
$5,000 – $7,000
Sky City – Acoma
oil on canvas 72 x 60 inches signed lower left: Nat Youngblood
PROVENANCE: From a Private Collection
$8,000 – $12,000
137
265 NAT YOUNGBLOOD (1916–2009)
266 RICHARD MURRAY (1948– )
267 J. BRADLEY GREENWOOD (1961– ) Sagamore Entry Table
Bastogne walnut, black walnut, locust, white oak, elm, eucalyptus, rock screen, repurposed steel, mica, archival map, and copper leaf inlay
42 x 40 ½ x 17 inches
inscribed top right: Brad Greenwood / #1053, Livingston, MT
“When I imagine our country’s early days with its vast, untamed wilderness and wild freedoms, I recall the historical account of Sagamore Samoset, who was said to be the first Native American to contact the colonists at Plymouth. Because some of my own family settled there in the 1600s, this story of goodwill and courage has inspired me since my youth.” — Brad Greenwood
PROVENANCE:
The Artist
$20,000 – $30,000
138
268 THOMAS MOLESWORTH (1890–1977)
Console Table
burled fir, leather, wrought iron 30 x 41 x 24 inches
PROVENANCE:
Descended through a ranch family near Cimarron, NM Private Collection, Cimarron, NM
$8,000 – $12,000
269 THOMAS MOLESWORTH (1890–1977)
Club Chair and Ottoman
burled fir, half pole trim, leather, brass tacks, Chimayo weaving 34 x 36 x 29 inches (Club Chair)
14 ¼ x 20 ½ x 21 inches (Ottoman)
PROVENANCE:
Lee and Ruby Ryan, Ryan’s Cerro Ranch, Cerro, NM From a Private Collection
The Ryans were introduced to Molesworth by the Plains Hotel in Cheyenne and purchased a set of furniture. Lee Ryan had the first registered brand in Colorado: The N Reverser Bar whose brand is routed on the chair.
$15,000 – $25,000
139
270 ROBERT WOOD (1889 – 1979)
The Grand Tetons Wyoming, ca. 1930s
oil on canvas
25 ⅛ x 30 ⅛ inches
signed lower right: Robt. Wood
verso: titled
PROVENANCE:
Jackson Hole Art Auction, Jackson, WY, 2009 (label verso)
Gerald Peters Gallery, Santa Fe, New Mexico (label verso)
Private Collection, Jackson, WY
$7,000 – $10,000
271 JOSHUA CLARE (1982– )
Delta Lake
oil on board
19 ⅞ x 37 inches
signed lower left: (artist cipher)
PROVENANCE:
Private Collection, Jackson, WY
$2,500 – $4,500
272 MANFRED SCHATZ (1925–2004)
Breaking Ice
oil on canvas
20 x 28 inches
signed lower left: M Schatz
PROVENANCE:
The Sportsman’s Gallery Ltd., Atlanta, GA, 2003
Private Collection, Dallas, TX
$2,000 – $4,000
140
Reclining
oil on canvas
12 x 20 inches
signed lower right: Schmid verso: titled, signed and dated
PROVENANCE:
Vanier & Roberts, Ltd. Fine Art, Scottsdale, AZ (label verso) From a Private Collection
$10,000 – $15,000
Peach and Green
oil on canvas 36 x 40 inches
signed lower right: D (indecipherable)
PROVENANCE: Private Collection, Whitefish, MT
$6,000 – $9,000
141
274 DANIEL GERHARTZ (1965– )
273 RICHARD SCHMID (1934–2021)
Nude, 1986
275 MORGAN WEISTLING (1964– )
Jennifer
oil on canvas 30 x 18 inches signed lower right: Morgan Weistling verso: titled
PROVENANCE: Private Collection, Fredericksburg, TX
$15,000 – $25,000
276
Jacque’s Roses, 1964
oil on linen 12 x 18 inches signed lower right: Schmid verso: titled, signed and dated
PROVENANCE:
Bonhams New York, 2014 Scottsdale Art Auction, Scottsdale, AZ, 2017 (label verso) From a Private Collection
$15,000 – $25,000
142
RICHARD SCHMID (1938–2021)
Plums
oil on linen
9 x 12 inches
signed and dated lower left: © Wm. Acheff 1991
verso: signed, dated and titled
PROVENANCE:
From a Private Collection
$3,000 – $5,000
Creativity
oil on board
16 x 12 inches
signed lower right: GUZIK
verso: signed, titled, dated
PROVENANCE:
From a Private Collection
$2,000 – $3,000
The Knight, 2018
bronze, 12/22
15 ¼ x 8 x 10 ½ inches
inscribed: Doellinger © 12-22 2018
PROVENANCE:
From a Private Collection
$2,000 – $3,000
143
277 WILLIAM ACHEFF (1947– )
and Apples, 1991
278 NANCY GUZIK (1954– )
, 2011
279 MICK DOELLINGER (1956– )
7
PROVENANCE:
