2021 Coeur d’Alene Art Auction by cdaartauction

Coeur d’Alene Art Auction Fine Western & American Art

RENO, NEVADA • JULY 31, 2021

142 – Front Cover

Charles M. Russell (1864 – 1926) Roping a Wolf (1904)

oil on canvas 15 × 20 inches signed lower left: C M Russell [artist cipher] 1904 $ 1,000,000 – 1,500,000

112 – Back Cover

Walter Ufer (1876 – 1936) Greasewood and Sage

oil on canvas 25 × 25 inches signed lower right: W Ufer $ 300,000 – 500,000

209

Frank Tenney Johnson (1874 – 1939) The Horse Thief (1925)

oil on canvas 26 × 38 inches signed lower right: F Tenney Johnson 1925 $ 300,000 – 500,000

Coeur d’Alene Art Auction Fine Western & American Art

176

Oscar Berninghaus (1874 – 1952) The Domain of Their Ancestors (1925) oil on canvas 25 × 30 inches signed lower right: O. E. Berninghaus $ 400,000 – 600,000

Coeur d’Alene Art Auction Fine Western & American Art

Schedule of Events RENO, NEVADA Grand Sierra Resort July 31, 2021 FRIDAY, JULY 30 Preview – 9 am - 5 pm The American West Reimagined presentation by Dr. Larry Len Peterson – 5 - 6 pm Preview Party – 6 - 8 pm SATURDAY, JULY 31 Preview – 8 - 11 am Breakfast – 9:30 - 10:30 am Auction – 11 am Auctioneer Troy Black

Bidding No additional fee is incurred for online, absentee, or phone bidding. All absentee & phone bids must be received by July 29. Live online & absentee bidding is available through Bidsquare by visiting cdaartauction.com/Bidsquare Auction results available August 1 at cdaartauction.com

Eanger Irving Couse (1866 – 1936) The New Rug (1917)

oil on canvas 46 × 34 inches signed lower left: E- I- Couse$ 250,000 – 350,000

Reservations Grand Sierra Resort 2500 East 2nd Street Reno, Nevada 89595 For room reservations call the Grand Sierra’s reservations line at 800-501-2651 or visit cdaartauction.com/reservations Use Group Code ART21 – offer valid through July 12, subject to availability.

Contact Info Mike Overby 11944 North Tracey Road Hayden, Idaho 83835 Tel 208-772-9009 Fax 208-772-8294 mike@cdaartauction.com Stuart Johnson 6420 North Campbell Tucson, Arizona 85718 Tel 520-299-2607 Fax 520-299-6021 stu@settlerswest.com Peter Stremmel 1400 South Virginia Street Reno, Nevada 89502 Tel 775-786-0558 Fax 775-786-0311 peter@stremmelgallery.com Beginning July 27 please direct all inquiries to 775-786-1700.

162

Frederic Remington (1861 – 1909)

The Borderland of the Other Tribe (ca. 1897) ink wash on paper en grisaille 24.5 × 38 inches signed lower left: Frederic Remington $ 200,000 – 300,000

Contents 3

Schedule of Events & Bidding

Reservations & Contact Info

The American West Reimagined by Dr. Larry Len Peterson

Auction Notes

In Memory of Bob & Mary Drummond

Auction: Lot 1 – Lot 384

282 Index 288 Terms & Conditions of Sale 289 Absentee & Phone Bid Form

The American West Reimagined

The American West Reimagined: Gems from the Coeur d’Alene Art Auction by Dr. Larry Len Peterson Please join us Friday, July 30, from 5 - 6 pm, as Dr. Larry Len Peterson presents his newest publication, The American West Reimagined: Gems from the Coeur d’Alene Art Auction (2021). Now available for $85 (plus shipping, where applicable), the 528-page masterpiece tells the sweeping story of the artists of the American West, and their respective works, in a fresh and enlightening manner. The volume features 560 spectacular color illustrations of past Auction works, with accompanying profiles of 120 artists. On the eve of this year’s sale, Dr. Peterson will share how he compiled this impressive representation of some of the finest Western, wildlife, and sporting art offered throughout the Coeur d’Alene Art Auction’s 36-year history. A complimentary book signing will immediately follow the presentation. If you are unable to attend, but would like to purchase a personalized copy of The American West Reimagined, please call our office at 208-772-9009.

About the Author Western art historian and author Dr. Larry Len Peterson is the chair of the C. M. Russell Museum board of directors, and the 2019 Montana Heritage Guardian Award recipient – which is the highest honor bestowed by the Montana Historical Society Board of Trustees. Dr. Peterson’s distinguished biographies include: Charles M. Russell, Legacy; Charles M. Russell, Photographing the Legend: A Biography in Words and Pictures; Philip R. Goodwin: America’s Sporting and Wildlife Artist; L. A. Huffman: Photographer of the American West; The Call of the Mountains: The Artists of Glacier National Park; John Fery: Artist of Glacier National Park & the American West; and Blackfeet John L. “Cutapuis” Clarke: America’s Wood Sculptor. The iconic True West Magazine rated Peterson the 2018 Best Author in its “Best of the West Collector’s Edition,” and his American Trinity: Jefferson, Custer, and the Spirit of the West as the 2018 Best NonFiction Book of the Year. An avid collector of Western art, Dr. Peterson is also the recipient of the C. M. Russell Heritage Award, Western Heritage Award, Scriver Award, High Plains Book Award, Will Rogers Gold Medallion Award, and the University of Nebraska Great Plains Book of the Month Selection.

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Auction Notes

The Mr. & Mrs. John K. Goodman Collection John and Aline Goodman were influential in the development of Tucson, Arizona, and contributed much to its growing art community. Jack, as his friends called him, became a permanent resident of Tucson in 1938. He was a founding member of Los Rancheros Visitadores in California, a cofounder of the Los Charro del Desierto, co-founder of the School of Race Track Management at the University of Arizona, and co-founded the famed Mountain Oyster Club of Tucson. He was proud to be inducted into the Hall of Great Westerners at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma, in 2014. John and Aline were close friends with Olaf Wieghorst and other notable Western artists while giving many rising artists their first real public exposure at the annual Mountain Oyster Western Art Show.

The Harry Jackson Collection of the California State University, Northridge Harry Jackson is known as one of the most distinguished Western art sculptors, and the California State University, Northridge collection exemplifies the unequivocal stylings of his work. The collection – 30 bronzes in total – was formerly in the corporate collection of Washington Mutual Bank. It was donated to CSUN in 2006 and displayed prominently since. Most of what are considered to be Jackson’s finest works are included. Jackson’s work is also in the personal collections of Queen Elizabeth II, the Saudi Arabian royal family, the Italian Federal Government, and the Vatican.

2021 Coeur d’Alene Art Auction – November Sale We are pleased to announce the Coeur d’Alene Art Auction’s second annual online sale will be held Saturday, November 13. We are now accepting a limited number of quality consignments. The deadline to receive consignments is Friday, October 8. For more information please contact: Mike Overby tel 208-772-9009 mike@cdaartauction.com

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In Memory of Bob & Mary Drummond The art world lost a pioneer last year with Bob Drummond passing away on October 6, 2020. An expert in the Western, wildlife, and sporting art markets, Bob had a passion and knowledge that was admired by many. He will be remembered for sharing his breadth of information freely. The “computer” he relied on most was his encyclopedic memory of deals spanning 50 years. No detail was too small for Bob; no story was too big. One of Bob’s great joys was working with the “cream of the crop” – both in artwork and clients. Bob’s art career started in the 1970s, dabbling in art deals in the Pacific Northwest. In 1979, Bob and his wife, Mary, opened Drummond Gallery, in Coeur d’Alene, Idaho. Soon after, Bob founded the Coeur d’Alene Art Auction with partners Peter Stremmel and Stuart Johnson. The three men built the Auction into the most-successful Western, wildlife, and sporting art sale in the country. In 1996, Bob sold his gallery to Mike Overby, and dedicated his focus to the Auction. Ten years later, Bob retired and Mike joined the Auction full-time. Bob never lost his passion and knowledge of the art market, frequently checking in with the partners, asking, “What’s shaking?” Knowing Bob meant knowing an authentic, honest, one-of-a-kind, and original person. His presence will be missed. Warmly, Peter, Stuart, and Mike

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2 1

Carl Rungius (1869 – 1959)

Carl Rungius, Big Game Painter: Fifty Years with Brush and Rifle

Roland Clark (1874 – 1957) Mallards

book with etching signed by Rungius book: 12.5 × 9.75 inches; etching: 11 × 8 inches

oil on canvas laid on board 18 × 24 inches signed lower left: Roland Clark

One of 160 numbered copies signed by Carl Rungius and William J. Schaldach and with an original etching pencil signed by Rungius.

PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho

$ 6,000 – 9,000

$ 5,000 – 7,000

Richard Bishop (1887 – 1975)

Lynn Bogue Hunt (1878 – 1960)

oil on canvas 24 × 30 inches signed lower left: Richard Bishop © ‘48

oil on canvas laid on board 12 × 17.25 inches signed lower left: Lynn Bogue Hunt

VERSO Titled

VERSO Label, Reproduced American Magazine

PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho

$ 6,000 – 9,000

$ 3,000 – 5,000

Bald Pate – Widgeon (1948)

Wild Turkey and Chicks

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Frederick A. Verner (1836 – 1928) Fresh Caught

gouache on paper 18 × 33 inches signed lower right: Verner PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho

$ 3,000 – 5,000

Ogden M. Pleissner (1905 – 1983) Coming to the Gaff

watercolor on paper 14 × 21.25 inches signed lower right: Pleissner VERSO Label, Arthur H. Harlow & Co., New York, New York $ 8,000 – 12,000

7 8

William J. Schaldach (1896 – 1982) Brook Trout

William J. Schaldach (1896 – 1982)

watercolor on paper 14.25 × 21 inches signed lower right: Wm J. Schaldach

Leaping Rainbow Trout

watercolor on paper 14.75 × 20.75 inches signed lower left: Wm J. Schaldach

Brown Trout watercolor on paper 14.5 × 21 inches signed lower right: Wm J. Schaldach

Pike watercolor on paper 17.75 × 13.75 inches signed lower right: Wm J. Schaldach

VERSO (both works) Label, W. Graham Arader III, King of Prussia, Pennsylvania PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho

PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho

$ 3,000 – 5,000 for the pair

$ 3,000 – 5,000 for the pair – 12 –

John Fery (1859 – 1934)

Mount Cleveland from Grossley Lake oil on canvas 42 × 62 inches signed lower right: J. Fery VERSO Titled Original Glacier National Park nameplate on bottom front of frame. PROVENANCE Ada Harlen, Helena, Montana, ca. 1975 Present owner, by descent $ 15,000 – 25,000

Robert Atkinson Fox (1860 – 1935) Mount of the Holy Cross (ca. 1900) oil on canvas 36 × 28 inches signed lower left: R. Atkinson Fox $ 8,000 – 12,000 – 13 –

Carl Rungius (1869 – 1959) Ram Head

oil on canvas 9 × 11 inches signed lower right: C. Rungius inscribed lower left: To Edmee with best wishes Sept. 5th 1947 PROVENANCE The artist Edmee Reid, Banff, Canada, 1947 The Charles Reid Foundation, Calgary, Canada Coeur d’Alene Art Auction, Reno, Nevada, 2004 $ 15,000 – 25,000

Carl Rungius (1869 – 1959) On Simpson Pass (1920)

oil on canvas laid on board 9 × 11 inches signed lower right: C. Rungius VERSO Signed, titled, and dated $ 8,000 – 12,000

John Fery (1859 – 1934) Lake McDonald

oil on canvas laid on board 14 × 24 inches signed lower right: J. Fery VERSO Label, Braarud Fine Art, La Conner, Washington $ 8,000 – 12,000 – 14 –

Ogden M. Pleissner (1905 – 1983) Above the Rapids

watercolor on paper 14 × 20.5 inches signed lower right: Pleissner VERSO Label, Arthur H. Harlow & Co., New York, New York $ 10,000 – 15,000

Frank B. Hoffman (1888 – 1958) Taking Over [or] Bear Country oil on board 24 × 30 inches signed lower left: Hoffman [artist cipher] PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 10,000 – 15,000 – 15 –

Rudolph Friedrich Kurz (1818 – 1871) American Bison

oil on canvas 16.75 × 22.5 inches signed lower right: Kurz $ 15,000 – 25,000

A. D. M. Cooper (1856 – 1924) Red Cloud (1903)

oil on canvas 40 × 30 inches signed lower left: A. D. M. Cooper 1903 VERSO Titled Buffalo Bill Cody commissioned a series of paintings from A. D. M. Cooper, often using Red Cloud as a subject. The most famous being Relics of the Past. It is possible this version of Red Cloud was done as a companion work. $ 8,000 – 12,000 – 16 –

A. D. M. Cooper (1856 – 1924) Buffalo Hunt in Dakota (1906)

oil on canvas 20 × 40 inches signed lower right: A. D. M. Cooper 1906 VERSO Titled $ 6,000 – 9,000

Henry Farny (1847 – 1916) Mother and Child (1900)

gouache on paper 5.5 × 4 inches signed lower right: Farny 1900 $ 20,000 – 30,000

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Charles M. Russell (1864 – 1926) Antelope Hunting

watercolor on paper 4 × 6.75 inches signed upper left: C. M. Russell PROVENANCE The artist Edward P. Older, Granada, Minnesota Present owner, by descent $ 15,000 – 25,000

John Hauser (1859 – 1913) Winter Hunt – Sioux (1909)

oil on canvas laid on board 14 × 10 inches signed lower right: John Hauser 1909 VERSO Label, The Owings Gallery, Santa Fe, New Mexico PROVENANCE William P. Healey, Jackson, Wyoming $ 8,000 – 12,000

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Oscar Berninghaus (1874 – 1952) Wagon Yard – Taos (1944)

mixed media on board 15.25 × 19.25 inches signed lower left: O. E. Berninghaus -44 PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 6,000 – 9,000

Frank Tenney Johnson (1874 – 1939) The New Mount (1903)

watercolor on paper 14 × 10.75 inches signed lower right: Frank Tenney Johnson 1903 PROVENANCE Robert L. Praegitzer Collection March in Montana, Great Falls, Montana, 2010 Private collection, Sisters, Oregon $ 15,000 – 25,000

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Don Oelze (b. 1965)

Kids, Colts and Copper Kettles (2021) oil on canvas 34 × 48 inches signed lower left: Oelze The artist writes, “During the fur trade era from about 1825 to 1840, a Rendezvous was held every summer at a prearranged location. The fur companies offered goods of all description in exchange for hides that the Indians and trappers brought to trade. It was a lively and joyous camp with native sounds of women and children adding to the weeks of revelry and commerce. “This painting depicts an Indian family readying to depart with their newly obtained wares. They will leave the Rendezvous with not only needed items from the outside world but also sharing memories of when people of different tribes and cultures came together in relative peace and harmony.” $ 15,000 – 25,000

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Scott Tallman Powers (b. 1972) Leather and Steel (2015)

oil on canvas 16 × 16 inches signed lower left: Scott Powers 2015 VERSO Artist label with title and bio $ 5,000 – 7,000

Francois Koch (b. 1944) Morning Chores (2005)

oil on canvas 24 × 36 inches signed lower right: Francois Koch 05 VERSO Signed Label, Tucson Museum of Art, Tucson, Arizona EXHIBITED Friends of Western Art, Tucson Museum of Art, Tucson, Arizona, 2006-07 $ 10,000 – 15,000

Martin Grelle (b. 1954) Piegan Hunter (2000)

oil on canvas 16 × 24 inches signed lower right: Martin Grelle © 2000 CA VERSO Label, Overland Gallery of Fine Art, Scottsdale, Arizona PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2009 Private collection, Reno, Nevada $ 15,000 – 25,000 – 21 –

Daniel Smith (b. 1954) Alpine Kingdom (2021)

acrylic on board 36 × 24 inches signed lower right: Smith © 21 In discussing this painting the artist writes, “My home state of Montana has a robust population of bighorn sheep. Research often involves significant elevation gain requiring plenty of effort. The reward is always worth the effort … spending time in an alpine kingdom with an inspirational subject.” $ 20,000 – 30,000 – 22 –

Mark Boedges (b. 1973) Hidden Lake (2021)

oil on canvas laid on board 40 × 54 inches signed lower left: Boedges VERSO Signed, titled, and dated According to the artist, “There is a fundamental duality to the landscape of the American West that I find fascinating. It is at once beautiful and enticing but also brutally indifferent to our physical well-being. I painted the study for this piece nestled behind a scrubby evergreen at the overlook to Hidden Lake in Glacier National Park on a day that epitomized this duality: low clouds carried on a stiff cold wind bringing intermittent hail, but also breaks of glorious sunshine on the glacier-covered mountains across the chasm. In spirit I could have stood three weeks or even three years soaking up the wonder of nature’s glory; my body and mind made it three hours before the desire for a warm dry car and a hot cup of coffee forced me down.” $ 20,000 – 30,000

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William Acheff (b. 1947) Enchantment (1999)

oil on canvas 26 × 18 inches signed lower right: © Wm. Acheff 1999 VERSO Label, Desert Caballeros Western Museum, Wickenburg, Arizona The artifacts in this painting include an Apache basket, a Zuni fetish necklace, Sioux moccasins, and a Nez Perce cornhusk bag, all of which will accompany the lot. EXHIBITED Arizona Collects, Desert Caballeros Western Museum, Wickenburg, Arizona, 2004 LITERATURE Arizona Collects, Desert Caballeros Western Museum, 2004, p. 9, illustrated $ 20,000 – 30,000