Private Collection, Ann Arbor, MI
$1,800 – $2,800
signed lower right: Jim Daly
and titled
PROVENANCE:
Private Collection, Ann Arbor, MI
$1,500 – $2,500
7
PROVENANCE:
Private Collection, Ann Arbor, MI
$1,500 – $2,500
7
signed lower left: Jim Daly ©
PROVENANCE:
Private Collection, Ann Arbor, MI
$1,500 – $2,500
144
280 JIM DALY (1940– ) Watchful Eyes, 2011 oil on canvas board
½ x 11 ½ inches
signed lower right: Jim Daly © verso: signed, titled and dated
281 JIM DALY (1940– ) The Engineer, 2012 oil on canvas board
⅜ x 9 ⅜ inches signed lower right: Jim Daly © verso: signed, titled and dated
282 JIM DALY (1940– ) The Model Builder, 2012 oil on canvas board
9 ¼ x 7 ⅜ inches
© verso: signed, dated
283 JIM DALY (1940– ) Railroading oil on board
¼ x 9 ¼ inches
Unlimited Horizons, 2011
bronze, 18/250
39 x 17 x 26 inches
43 x 18 ¾ x 29 ¼ inches (with base)
inscribed: 18/250 © 2011 ··· Gary Lee Price
PROVENANCE: From a Private Collection
$3,000 – $5,000
Watermelon, 2008
oil on canvas 30 ¼ x 24 inches
signed and dated lower right: Huihan 08
PROVENANCE:
Jackson Hole Art Auction, Jackson, WY, 2009 (label verso)
Private Collection, Ann Arbor, MI
EXHIBITED:
Pasadena Museum of California, April 24 to May 17, 2009
California Art Club, 98th Annual Gold Medal Juried Exhibition
$6,000 – $8,000
Maybe Next Year, 1990
graphite on paper 10 5/8 x 7 ½ inches
signed and dated lower left: CL Ballantyne ‘90
PROVENANCE:
Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) Private Collection, Ann Arbor, MI
$2,000 – $3,000
My Favorite Chore
oil on canvas 30 x 24 inches
signed lower left: (Chinese characters) Jie Wei Zhou verso: signed and titled
PROVENANCE: Private Collection, Ann Arbor, MI
$6,000 – $8,000
145
287 JIE WEI ZHOU (1962– )
286 HUIHAN LIU (1952– )
285 CARRIE BALLANTYNE (1956– )
284 GARY PRICE (1955– )
288 KEN LAAGER (1953– )
Summer Wages
oil on canvas 24 x 18 inches
signed lower right: KEN LAAGER
PROVENANCE:
Husberg Fine Arts, Scottsdale, AZ (label verso)
From a Private Collection
$1,200 – $1,800
289 WILLIAM H. ATKINS (1926–1995)
A Welcome Rest, 1974
oil on canvas 24 x 36 inches
signed and dated lower right: WH Atkins 1974 verso: titled
PROVENANCE: From a Private Collection
$800 – $1,200
290 CLYDE ASPEVIG (1951– )
Olive Creek Ridge
oil on canvasboard 14 x 18 inches
signed lower left: Aspevigverso: titled and signed
PROVENANCE:
Simpson Gallagher Gallery, Cody WY (label verso) From a Private Collection
$1,200 – $1,800
146
PROVENANCE: From the Collection of Paul and Carla McCombs
$2,000 – $3,000
stainless steel with patina 36 x 25 x 2 inches (each) signed lower right panel: Brent Lawrence
PROVENANCE: Private Collection, Jackson, WY
$1,000 – $2,000
PROVENANCE: From a Private Collection
$1,000 – $2,000
147
291 HEINE HARTWIG (1937– ) Indian Camp oil on board 29 ½ x 23 ½ inches signed lower left: Heinie Hartwig ©
293 GEORGE BOUVERIE GODDARD (1832–1886) Study of Huskies oil on canvas 12 x 14 inches unsigned
292 BRENT LAWRENCE (1962– ) Pronghorn Dyptich
296 KYLE SIMS (1980– )
The Intimidation Game, 2010 oil on canvas board 9 x 14 inches
signed lower left: Kyle Sims verso: titled, signed and dated
PROVENANCE:
Private Collection, Ann Arbor, MI
$1,500 – $2,500
294 BRANDON BAILEY (1984– )
Spring Run
oil on canvas 24 x 30 inches
signed lower right: Bailey
PROVENANCE: From a Private Collection
$3,000 – $5,000
295 GREGORY MCHURON (1945–2012)
Second Spring
oil on board 24 x 36 inches
signed lower right: Gregory L McHuron © verso: titled and signed
PROVENANCE:
McHuron Studio, Jackson, WY (label verso)
Private Collection, Jackson, WY
$3,000 – $5,000
148
Landscape
oil on linen
23 ⅛ x 30 ½ inches
signed and dated lower right: Fernhout ‘49 verso: titled, signed and dated
PROVENANCE:
From the Collection of Paul and Carla McCombs
$8,000 – $12,000
oil on canvas
42 x 48 inches
signed and dated lower right: J. Velazquez © 2007