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Nancy Glazier (b. 1947) My World (2006)

oil on canvas 38 × 42 inches signed lower right: N. Glazier VERSO Signed, titled, and dated Label, Trailside Galleries, Jackson, Wyoming PROVENANCE Private collection, Spokane, Washington Private collection, Scottsdale, Arizona, 2011 $ 15,000 – 25,000

David Mann (b. 1948)

The Horse Made Him Master oil on canvas 36 × 48 inches signed lower right: David Mann VERSO Label, Altermann Galleries & Auctioneers, Santa Fe, New Mexico $ 15,000 – 25,000

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Bob Kuhn (1920 – 2007) Hanging Out

acrylic on board 8 × 14 inches signed lower left: Kuhn LITERATURE Tom Davis, Patrons Without Peer, the McCloy Collection, Collectors Covey, 2009, p. 134, illustrated $ 30,000 – 50,000

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David Shepherd (1931 – 2017)

Amboseli Evening [or] Rhinos with Mt. Kilimanjaro (1967) oil on canvas 26 × 52 inches signed lower right: David Shepherd VERSO Signed, titled, and dated $ 20,000 – 30,000

David Shepherd (1931 – 2017) Lion in the Bush (1977)

oil on canvas 7 × 10 inches signed lower right: David Shepherd VERSO Signed and dated Inscribed, “Donated by the artist to raise funds for the Wells Cathedral Preservation Trust 1977” In the Thick Stuff – Baobab Tree (1978) oil on canvas 10 × 7 inches signed lower right: David Shepherd VERSO Signed, titled, and dated Label, The Tryon Gallery, London, United Kingdom $ 8,000 – 12,000 for the pair

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Richard Schmid (1934 – 2021)

Charles Gates Dawes House Evanston, Illinois (1988) oil on canvas 22 × 28 inches signed lower right: Schmid VERSO Signed, titled, dated, and “#2303” Inscribed, “Palette + chisel demonstration / 1 1/2 hr on site April 1988” PROVENANCE The K. T. Wiedemann Foundation, Wichita, Kansas EXHIBITED Richard Schmid: A Retrospective 2003, The Butler Institute of American Art, Youngstown, Ohio, 2003 Richard Schmid: Beyond Reality, Selections from the K. T. Wiedemann Foundation Collection, Mark Arts, Mary R. Koch Arts Center, Wichita, Kansas, 2019 LITERATURE Richard Schmid, Richard Schmid: A Retrospective 2003, Stove Prairie Press, 2003, p. 30, illustrated Richard Schmid, Richard Schmid: The Landscapes, Stove Prairie Press, 2009, p. 1, illustrated $ 25,000 – 35,000

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Richard Schmid (1934 – 2021) Orchid (2010)

oil on canvas 14 × 20 inches signed lower right: Schmid 2010 VERSO Signed, titled, dated, and “#2956” Label, Gallery 1261, Denver, Colorado Describing this painting the artist wrote, “Above you see the completed fantasy, but one selectively constructed and painted from real life. Nancy says it is like a whole motion picture condensed into flash of color and form as a painting. It is a combination of what was there, what could have been there, and by their absence, all the things I chose not to include.” PROVENANCE The K. T. Wiedemann Foundation, Wichita, Kansas EXHIBITED Richard Schmid: A Retrospective Exhibition, Gallery 1261, Denver, Colorado, 2016 Richard Schmid: Beyond Reality, Selections from the K. T. Wiedemann Foundation Collection, Mark Arts, Mary R. Koch Arts Center, Wichita, Kansas, 2019 LITERATURE Richard Schmid, Richard Schmid: My Still Life Art, Stove Prairie Press, 2019, pp. 230-33, illustrated

Richard Schmid (1934 – 2021) Little Begonias (2008)

oil on canvas 14 × 16 inches signed lower right: Schmid 2008 VERSO Signed, titled, dated, and “#2921” PROVENANCE The K. T. Wiedemann Foundation, Wichita, Kansas

EXHIBITED Richard Schmid: Beyond Reality, Selections from the K. T. Wiedemann Foundation Collection, Mark Arts, Mary R. Koch Arts Center, Wichita, Kansas, 2019 LITERATURE Richard Schmid, Richard Schmid: My Still Life Art, Stove Prairie Press, 2019, p. 244, illustrated $ 15,000 – 25,000

$ 15,000 – 25,000 – 29 –

R. Brownell McGrew (1916 – 1994) Summertime – Evening Meal (1979)

oil on board 25 × 48 inches signed lower left: R Brownell McGrew VERSO Label, O’Brien’s Art Emporium, Scottsdale, Arizona Label, The Thomas Gilcrease Museum, Tulsa, Oklahoma PROVENANCE The Gerald M. & Elizabeth A. Jennings Foundation, Port Hueneme, California Coeur d’Alene Art Auction, Reno, Nevada, 2009 Private collection, Reno, Nevada EXHIBITED R. Brownell McGrew, A Retrospective Exhibition of Paintings, The Thomas Gilcrease Museum, Tulsa, Oklahoma, 1988 $ 25,000 – 35,000

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Nicholas Firfires (1917 – 1990) Moving Camp (1986)

oil on canvas 42 × 72 inches signed lower right: Firfires 1986 © $ 10,000 – 15,000

James Reynolds (1926 – 2010) Castle Rock

oil on board 28 × 40 inches signed lower left: James Reynolds $ 8,000 – 12,000

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John Clymer (1907 – 1989) Snow Line (1977)

– 32 –

Frank McCarthy (1924 – 2002)

He Saw the Hawk in its Restless Arc of Watch Flight (1971) oil on board 18 × 24 inches signed lower right: McCarthy 71 VERSO Signed, titled, and “#64” Label, Altermann & Morris Galleries, Dallas, Texas PROVENANCE Peter C. Cook, Grand Rapids, Michigan Private collection, by descent Coeur d’Alene Art Auction, Reno, Nevada, 2018 Private collection, Reno, Nevada $ 15,000 – 25,000 44

Robert M. Scriver (1914 – 1999) Tail Stander (1981)

bronze 23 inches high inscribed on base: “Tail Stander” 1981 © Bob Scriver 8/150 [Arrowhead Bronze stamp] PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 4,000 – 6,000 – 33 –

Charlie Dye (1906 – 1972) Taking the Tally (1960)

oil on canvas 30 × 40 inches signed lower left: Charlie Dye VERSO Label, O’Brien’s Art Emporium, Scottsdale, Arizona LITERATURE Paul Weaver, Charlie Dye: One Helluva Western Painter, Petersen Prints, 1981, p. 133, listed $ 50,000 – 75,000

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Nick Eggenhofer (1897 – 1985) Night Wagon (1976)

Harry Jackson (1924 – 2011) Safe and Sound (1983)

bronze 20 inches high inscribed on base: © Harry Jackson SAS 20P [WFS Italia stamp] [artist’s thumbprint] painted on base: © Harry Jackson 1983 $ 7,000 – 10,000

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Eanger Irving Couse (1866 – 1936) The New Rug (1917)

oil on canvas 46 × 34 inches signed lower left: E- I- CouseVERSO Label, The Albuquerque Museum, Albuquerque, New Mexico Label, Berry-Hill Galleries, New York, New York Label, Gerald Peters Gallery, Santa Fe, New Mexico The New Rug (study) (1917) oil on canvas laid on board 10 × 8 inches signed lower left: E- I- CouseVERSO Label, The Albuquerque Museum, Albuquerque, New Mexico Label, Sotheby’s, New York, New York The New Rug will be included in the E. I. Couse Catalogue Raisonné. The New Rug is housed in its original frame designed by Couse. Couse historian Virginia Couse Leavitt writes, “In The New Rug, Antonio Lujan of Taos Pueblo proudly displays a neatly folded Navajo blanket in front of him. His steady gaze compels the viewer to consider the intrinsic beauty of the Native craft he holds in his hands. Couse was himself an ardent admirer of Native American crafts.” Originally painted as part of a campaign for the Beacon Manufacturing Company in New Bedford, Massachusetts, Leavitt stated, “Several of the paintings in the Beacon blanket series rank among the artist’s best work. His success in raising a commercial concept to the status of fine art illustrates his creative flexibility under that kind of pressure. An outstanding example is found in The New Rug, the second painting purchased by Beacon Manufacturing.” PROVENANCE Beacon Manufacturing Company, New Bedford, Massachusetts, 1917 Mr. & Mrs. Charles D. Owen, Jr., New Canaan, Connecticut M. Knoedler Galleries, New York, New York Berry-Hill Galleries, New York, New York, 1973 Morrie Zinman Collection, Blue Bell, Pennsylvania Gerald Peters Gallery, Santa Fe, New Mexico Los Angeles Athletic Club, Los Angeles, California, 1982 Sotheby’s, New York, New York, 1995 Joffa Collection, Jackson, Wyoming EXHIBITED Cowboys, Indians, Trappers and Traders, Amherst College, Amherst, Massachusetts, 1973 Native Faces: Indian Cultures in American Art, Southwest Museum of the American Indian, Los Angeles, California, 1984 E. I. Couse: Image Maker for America, The Albuquerque Museum, Albuquerque, New Mexico, 1991-92 LITERATURE Virginia Couse Leavitt, E. I. Couse: Image Maker for America, The Albuquerque Museum, 1991, pp. 180-81, illustrated Virginia Couse Leavitt, Eanger Irving Couse: The Life and Times of an American Artist, 1866–1936, University of Oklahoma Press, 2019, pp. 278, 280 Patricia Trenton, Native Faces: Indian Cultures in American Art, Southwest Museum of the American Indian, 1984, cover, pp. 78-94, illustrated $ 250,000 – 350,000 for the pair

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Frank McCarthy (1924 – 2002) The Sentinel

oil on canvas 16 × 18 inches signed lower right: McCarthy CA © VERSO Signed, titled, and “#61” $ 8,000 – 12,000

Robert Daughters (1929 – 2013) Taos Winter

oil on board 20 × 30 inches signed lower right: R. Daughters Taos PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 8,000 – 12,000

Eanger Irving Couse (1866 – 1936) The New Rug (1917)

Clark Hulings (1922 – 2011) The Collector, Naples

watercolor on paper 17 × 24 inches signed lower right: Clark Hulings VERSO Label, Altermann Galleries, Santa Fe, New Mexico Label, Fenn Galleries, Santa Fe, New Mexico $ 5,000 – 7,000 – 38 –

Ray Swanson (1937 – 2004) Selling Wool (1979)

oil on canvas 26 × 38 inches signed lower right: Ray Swanson © 79’ VERSO Signed, titled, dated, and “#7902” Label, Altermann & Morris Galleries, Dallas, Texas Label, Husberg Fine Arts Gallery, Sedona, Arizona PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 15,000 – 25,000

Frank McCarthy (1924 – 2002)

Warriors of the Northern Mountains (1987) oil on canvas 24 × 12 inches signed lower left: McCarthy CA © 1987 VERSO Label, Husberg Fine Arts Gallery, Scottsdale, Arizona PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 10,000 – 15,000 – 39 –

Carl Oscar Borg (1879 – 1947) The Herd

oil on canvas 30 × 30 inches signed lower left: Carl Oscar Borg VERSO Label, Arlington Gallery, Santa Barbara, California Label, Mitchell Brown Gallery, Santa Fe, New Mexico According to noted art historian Rick Stewart, “Carl Oscar Borg was twenty years old when he left his native Sweden for England. He worked in London as a scenery painter for several years before immigrating to America in 1902. Two years later he moved to California, where he would live for the rest of his life. He was initially employed as a scene painter for the newly established motion picture industry, an experience that surely influenced his outlook on western themes. In 1905, he traveled throughout California and the Southwest, sketching and making notes,

and had his first one-man exhibition as a fine artist. Soon after that Borg traveled to Paris for further study, where he advanced rapidly as a painter, gaining notoriety at home as a prizewinner in the Panama-Pacific Exposition in 1915. By this time, Borg had relocated to Santa Barbara and become close friends with Edward Borein. The two painters shared the same enthusiasm for the West, and Borg developed a local reputation as a teacher of merit. He traveled widely, painting and sketching wherever he went, and specializing in the scenery and subjects of the Southwest.”

PROVENANCE Estate of Carl Oscar Borg, Santa Barbara, California Arlington Gallery, Santa Barbara, California Private collection, Los Angeles, California Mitchell Brown Gallery, Santa Fe, New Mexico John and Toni Bloomberg, La Jolla, California EXHIBITED Visions of the West: Highlights from the Bloomberg Collection, San Diego Museum of Art, San Diego, California, 2020-21 LITERATURE Albin Widen, Carl Oscar Borg, Ett Knostnarsode, Nordisk Rotogravyr, 1953, plate 64, illustrated $ 80,000 – 120,000

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Oscar Berninghaus (1874 – 1952) Taos Indians on Horseback

oil on canvas laid on board 9 × 13 inches signed lower left: O. E. Berninghaus VERSO Label, Stashka Art Conservation, Dallas, Texas PROVENANCE Boatmen’s National Bank, St. Louis, Missouri, 1979 Private collection, Texas, 2012 $ 15,000 – 25,000

Olaf Wieghorst (1899 – 1988) The Road

oil on canvas 20 × 24 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed and titled PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 10,000 – 20,000 – 42 –

Gerard Curtis Delano (1890 – 1972) Children of the Canyons

oil on board 20 × 24 inches signed lower left: © Delano PROVENANCE W. J. Holliday, Indianapolis, Indiana Present owners, by descent VERSO Signed and titled Label, Thackeray Gallery, San Diego, California $ 30,000 – 50,000

– 43 –

Gerard Curtis Delano (1890 – 1972)

Arizona – Navajos on Their Way to a Ceremonial oil on canvas 20 × 26 inches signed lower right: Delano VERSO Signed and titled Label, P. J. Bachmann Fine Arts, Los Angeles, California PROVENANCE The Patricia Wright Separate Property Trust, by descent $ 30,000 – 50,000

– 44 –

Donald Teague (1897 – 1991) A Parting Shot

watercolor on paper 19.5 × 29.5 inches signed lower left: Donald Teague N A VERSO Label, Texas Art Gallery, Dallas, Texas $ 20,000 – 30,000

Gerald Cassidy (1869 – 1934) Governor of Taos

oil on canvas 18 × 14 inches signed lower right: Gerald Cassidy VERSO Label, Fenn Galleries, Santa Fe, New Mexico Label, Lockwood’s Midwestern Galleries, Cincinnati, Ohio $ 15,000 – 25,000 – 45 –

Eanger Irving Couse (1866 – 1936) Moonlight Sonata

oil on canvas 36 × 30 inches signed lower right: E- I- Couse- N- AMoonlight Sonata will be included in the E. I. Couse Catalogue Raisonné. Describing this painting Virginia Couse Leavitt wrote, “Crouched on the shore of a lake, Couse’s favorite model, Ben Lujan, plays a flute for his son, Eliseo, who stands behind him. The setting evokes for the viewer the eerie sound of the flute as it might have been heard drifting across the moonlit waters. “Arriving in Taos in 1902, Couse was inspired by the clear light and brilliant colors he found there. He had long been interested in tonal painting, in which a color scheme based

on one predominant hue awakens feelings of reverie and nostalgia. In Taos he began to perfect this genre and he soon became famous for both his moonlight and his firelight paintings. “The Grand Central Art Galleries in New York were established in 1922 as a cooperative between artists and patrons. This spectacular painting, shown in the record for April 1923, would have been one of the first painting by Couse shown in that gallery.”

PROVENANCE Grand Central Art Galleries, New York, New York Sue D. Hauberg, Rock Island, North Carolina, 1925 Catherine Sweeny Inherited by John Sweeny, 1995 Sotheby’s, New York, New York, 2001 Mitchell Brown Gallery, Santa Fe, New Mexico, 2008 John and Toni Bloomberg, La Jolla, California EXHIBITED Findlay Galleries, Kansas City, Missouri, 1922 The National Academy of Design, New York, New York, 1923 Grand Central Art Galleries, New York, New York, 1923 Visions of the West: Highlights from the Bloomberg Collection, San Diego Museum of Art, San Diego, California, 2020-21 $ 200,000 – 300,000

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– 47 –

Robert Bateman (b. 1930)

Evening Light – American Elk (1995) acrylic on board 28 × 48 inches signed lower right: Robert Bateman 1995 © VERSO Label, Spanierman Gallery, New York, New York In discussing this painting the artist wrote, “Two elk feeding at the water’s edge at sunset evoke a sense of almost spiritual calm. But then a faint scent or a distant sound disturbs them. They raise their heads, suddenly alert. Somewhere not far away a pack of wolves is on the trail, hunting for food. Depending on habitat, wolves prey on different grazing or browsing animals: elk, caribou, moose or deer. If there are too few wolves to keep the population in check, these herbivores can seriously damage the plant base on which they depend. And since wolves generally kill the weakest or most vulnerable members of their target group – the old and the young – they help ensure that the prey species is always at its reproductive best.

“But this ecological balancing act doesn’t explain why we seem to be as attracted to predators as to their victims. Wildlife artists know that images of some of the fiercest animals are among the most sought after by collectors. The wolf, with which human beings have had a long love-hate relationship, is possibly the single most popular subject of wildlife art in North America. I don’t think this is because we live in an age addicted to violence: it probably has more to do with the fact that human beings once depended on hunting for survival. In some distant part of our genetic memory we can recall a time when the large predators were our rivals, and some, perhaps even preyed on us. Could it be that we can identify with both predator and prey?”