PROVENANCE:
Private Collection, Wilson, WY
$5,000 – $7,000
149
298 JOSEPH VELAZQUEZ (1942–2021)
When Work is Done, 2007
297 EDGAR FERNHOUT (1912–1976)
by Hailoo, 1949
Alone
bronze, 1/36
36 x 6 x 8 inches
inscribed: © Fritz White (artist cipher) CA 1/36
PROVENANCE: From a Private Collection
$3,000 – $5,000
Home to Texas
oil on board 20 x 12 ½ inches
signed lower right: KEN LAAGER
verso: Home to Texas by Max McCoy (label)
PROVENANCE: From a Private Collection
LITERATURE: Max McCoy, Home to Texas, November 1995, Cover Illustration
$1,000 – $2,000
Charlie Dye
bronze, 21/100
15 ¼ x 5 ½ x 4 ¾ inches
18 ¾ x 11 ¼ x 11 ¾ inches (with base)
inscribed: Joe Beeler 21/100 (artist cipher)
PROVENANCE: From a Private Collection
$800 – $1,200
150
299 FRITZ WHITE (1930–2010)
With the Nighthawk
300 KEN LAAGER (1953– )
301 JOE BEELER (1931–2006)
Pehriska-Ruhpa
hand-colored aquatint engraving 25 ½ x 19 ½ inches
PROVENANCE: From a Private Collection
$4,000 – $6,000
All Aboard
oil on board 17 x 25 inches signed lower left: Bama
James Bama’s early career as an illustrator had his work featured on the covers of books and magazines, including the Doc Savage series. The owner of this painting acquired it in the late 1970s and hung it in a caboose that served as a clubhouse on his property.
PROVENANCE: From a Private Collection
$7,000 – $10,000
304
Ghost Horses Dr. #5, 1995
oil, encaustic and graphite on paper 30 x 36 inches signed and dated lower right: T Waddell 95
PROVENANCE:
Susan Duvall Gallery, Aspen, CO, 1995 Private Collection, Dallas, TX
$1,500 – $2,500
151
302 KARL BODMER (1809–1893)
303 JAMES BAMA (1926–2022)
THEODORE WADDELL (1941– )
305 BRUCE CHEEVER (1963– )
The Wane of Fall
oil on linen on panel
28 ⅞ x 48 ⅞ inches
signed lower right: Bruce Cheever ©
PROVENANCE:
Meyer Gallery, Scottsdale, AZ (label verso)
From a Private Collection
EXHIBITED:
Meyer Gallery, Bruce Cheever The Poetry of Light, Scottsdale, AZ, April 2004
$7,000 – $10,000
306
Sneaking
oil on canvasboard
17 ⅞ x 26 ⅛ inches
signed: lower left © Gary Carter (artist cipher)
verso: signed
PROVENANCE:
From a Private Collection
$5,000 – $7,000
307 DAVE MCGARY (1958–2013)
War Deeds, 1990
bronze, 29/30
22 ⅜ x 14 ¼ x 7 inches
inscribed: Dave McGary © 1990 29/30
PROVENANCE:
From a Private Collection
$4,000 – $6,000
152
GARY CARTER (1939– )
Drink-Givers
Sightseeing Launches and Royal Launch on Thames
acrylic on canvas
40 x 48 inches
signed lower left: FN Ashley
verso: titled and signed
PROVENANCE:
Zantman Art Galleries, Carmel, CA (label verso) From a Private Collection
$7,000 – $10,000
Trouble in Town, 1985
oil on canvas
20 x 21 inches
signed and dated lower right: © Carson 1985
PROVENANCE:
From a Private Collection
$1,800 – $2,500
Get Lost Cowboy!, 1986
oil on canvas 16 x 15 inches
signed and dated center left: © Carson 1986
PROVENANCE: From a Private Collection
$1,500 – $2,500
153
308 FRANK ASHLEY (1920–2007)
309 JIM CARSON (1942– )
310 JIM CARSON (1942-)
154 Thank you for participating in the Jackson Hole Art Auction We are currently seeking quality consignments for our 2024 Auction Save the Date! September 14, 2024 AN AUCTION OF PAST AND PRESENT MASTERWORKS OF THE AMERICAN WEST FOR A NO-OBLIGATION AUCTION ESTIMATE CONTACT AMY JAMES, AUCTION COORDINATOR 866-549-9278, COORDINATOR@JACKSONHOLEARTAUCTION.COM WWW.JACKSONHOLEARTAUCTION.COM
ACHEFF, WILLIAM
Plums and Apples, 277
AMUNDSEN, RICHARD
Grouse, 14
Grizzly with Geese, 15
Brittany and Bobwhite, 16
Black Labrador and Pheasants, 17
ANTON, BILL
A Cautious Approach, 100
Emerald Oasis, 161
Hydro Therapy, 162
Where Hobbles Are Handy, 164
Awestruck, 232
New Horizon, 236
ASHLEY, FRANK
Sightseeing Launches and Royal Launch on Thames, 308
ASPEVIG, CLYDE
The Terrace-Mammoth Hot Springs, 124
Country Bridge, 185
Stubble Fields and Willow, 238
Olive Creek Ridge, 290
ATKINS, WILLIAM H.