LITERATURE Rick Archbold, Robert Bateman: Natural Worlds, Madison Press Books, 1996, pp. 41-42, illustrated $ 50,000 – 75,000

– 48 –

Tim Cox (b. 1957)

God’s Gift to Man (2018) oil on canvas 24 × 48 inches signed lower left: A. T. Cox 2018 © CA Describing this painting the artist wrote, “The light coming through the clouds is what Suzie and I call ‘God Light.’ There is an old Bedouin legend that says, ‘And God took a handful of southerly wind, blew his breath over it and created the horse.’ Therefore, the horse is ‘God’s Gift to Man.’” EXHIBITED The 46th Annual Prix de West Invitational Art Exhibition & Sale, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma, 2018 LITERATURE Art of the West Magazine, November / December 2018, cover, pp. 30-31, illustrated $ 50,000 – 75,000

– 49 –

Mian Situ (b. 1953) Canyon de Chelly

oil on canvas 30 × 40 inches signed lower left: Mian Situ VERSO Label, Texas Art Gallery, Dallas, Texas $ 20,000 – 30,000

William Ahrendt (b. 1933) Chief Joseph

oil on canvas 54 × 36 inches signed lower left: © William Ahrendt PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 8,000 – 12,000 – 50 –

Thomas Blackshear II (b. 1955) Mighty Wind

oil on canvas 29 × 42 inches initialed lower right: TBII VERSO Signed and titled Mighty Wind was featured on the cover of the Killers’ 2020 single “My Own Soul’s Warning.” In discussing this painting the artist writes, “It depicts the figure of a strong Native American in the midst of an upcoming storm. This is a stylized painting where I designed the features of the man to look like he was carved out of rock, to give him a sculptural appearance like the mesas that are in the background of the painting. His hair is blowing in the wind as he stands strong and immovable; no matter what may come, he will withstand the storms of life. “The mood was set by the incoming storm, so I wanted to use a different color scheme made up of blue, grays, and subtle violets.” EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2020 $ 25,000 – 35,000

– 51 –

Martin Grelle (b. 1954) A Hard Journey (2009)

oil on canvas 28 × 28 inches signed lower right: Martin Grelle © CA 09 VERSO Signed, titled, and dated EXHIBITED Cowboy Artists of America 44th Annual Exhibition, Phoenix Art Museum, Phoenix, Arizona, 2009 $ 50,000 – 75,000

– 52 –

Jim Norton (b. 1953)

A Warm Fire on a Chilly Day (2012) oil on canvas 24 × 32 inches signed lower left: Jim C. Norton CA PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2014 Private collection, Tucson, Arizona $ 15,000 – 25,000

David Nordahl (b. 1941) Unaware (2006)

W. H. D. Koerner (1878 – 1938) Bringing Him In (1932)

oil on canvas 26 × 48 inches signed lower left: W. H. D. Koerner 1932 VERSO Inscribed, “The Proud Sheriff #2 / [indecipherable] saddled with grumbling fingers. ‘But what are you aiming to do to me?’” PROVENANCE Denver Art Gallery, Denver, Colorado, 1966 The Estate of Jack & Cally Vickers, Castle Pines, Colorado $ 100,000 – 150,000

– 54 –

Herman W. Hansen (1854 – 1924) Attack on the Stagecoach

oil on canvas 32 × 48 inches signed lower right: H. W. Hansen PROVENANCE Christie’s, New York, New York, 1989 William P. Healey, Jackson, Wyoming $ 80,000 – 120,000

– 55 –

Frederic Remington (1861 – 1909) The Rattlesnake

bronze 23.5 inches high inscribed on base: Copyright Frederic Remington Roman Bronze Works N.Y. inscribed under base: No 77 According to Michael D. Greenbaum, author of Icons of the West, Frederic Remington’s Sculpture, “A reviewer called The Rattlesnake ‘a bit of character … the horse shying at the sight and the horseman just about to cast his broad-brimmed hat over the repulsive coils.’ Copyrighted in 1905 and reworked three years later, The Rattlesnake, Remington’s twelfth statuette, was described by the artist as a ‘cowboy on broncho … rattlesnake on ground ready to attack horse.’ The rearing bronc and rider, posed masterfully in a spiraling sweep of motion, became one of Remington’s most popular works. The artist’s marvelous knowledge of anatomy, action and expression were strikingly infused in the bronze’s unfolding drama. Shortly after it was completed, Collier’s further called it ‘the Work of a master’s hand.’ “In 1908, after eleven fine castings of the approximately twenty-one inch tall model had been produced, Remington

significantly altered the sculpture. He worked nearly every day for several weeks to improve the symmetry and movement of the group. ‘Very cold day,’ he noted in his diary on February 8. ‘Worked all day on Rattlesnake and think my modeling has greatly improved.’ Two days later he wrote, ‘Worked on Rattlesnake … doing good.’ The following week the new model was ‘all but done but the surface fussing.’ It took longer to create than he had expected, but when finally completed it was ‘a great improvement’ on the smaller version. ‘I hope no one sees them together,’ he mused. The new version was nearly three inches taller than its predecessor. The cowboy, still dressed in finely textured wooly chaps, lurched forward in a more pronounced curve to accommodate the violent movement of the rearing horse, whose forelegs Remington tucked evenly under its body.”

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2019 Private collection, Reno, Nevada LITERATURE Michael D. Greenbaum, Icons of the West, Frederic Remington’s Sculpture, Frederic Remington Art Museum, 1996, pp. 123-28, illustrated Peter H. Hassrick, Frederic Remington Paintings, Drawings, and Sculpture in the Amon Carter Museum and the Sid W. Richardson Foundation Collections, Harry N. Abrams, Inc., 1973, pp. 200-01, illustrated Harold McCracken, The Frederic Remington Book, Doubleday, 1966, p. 255, illustrated Michael Edward Shapiro, Frederic Remington: The Masterworks, Harry N. Abrams, Inc., 1988, pp. 211, 213, illustrated $ 100,000 – 150,000

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– 57 –

Maynard Dixon (1875 – 1946) Rain on the Mesa (1945)

watercolor on paper 4.5 × 5.25 inches initialed lower right: M D 45 PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2017 Private collection $ 30,000 – 50,000

Eanger Irving Couse (1866 – 1936) Clouds Over Taos Valley

oil on board 5 × 6 inches signed lower right: CousePROVENANCE The Estate of Jack & Cally Vickers, Castle Pines, Colorado $ 5,000 – 7,000

– 58 –

Joseph Henry Sharp (1859 – 1953) Aspens in Hondo Creek in October oil on canvas 16 × 20 inches signed lower right: J H Sharp VERSO Titled PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2009 Rob Day, Austin, Texas $ 30,000 – 50,000

– 59 –

John Clymer (1907 – 1989) Visitors at Fort Clatsop (1978)

oil on canvas 24 × 48 inches signed lower right: John Clymer © 1978 VERSO Artist label with signature, title, and date Typed artist’s description of painting Describing this painting the artist wrote, “When Lewis and Clark arrived at the mouth of the Columbia River in November of 1805 it was time to go into winter camp. It would be necessary to find an area with plenty of game for their winter food supply and to be near the sea shore where they come make salt from sea water. They were also in hopes of finding a trader and a ship so that they could procure more trinkets to trade with the Indians. By questioning the local Indians they learned that the largest supply of game animals was on the south side of the river so they crossed over from the north shore to the south shore to look for a suitable spot there. From their camp near present day Astoria, Captain Lewis with a party of five explored the area and found a spot a few miles from camp where there was a high point of land about thirty feet above the tide level and two hundred yards from a small river. There were also elk in the area. The party moved to this spot on December seventh and immediately began cutting trees to build their winter quarters. Meanwhile Captain Clark set out to find the way to the sea coast for the salt makers camp. He blazed a trail from the winter camp to the coast some seven miles away. “By Christmas Day of 1805 the party had all moved into their wooden huts. Their only Christmas dinner was some spoiled elk meat they had on hand. By January first 1806 the pickets for the stockade had been placed, the gates made

and hung and their wintering place, which they named Fort Clatsop was completed. They celebrated the New Year with a volley of arms and a dinner of boiled elk meat and wapato roots. They remained in their winter quarters until March twenty-third. On leaving they concluded that though they had not fared sumptuously during their stay they had lived as comfortably as could have been expected and had accomplished every object of their visit except meeting with one of the traders whom the Indians had told them often visited the mouth of the river. “During the time the Lewis and Clark party were at Fort Clatsop they were visited from time to time by small parties of neighboring Indians who brought various articles to trade such as mats, roots, berries and fish. “Lewis and Clark described these Indians as being very low of status, illy shaped with thick broad feet and crooked legs. “They were impressed by the conical shaped, rain proof hats which the natives wore woven of cedar bark and bear grass and ordered some for their own party. “In the picture a group of neighboring Indians such as would have been in the area arrive at Fort Clatsop with articles to trade.”

PROVENANCE The artist Collection of William P. Sherman Portage Route Chapter of the Lewis and Clark Trail Heritage Foundation, Great Falls, Montana Jackson Hole Art Auction, Jackson, Wyoming, 2013 Private collection, Texas EXHIBITED C. M. Russell Museum, Great Falls, Montana, 2004-10 The Clymer Museum, Ellensburg, Washington, 2013 $ 200,000 – 300,000

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John Clymer (1907 – 1989) Visitors at Fort Clatsop (1978)

Olaf Wieghorst (1899 – 1988)

EXHIBITED Olaf Wieghorst Retrospective, Tucson Museum of Art, Tucson, Arizona, 1981 Wieghorst, Dean of Western Painters, Gilcrease Museum, Tulsa, Oklahoma, 1982-83 Olaf Wieghorst, A Retrospective Exhibition, Desert Caballeros Western Museum, Wickenburg, Arizona, 1989

Big Bend Patrol

oil on canvas 24 × 30 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed and titled In 1991, John K. Goodman wrote, “I think the interesting part of the painting is that the center figure in the painting is Olaf Wieghorst looking across the Rio Grande River against the fire and smoke towards the remnants of the Villa Brigades.” Although Wieghorst served three years guarding against Pancho Villa’s revolutionaries, the most he saw of them were their campfires across the Rio Grande.

LITERATURE Olaf Wieghorst Retrospective, Tucson Museum of Art, 1981, p. 50, illustrated Wieghorst, Dean of Western Painters, Gilcrease Museum, 1982, p. 64 Olaf Wieghorst, A Retrospective Exhibition, Desert Caballeros Western Museum, 1989, p. 42, illustrated $ 20,000 – 30,000

PROVENANCE The artist Mr. & Mrs. John K. Goodman, Tucson, Arizona, 1974 Present owner, by descent

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James Kenneth Ralston (1896 – 1987)

Six-horse Stage at the Beaverhead Crossing (1941) oil on canvas 24 × 48 inches signed lower right: J K Ralston 41 VERSO Label, Snook Art Company, Billings, Montana

PROVENANCE The artist H. Hoeltje Sr., Haltom City, Texas Private collection, by descent Elizabeth Morgan, Carrollton, Texas, ca. 1989 $ 6,000 – 9,000

A copy of a letter to Mr. Hoeltje from John Popvich (James Kenneth Ralston’s close friend) dated July 19, 1983, with insight into the painting will accompany the lot.

Gerard Curtis Delano (1890 – 1972) Cattle Country

oil on board 20 × 24 inches signed lower right: © Delano VERSO Signed and titled $ 8,000 – 12,000 – 63 –

Olaf Wieghorst (1899 – 1988) Mountain Trail

oil on canvas 24 × 20 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed and titled PROVENANCE The artist Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 15,000 – 25,000

Duncan Gleason (1881 – 1959) A California Afternoon

oil on canvas 25 × 32 inches signed lower right: Duncan Gleason VERSO Artist label with title and bio LITERATURE Jane Apostol, Duncan Gleason: Artist, Athlete, and Author, Historical Society of Southern California, 2003, frontispiece, illustrated $ 15,000 – 25,000

– 64 –

E. William Gollings (1878 – 1932) Cattle Drive (1921)

oil on canvas 24 × 36 inches signed lower left: Gollings [artist cipher] 1921 VERSO Label, Cox Art Shop, Sheridan, Wyoming Label, Western Center for the Conservation of Fine Arts, Wheat Ridge, Colorado PROVENANCE The artist Roy Tarrant, Billings, Montana Present owners, by descent $ 80,000 – 120,000

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Fred Machetanz (1908 – 2002) The Prowler (1969)

oil on board 22 × 28 inches signed lower left: F. Machetanz 1969 VERSO Signed, titled, and dated A copy of a letter from the artist to Dr. James W. Matthews will accompany the lot. PROVENANCE The artist Dr. and Mrs. James W. Matthews, Fairbanks, Alaska Present owner, by descent LITERATURE Sara Machetanz, The Oil Paintings of Frederick Machetanz: Painter of the Alaskan Scene, F. Lewis, 1980, p. 41, listed Kesler E. Woodward, A Northern Adventure: The Art of Fred Machetanz, Morris Communications Co., 2004, p. 63, listed $ 15,000 – 25,000

John Fery (1859 – 1934)

Cabin in the Castle Mountains, Montana oil on canvas 22 × 36 inches signed lower left: J. Fery PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho LITERATURE Larry Len Peterson, John Fery, Artist of Glacier National Park & the American West, Coeur d’Alene Art Auction, 2015, p. 65, illustrated $ 8,000 – 12,000 – 66 –

Sydney Laurence (1865 – 1940) Mount McKinley, Alaska (1928)

oil on canvas 20 × 16 inches signed lower right: Sydney Laurence VERSO Label, Braarud Fine Art, La Conner, Washington Label, Purnell Art Company, Baltimore, Maryland Label, Western Center for the Conservation of Fine Arts, Denver, Colorado $ 30,000 – 50,000 – 67 –

Fred Machetanz (1908 – 2002) The Bootmakers (1972)

oil on board 22 × 28 inches signed lower right: F. Machetanz 1972 VERSO Signed, titled, and dated PROVENANCE Pete and Janet Taggares, Washington LITERATURE Sara Machetanz, The Oil Paintings of Frederick Machetanz: Painter of the Alaskan Scene, F. Lewis, 1980, p. 48, listed $ 15,000 – 25,000

Sydney Laurence (1865 – 1940) The Northern Lights (1920)

oil on canvas laid on board 10 × 8 inches signed lower right: Sydney Laurence VERSO Signed and titled $ 6,000 – 9,000 – 68 –

Fred Machetanz (1908 – 2002) Sunlit Sea (1986)

oil on board 9.75 × 12 inches signed lower right: F. Machetanz 1986 VERSO Signed and titled Supper’s Coming (1987) oil on board 9.5 × 12 inches signed lower right: F. Machetanz 1987 © VERSO Signed, titled, and dated $ 5,000 – 7,500 for the pair

Sydney Laurence (1865 – 1940) Alaskan Harbor Scene

oil on canvas laid on board 10 × 8 inches signed lower left: Sydney Laurence $ 10,000 – 15,000

– 69 –

Montague Dawson (1890 – 1973) Clipper Ship – Forest Queen

oil on canvas 36 × 24 inches signed lower left: Montague Dawson VERSO Label, Vallejo Gallery, Newport Beach, California Label, The Minneapolis Institute of Arts, Minneapolis, Minnesota Label, Arthur Ackermann & Son, Inc., Chicago, Illinois The clipper ship Forest Queen was built in 1849 by the Southard ship building company located in Richmond,

Maine. The ship sailed out of New York and was active in the trans-Atlantic trade for many years. Montague Dawson was inspired to paint the Forest Queen from information he garnered from men who actually sailed on this ship. PROVENANCE Frost & Reed, London, United Kingdom, 1937 Arthur Ackermann & Son, Inc., Chicago, Illinois Northern Pump Company, Minneapolis, Minnesota, gifted to The Minneapolis Institute of Arts, Minneapolis, Minnesota Sotheby’s, New York, New York, 2014 Private collection, Reno, Nevada $ 20,000 – 30,000

– 70 –

Edgar Payne (1883 – 1947) Harbor Rest

oil on canvas 25 × 30 inches signed lower left: Edgar Payne $ 30,000 – 50,000

– 71 –

James Edward Buttersworth (1817 – 1894)

Racing Schooner Ambassadress Leads the Regatta oil on canvas 12 × 20 inches signed lower right: J E Buttersworth VERSO Label, Vallejo Gallery, Newport Beach, California Label, Lopez Restorations, New York, New York A Certificate of Authenticity from Vallejo Gallery will accompany the lot. The artist James Edward Buttersworth often did commissions for members of the New York Yacht Club. The graceful ships were highly prized and art was a way to preserve their posterity. Ambassadress was purchased in 1877 by William Backhouse Astor Jr., an American businessman who also owned and bred racehorses at his Hudson River estate including the 1876 Kentucky Derby winner Vagrant. He eventually sold this schooner to Nathaniel Thayer of Boston in 1884. PROVENANCE Private collection, Reno, Nevada $ 15,000 – 25,000

– 72 –

Montague Dawson (1890 – 1973)

Night Suspect (A British Coast Guard Cutter in Pursuit, ca. 1830) oil on canvas 24 × 36 inches signed lower left: Montague Dawson A copy of Montague Dawson: The Greatest Sea Painter in the World by L. G. G. Ramsey will accompany the lot. Night Suspect was first exhibited at the Royal Society of Marine Painters in London. Dawson, who served in the British Navy Reserve, was familiar with the steam and sail warships that guarded the English Channel. The action filled painting depicts Revenues Service men firing on a brigantine as it approaches Deal, known for being a safe haven for smugglers. PROVENANCE Frost and Reed, London, United Kingdom MacConnal-Mason Gallery, London, United Kingdom Doyle Auctions, New York, New York, 2018 Private collection, Reno, Nevada $ 30,000 – 50,000

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– 74 –

Eanger Irving Couse (1866 – 1936) Repose

oil on canvas 20 × 24 inches signed lower left: E- I- CouseRepose will be included in the E. I. Couse Catalogue Raisonné. Virginia Couse Leavitt writes, “Indian flute players appear in many Couse paintings, most often in the context of courtship. The horizontal composition of Repose showing an Indian from Taos Pueblo stretched out on a river bank communing with nature, is unique. “In the main body of this painting he has created an interesting composition based on three horizontal bands. At top and bottom are two dark bands, represented at the top by trees and at the bottom by a rock. In between these,

a third band is represented by the flute player who stretches out bathed in light. This horizontal banding reinforces the theme of Repose. Couse added interest to this composition, however, by including two separate bands of color on the right representing a sliver of river and distant hills bathed in sunlight. “Painting the qualities of light was a lifelong interest of Couse. This painting represents yet another example of how he explored this interest.”

PROVENANCE Couse Estate C. W. Edwards Ltd., Seattle, Washington, 1982 Private collection, Chicago, Illinois John Pence Gallery, San Francisco, California, 1987 The Buck Collection, Laguna Niguel, California The Leis Collection, Pacific Palisades, California John and Toni Bloomberg, La Jolla, California EXHIBITED Couse Retrospective, Panhandle-Plains Historical Museum, Canyon, Texas, 1967 Desert Southwest Art Gallery, Palm Desert, California, 1968 Visions of the West: Highlights from the Bloomberg Collection, San Diego Museum of Art, San Diego, California, 2020-21 $ 80,000 – 120,000

– 75 –

Henry Balink (1882 – 1963) Chief Juan Martinez

oil on canvas 24 × 20 inches signed upper right: Henry. C. Balink. VERSO Label, Arizona West Galleries, Scottsdale, Arizona PROVENANCE William P. Healey, Jackson, Wyoming $ 25,000 – 35,000 – 76 –

Joseph Henry Sharp (1859 – 1953) Taos Memories

oil on canvas 16 × 12 inches signed lower right: J H Sharp PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 25,000 – 35,000 – 77 –

Ray Swanson (1937 – 2004) Navajo Riders (1977)

oil on board 24 × 36 inches signed lower right: Ray Swanson © VERSO Signed, titled, dated, and “#7709” PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 15,000 – 25,000

Kenneth Riley (1919 – 2015) Hidatsa Pipe (2000)

oil on board 18 × 14 inches signed lower right: Kenneth Riley CA PROVENANCE Settlers West Galleries, Tucson, Arizona, 2000 James Brown, Orlando, Florida Private collection, Tucson, Arizona, 2005 EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 2000 $ 15,000 – 25,000 – 78 –

Nick Eggenhofer (1897 – 1985) Turning Back

gouache on paper 15.5 × 25.25 inches signed lower right: N. Eggenhofer PROVENANCE Pete and Janet Taggares, Washington LITERATURE Nick Eggenhofer, Horses, Horses, Always Horses: The Life and Art of Nick Eggenhofer, Sage Publishing, 1981, p. 183, illustrated $ 6,000 – 9,000

100

Alexandre Hogue (1898 – 1994)

Old Adobe House, Hopi Indian Reservation, North Eastern Arizona oil on board 20 × 15 inches signed lower right: Alexandre Hogue VERSO Signed and titled $ 15,000 – 25,000

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101

E. William Gollings (1878 – 1932) Insult to Injury (1912)

oil on canvas 24 × 34 inches signed lower right: Gollings 1912 [artist cipher] VERSO Signed and titled PROVENANCE The artist Roy Tarrant, Billings, Montana Present owners, by descent $ 40,000 – 60,000

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102

Donald Teague (1897 – 1991) The Flight

oil on board 14 × 18 inches signed lower left: Donald Teague N. A. The Chase oil on board 14 × 18 inches signed lower right: Donald Teague N. A. On the Trail oil on board 14 × 18 inches signed lower left: Donald Teague N. A. $ 15,000 – 25,000 for the group of three

103

Edward Borein (1872 – 1945) Cowboys Roping a Steer

watercolor on paper 6.25 × 10.25 inches signed lower left: Edward Borein A copy of a Letter of Authentication, dated September 12, 1990, from Harold G. Davidson will accompany the lot. PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 8,000 – 12,000

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104

Olaf Wieghorst (1899 – 1988) The Visitor

105

Olaf Wieghorst (1899 – 1988) Going to Trade

watercolor on paper 15.5 × 13.5 inches signed lower left: O – Wieghorst [artist cipher] VERSO Label, May Gallery, Scottsdale, Arizona PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 6,000 – 9,000 – 82 –

106

Gerard Curtis Delano (1890 – 1972) Desert Riders

oil on canvas 12 × 15 inches signed lower right: Delano VERSO Signed and titled Label, P. J. Bachmann Fine Arts, Los Angeles, California PROVENANCE The Patricia Wright Separate Property Trust, by descent $ 15,000 – 25,000

107

E. Martin Hennings (1886 – 1956) Indian in Green Blanket (1920) oil on board 12 × 7.5 inches initialed lower left: E. M. H. VERSO Label, Gerald Peters Gallery, Santa Fe, New Mexico Label, Mitchell Brown Fine Art, Scottsdale, Arizona PROVENANCE Private Collection, Boston, Massachusetts $ 10,000 – 15,000 – 83 –

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108

Charles M. Russell (1864 – 1926) Cowboy on a Bronco (1898)

watercolor on paper 13 × 20.5 inches signed lower left: C M Russell [artist cipher] 1898 Cowboy on a Bronco is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.PC.72. According to Russell historian Frederic G. Renner, “Men who made a specialty of riding outlaw horses had a language all their own. Such cowboys were bronc busters, twisters, peelers, or bronc stompers, men who scorned to pull leather as their horse bucked, crawfished, came apart, jackknifed, pitched, rainbowed, sunfished, or tried to chin the moon.” Russell himself shared, “An Injun once told me that bravery came from the hart not the head. If my red brother is right Bronk riders and bull dogers are all hart above the wast band but its a good bet there’s nothing under there hat but hair.” PROVENANCE Katherine Bradford, Hamilton, Massachusetts Present owner, by descent EXHIBITED How the West Was Won, Wildenstein & Co., New York, New York, 1968 Bradford Brinton Memorial Museum, Big Horn, Wyoming, 2011 $ 150,000 – 250,000

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109

Harvey Dunn (1884 – 1952) The Night Falls

oil on canvas 26 × 40 inches signed lower right: Harvey Dunn PROVENANCE The Denver Art Museum, Denver, Colorado Coeur d’Alene Art Auction, Reno, Nevada, 2005 Private collection, Montana LITERATURE Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, p. 369, illustrated $ 30,000 – 50,000

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110

Edward Borein (1872 – 1945) Stagecoach Mud Wagon

watercolor on paper 16.5 × 27.5 inches signed lower left: Edward Borein VERSO Completed drawing of a roping cowboy by the artist PROVENANCE William P. Healey, Jackson, Wyoming $ 20,000 – 30,000

111

Edward Borein (1872 – 1945) A Sioux Indian, Montana (1924)

monotype 14.25 × 12 inches signed lower right: Edward Borein 1924 VERSO Label, Santa Barbara Historical Museum, Santa Barbara, California PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 EXHIBITED Coloring the West: Watercolors and Oils by Edward Borein, Santa Barbara Historical Museum, Santa Barbara, California, 2007-08 LITERATURE Paul F. Starrs, Coloring the West: Watercolors and Oils by Edward Borein, Santa Barbara Historical Museum, 2007, p. 52, illustrated $ 8,000 – 12,000 – 87 –

112

Walter Ufer (1876 – 1936) Greasewood and Sage

oil on canvas 25 × 25 inches signed lower right: W Ufer VERSO Label, Grand Central Art Galleries, New York, New York Label, J. N. Bartfield Galleries, New York, New York Label, Museum of Fine Arts, St. Petersburg, Florida Label, Orlando Museum of Art, Orlando, Florida Art historian Mary Carroll Nelson wrote, “The landscape, the Indians, and the ambience of Taos captured Ufer as it had other members of the Taos Society of Artists. He joined the Society in 1915, its seventh member. “Taos vitally affected Ufer’s academic approach to painting. He lightened his palette in response to the brilliance of Taos skies, and he moved out into the landscape with his easel. Many of Ufer’s Indian pictures are of figures in landscape. He once wrote, ‘This country will never be painted out for

it has an infinite variety of moods and types.… I choose my motifs and take my models to my motifs. I design the painting there. I do not make small sketches of my models first but put my full vitality and enthusiasm into the one and original painting. Studio work dulls the mind and the artist’s palette. I do not use the camera, in fact I know nothing of photography. A large painting must have the same strength and freshness that a small sketch has, and to make a large painting you must go at it just the same way as if you were making a small one.’”

PROVENANCE Grand Central Art Galleries, New York, New York, 1926 J. N. Bartfield Galleries, New York, New York Samuel and Marion Lawrence, Winter Park, Florida Biltmore Galleries, Scottsdale, Arizona Private collection, Scottsdale, Arizona John and Toni Bloomberg, La Jolla, California EXHIBITED Hidden Treasures: American Paintings from Florida Private Collections, Orlando Museum of Art, Orlando, Florida, 1992 The American Spirit: Realism and Impressionism from the Lawrence Collection, Museum of Fine Arts, St. Petersburg, Florida, 1999 Bierstadt to Warhol: American Indians in the West, Utah Museum of Fine Arts, Salt Lake City, Utah, 2013 Visions of the West: Highlights from the Bloomberg Collection, San Diego Museum of Art, San Diego, California, 2020-21 $ 300,000 – 500,000

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Walter Ufer (1876 – 1936) Greasewood and Sage

113

Grace Carpenter Hudson (1865 – 1937) Natives (Ski-Ko-Da) (1915)

oil on canvas 20 × 16 inches signed lower left: © G Hudson 15 VERSO Signed and “#462” PROVENANCE Pete and Janet Taggares, Washington LITERATURE Searles R. Boynton D.D.S., The Painter Lady Grace Carpenter Hudson, Sun House Guild, 1978, p. 79, 175, illustrated $ 25,000 – 35,000 – 90 –

114

Grace Carpenter Hudson (1865 – 1937) Greenie (1896)

oil on canvas 8 × 10 inches signed lower left: G Hudson VERSO Signed and “#62” Label, Gerald Peters Gallery, Santa Fe, New Mexico

115

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2013

Apache Head Study

Frederic Remington (1861 – 1909) pencil on paper 13.75 × 9 inches signed lower center: F. Remington

LITERATURE Searles R. Boynton D.D.S., The Painter Lady Grace Carpenter Hudson, Sun House Guild, 1978, p. 159, illustrated

Certificates of Authenticity from Harold McCracken and Paul Metcalf Art Galleries will accompany the lot.

$ 8,000 – 12,000

PROVENANCE Pete and Janet Taggares, Washington $ 10,000 – 15,000

116

Percy Gray (1869 – 1952) California Oaks

watercolor on paper 7.75 × 10.75 inches signed lower right: Percy Gray $ 3,000 – 5,000 – 91 –

117

Eanger Irving Couse (1866 – 1936) Two Indian Children

oil on board 12 × 16 inches signed lower left: E. I. Couse N. A. VERSO Titled Two Indian Children will be included in the E. I. Couse Catalogue Raisonné. According to Virginia Couse Leavitt, “Couse’s favorite model, Ben Lujan, from Taos Pueblo, had nine children, many of whom posed for him over the years. Ben’s oldest daughter, Santanita, and oldest son, Eliseo, appear in this painting of two children seated on a river bank in the moonlight. On the left, the two children, illuminated by the moonlight, are set against a dark background of trees. Contrasted to that, on the right is a moonlit view of the distant shore.

“Couse is famous for his tonal paintings such as this, both moonlight or firelight scenes. His lifelong interest in painting the qualities of light goes back to his French period as a student at the Académie Julian and his subsequent years living in the art colony at Étaples. After arriving in Taos in 1902, however, the brilliant light and colors of New Mexico transformed the impressionist palette of his earlier work into the rich palette for which he is best known today.”

PROVENANCE The artist Private collection, Florida, 1930 Private collection, by descent Rob Day, Austin, Texas, 2009 $ 40,000 – 60,000 – 92 –

118

Oscar Berninghaus (1874 – 1952) In the Forest

oil on canvas 20 × 24 inches signed lower right: O. E. Berninghaus VERSO Label, Gerald Peters Gallery, Santa Fe, New Mexico PROVENANCE Private collection, California Jackson Hole Art Auction, Jackson, Wyoming, 2009 Rob Day, Austin, Texas $ 60,000 – 90,000

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119

Bill Anton (b. 1957) Moon Shadows (2019)

oil on canvas laid on board 36 × 36 inches signed lower left: Bill Anton VERSO Artist label with signature, title, and date EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2019 $ 25,000 – 35,000

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120

Joseph Velazquez (b. 1942) Snake River Expedition (2011)

oil on canvas 26 × 48 inches signed lower right: J. Velazquez 2011 As described by the artist, “Deemed impassible by the Astorians traveling to the Pacific in 1811, the canyon below present day Hoback, Wyoming on the Snake River (then known as the Lewis River) presented a formidable barrier. So much so, Wilson Price Hunt, the leader of the expedition, called the river ‘Mad River.’ Later, many other trappers and explorers expressed the same sentiment. But eventually some did traverse the canyon. “In my painting set in the early 1800s a group of trappers travel upstream probing the canyon in search of passage. It is late September and the river is running low. With determination and good luck, they may be among the few who finally succeed.” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2011 Private collection, Reno, Nevada

121

$ 10,000 – 15,000

John Coleman (b. 1958)

Wunnestow, the White Buffalo (2010) bronze 30 inches high inscribed on base: White Buffalo Wunnestow Blackfeet Catlin Bodmer Series #10 © 2010 John Coleman CA 18/35 PROVENANCE Private collection, Reno, Nevada $ 10,000 – 15,000 – 95 –

122

W. Steve Seltzer (b. 1945)

Along the Birdtail Route (2021) oil on canvas 24 × 36 inches signed lower right: W. S. Seltzer According to the artist, “The Birdtail, a well traveled route in early Montana territory, was named after the prominent geographical landmark that could be seen for miles in every direction. The campsite is a new one for this band of Native Americans, on their way to a well known Pishkun near the Great Falls of the Missouri to gather buffalo meat and hides. Several scouts have recently returned from a reconnaissance trip to determine the potential for trouble from ‘unfriendlies’ that might be in the vicinity.” $ 6,000 – 9,000

123

Bonnie Marris (b. 1951) Serenity (2021)

oil on canvas 48 × 24 inches signed lower right: B L Marris The artist writes, “I hike in the woods nearly every day of the year. If things are hectic, the woods and creek give me a peace like nothing else. Sometimes I share this quiet with a fox. We know each other now and pretend the creek is ours alone.” $ 15,000 – 25,000 – 96 –

124

George Hallmark (b. 1949) Aniversario (2021)

oil on canvas 36 × 40 inches signed lower right: © Hallmark VERSO Signed Describing this painting the artist writes, “There is a lot more to the word anniversary than the annual recurrence of a date marking a notable event. We associate so much more to those days and years of our life. A birthday, a graduation, a wedding and subsequent years together all form the memories of our time here on Earth. “This morning we are visiting with a flower vendor in one of the beautiful colonial villages of north central Mexico. He is preparing a bouquet for the 50th anniversary of the loving couple who reside in this picturesque home. Juan and Maria also happen to be our dear friends and we are blessed to enjoy the celebration of their ‘Aniversario.’” $ 30,000 – 50,000

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125

Francois Koch (b. 1944) Canyon Country (2007)

oil on canvas 36 × 48 inches signed lower right: Francois Koch 07 © PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 15,000 – 25,000

126

William Acheff (b. 1947) Taos Hunter (2006)

oil on canvas 16 × 13 inches signed lower right: © Wm. Acheff 2006 VERSO Signed, titled, and dated LITERATURE Tom Davis, Patrons Without Peer, the McCloy Collection, Collectors Covey, 2009, p. 45, illustrated $ 10,000 – 15,000 – 98 –

127

Mian Situ (b. 1953)

Navajo Sheep Herder (2006) oil on canvas 32 × 40 inches signed lower left: Mian Situ PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2009 Private collection, Tucson, Arizona EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 2006

128

LITERATURE The Great American West, Settlers West Galleries, 2006, p. 23, illustrated

Denis Milhomme (b. 1954) Poetic Serenity (2011)

oil on board 12 × 20 inches signed lower right: © 11 Milhomme

$ 20,000 – 30,000

PROVENANCE Private collection, Reno, Nevada EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 2011 $ 2,000 – 3,000 – 99 –

129

Martin Grelle (b. 1954)

Days of the Cold Maker (2011) oil on canvas 38 × 48 inches signed lower right: Martin Grelle © CA 2011 VERSO Signed, titled, and dated Reflecting on the legend of the Cold Maker in Blackfeet culture, George Bird Grinnel wrote, “As Cold Maker was bringing the snow to the Blackfoot winter camp, he passed the Sand Hills. The last lodge had been set up in the Blackfoot winter camp and evening was closing over the travel-tired people. The sun had dropped beyond the hills not far away. Women were bringing water from the river at the edge of the great circle. Men gathered in quiet groups, weary after the long march of the day. Children called sleepily to each other, and the dogs sniffed about in well-fed content.” $ 150,000 – 250,000

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130

Eric Sloane (1905 – 1985)

A Single Plane on the Edge of a Storm oil on canvas 45 × 50 inches signed lower right: Sloane PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2013 $ 15,000 – 25,000

131

Olaf Wieghorst (1899 – 1988) In the Rockies

oil on canvas 20 × 24 inches signed lower left: O – Wieghorst VERSO Signed and titled PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 8,000 – 12,000 – 102 –

132

Olaf Wieghorst (1899 – 1988) Indian Scout

oil on board 14 × 12 inches signed lower left: O – Wieghorst [artist cipher] VERSO Label, The Linda Morris Studio, Tucson, Arizona PROVENANCE The artist Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent EXHIBITED Olaf Wieghorst: The Dean of Western Artists, 1889-1988, Phippen Museum, Prescott, Arizona, 1996 LITERATURE Olaf Wieghorst: The Dean of Western Artists, 1889-1988, Phippen Museum, 1996, p. 25, listed $ 8,000 – 12,000

133

Conrad Schwiering (1916 – 1986) Clearing Off (1979)

oil on board 24 × 36 inches signed lower left: Schwiering © NAWA 1979 VERSO Artist label with signature and title Label, Broadmoor Galleries, Colorado Springs, Colorado PROVENANCE Robert Hazelehurst, 1979 Broadmoor Galleries, Colorado Springs, Colorado Richard Herron, Corsicana, Texas, 2020 $ 10,000 – 15,000

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134

Edgar Payne (1883 – 1947) Along the Trail

oil on canvas 28 × 34 inches signed lower right: Edgar Payne Payne historian Scott A. Shields wrote, “Payne, therefore, like other artists, aimed to preserve what he could of California’s beauty – on canvas if not in reality. The Sierra scenes that he chose to depict were thus an escape from industrialization, development, and a burgeoning population. He portrayed not California’s rapidly changing built environment but the unpopulated and untrammeled Eden of pure nature and wilderness. He also tried to live his aesthetic by communing with nature as often as possible.…

Payne’s excursions into the vastness of the Sierra far exceed the travels of most Californians. He depicted the highest locales with the clearest water, the most unblemished terrain, and the purest, most ultra crystalline light as if he were recording these settings for posterity.… In part for this reason, Payne included human beings in relatively few of his California paintings, and when he did so they were typically shown in harmony with nature, a minor footprint in the landscape.”