A Welcome Rest, 289
AUDUBON, JAMES JOHN
Fish Hawk or Osprey, Plate 81, 126
BAILEY, BRANDON
Spring Run, 294
BALLANTYNE, CARRIE
Maybe Next Year, 285
BAMA, JAMES
All Aboard, 303
BARTLETT, BO
Deer, 160
BATEMAN, ROBERT
Serengeti Dusk, 159
Above the Rapids--Gulls and Grizzly, 214
BEELER, JOE
Speaker of the House, 50
Crow Scout, 51
White Mountain Chief, 52
Into the North Wind, 62
Scout for the Long Knives, 173
Chief Goes to Washington, 252
Charlie Dye, 301
BISS, EARL
Three Riders, 178
BODMER, KARL
Pehriska-Ruhpa, 302
BOEDGES, MARK
Afternoon Convection, 143
BOOMER, BOB
Legends of the Spirits, 80
The Healer, 81
BOREIN, EDWARD
Mustang Round Up, 85 BRENDERS, CARL
Lookout Tower, Timberwolves, 137 BROWNE, GEORGE
Mule Deer Rack, 31 BUNN, KENNETH
Romping Black Bear, 34 BURGESS, STEVE
Sundowner, 224 BURLINGAME, WILLIAM
Lookouts, 43 CARLSON, KEN
Morning Respite, 131
Dusk on the Flats - Whitetail, 132
Lofty Terrain, 133
Uncertain Outcome, 148 CARSON, JIM
Trouble in Town, 309 Get Lost Cowboy!, 310 CARTER, GARY
The Prize, 64
Sneaking Drink-Givers, 306 CHEEVER, BRUCE
First Light, 142
The Wane of Fall, 305 CHRISTENSEN, SCOTT
Spring Thaw, 39 Spring Into Summer, 40 July at 11,000’, 41
Feels Like Fall, 42 CLARE, JOSHUA
Delta Lake, 271 CLYMER, JOHN
Last of the Buffalo (Buffalo Killers), 197 COHELEACH, GUY
Moose Valley, 30 Grim Evening, 215 COLEMAN, MICHAEL
In Secret Places - Black Bears, 23
Rising Mists, Grizzlies, 212 In His Prime, 213
COLEMAN, NICHOLAS
Yellowstone Buffalo, 36
Campfire Tales, 151 Horse Camp at Dusk, 175 DALY, JIM
Watchful Eyes, 280
The Engineer, 281
The Model Builder, 282 Railroading, 283 DARRO, TOM
Untitled, 57
DEDECKER, THOMAS
Glowing Sunset and Reflections, 19
A Calm and Serene Setting Sun, 20
DIXON, MAYNARD
Study for Desert Cottonwoods #1 and #2, 169 DOELLINGER, MICK
The Knight, 279
DYE, CHARLIE
Top Hand, 95
The Scouts, 170
DYKMAN, PAUL
Peace in the Valley, 38
ELLIS, FREMONT
On Hondo Creek, 112
ELWELL, ROBERT FARRINGTON
Prairie Fire, 83
FERNHOUT, EDGAR
Landscape by Hailoo, 297
FERY, JOHN
American Fork Canyon, 125
FORLEE, ERIC
Leopard in an Acacia Tree, 221
Leopards in an Acacia Tree, 222
FRAZIER, LUKE
Tubby, 21
One Sleepy Bear, 134
Up to Here in Hounds, 149
Rams at Heaven’s Gate, 150
GERHARTZ, DANIEL
Peach and Green, 274
GODDARD, GEORGE BOUVERIE
Study of Huskies, 293
GOEBEL, ROD
The Taos Range, 76
GONSKE, WALT
At Red Mountain Pass-Colorado, 186
Taos Garden, 258
Sunlit Floral, 259
GOODWIN, PHILIP R.
Sitting Bear, 22
GREENWOOD, BRADLEY J.
Sagamore Entry Table, 267
GRELLE, MARTIN
Heart of a Lion, 65
Lunch Break, 99
In the Texas Dust, 111
September Search, 239
GRIFFING, ROBERT
Seneca War Chief, 246
GUZIK, NANCY
Creativity, 278
HALL, CARLOS
Upper Colonias - Cow Creek, 184
155 INDEX
HANTMAN, CARL
Taking Cover, 63
HARTWIG, HEINE
Indian Camp, 291
HARVEY, G
Special Times, 233
HAUSER, JOHN
Return from the Hunt, 67
The War Party, 119
HERZOG, HERMANN
Landscape with Waterfall and Angler, 127
HOFFMAN, FRANK
Buffalo, 123
Angler’s Paradise, 211
HUGHES, BILL
Good Friends, Good Horses, Great Coffee, 60
HULINGS, CLARK
Torremolinos, 257
HURLEY, WILSON
Juan Tabo Canyon, Sandia Mountains, Mide, 187
JACKSON, HARRY
Marie (Study for Sacajawea), 91
Portrait of a Man, 92
Ol’ Sabertooth, 93
Where the Trail Forks, 94
Bustin’ One, 115
JAMES, WILL
Handwritten Letter and Drawing to Friend Charlie, 87
Handwritten Letter and Drawing to Friend Jack, 88 Come to Rest, 89
Young Cowboy Scout, 90
JOE, ORELAND SR.
Ganado Red, 75
Morning Prayer, 79
JOHNSON, HARVEY
White Man Who Scalps Himself, 47
Furs for Fofarraws, 55
A Bent’s Fort Welcome, 56
Camp of the Running Iron Men, 61
KAPP, GARY
Grand Teton, 25
KAUBA, CARL
“How - Kola!”, 53
Indian Attack (War Party), 54
KENWORTHY, JONATHAN
Masai at Rest, 225
Samburu Warrior, 226
Mother and Child, 228
Leopard Skidding to a Halt, 229
Grants Gazelle, 230
African Dancer, 231
KINGSWOOD, RON
Sandhill Cranes, 155
Partridge, 156
KNEPPER, DAN
Extended Family, 145
Transitions, 146 KOCH, FRANCOIS
Lazy Days, 113 Rushing Waters, 152
KUHN, BOB
Hunting Hound, 198 Rhinos, Charging with Man, 199 Elephant (Sketched at Amboseli), 200 Stalking Cougar, 201
Spoiling for a Fight, 202 Stairway to the Stars, 203 Study for “A Universe of Smells”, 204
A Universe of Smells, 205
Old Tom Leopard, 206
Cape Buffalo 2686, 207
Wolf Studies, 208
Whitetail Deer, 209
Rocky Mountain High, 210
KUHNERT, FRIEDRICH WILHELM
European Moose, 7
Red Deer, 8
Fleeing Moose, 9
Antelopes and Zebra, 10
Female Wild Pig with Young, 11
Cape Buffalo, 220
LAAGER, KEN
Water in Arizona, 44
Horsethief Moon, 45
O-Kee-Pa, 46
Summer Wages, 288 Home to Texas, 300
LAWES, BRUCE K.
On the Move, 217 LAWRENCE, BRENT
Pronghorn Diptych, 292
LIU, HUIHAN
Watermelon, 286
LOFFLER, RICHARD
The Thin Horn Train, 28
LORENZ, RICHARD
Indian Chief, 218
MAGGIORI, MARK
Untitled, 97 MANN, DAVID
The Moonlight Journey, 59
MANSANAREZ, TOM
The Seal Hunter, 136 MARRIS, BONNIE
A Bond So Strong, 105 MCCAIN, BUCK
Indians and Pueblo, 78
MCCARTHY, FRANK C.