$ 225,000 – 325,000

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135

Herman W. Hansen (1854 – 1924) The Signal – Buffalo in Sight

watercolor on paper 36 × 24 inches signed lower right: H. W. Hansen VERSO Label, J. N. Bartfield Galleries, New York, New York PROVENANCE William P. Healey, Jackson, Wyoming $ 30,000 – 50,000 – 106 –

136

Charles M. Russell (1864 – 1926) Deer (1917)

watercolor on paper 9.75 × 7.75 inches signed lower right: C M Russell [artist cipher] 1917 Deer is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.NE.817.

PROVENANCE Percie Knowles, Montana, early 1900s R. C. and Agnes Knowles, Montana, by descent, gifted to Charles Hodges, San Diego, California, 1980s Private collection, by descent Coeur d’Alene Art Auction, Reno, Nevada, 2017 Private collection, Reno, Nevada $ 20,000 – 30,000

An original letter from Russell will accompany the lot. – 107 –

137

Charles M. Russell (1864 – 1926) Antelopes (ca. 1883-84)

watercolor on paper 6 × 5.5 inches signed lower right: C. M. Russell Steer Roper (ca. 1884-87) watercolor on paper 2.75 × 5.5 inches Woman Chopping Wood (ca. 1884) watercolor on paper 2.75 × 5.5 inches Elk (ca. 1884) watercolor on paper 3.75 × 5.75 inches

Antelopes is recorded as reference number CR.PC.38, Steer Roper is recorded as CR.PC.410, Woman Chopping Wood is recorded as CR.PC.313, and Elk is recorded as CR.PC.93 in the C. M. Russell Catalogue Raisonné. Several appraisals and a letter from Robert C. Bjork detailing his purchase of these watercolors will accompany the lot. PROVENANCE Treasure and Trash, Chantilly, Virginia Mr. & Mrs. Robert C. Bjork, Fairfax, Virginia, 1972 Coeur d’Alene Art Auction, Reno, Nevada, 2008 Private collection, Reno, Nevada $ 30,000 – 50,000 for the group of four

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138

Joseph Henry Sharp (1859 – 1953) Hunting Son

oil on canvas 24 × 20 inches signed lower right: J H Sharp PROVENANCE The artist Mrs. Ruth Hoard, El Paso, Texas Present owner, by descent $ 70,000 – 100,000 – 109 –

139

Frank B. Hoffman (1888 – 1958) Day Watch

oil on canvas laid on board 18 × 24 inches signed lower right: Hoffman VERSO Label, Harmsen Museum of Art, Golden, Colorado PROVENANCE William P. Healey, Jackson, Wyoming $ 10,000 – 15,000

140

Olaf Wieghorst (1899 – 1988) Open Range (1986)

oil on board 16 × 14 inches signed lower left: O – Wieghorst [artist cipher] dated lower right: © 86 PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 8,000 – 12,000

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141

Olaf Wieghorst (1899 – 1988) Changing Outfits (1958)

oil on canvas 24 × 30 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed, titled, and dated Changing Outfits was one of the final prints signed by Olaf Wieghorst and released by Hadley House in the Legends Suite. The painting was used as a backdrop for the credits in the movie El Dorado staring John Wayne and Robert Mitchum and with Wieghorst given the role of Swede.

PROVENANCE The artist Mr. & Mrs. John K. Goodman, Tucson, Arizona Lucy P. Goodman, Tucson, Arizona Present owner, by descent EXHIBITED Olaf Wieghorst Retrospective, Tucson Museum of Art, Tucson, Arizona, 1981 LITERATURE James Drye, A Collector’s Guide to the Prints of Olaf Wieghorst, Spidy Quality Printing, 2000, p. 37, illustrated Olaf Wieghorst Retrospective, Tucson Museum of Art, 1981, p. 76, illustrated $ 20,000 – 30,000

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142

Charles M. Russell (1864 – 1926) Roping a Wolf (1904)

oil on canvas 15 × 20 inches signed lower left: C M Russell [artist cipher] 1904 VERSO Label, Gerald Peters Gallery, Santa Fe, New Mexico Roping a Wolf is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.ACM.128. It is of great note that Frederic G. Renner included Roping a Wolf in his landmark publication Charles M. Russell: Paintings, Drawings and Sculptures in the Amon Carter Museum featuring Russell’s finest works in the Amon Carter’s collection. Visiting New York City for the first time in December 1903, Russell’s extended trip greatly influenced the artist and he returned to Montana in 1904 with a new sense of confidence in his artistic abilities. This watershed moment marks what many scholars believe to be the beginning of the period where he created his greatest works. Highly sought after, works by Russell from this period are the highlight of many museum and private collections. Considered to be one of Russell’s finest oils, his mastery of high action and coloration are on full display in Roping a Wolf. In discussing this painting Frederic G. Renner wrote, “With the destruction of their natural prey, the buffalo, wolves turned to the white man’s cattle and these pests soon became a serious problem to early Montana cowmen. Various means for their destruction were tried. Some ranchers employed ‘wolfers’ to trap and poison the animals during the winter. John Harris, a prominent stockman of Fort Benton, imported a pack of hounds, but one winter the wolves got so hungry and bold they turned on the dogs and ran them all back to the safety of the ranch. Cowboys, encouraged by the bounty nearly equal to a week’s wages, roped them for the fun of it.

“Both kinds of chaps typical of Montana are shown in this painting. Most Montana cowboys owned two pair – plain leather ones for summer use, and a pair of ‘woolies,’ which were worn for their added warmth in the fall and winter. Forty-below weather required something more than cowhide to keep the cowboys from freezing and they resorted first to covering their chaps with bear skin with the fur left on. As this fur became hard to come by, long-haired goat skin from Texas was substituted and such chaps also became known as ‘angoras.’”

PROVENANCE The artist John A. Sleicher, Albany, New York Mary Sleicher, Albany, New York Amon Carter Museum of American Art, Fort Worth, Texas Private collection LITERATURE Larry Len Peterson, Charles M. Russell, Legacy: Printed and Published Works of Montana’s Cowboy Artist, Falcon Publishing, 1999, p. 134 Frederic G. Renner, Charles M. Russell: Paintings, Drawings and Sculptures in the Amon Carter Museum, Harry N. Abrams, Inc., 1984, p. 170, illustrated $ 1,000,000 – 1,500,000

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143

Olaf C. Seltzer (1877 – 1957) Hunter with Dog

gouache on paper 10 × 16 inches signed lower left: O. Seltzer. PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 6,000 – 9,000

144

Edmund H. Osthaus (1858 – 1928) Grouse in Flight

oil on canvas 24 × 40 inches signed lower right: Edmund Osthaus PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 10,000 – 15,000

Charles M. Russell (1864 – 1926) Roping a Wolf (1904)

145

Frank B. Hoffman (1888 – 1958) Duck Hunt

oil on board 18 × 24 inches signed lower right: Hoffman [artist cipher] PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 8,000 – 12,000

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146

Ogden M. Pleissner (1905 – 1983) A Chance Shot – Woodcock

watercolor on paper 18 × 28 inches signed lower right: Pleissner VERSO Label, Sportsman’s Edge / Holland & Holland, New York, New York PROVENANCE Sportsman’s Edge, New York, New York Private collection, Virginia $ 25,000 – 35,000

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147

Edmund H. Osthaus (1858 – 1928) Two Hunting Dogs (1891)

oil on canvas 36 × 48 inches signed lower left: Edm. H. Osthaus 1891 PROVENANCE Grand Rapids Public Museum, Grand Rapids, Michigan $ 40,000 – 60,000

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148

George Browne (1918 – 1958) Lighting In

oil on canvas 24 × 36 inches signed lower right: George Browne PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 10,000 – 15,000 149

John Cyril Harrison (1898 – 1985) Black Cock

watercolor on paper 22 × 30 inches signed lower right: JCHarrison Eagle in Flight watercolor on paper 22 × 30 inches signed lower right: JCHarrison Lesser Bustards watercolor on paper 22 × 30 inches signed lower right: JCHarrison Secretary Birds at Zimbabwe Ruins watercolor on paper 14.75 × 22.25 inches signed lower right: JCHarrison $ 4,000 – 6,000 for the group of four – 117 –

150

Richard Schmid (1934 – 2021) Taos Alley

oil on canvas 24 × 34 inches signed lower left: Schmid VERSO Signed, titled, and “#907” PROVENANCE The K. T. Wiedemann Foundation, Wichita, Kansas EXHIBITED Richard Schmid: Beyond Reality, Selections from the K. T. Wiedemann Foundation Collection, Mark Arts, Mary R. Koch Arts Center, Wichita, Kansas, 2019 $ 15,000 – 25,000

151

Kenneth Riley (1919 – 2015) Stronghold Sanctuary

oil on board 12 × 16 inches signed lower left: Kenneth Riley $ 8,000 – 12,000 – 118 –

152

Ross Stefan (1934 – 1999) At Chinle (Navajos Arizona)

oil on canvas 22 × 30 inches signed lower right: Ross Stefan VERSO Signed and titled Label, Rosenquist Galleries, Tucson, Arizona PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 6,000 – 9,000

153

Ray Swanson (1937 – 2004) Acoma Morning (1978)

oil on canvas 40 × 30 inches signed lower right: Ray Swanson © 78’ VERSO Signed, titled, dated, and “#7901” PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 15,000 – 25,000 – 119 –

154

Paul Pletka (b. 1946)

All the King’s Men (1975) acrylic on canvas 48 × 66 inches signed lower left: Pletka Describing this painting journalist Edna Gundersen wrote, “The erect headers of the southern Blackfoot reminded Pletka of the opulent crowns of Renaissance royalty, hence the title from the Humpty Dumpty nursery rhyme. The man with the flag attached to his coup stick is not likely an American patriot. Bunting was routinely distributed and especially abundant in election years, and Indians admired its colors and design. The blue shirt is studded with polliwogs, representing renewal and fertility. Tribe members

were extremely fond of pheasant hackles dyed commercially or with Chinese vermilion, and they cherished ermine tails, which are affixed to the bonnets in this case. “All the King’s Men illustrates Pletka’s phase of distorting faces. Stretched and drooping, the faces appear more as masks than flesh, a technique employed to connote a psychological breakdown of identity.”

LITERATURE Paul Pletka, Pletka, Northland Press, 1983, p. 62-63, illustrated $ 40,000 – 60,000

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155

Jim Norton (b. 1953)

Sunset on Currant Creek (2008) oil on canvas 24 × 36 inches signed lower left: Jim C. Norton CA VERSO Signed, titled, and dated Label, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma PROVENANCE The artist Private collection, Arizona Coeur d’Alene Art Auction, Reno, Nevada, 2013 Private collection, Tucson, Arizona EXHIBITED Prix de West, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma, 2008 LITERATURE Prix de West, National Cowboy & Western Heritage Museum, 2008, p. 151, illustrated $ 15,000 – 25,000 156

John DeMott (b. 1954)

His Shield, Her Memories (1994) oil on canvas 40 × 30 inches signed lower left: © DeMott 1994 VERSO Signed and dated $ 10,000 – 15,000 – 121 –

157

Bonnie Marris (b. 1951) The Gathering (2014)

oil on canvas 36 × 48 inches signed lower right: B L Marris © The artist wrote, “The winter of 2013 was especially long and cold. Ice formed from Canada to Michigan across the Great Lakes and along the shores of Lakes Superior, Ontario, and Huron great ice caves were formed. Massive icicles in colors of turquoise, blue, yellow, green and crystal clear hung from the rocks like glass gates in front of the rocks crevasses. It was a strange beautiful world apart from anything I have ever seen. Here, a pack of wolves with their sentry crows and ravens have gathered among the ice caves. Nature at its curious, mystical best.” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2014 Private collection, Reno, Nevada $ 15,000 – 25,000

158

Tucker Smith (b. 1940)

Sunset on the Madison Range, Montana (1984) oil on board 6.75 × 12 inches signed lower left: Tucker Smith 84 $ 3,000 – 5,000

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159

Martin Grelle (b. 1954)

160

Howard Terpning (b. 1927) Apache (2009)

mixed media on board 15 × 13 inches signed lower right: Terpning 2009 CA VERSO Signed and titled In Howard Terpning: Spirit of the Plains People, Don Hedgpeth wrote, “The Apache was as tough as the country in which he lived. Arizona was his stronghold and he

knew that lonesome land, every hidden mountain pass and secret desert pool in the rock. The Apache seemed primitive in comparison to the Great Plains tribes that developed elaborate cultures based upon the buffalo. There was nothing of feathers and flamboyance about the Apache. He lived in crude stick shelters called ‘wickiups’ and scavenged for food like his wild brother, the wolf.” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2017 Private collection, Reno, Nevada $ 40,000 – 60,000 – 124 –

161

Glenn Dean (b. 1976) The Soul’s Refuge (2017)

oil on canvas 40 × 40 inches signed lower right: G Dean VERSO Signed, titled, and dated A copy of the July / August 2019 issue of Art of the West Magazine will accompany the lot. In discussing this painting the artist wrote, “I wanted to depict the idea of a place in nature where the soul perhaps desires to be. A place where (if we slow down enough to allow for it) the complications in and around life might temporarily be replaced with the simple and powerful awe of nature, and where we might feel as though we have a place in its design.” EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2018 LITERATURE Art of the West Magazine, July / August 2019, cover, illustrated $ 20,000 – 30,000 – 125 –

162

Frederic Remington (1861 – 1909)

The Borderland of the Other Tribe (ca. 1897) ink wash on paper en grisaille 24.5 × 38 inches signed lower left: Frederic Remington VERSO Label, Whitney Gallery of Western Art, Cody, Wyoming According to Western art historian Harold McCracken, “Wandering nomads though most of the Plains Indians had been for centuries, the tribes usually had their central villages to which they could return with a homelike feeling; and each had a more or less well defined area that was considered its own territorial domain. The location of these shifted from time to time and the size varied in accordance to the strength and aggressiveness of their warriors, as compared to those of their neighbors. Sometimes the tribes were pushed on by encroachment of stronger enemies and sometimes they moved on to find new hunting grounds or just because of their wandering instinct.

“The borderland of the other tribe marked the edge of their hunting ground. These boundaries were generally welldefined geographical landmarks such as a river or ridge of hills. Out on the open prairie they sometimes erected markers of sun-bleached buffalo skulls or piles of rock. These were a warning and challenge to their enemies and were generally respected by the other tribes. To trespass was considered justification for warfare. When the white man came, and trespassed, he was no exception.”

PROVENANCE Pete and Janet Taggares, Washington EXHIBITED Whitney Gallery of Western Art, Cody, Wyoming, 1974 LITERATURE Harold McCracken, The Frederic Remington Book, Doubleday, 1966, p. 151, illustrated Harold McCracken, Frederic Remington: Artist of the Old West, J. B. Lippincott, 1947, plate 36, illustrated Robert Howard Russell, Drawings by Frederic Remington, R. H. Russell, 1897, illustrated $ 200,000 – 300,000

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163

Maynard Dixon (1875 – 1946) Shifting Light on a Poplar (1930)

oil on canvasboard 20 × 16 inches signed lower right: Maynard Dixon 1930 PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2020 Private collection, Reno, Nevada $ 25,000 – 35,000 – 128 –

164

E. William Gollings (1878 – 1932) Lady at Roundup

oil on canvas 25.75 × 35.75 inches signed lower left: Gollings [artist cipher] PROVENANCE The artist Roy Tarrant, Billings, Montana Present owners, by descent $ 40,000 – 60,000

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165

Charles M. Russell (1864 – 1926) Watcher of the Plains (1901)

bronze 11.5 inches high inscribed on base: C. M. Russell 1901 © Calif. Art Bronze Fnry LA VERSO Label, Kennedy Galleries, New York, New York Copies of a 1939 letter from Nancy Russell to Mrs. Charles Coulter, and a letter from Kennedy Galleries describing this bronze will accompany the lot. Russell authority Ginger K. Renner wrote, “In 1901, Charles M. Russell painted an oil of a Piegan warrior astride a white horse and leading a band of horses in a night scene entitled The Horse Thieves, now in the Amon Carter collection. In that same year the cowboy artist created Watcher of the Plains, a painted plaster model of a seated Indian. Whether the painted plaster or the oil painting inspired the other is not known, but it’s been determined that Russell’s model for both was White Quiver. Over the next several years Russell made copies

of Watcher of the Plains with minor variations for family members and close friends, but it wasn’t until the fall of 1926 that it was cast in bronze. The relaxed, but intensely alert, warrior is seated on his buffalo robe, a flintlock across his lap, and a medicine bag in his belt. He wears a wolf-skin cap with a large feather attached. One perceives him seated on a high bluff, peering out across the plains, watching intensely for either game or enemy intruders. He exudes power, sagacity and leadership – all attributes assigned to White Quiver, the great Piegan leader.”