Crossing the North Fork, 190
MCGARRY, PIP
Crossing the Chobe, 223
MCGARY, DAVE
War Deeds, 307
MCGREW, R. BROWNELL
Monument Valley, 73
When Shadows Steal, 241
Jasper Manygoats Starts Home, 242
MCHURON, GREGORY
Second Spring, 295
MCINTYRE, PETER
Yosemite, 261
MELL, ED
Electric Storm, 179
Two Horses, 181
MIEDUCH, DAN
‘T Ain’t Brain Surgery, 101
Too Soon the Wind, Too Late the Rain, 110 Dominion Over the Earth, 172
Dazzle Painted Piebalds, 174
It’s Gonna Be a Doozy, 237
MIGNERY, HERB
At the Water’s Edge, 66
MILLER, CHARLES WINFIELD
The Path Maker, 48
Pony Raid, 49
MOLESWORTH, THOMAS
Console Table, 268
Club Chair and Ottoman, 269
MONROE, LANFORD
Processional, 139
Landscape with Horse and Pony, 153
Pelican In Flight Over A Lake, 154
MUIR, JAMES NATHAN
Stainless Banner, 251
MURRAY, RICHARD
Coyote, 263
Owl, 264
Flaxen Pony, 266
NAMINGHA, DAN
Parrot Kachina, 183
NEBEKER, BILL
Weatherin’ The Chores, 114
NIETO, JOHN
General George Custer, 176
Lone Wolf (Vision Quest), 177
Standing Bear, 182
NORTON, JIM C.
Picking a Good One, 96
Evening Shadows, 98
The Last Look, 163
The Wild Ones, 165
156 INDEX
OBERG, RALPH
Silent Snowshoes, 216
PALMER, FANNY F.
American Express Train, 256
PAXSON, EDGAR SAMUEL
Chief Joseph, 120
PAYNE, EDGAR ALWIN
Packers, 122
POORE, HENRY RANKIN
The Bridge - Close of a City Day, 255
POPPLETON, CHAD
The Mission Range, 144
PRICE, GARY
Unlimited Horizons, 284
PUMMILL, ROBERT
Wyoming Ranch Station, 107
Western Exposure, 108
Early Morning Mist, 166
Before Sundown, 167
QUINN, THOMAS
Procession, 33
REMINGTON, FREDERIC
Feeding the Dogs, 171
Untitled (“How the Derby was Won,” jockey), 253 Yaboo, 254
RENSHAW, ARTHUR
Rocky Mountain High, 18
RILEY, KENNETH
A Captured Mount, 121
RIPPEL, MORRIS
The Ancient Ones, 74
ROWE, KEN
In the Land of Giants, 29
RUNGIUS, CARL
The Traveler, 1
Dall Sheep, 2
Lord of the Canyon, 3
An Old Fighter, 4
Alarmed, 5
Osborne’s Caribou, 6
Caribou, 128
RUSSELL, CHARLES
Smoking Up, 168
SANDER, SHERRY
After the Grain Spill, 37
SCHATZ, MANFRED
Breaking Ice, 272
SCHENCK, BILL
Respite on the Old Santa Fe Trail, 180
SCHMID, RICHARD
Winter Landscape, 262
Reclining Nude, 273
Jacque’s Roses, 276
SCHWIERING, CONRAD
Cuttin’ ‘Em In, 102 Home to Calve, 103
Snap of a Twig, 140
Winter Haven, 141 SCOTT, LINDSAY
From Out in Left Field, 26 Elephants, 219 SCOTT, SANDY
Moose Head, 27 SEEREY-LESTER, JOHN
Two Bulls, 35 SELYTIN, ALEXANDER
The Feather, 245 SHARP, JOSEPH HENRY
California Mums in Studio Window, 240 SHAW, AD
Along the Weber, 250 SHEPHERD, DAVID
Greater Kudu, 227 SHINABARGER, TIM
Mother’s Watch, 135 SIMS, KYLE
The Intimidation Game, 296 SISSON, LAURENCE
Cloud Symphony, 260 SMITH, TUCKER
Drift Fence, 104 Soda Springs, 129
Desert Muley, 130 Vigilance, 138
The Bear, 147 West of Cody, 235 SNIDOW, GORDON
Ted, 234
SWANSON, RAY
Navajo Playmates, 188 Up From Watering, 243 Navajos at Castle Butte, 244 SWINNEY, CAROL
Sunrise Sunset, 32 TEAGUE, DONALD
The Middle and the Low, 86 TERPNING, HOWARD
Status Symbols, 116
Blackfeet Regalia, 189
THOMAS, RICHARD D.
Branding Day on the Huckaba, 109 Winter Reconnaissance, 196 TROIANI, DON
Eagle of the 8th, 249 VAN WECHEL, DUSTIN
Rollin’ Thunder, 157
Hidden Valley Goats, 158
VELAZQUEZ, JOSEPH
When Work is Done, 298
VICKERS, RUSS
Dash for Safety, 68
Talents of the Cook, 69
Wood, Grass and Water, 70
Entering the Dreaded Mountains, 71
There’s Water and Grass About 4 Miles Ahead, 72 VON SCHMIDT, HAROLD
The Intruders, 82
Return of the War Party, 118
WADDELL, THEODORE
Ghost Horses Dr. #5, 304
WARREN, MELVIN CHARLES
Old Man of the Desert, 84
WEISTLING, MORGAN
Jennifer, 275
WEST, HELEN
Resting Place, 12
Ducks in the Down Timber, 13
WHITE, FRITZ
Navajo Magic, 77
Out of The Mystic Past, 247
Stalking the Night Shadow, 248 Alone With the Nighthawk, 299 WIEGHORST, OLAF
Navajo Horsemen, 117
Arapaho, 191
Untitled, 192
Untitled, 193
El Caballero, 194
Untitled, 195
WILCOX, JIM
Mt. Moran and Friends, 24 WINCHESTER REPEATING ARMS CO.
Double “W” Cartridge Display, 106 WOOD, ROBERT
The Grand Tetons Wyoming, 270 WYCHOPEN, STAN
Concord Coach Series Q20, 58
YOUNGBLOOD, NAT
Sky City - Acoma, 265
ZHOU, JIE WEI
My Favorite Chore, 287
157 INDEX
• © ©
159 DESIGN STUDIO AND INTERIORS 30 S. KING STREET | JACKSON, WY
SIR
RUNNICLES, MUSIC DIRECTOR
The Grand Teton Music Festival’s mission to provide exhilarating musical experiences does not stop when the summer ends. As part of our commitment to share our passion for music, GTMF provides a variety of events and community programs throughout the year. We greatly appreciate the support of our community, donors, board, musicians and staff, all which help to ensure that great music in Jackson continues.
DONALD
JACKSON HOLE, WYOMING
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.
2. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored.
3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price of each lot up to and including $1,000,000 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 $1,000,000 and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax and shipping and handling charges, plus an additional credit card fee.
4. The Jackson Hole Art Auction reserves the right to withdraw any property before or during the sale and shall have no liability whatsoever for such withdrawal.
5. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalogue.
6. The Jackson Hole Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or to reoffer and resell the article in dispute. If any dispute arises after the sale, the Jackson Hole Art Auction’s sale record shall be final and conclusive. The Jackson Hole Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Jackson Hole Art Auction is not responsible for any errors or omissions in connection therewith.
7. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the article offered, he or she may reject the same and withdraw the article from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.
8. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the terms and conditions set forth herein, and is immediately obligated to pay the full purchase price or such parts thereof as the Jackson Hole Art Auction may then require. All sales are final, and there shall be no exchanges or returns. Payment shall be made by cash, check, wire transfer, Visa, MasterCard, or American Express. (See, paragraph 3 above: “If paying by credit card . . .”) In addition to other remedies available to us by law, the Jackson Hole Art Auction reserves the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein.
a. All property must be removed by the purchaser at his or her expense not later than (10) business days following the sale, and if it is not so removed, (i) a handling charge of 1% of the total purchase price per month from the tenth day after the sale (until its removal) will be payable to us by the purchaser, with a minimum of 5% of the total purchase price due for any property not so removed within 60 days after the sale, and (ii) we may send the purchased property to a public warehouse for the account, at the risk and expense of the purchaser.
b. If any applicable conditions herein are not complied with by the purchaser, the purchaser will be in default, and in addition to any and all other remedies available to the Jackson Hole Art Auction and its agents and consignors by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, including all fees, charges, and expenses set forth herein, the Jackson Hole Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser, or (ii) resell the purchased property, whether at auction or by private sale, or (iii) effect any combination thereof. The purchaser will be liable for any deficiency, any and all costs, handling charges, late charges, expenses, and commissions of both sales, legal fees, and expenses, collection fees, and incidental damages. In addition, a defaulting purchaser will be deemed to have granted and assigned the property or money to the Jackson Hole Art Auction or its agents and consignors or any of their affiliated companies, and the Jackson Hole Art Auction may retain and apply such property or money as collateral security for the obligations due. The Jackson Hole Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the Wyoming Uniform Commercial Code. The purchaser of each lot agrees that each lot is unique and that the Jackson Hole Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such purchaser fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Jackson Hole Art Auction shall have collected good funds. The Jackson Hole Art Auction reserves the right to hold all purchases pending collection of the total purchase price.
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
164
AND CONDITIONS
TERMS
the reserve to protect such interest. The Jackson Hole Art Auction, or its agents or consignors, may also bid upon other property listed in this catalogue.
10. Jackson Hole Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Jackson Hole Art Auction.
11. Unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. It is the purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price.
12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Wyoming, without regard to Wyoming rules concerning conflicts of law.
13. Prospective bidders and purchasers agree that, in the event of any controversy or claim arising out of or relating to a sale of property, the party asserting such controversy or claim shall provide written notice thereof to the other party, and that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including any controversy or claim arising from or relating to the sale, or to these Terms and Conditions of Sale, including the terms of this paragraph, shall be resolved and settled by binding arbitration in Jackson Hole, Wyoming, or such other place upon which the parties may agree, in writing; such arbitration shall be pursuant to the commercial arbitration rules of the American Arbitration Association then in effect; the award, which shall include costs of arbitration and an award of reasonable attorneys’ fees to the prevailing party, shall be final, and the judgment on the award may be entered in any court having jurisdiction.