PROVENANCE Nancy Russell Mrs. Charles Coulter, Montana Mrs. A. Verharen, Seattle, Washington, by descent Kennedy Galleries, New York, New York Mr. & Mrs. Robert J. Dellenback, Jackson, Wyoming, 1976 Kennedy Galleries, New York, New York Private collection, 1997 Coeur d’Alene Art Auction, Reno, Nevada, 2017 Private collection, Reno, Nevada $ 50,000 – 75,000

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166

Frank McCarthy (1924 – 2002) Demand for Tribute (1973)

oil on board 26 × 38 inches signed lower right: McCarthy © 73 PROVENANCE May Gallery, Scottsdale, Arizona, 1988 Peter C. Cook, Grand Rapids, Michigan $ 25,000 – 35,000

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167

Roy Andersen (1930 – 2019) Learnin’ the Ropes

oil on canvas 30 × 40 inches signed lower right: Roy Andersen CA VERSO Label, O’Brien’s Art Emporium, Scottsdale, Arizona PROVENANCE O’Brien’s Art Emporium, Scottsdale, Arizona, 1996 Private collection, New Mexico Coeur d’Alene Art Auction, Reno, Nevada, 2004 Private collection, Denver, Colorado LITERATURE Paint Horse Journal, American Paint Horse Association, 1995, cover, illustrated Paint Horse Journal, American Paint Horse Association, 1996, p. 121, illustrated $ 15,000 – 25,000

168

Frank McCarthy (1924 – 2002) Snow Melt

oil on canvas 21 × 11 inches signed lower right: McCarthy CA © VERSO Signed, titled, and “#8138” $ 10,000 – 15,000 – 133 –

169

G. Harvey (1933 – 2017)

Among the Silence of Canyon Echoes (1980) oil on canvas 48 × 40 inches signed lower right: G. Harvey 1980 © VERSO Label, Altermann Galleries & Auctioneers, Santa Fe, New Mexico Label, Altermann & Morris Galleries, Santa Fe, New Mexico $ 80,000 – 120,000 – 134 –

170

Charlie Dye (1906 – 1972) Bronco Ballet (1959)

oil on board 24 × 30 inches signed lower right: Charlie Dye LITERATURE Paul Weaver, Charlie Dye: One Helluva Western Painter, Petersen Prints, 1981, p. 133, listed $ 25,000 – 35,000

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171

Peter Hurd (1904 –1984) The Eve of St. John

tempera on board 24 × 48 inches signed lower left: Peter Hurd NA VERSO Signed and titled Inscribed, “Painted by Peter Hurd, N.A. at San Patricio N. Mexico / This being the first of two versions of this subject …” The first version of Peter Hurd’s The Eve of St. John, this painting serves as the inspiration for the American painter’s most-famous work, which is housed in the San Diego Museum of Art’s collection. The painting conveys the innocence of the subject matter – Dorothea Herrera, daughter of Hurd’s foreman at his Sentinel Ranch – on the eve of St. John the Baptist’s feast day. Hurd’s mastery of tempera captures the beauty of the subject matter, juxtaposed with the luminosity of the setting sun, setting the stage for the forthcoming celebration of St. John the Baptist’s birth. PROVENANCE Denver Art Gallery, Denver, Colorado, 1969 The Estate of Jack & Cally Vickers, Castle Pines, Colorado $ 100,000 – 150,000

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172

Roger Medearis (1920 – 2001)

Rio Chama, Near Taos, New Mexico (1986) oil on canvas laid on board 36 × 48 inches signed lower right: Medearis VERSO Artist label with signature, title, and date Label, Vose Galleries, Boston, Massachusetts Rio Chama, Near Taos, New Mexico (1985) bronze 17 inches high inscribed on base: Rio Chama Roger Medearis 2/8 © 1985 VERSO Artist label with signature, title, and date Rio Chama is listed as Number 185 in Medearis’ ledger, noting “near Taos” [New Mexico].

PROVENANCE The artist Private collection, Marshfield, Massachusetts, 1991 Vose Galleries, Boston, Massachusetts Private collection, Scottsdale, Arizona $ 60,000 – 90,000 for the pair

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173

Olaf Wieghorst (1899 – 1988)

Sundown [or] Summer Storm (1958) oil on canvas 20 × 24 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed, titled, and dated Released as a limited edition print by the Tucson Museum of Art in 1974 and shown in the February 1989 issue of Southwest Art magazine with the title Summer Storm. PROVENANCE The artist Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent LITERATURE James Drye, A Collector’s Guide to the Prints of Olaf Wieghorst, Spidy Quality Printing, 2000, p. 154, illustrated Jan Jennings, “Olaf Wieghorst.” Southwest Art, Feb. 1989, pp. 54-59, illustrated William Read, Olaf Wieghorst, Northland Press, 1969, p. 193, illustrated $ 15,000 – 25,000

174

Kenneth Riley (1919 – 2015) Ancestral Pulse

oil on board 8 × 10 inches signed lower right: Kenneth Riley $ 8,000 – 12,000 – 138 –

175

Frank McCarthy (1924 – 2002) Winter Hunt

oil on canvas 24 × 40 inches signed lower left: McCarthy CA © VERSO Signed, titled, and “#897” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2014 Private collection, Reno, Nevada $ 30,000 – 50,000

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176

Oscar Berninghaus (1874 – 1952) The Domain of Their Ancestors (1925) oil on canvas 25 × 30 inches signed lower right: O. E. Berninghaus VERSO Label, Mongerson Wunderlich, Chicago, Illinois Label, Wunderlich & Co., New York, New York Label, The Taft Museum, Cincinnati, Ohio Western art historian Dr. Larry Len Peterson writes, “For over a century, artists have answered the call of the mountains, yet one painting stands at the pinnacle, The Domain of Their Ancestors. The incomparable setting showcases Mt. Grinnell on the left and Mt. Wilbur in the center, located in the Many Glacier region of the ‘Crown of the Continent,’ Glacier National Park in northwestern Montana. Mt. Grinnell was named after George Bird Grinnell (1849-1938), the father of Glacier National Park; editor of Forest and Stream; prolific author; and along with his close friend Theodore Roosevelt, founder in 1887 of the Boone and Crockett Club. At the altar of the snow-covered massifs are Swift Current Lake and Falls. To the left of the falls is where Many Glacier Hotel – at the time the largest Hotel in Montana – was built in 1915 by Louis Hill’s Great Northern Railway (GNR). “The noble, mounted chief donning a peace medal in the center foreground is Blackfeet Two Guns White Calf (1872-1934). After the death of Chief Joseph in 1904 and Geronimo in 1909, he was the most famous Native American in the nation for decades. Chief Two Guns is the Indian most closely associated with the buffalo nickel, designed by James Earle Fraser (18761953) and minted from 1913 to 1938. The GNR touted him as the model, and tourists couldn’t wait to catch a glimpse of him as they disembarked at the East Glacier Park train station. In addition, he traveled the country for the GNR, promoting the ‘Alps of North America’ and appeared on the front page of almost every major newspaper in the country. The railway also showcased Winold Reiss (1866-1953) paintings of him on tens of thousands of their Brown & Bigelow calendars. Two Guns was a national celebrity. Born near Fort Benton, Montana, he was the son of White Calf, a famed Blackfeet chief. His father was a leading representative for the Blackfeet when they negotiated the 1895 treaty with the United States. After White Calf died in 1902, Two Guns became a tribal chief and

spokesman. He was the head of an organization called the Mad Dog Society whose goal was to preserve Blackfeet heritage, which included the Sundance and Ghost Dance ceremonies. Two Guns lobbied in Washington, D.C., demanding additional payments for the land ceded in 1895 that became the eastern portion of Glacier National Park – the domain of his Blackfeet ancestors. One reporter in admiration called him the ‘William Jennings Bryan of the red race.’ “Still, it took Oscar E. Berninghaus and his grand imagination to create one of the greatest tributes to Two Guns and Glacier National Park. Born in St. Louis, Missouri on October 2, 1874, he fell in love with art from time spent at his father’s lithography business. He wrote, ‘The painter must first see his picture as paint-as color-as form-and not as a landscape or figure.’ In 1915 Berninghaus along with five other celebrated artists founded the Taos Society of Artists (TSA), which disbanded twelve years later, but only after making an indelible mark on Western art. An example of his tireless devotion to the promotion of the TSA was writing over 125 letters during his tenure as secretary to art patrons in St. Louis where he once exhibited with Charles M. Russell. Russell owned Bull Head Lodge in Glacier National Park, and surely he touted the unparalleled vistas of Glacier country to his artist friend. Below the artist’s signature in his hand writing is ‘after photo.’ Most likely the painting was inspired by a collage of photographs taken by Roland Reed (1864-1934), one of the most renowned pictorialist photographers of his generation. After a long, illustrious career, Berninghaus died of a heart attack on April 27, 1952, in Taos, New Mexico. There is no finer example of The American West Reimagined than this masterpiece. As legendary Bob Drummond – the most important force in the history of the Western art auction – wrote, The Domain of Their Ancestors is ‘the best Berninghaus painting ever painted.’”

PROVENANCE Mongerson-Wunderlich Galleries, Chicago, Illinois William J. Williams, Cincinnati, Ohio, 1987 Private collection, 2013 EXHIBITED Frontier Memories: 19th & 20th Century Art of the American West, Cincinnati, Ohio, The Taft Museum of Art, 2004-05 LITERATURE Larry Len Peterson, The Call of the Mountains: The Artists of Glacier National Park, Settlers West Galleries, 2002, p. 141, illustrated Larry Len Peterson, John Fery: Artist of Glacier National Park and the American West, Coeur d’Alene Art Auction, 2015, p. 117, illustrated Larry Len Peterson, Blackfeet John L. “Cutapuis” Clarke and the Silent Call of Glacier National Park: America’s Wood Sculptor, Sweetgrass Books, 2019, p. 205, illustrated Gordon E. Sanders, Oscar Berninghaus, Taos, New Mexico: Master Painter of American Indians and the Frontier West, Taos Heritage Publishing Company, 1985, p. 123, listed $ 400,000 – 600,000 – 140 –

177

Edgar Payne (1883 – 1947) Sierra Scene of Lake Sabrina

oil on canvas 20 × 26 inches signed lower right: Edgar Payne $ 20,000 – 30,000

Oscar Berninghaus (1874 – 1952) The Domain of Their Ancestors (1925)

178

John Fery (1859 – 1934)

Vernal Falls, Yosemite Valley oil on canvas 24 × 18 inches signed lower right: J. Fery VERSO Titled PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho LITERATURE Larry Len Peterson, John Fery, Artist of Glacier National Park & the American West, Coeur d’Alene Art Auction, 2015, p. 157, illustrated $ 8,000 – 12,000 – 142 –

179

Edmund H. Osthaus (1858 – 1928) Returning Home

oil on canvas 36 × 48 inches signed lower left: Edmund Osthaus PROVENANCE Grand Rapids Public Museum, Grand Rapids, Michigan $ 40,000 – 60,000

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180

David Shepherd (1931 – 2017) Pregnant Skies

oil on canvas 22 × 36 inches signed lower right: David Shepherd $ 8,000 – 12,000

181

David Shepherd (1931 – 2017) Indian Rhino

oil on canvas 9 × 13 inches signed lower right: David Shepherd VERSO Label, The Tryon Gallery, London, United Kingdom $ 6,000 – 9,000

182

David Shepherd (1931 – 2017) Elephant Reflections

oil on canvas 12 × 8 inches signed lower right: David Shepherd $ 8,000 – 12,000

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183

David Shepherd (1931 – 2017) Tiger (1991)

oil on canvas laid on board 9 × 13 inches signed lower right: David Shepherd 91 $ 8,000 – 12,000

184

David Shepherd (1931 – 2017) After the Rains (1975)

oil on canvas 20 × 30 inches signed lower right: David Shepherd VERSO Signed and dated $ 8,000 – 12,000

185

David Shepherd (1931 – 2017)

Asian Rhino and Water Buffalo (1978) oil on canvas 20 × 34 inches signed lower right: David Shepherd VERSO Signed and dated Label, The Tryon Gallery, London, United Kingdom $ 8,000 – 12,000 – 145 –

186

John Clymer (1907 – 1989) Buffalo Talk

oil on board 10 × 20 inches signed lower right: John Clymer CA

187

Ross Stefan (1934 – 1999)

VERSO Titled Typed artist’s description of painting Label, Grand Central Art Galleries, New York, New York

There are Spirits in the Wind – Monument Valley oil on canvas 28 × 50 inches signed lower left: Ross Stefan

PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent

VERSO Signed and titled Label, Wollheims’ Rosequist Galleries, Tucson, Arizona Label, Tucson Museum of Art, Tucson, Arizona

$ 15,000 – 25,000

PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent EXHIBITED Tucson Collects, the West, Tucson Museum of Art, Tucson, Arizona, 1979 LITERATURE John K. Goodman, Ross Stefan, An Impressionistic Painter of the Contemporary Southwest, Northland Publishing, 1977, pp. 42-43, illustrated $ 6,000 – 9,000

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188

Bob Kuhn (1920 – 2007)

Where the Deer and the Antelope Play (1996) acrylic on board 18 × 33.5 inches signed lower left: Kuhn VERSO Signed and dated Label, Prix de West, Oklahoma City, Oklahoma Label, Tucson Museum of Art, Tucson, Arizona PROVENANCE Private collection, Tucson, Arizona EXHIBITED Prix de West, National Cowboy Hall of Fame, Oklahoma City, Oklahoma, 1996 The Tucson Seven Ride Again, Tucson Museum of Art, Tucson, Arizona, 2005 $ 50,000 – 75,000

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189

John Fery (1859 – 1934) Glacier Afternoon

oil on canvas mounted on board 45 × 93 inches signed lower right: J. Fery $ 20,000 – 30,000

190

Oliver Kemp (1887 – 1934) Moose Hunters (ca. 1914)

oil on canvas 31.5 × 20.5 inches signed lower left: Oliver Kemp An original 1914 copy of In the Maine Woods will accompany the lot. PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2012 The Estate of Bob & Mary Drummond, Hayden, Idaho LITERATURE Wilfrid A. Hennessy, In the Maine Woods, Bangor & Aroostook Railroad, 1914, frontispiece, illustrated Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, p. 398, illustrated Sporting Classics, September 2012, cover, illustrated $ 15,000 – 25,000

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191

Joseph Henry Sharp (1859 – 1953) Storm on the Mountains

oil on canvas 20 × 24 inches signed lower right: J H Sharp PROVENANCE Bonhams & Butterfields, San Francisco and Los Angeles, California, 2005 John and Toni Bloomberg, La Jolla, California EXHIBITED Visions of the West: Highlights from the Bloomberg Collection, San Diego Museum of Art, San Diego, California, 2020-21 $ 50,000 – 75,000

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192

Joseph Henry Sharp (1859 – 1953) Firelight Drummer

oil on canvas laid on board 9 × 7 inches signed lower right: J H Sharp VERSO Signed, titled, and “#135” Inscribed, “Firelight Drummer – Pueblo of Taos NM, Bawling Deer – J.H. Sharp” PROVENANCE The artist, gifted to Miss Margaret McVean, Oklahoma City, Oklahoma Miss Francis McVean, by descent, gifted to Mr. & Mrs. Howard Self

Jim Sullivan, Spokane, Washington Coeur d’Alene Art Auction, Reno, Nevada, 2008 Private collection, Reno, Nevada EXHIBITED Enchanted Visions: The Taos Society of Artists & Ancient Cultures, Northwest Museum of Arts & Culture, Spokane, Washington, 2005 LITERATURE Nan Sheets, It’s the Firelight Drummer, The Daily Oklahoman, 1935, illustrated Enchanted Visions, Washington State Historical Society, 2005, p. 11, illustrated $ 20,000 – 30,000

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193

Oscar Berninghaus (1874 – 1952) The Wood Peddler, Taos, New Mexico oil on paper 15 × 20 inches signed lower left: O. E. Berninghaus VERSO Label, Altermann Galleries & Auctioneers, Santa Fe, New Mexico Label, David Dike Fine Art, Dallas, Texas Label, Nedra Matteucci Galleries, Santa Fe, New Mexico $ 20,000 – 30,000

194

Carl Von Hassler (1887 – 1969) New Mexico Summer Splendor

oil on canvas 28 × 34.5 inches signed lower right: Von Hassler $ 6,000 – 9,000

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195

Charles M. Russell (1864 – 1926) Friend Ad Letter (1923)

watercolor and ink on paper 10 × 7.75 inches signed lower right: C M Russell VERSO Label, Amon Carter Museum, Fort Worth, Texas Friend Ad Letter is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.ILU.154. An original bill of sale dated 1975, and original typed letter from original owner to new owner regarding information about the Russell letter will accompany the lot. According to Western art historian Brian W. Dippie, “Ad Day, general manager of the Knight-Watson Ranching Company in southern Alberta, was responsible for the bucking horses that gave the Canadian stampedes their formidable reputation. With Ray Knight, Day ran the show in 1918 at Lethbridge, and his friendship with Russell was solidified there. Charlie and Nancy sat in the grandstand with Day’s family, watching a titanic struggle between men and horses. In one competition, the Day horses scored a clean sweep, throwing every rider they faced and precipitating a near mutiny as contestants protested that the horses were ‘too large and too tough.’ Needless to say, Russell loved it. The next year in Saskatoon, the paper reported the arrival by train of an iron-grey mare that Day imported ‘especially for the Stampede.’ The mare could have been a gunslinger hired to mow down the enemy, the way it was described. ‘According

to Mr. Day she has ‘some iron-grey disposition.’ Buck? Well, say. It took Mr. Day all the morning to get her four feet on the ground long enough at one time to detrain her. ‘She’ll do,’ was all that Mr. Day would say about her.’ “When Day asked for a reference in 1925, Russell responded enthusiastically. Ad Day, he wrote, is ‘a friend of mine who I have known many years.’ His people were cow folks, he was born in cow country, and he had ‘lived all his life on cow ranges he knows cows from Texas to the Saskatchewan north for maney years has handled riding and roping contests he knows that business from start to finish he baught and owned some of the most famus bucking horses in the northwest … when a bronco twister drew a Day horse he dident scratch much.”