14. The Jackson Hole Art Auction may, in its discretion and at a purchaser’s request, package and ship items as directed by the purchaser. In such event, purchaser agrees to the following conditions:
a. All such packaging, handling and shipping is at the sole risk of the purchaser, and the Jackson Hole Art Auction shall have no liability for any loss or damage to such items.
b. A shipping estimate will be provided after payment of purchase invoice is received. We ship in house, and will place item(s) in our shipping queue upon receipt of payment of shipping estimate. Please allow 4-6 weeks for delivery.
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 $100 $2,000 - $5,000 $250
$5,000 - $10,000 $500
$10,000 - $20,000 $1000 $20,000 - $50,000 $2,500 $50,000 - $100,000 $5,000 over $100,000 $10,000
SALES TAX
A recent Supreme Court ruling has led to changes nationwide regarding sales tax laws. In 2018 the Supreme Court of the United States ruled against Wayfair in favor of the state of South Dakota regarding the state’s right to collect sales tax on online purchases from a business without a physical presence in that state. This decision changed the existing status quo and has created a precedent for other states to collect sales tax from businesses without a physical presence in their state.
The new laws vary from state to state and require all businesses (not just auction houses) to collect sales tax if they meet a given state’s threshold for an economic nexus. An economic nexus is used in place of a physical presence in the state and can be met by either a total sales amount limit into that state or a total number of individual transactions into that state.
Currently the Jackson Hole Art Auction has met the threshold for an economic nexus in the following states: Alabama, Arizona, Colorado, Connecticut, Florida, Idaho, Kansas, Nevada, New Mexico, North Carolina, Oklahoma, Tennessee, Texas, Utah, Wisconsin, Washington, and Wyoming. If the purchaser is shipping to any of these states, the Jackson Hole Art Auction is required by law to add the appropriate state and local sales tax to the purchaser’s invoice.
The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result the Jackson Hole Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon.
Due to the variable nature of auction sales, and the small window in which they occur, the Jackson Hole Art Auction does not yet know if the states not listed above will require sales tax collection, as that will be determined by the total dollar amount sold into each state—which cannot be predicted. The Jackson Hole Art Auction will be tracking these totals live during the sale using tax software, and will strive to inform the purchaser at the time of invoicing if sales tax collection is required; however, it may be necessary to bill for sales tax post-sale if the threshold for an economic nexus in the purchaser’s state is met after the purchaser has paid.
Even if the Jackson Hole Art Auction is not required to collect sales tax from the purchaser’s state, unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax per the terms and conditions.
If the purchaser has a valid resale certificate, the purchaser will not be required to pay sales tax. Please provide a copy of this certificate at the time of registration for tax compliance.
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83002 JAckson, WYoming Po box 10183 307.413.3312 spencer@tetonArtservices.com 890 S Highway 89 • Jackson, Wyoming (307) 733-2306 SchmidtsCustomFraming.com Craftsmanship, defined
MAP OF DOWNTOWN JACKSON HOLE
JACKSON HOLE ART AUCTION 130 East Broadway (Gallery and Office) Art Pickup
CENTER FOR THE ARTS
265 South Cache Preview and Live Auction
Printing: O’Neil Printing, 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) | jacksonholeartauction.com
© 2023 Jackson Hole Art Auction Limited Co.
GO WEST. GO WILD. GO ONLINE. CONSIGN NOW! Richard Friese (1854-1918) Untitled (Caribou in Winter), 1896 oil on canvas, 32 x 24 inches Estimate: $20,000-$30,000 SOLD: $33,000 CONTACT US FOR A COURTESY EVALUATION 130 E. BROADWAY AVE., JACKSON, WY 83001 COORDINATOR@JACKSONHOLEARTAUCTION.COM JACKSONHOLEARTAUCTION.COM | 866-549-9278 Welcoming Fine Consignments for 2024 Online Auctions
ANNUAL LIVE AUCTION: SEPTEMBER 16, 2023 AT 12:30 PM MDT CENTER FOR THE ARTS | 265 SOUTH CACHE, JACKSON, WY 130 EAST BROADWAY, JACKSON, WY 83001 | POST OFFICE BOX 1568 CALL: 866-549-9278 | VISIT: JACKSONHOLEARTAUCTION.COM © 2023 JACKSON HOLE ART AUCTION, LLC.
JOHN CLYMER (1907–1989)
Last of the Buffalo (Buffalo Killers)
$175,000 – $275,000