PROVENANCE Pete and Janet Taggares, Washington $ 60,000 – 90,000

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196

Olaf Wieghorst (1899 – 1988) Packing In

oil on canvas 28 × 38 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed and titled PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 25,000 – 35,000

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197

Olaf Wieghorst (1899 – 1988) Sunset Trail

oil on canvas 20 × 24 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed and titled Label, Whitney Gallery of Western Art, Cody, Wyoming PROVENANCE The artist Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent EXHIBITED Whitney Gallery of Western Art, Cody, Wyoming, 1962 $ 15,000 – 25,000

198

Gerard Curtis Delano (1890 – 1972) Williams Mountain

oil on canvas laid on board 12 × 16 inches signed lower left: © Delano $ 8,000 – 12,000 – 155 –

199

Maynard Dixon (1875 – 1946)

Clouds of a Summer Afternoon (1945) oil on canvas laid on board 16 × 20 inches signed lower left: Maynard Dixon Ariz. 1945 VERSO Label, Bonhams, Los Angeles, California According to Dixon biographer Donald J. Hagerty, “Although in declining health, slowly dying from emphysema that robbed his lungs of air and with only a year to live, Maynard Dixon saw 1945 as productive time. From his home on Tucson’s Prince Road, he made numerous exploratory excursions into the surrounding Sonoran Desert, sketching and painting the austere landscape. Their Ford station wagon, decorated with a large red thunderbird on its sides, was a familiar sight from Tucson to Nogales on the Mexican border. Accompanied by his third wife, Edith Hamlin, Dixon would explore the cactus and mesquite country around the Rincon, Tucson, Santa Catalina, and Tortolita Mountains, Picacho Peak, and into the sprawling Papago Reservation (now Tohono O’Odham) southwest of Tucson. A favorite and readily accessible spot was the Rillito, the large and normally arid arroyo that wandered through Tucson. That the desert was spiritually important was evident in a letter he sent to friend: ‘Here remains the solid mountains and the fluid sky (full of planes) and the sun and the stars, and my kin, the wandering desert dust.’ “Among the works he painted in 1945 is Clouds of a Summer Afternoon, most likely created somewhere between the

Rillito south of Tucson and the Papago Reservation. As Dixon knew during July and August, thick white clouds from the Gulf of California would form and move all day long in a vast panorama as they marched over the horizon. Clouds of the Arizona desert hang in the blue sky, row after row receding into infinity, perfectly poised and configured to the landscape lying below. Sensitive to the horizon line, with the upper three fourths of the canvas devoted to the sky and clouds, Dixon shaped a feeling of immense distance on the painting. He painted this land with solemn fidelity, absorbing a sky vast with light and clouds and seeing it as another world massed above the earth. The painting is marked by Dixon’s unique spacing, rhythmic pattern, and a mosaic of pattern and light suggestive of the heat, light, and loneliness of the Sonoran Desert. The painting is rooted in specific landscape facts but Dixon’s ability to transcend a particular location, his power of observation and his mature style makes the painting a universal statement about the grandeur of the desert. With fluent, robust draftsmanship a taste for color, and devotion to pattern, Dixon organized the abstract elements of the canvas into a coherent structure that celebrates this desert country.”

PROVENANCE Bonhams, Los Angeles, California, 2015 Coeur d’Alene Art Auction, Reno, Nevada, 2016 Private collection, Reno, Nevada $ 60,000 – 90,000

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200

Cindy Baron (b. 1957) Playing Misty (2021)

oil on canvas laid on board 24 × 30 inches signed lower left: Cindy Baron OPAM PAPA AIS VERSO Signed and titled In discussing this painting the artist writes, “I am always attracted to the grand landscapes, especially Big Sur in California. When you add the element of mist and fog, it can be very intriguing to an artist eye to render the atmosphere that seems to hug the coast and give us wonder. I love to paint this effect, study it and have the viewer see and feel what I felt when I was there. “Playing Misty, was captured during late spring when poppies are blooming and the air was moist with a light mist. The contrast made with spring flowers and the landscape fading into the dense air, made for the perfect repose.” $ 8,000 – 12,000

201

Tim Solliday (b. 1952)

Trading in the Shade (2021) oil on canvas 24 × 30 inches signed lower left: T. Solliday The artist writes, “In this scene, I was showing a cool woodland setting with light and shade with the warm coloring in the blanket in contrast to the cool coloring in the shadows. The spots of light move the eye around the picture and make this a peaceful encounter between mountain man and Indian.” $ 15,000 – 25,000 – 158 –

202

Curt Walters (b. 1950) Ledges of the Tapeats

oil on canvas 48 × 40 inches signed lower right: Curt Walters VERSO Titled A copy of the Gilcrease Museum exhibition catalogue and American Artist Magazine will accompany the lot. In discussing this painting the artist wrote, “Because Ledges of the Tapeats is one of my all-time favorite paintings, I would like to use it in my show at the Gilcrease Museum in Tulsa, 2011.” He later wrote in an autographed copy of the

Gilcrease Museum exhibition catalogue, “I was so proud to have it hanging with my Grand Canyon paintings.” PROVENANCE The artist Herb Seymour, Los Angeles, California, 2000 EXHIBITED Rendezvous Artists’ Retrospective, Thomas Gilcrease Museum, Tulsa, Oklahoma, 2011 LITERATURE American Artist Magazine, December 2000, cover, illustrated Rendezvous Artists’ Retrospective, Thomas Gilcrease Museum, 2011, p. 49, illustrated $ 20,000 – 30,000 – 159 –

203

Tom Browning (b. 1949) Out of the Brush (2021)

oil on canvas laid on board 24 × 36 inches signed lower left: Tom Browning CA According to the artist, “On a rather large ranch, these horses always stray into various areas. One area they like to hang out in is a brushy unfenced acreage that is usually the first place this cowboy goes looking for them. Here he is bringing them out of the brush back down to the stables so he can put them to work.” $ 15,000 – 25,000

204

Dan Bodelson (b. 1949)

The Morning Begins to Warm oil on canvas 28 × 40 inches signed lower left: Bodelson © VERSO Label, Texas Art Gallery, Dallas, Texas PROVENANCE Private collection, Texas $ 5,000 – 7,000 – 160 –

205

Martin Grelle (b. 1954)

Sundown at Brazos Cliffs (1991) oil on canvas 36 × 48 inches signed lower right: Martin Grelle 1991 © PROVENANCE Collection of Ken and Karen Martin, Texas Jackson Hole Art Auction, Jackson, Wyoming, 2009 Rob Day, Austin, Texas $ 50,000 – 75,000

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206

Howard Terpning (b. 1927) Crow Brave (1996)

oil on board 7 × 5 inches signed lower left: © Terpning 1996 CA PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2013 Private collection, Reno, Nevada $ 15,000 – 25,000

207

John Moyers (b. 1958) Trade Blanket

oil on canvas 28 × 23 inches signed lower right: John Moyers © VERSO Signed and titled PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 8,000 – 12,000 – 162 –

208

Howard Terpning (b. 1927) A Sense of Danger (1975)

oil on canvas 28 × 22 inches signed lower right: © Terpning 75 VERSO Signed and titled PROVENANCE Settlers West Galleries, Tucson, Arizona Mr. & Mrs. Ed Witt, Tucson, Arizona Present owner, by descent $ 60,000 – 90,000 – 163 –

209

Frank Tenney Johnson (1874 – 1939) The Horse Thief (1925)

oil on canvas 26 × 38 inches signed lower right: F Tenney Johnson 1925 VERSO Label, Biltmore Galleries, Scottsdale, Arizona Label, Christie’s, New York, New York According to Harold McCracken, “The ranchers and cowboys made a practice of hunting down the rustlers as they would predatory animals.… Furthermore, among the most active rustlers and horse thieves were some of the roughest, toughest, and most dastardly men who ever rode the range in a saddle. Their whole purpose was based on plans to outsmart the most expert of the legitimate old-time cowboys; and this added considerable zest and determination to apprehend the rustlers and eliminate them from the scene.” PROVENANCE Chicago Athletic Association, Chicago, Illinois Christie’s, Los Angeles, California, 2001 Private collection, Arizona Santa Fe Art Auction, Santa Fe, New Mexico, 2005 Private collection, Texas $ 300,000 – 500,000

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210

E. William Gollings (1878 – 1932) Sign Talk (1905)

oil on canvas 16 × 20 inches signed lower left: Gollings 05 [artist cipher] PROVENANCE Joseph Stephen Cullian, 1905 Present owner, by descent

Frank Tenney Johnson (1874 – 1939)

$ 20,000 – 30,000

The Horse Thief (1925)

211

Edward Borein (1872 – 1945) The Roper

watercolor on paper 5.5 × 6.5 inches signed lower right: Edward Borein VERSO Label, Barney Goldberg, Los Angeles, California Label, Gerald Peters Gallery, Santa Fe, New Mexico Label, The Printworks Gallery, Long Beach, California A copy of a Letter of Authentication, dated February 4, 1992, from Harold G. Davidson will accompany the lot. PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 6,000 – 9,000 – 166 –

212

Frederic Remington (1861 – 1909) Old Timer (1888)

pen and ink on paper 6 × 8.5 inches signed lower right: Remington ‘88 PROVENANCE Sak’s Galleries, Denver, Colorado Collection of Lisa Ann Adams Stinson, Huntington Beach, California, 1970s Coeur d’Alene Art Auction, Reno, Nevada, 2009 Rob Day, Austin, Texas $ 10,000 – 15,000

213

Edward Borein (1872 – 1945) A Rurale

ink on paper 21.5 × 17.5 inches signed lower right: Ed. Borein VERSO Label, Arlington Gallery, Santa Barbara, California A Letter of Authentication, dated January 6, 2000, from Harold G. Davidson will accompany the lot. PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 10,000 – 20,000 – 167 –

214

Gerald Cassidy (1869 – 1934) The Desert Sand Dune (1929)

oil on canvas 26 × 32.5 inches signed lower right: Gerald [artist cipher] Cassidy VERSO Signed, titled, dated, and “G-253” Label, A. Charles Painting Restoration, Chicago, Illinois Label, Western Center for the Conservation of Fine Arts, Wheat Ridge, Colorado PROVENANCE The artist Frank Simpson Cunningham, Evanston, Illinois, ca. 1929 Present owners, by descent $ 20,000 – 30,000

215

Olaf Wieghorst (1899 – 1988) Stop on the Trail

oil on board 12.5 × 10.5 inches signed lower left: O – Wieghorst [artist cipher] $ 6,000 – 9,000 – 168 –

216

Olaf Wieghorst (1899 – 1988) Rugged Trail

oil on canvas 24 × 30 inches signed lower right: O – Wieghorst [artist cipher] VERSO Signed and titled PROVENANCE Grand Central Art Galleries, New York, New York Clinton and Harriet Ruch, White Plains, New York Present owners, by descent $ 20,000 – 30,000

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217

Charles M. Russell (1864 – 1926) Indian on a Pinto (1898)

watercolor on paper 13 × 20.5 inches signed lower left: C M Russell [artist cipher] 1898 Indian on a Pinto is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.PC.144. According to Frederic G. Renner, “The great mobility of the Plains Indians was one of the reasons why the United States Army needed twenty-five years and over a thousand separate battles to subdue them. General Crook once noted in an official report that a band of Sioux Indians with their families could travel fifty miles a day, living off the country and keeping scouts advanced from twenty to fifty miles in all directions. With the Indian leaders fully informed of the movements and strength of the army forces, they were able to avoid conflict or to pick the time and place of battle. “The scout … may have come across the tracks of an enemy column and is sending a message back to his companions. The fact that he is making no attempt at concealment suggests the enemy is not in sight.” PROVENANCE Katherine Bradford, Hamilton, Massachusetts Present owner, by descent EXHIBITED How the West Was Won, Wildenstein & Co., New York, New York, 1968 Bradford Brinton Memorial Museum, Big Horn, Wyoming, 2011 $ 150,000 – 250,000

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218

Charles M. Russell (1864 – 1926) Friend Ed Letter (1908)

ink and watercolor on paper letters: 9 × 5.5 inches each; envelope: 3.5 × 6.5 inches signed lower right: C. M. Russell Friend Ed Letter is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.ILU.277. PROVENANCE The artist Edward P. Older, Granada, Minnesota Present owner, by descent $ 60,000 – 90,000

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219

Eanger Irving Couse (1866 – 1936)

The Evening Camp will be included in the E. I. Couse Catalogue Raisonné.

the influence of the strong light and brilliant colors of the region. The muted palette he used in The Evening Camp is of special interest because it falls into the middle years of his Taos experience, when it was common for the artist to use strong tonalities, yet in this case he was exploring something different. Although he often repeated certain themes, his main purpose was always to explore the varied qualities of light. Here he was interested in the juxtaposition between the warm firelight reflected off the bare torso of the model and the cool light reflected by the white deer skin of his leggings.”

According to Virginia Couse Leavitt, “An Indian is crouched in the gloaming on a river bank before a small fire. His upper body, silhouetted against some dark trees, is illuminated by the warmth of the fire, whereas his deerskin leggings reflect a cool white light. This theme of an Indian seated before a campfire is repeated in many Couse paintings, but always in a somewhat different and compelling manner.

PROVENANCE Newhouse Gallery, St. Louis, Missouri, 1921 Kennedy Galleries, New York, New York Mongerson Galleries, Chicago, Illinois, 1977 Private collection, Janesville, Wisconsin Coeur d’Alene Art Auction, Reno, Nevada, 2016 Private collection, Reno, Nevada

“Couse arrived in Taos in 1902. He soon became famous for the moonlight and firelight pictures he began to paint under

$ 50,000 – 75,000

The Evening Camp (1920)

oil on canvas 16 × 20 inches signed lower left: E- I- CouseVERSO Label, Kennedy Galleries, New York, New York

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220

Edgar Payne (1883 – 1947)

Sardine Boats – Chioggia, Italy oil on canvas 25 × 30 inches signed lower left: Edgar Payne VERSO Label, Altermann & Morris Galleries, Santa Fe, New Mexico PROVENANCE Estate of James Grisebaum, Houston, Texas Private collection, 2013 $ 30,000 – 50,000

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222

William R. Leigh (1866 – 1955) Outside the Pueblo

oil on board 8 × 10 inches signed lower left: W. R. Leigh. 221

Nicolai Fechin (1881 – 1955) Indian Girl

charcoal on paper 18 × 13 inches initialed lower right: N F VERSO Label, Maxwell Galleries, San Francisco, California Label, The Owings Gallery, Santa Fe, New Mexico

VERSO Label, Desert Caballeros Western Museum, Wickenburg, Arizona Label, Kennedy Galleries Inc., New York, New York Label, Tucson Museum of Art, Tucson, Arizona PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2014

EXHIBITED Arizona Collects, Desert Caballeros Western Museum, Wickenburg, Arizona, 2004 Tucson Collects: The Spirit of the West, Tucson Museum of Art, Tucson, Arizona, 2012

$ 8,000 – 12,000

$ 10,000 – 15,000

223

Carl Schmidt (1885 – 1969) Venice

oil on board 12 × 18.5 inches signed lower right: C. Schmidt PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 3,000 – 5,000 – 175 –

224

Anna Mary Robertson “Grandma” Moses (1860 – 1961) The Church in the Hills (1944) oil on board 19.75 × 25.25 inches signed lower right: Moses VERSO Artist label with title and date Label, James Vigeveno Galleries, Los Angeles, California Label, Owen Gallery, New York, New York Grandma Moses was an American folk painter who was internationally popular for her naïve documentation of rural life in the United States in the late nineteenth and early twentieth centuries. She represented scenes through the flat patterns of cross-stitching and used bright color schemes. Similar in style to other self-taught American painters, including Edward Hicks and Horace Pippin, the nostalgic character of Moses’ work reflects her life on farms in rural New York and Virginia. “A strange thing is memory, and hope; one looks backward, and the other forward; one is of today, the other of tomorrow,” she reflected. “Memory is history recorded in our brain, memory is a painter, it paints pictures of the past and of the day.” Born Anna Mary Robertson on September 7, 1860, in Greenwich, New York, she didn’t take up painting until her

late 70s, when arthritis made embroidering difficult. In 1939, famed art collector Louis Caldor stumbled across Moses’ work in a drugstore window while traveling upstate through Hoosick Falls, New York. After inquiring as to who made them, he drove to her farm and purchased 15 of her paintings on the spot. Later that same year, three of the works from Caldor’s initial purchase were included in the Contemporary Unknown American Painters exhibition at the Museum of Modern Art in New York. This led to over 100 shows for Grandma Moses in the proceeding decades. The artist produced around 2,000 paintings before her death at age 101 on December 13, 1961, in Hoosick Falls, New York. Today, her works are included in the collections of the Art Institute of Chicago, the Phillips Collection in Washington, D.C., the Metropolitan Museum of Art in New York, and the Bennington Museum in Vermont.

PROVENANCE Owen Gallery, New York, New York, 2006 John and Toni Bloomberg, La Jolla, California $ 150,000 – 250,000

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225

George Hitchcock (1850 – 1913) Conversation

oil on canvas 38 × 30 inches signed lower left: Hitchcock PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 20,000 – 30,000

226

Leon Gaspard (1882 – 1964) Russia

oil on canvas laid on board 10.75 × 13.75 inches signed lower left: Leon S. Gaspard $ 8,000 – 12,000 – 178 –

227

Edouard Cortès (1882 – 1969)

Marché aux fleurs, Place de la Madeleine, Paris oil on canvas 18 × 30 inches signed lower right: Edouard Cortès VERSO Titled Label, Gump’s, San Francisco, California PROVENANCE Gump’s, San Francisco, California Mr. & Mrs. Chester Gillig, Oakland, California, 1940s By family descent, 2005 Private collection, Greenville, California $ 20,000 – 30,000

228

George Hitchcock (1850 – 1913) Arranging Flowers (1889)

oil on canvas 38 × 29 inches signed lower right: Geor Hitchcock 1889 PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 15,000 – 25,000 – 179 –

229

Albert Bierstadt (1830 – 1902)

Hanabach, Westphalia, Germany (1856) oil on paper 13 × 18 inches initialed lower right: AB Copies of letters detailing the authenticity of the work will accompany the lot. According to art historian Alfred C. Harrison Jr., “This … work dates from Bierstadt’s first trip to Germany, during which time he developed with surprising rapidity into a fine landscape painter. It can be dated specifically to the summer of 1856 when the artist took a sketching tour through Westphalia in the company of Worthington Whittredge and other American artists. They proceeded on to Rome, where Bierstadt sketched the Arch of Octavius in preparation for his major painting of that subject dated 1858. On the back of the paper of [this] landscape, can be found drawings of arches similar to the Arch of Octavius, as well as the inscription, ‘Westphalia, Germany’ in Bierstadt’s hand.” $ 50,000 – 75,000

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230

Jane Peterson (1876 – 1965) Leaning Tower – Venice

oil on canvas 30 × 24 inches signed lower right: Jane Peterson VERSO Signed Artist label with signature and title Label, Hirschl & Adler Galleries, New York, New York PROVENANCE Hirschl & Adler Galleries, New York, New York, 1985 The Estate of Jack & Cally Vickers, Castle Pines, Colorado $ 80,000 – 120,000 – 181 –

231

Charles M. Russell (1864 – 1926) The Brave’s Return for His Answer

watercolor on paper 15.5 × 9.25 inches initialed lower left: [artist cipher] CMR VERSO Label, Kimbell Art Museum, Fort Worth, Texas The Brave’s Return for His Answer is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.UNL.54. PROVENANCE Pete and Janet Taggares, Washington $ 80,000 – 120,000

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232

Grace Carpenter Hudson (1865 – 1937) The Last Stitch (Tul-e-ba) (1913)

oil on canvas 16 × 22 inches signed lower left: © G Hudson 13 VERSO Signed and “#443” PROVENANCE Pete and Janet Taggares, Washington LITERATURE Searles R. Boynton D.D.S., The Painter Lady Grace Carpenter Hudson, Sun House Guild, 1978, p. 174, illustrated $ 30,000 – 50,000

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233

Leon Gaspard (1882 – 1964) A Street in Peking (1936)

oil on board 20 × 40 inches signed lower left: Leon S. Gaspard Peking 1936 VERSO Titled Label, Nedra Matteucci Galleries, Santa Fe, New Mexico Citing Helen Comstock’s Gaspard Paints the West, Forrest Fenn wrote, “Gaspard expressed that it was hard to imagine the difficulties of painting a street scene in China. The narrow streets full of hurrying pedestrians jostled his canvas, while the scene changed quickly, the color shifted, and the light receded. There was, he said, also the problem of a kaleidoscope of angles and colors. On the streets of Peking, throngs of good natured rickshaw boys would gather to

watch him. Sometimes they cut off the view of his subject, and he had to pack up his paints and move. One time when he was surrounded by the usual crowd, strolling merchants saw an opportunity and set up their booths. A man with a whole lunch counter on his back–an ‘ambulatory restaurant,’ according to Gaspard– did a thriving trade. The temporary markets disappeared when the painter gathered his gear and went away.”

EXHIBITED Impressions from Russia & the Faraway, Nedra Matteucci Galleries, Santa Fe, New Mexico, 2013 $ 80,000 – 120,000

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234

Maynard Dixon (1875 – 1946)

El Lechero (The Milkman), Guadalajara, Mexico oil on board 12.5 × 11.75 inches signed lower right: Maynard Dixon VERSO Titled PROVENANCE Private collection, Lake Tahoe, Nevada Coeur d’Alene Art Auction, Reno, Nevada, 2012 Private collection, Reno, Nevada $ 25,000 – 35,000 – 185 –

235

Paul Pletka (b. 1946) Crow Indian (1975)

acrylic on canvas 48 × 60 inches signed lower left: Pletka Describing this painting Edna Gundersen wrote, “Historians reason that the Crows survived as a tribe because they cooperated with the government during the Indian Wars of the late nineteenth century. A few wise men among them realized there was no use fighting the overwhelming tide of Anglo humanity. Along with some Shoshones, they were enlisted as scouts, thereby managing to keep small portions of their homeland without being moved about too much;

the Crow reservation is still located in Montana. The Crow Indian in this painting displays a potpourri of war emblems, including a warrior narrative drawn across his old robe adorned with pony beads. The American flag painted on his face is Pletka’s indication he is a scout. The gear on his head includes a horned medicine bonnet. A war whistle is affixed to the crow on his robe.”

LITERATURE Paul Pletka, Pletka, Northland Press, 1983, p. 60-61, illustrated $ 30,000 – 50,000

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236

Paul Pletka (b. 1946) Txicao (1991)

acrylic on linen 64 × 44 inches signed lower left: Pletka PROVENANCE Private collection, Los Angeles, California Private collection, New Mexico Norman Hascoe, Greenwich, Connecticut, 2004 Present owner, by descent $ 20,000 – 30,000

237

Tucker Smith (b. 1940) Clay Bank (1981)

watercolor on paper 13 × 21 inches signed lower left: Tucker Smith 81 $ 6,000 – 9,000 – 187 –

238

C. Michael Dudash (b. 1952)

Traveling an Ancient Land (2021) oil on canvas laid on board 42 × 28 inches signed lower right: C M Dudash CA VERSO Signed, titled, and dated The artist writes, “Whenever I have traveled the vast Southwest Territory of the United States, I am always overwhelmed by the sense of times past and endless distance. My mind quickly goes to a place where I can see and imagine the cultures of old, which include the various Apache tribes of which I am most familiar. How they skillfully survived, and indeed flourished in this difficult environment is to this day still a marvel to me. My hope is that Traveling an Ancient Land gives the viewer a similar feeling of timeless space and admiration for these wandering travelers.” $ 20,000 – 30,000 – 188 –

239

Z. S. Liang (b. 1953)

Lakota War Chief (2013) oil on canvas 36 × 24 inches signed lower right: Z. S. Liang VERSO Signed, titled, dated, and “#1242” Label, Trailside Galleries, Jackson, Wyoming $ 30,000 – 50,000 – 189 –

240

Brent Cotton (b. 1972)

Where the River Flows (2021) oil on canvas laid on board 32 × 40 inches signed lower right: Cotton The artist writes, “This scene is from memory and inspired by many an evening spent on the Bitterroot River near my home in western Montana. Trying to capture the feeling of being on the water and being immersed in the experience is what I strive for in my work.” $ 15,000 – 25,000

241

Jay Moore (b. 1964)

September on the San Miguel oil on canvas 36 × 24 inches signed lower left: Jay Moore VERSO Label, Autry Museum of the American West, Los Angeles, California PROVENANCE Private collection, Reno, Nevada EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2015 $ 8,000 – 12,000 – 190 –

242

Robert Bateman (b. 1930)

Above the Rapids – Gulls and Grizzly (2005) acrylic on canvas 30 × 48 inches signed lower right: Robert Bateman 2005 © VERSO Signed, titled, and dated Label, Spanierman Gallery, New York, New York In discussing this painting the artist wrote, “Wild Pacific salmon continue to play a vital role in the chain of life for many species. Salmon are an essential element for nourishment of wildlife from grizzly bears to birds to other aquatic life and insects. Although I have not shown a salmon, you know they are there. Some are in the quiet water above the falls and others are still fighting their way upstream. This is why the grizzly bear and gulls are there. This is the banquet time so important to these species and many others. It is a far-ranging crime against nature and against us to jeopardize the spectacular wild salmon.” $ 60,000 – 90,000

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243

Tom Lovell (1909 – 1997) Horse Raid (1978)

oil on canvas 40 × 30 inches signed lower left: © Tom Lovell CA 1978 VERSO Artist label with signature, title, and date Typed artist’s description of painting Label, Trailside Galleries, Jackson, Wyoming The artist wrote, “Horse raiding was an important part of the Plains Indians culture. The idea was to cut the picket ropes and lead the best horses away by stealth. But a dog barks and the camp is aroused; the raiders leave without ceremony, with a few captured animals and no dignity.” As noted by Richard Conn in Circles of the World: Traditional Art of the Plains Indians, “While stealing any horse earned some merit for the thief, valuable animals brought greatest honor. Most prized by the Plains people were their ‘buffalo runners.’ Trained to run unflinchingly beside a thundering bison so that their riders could have both hands free to shoot, these hunting mounts were so precious that they were herded apart and kept under guard at all times; at night they were picketed by their owners’ tipis. There are

even accounts of men sleeping with hackamore ropes tied to their arms or legs as a further deterrent to prowling horse stealers. The greater the risk, the sweeter the prize, however, and some Plains warriors became specialists in stealing livestock. Novices began with the least valuable animals grazing outside camp in herds guarded only by one or two adolescents. In this situation a group of horses could quickly be driven off while a friend stampeded the others to delay pursuit. Experienced thieves could creep into sleeping camps and take better animals with tactics that were proof against harness bells, wakeful owners, and even hackamore ropes. The skill of Plains horse thieves was documented in 1872 when, under the very nose of army sentries, a group of Comanches ‘requisitioned’ fifty-one government animals from a stone-walled corral at Fort Sill, Oklahoma.”

PROVENANCE Trailside Galleries, Jackson, Wyoming Oklahoma Publishing Company, Oklahoma City, Oklahoma Private collection, Texas, 2013 $ 250,000 – 350,000

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244

Olaf Wieghorst (1899 – 1988) The Trail Home

oil on canvas 20 × 24 inches signed lower left: O – Wieghorst [artist cipher] VERSO Signed and titled PROVENANCE The artist Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 15,000 – 25,000

245

Edward Borein (1872 – 1945) Stand Right There

Tom Lovell (1909 – 1997) Horse Raid (1978)

ink on paper 17 × 13.5 inches signed lower left: Borein VERSO Label, Arlington Gallery, Santa Barbara, California A copy of a Letter of Authentication, dated June 10, 1995, from Harold G. Davidson will accompany the lot. PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019 $ 10,000 – 20,000

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246

Frank Tenney Johnson (1874 – 1939) Taking Aim – Yellow Jacket Pass (1905)

oil on canvas 27 × 17 inches signed lower right: Frank Tenney Johnson 1905 VERSO Titled PROVENANCE Sotheby’s, New York, New York, 1997 Private collection, Tennessee $ 20,000 – 30,000

247

Carl Rungius (1869 – 1959) Packhorses

watercolor on paper 4 × 5.5 inches initialed lower center: C. R. VERSO Inscribed, “Best Wishes for the Coming Year from Mr. & Mrs. C. Rungius” PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 5,000 – 7,000 – 195 –

248

Charles M. Russell (1864 – 1926) Friend Wallace Letter (1918)

watercolor and ink on paper 7.75 × 14.75 inches signed lower right: C M Russell VERSO Label, Amon Carter Museum, Fort Worth, Texas Friend Wallace Letter is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.ILU.140. PROVENANCE Pete and Janet Taggares, Washington $ 80,000 – 120,000

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249

E. William Gollings (1878 – 1932) Watching the Herd (1917)

oil on board 9 × 12.5 inches signed lower left: Gollings [artist cipher] 1917 VERSO Label, Mitchell Studio Gallery, Addlestone, United Kingdom PROVENANCE Doyle Auctions, New York, New York, 2015 $ 30,000 – 50,000

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250

Philip R. Goodwin (1881 – 1935) Hitting the Trail

oil on canvas 24 × 33 inches signed lower right: Philip R. Goodwin VERSO Label, Midwestern Galleries, Cincinnati, Ohio Label, The University Club, Cincinnati, Ohio According to Dr. Larry Len Peterson, “Montana’s Glacier National Park has the type of views that keep postcard companies and artists in business. Philip R. Goodwin traveled there in 1907 and in 1910 to visit Charles M. Russell and his wife Nancy at Bull Head Lodge, their summer retreat on Lake McDonald. During the first decade of the twentieth century, the wunderkind illustrated two of the most famous books of the era, Jack London’s Call of the Wild (1903) and Theodore Roosevelt’s African Game Trails (1909) – along with dozens of other books, magazines, and sporting illustrations – before he was thirty years old. No artist had a greater impact on the art of Russell than his young friend from back East. While Russell savored his time with his mentor, Goodwin also greatly benefitted by photographing and sketching the park’s stunning, jagged mountains and pristine waters. They supplied inspiration and source material for art such as Hitting the Trail completed back in his studio in Mamaroneck, New York. “One of the quintessential subjects of the sporting artist was the pack train that Goodwin knew intimately as he traveled the wilderness trails of Maine, Eastern Canada, and Banff

with Carl Rungius, and especially, Glacier Country. For almost thirty years, many of his finest paintings appeared first on Brown & Bigelow calendars – the largest calendar company in the nation. At the apex of his career between 1910 and 1920, Goodwin created Hitting the Trail, which was selected for their 1916 offering. A year later, five of his pieces, including Hitting the Trail, were reproduced in portfolio form. In 1919 the image was published in yet another portfolio titled ‘Out In the West’ along with three of his most famous oils: Blazing the Trail, In Silent Places, and A Timely Catch. That same year, Goodwin’s most recognized illustration, The Horse and Rider, for Winchester Repeating Arms was completed, which became recognized throughout the world. In 1922 Marble Arms & Manufacturing Company of Gladstone, Michigan – makers of axes, gun sights, and knives – through Brown & Bigelow widely distributed a calendar that once again featured Hitting the Trail. It seemed as if the image was everywhere in America. One of the finest paintings he ever completed, this gem is a tribute to the genius of Philip R. Goodwin, rightly titled, ‘America’s Sporting and Wildlife artist.’”

PROVENANCE The artist Brown & Bigelow, St. Paul, Minnesota, 1916 William P. Healey, Jackson, Wyoming EXHIBITED Annual Art Exhibition, The University Club, Cincinnati, Ohio, 1989 LITERATURE Larry Len Peterson, Philip R. Goodwin: America’s Sporting & Wildlife Artist, Coeur d’Alene Art Auction and Settlers West Galleries, 2001, p. 320, illustrated $ 100,000 – 150,000

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251

E. William Gollings (1878 – 1932)

PROVENANCE William P. Healey, Jackson, Wyoming

oil on canvas 34 × 24 inches signed lower left and lower right: Gollings [artist cipher]

LITERATURE William T. Ward and Gary L. Temple, Gollings, More of the Story, Patagonia Publishing, 2009, p.57, illustrated [painting incorrectly dated as 1906]

Winter Country (ca. 1920s)

VERSO Label, Gerald Peters Gallery, Santa Fe, New Mexico

$ 100,000 – 150,000 – 200 –

252

Olaf C. Seltzer (1877 – 1957) Seeking New Camping Ground oil on canvas 17.5 × 21.5 inches VERSO Label, Arthur H. Harlow & Co., New York, New York PROVENANCE Arthur H. Harlow & Co., New York, New York, ca. 1940 Mrs. Lawrence Marks, New York, New York Sotheby’s, New York, New York, 1999 Private collection, Arizona EXHIBITED How the West Was Won, Wildenstein & Co., New York, New York, 1968 [as by Charles M. Russell] $ 15,000 – 25,000

253

John Norval Marchand (1875 – 1921) Sergeant Kinnaird (1908)

oil on canvas 20 × 17.5 inches signed lower left: J. N. Marchand 1908 LITERATURE W. A. Fraser, “Sergeant Kinnaird.” Sunday Magazine, 6 Sept. 1908, cover, illustrated $ 8,000 – 12,000 – 201 –

254

Robert Griffing (b. 1940) Friend or Foe (2000)

oil on canvas 40 × 30 inches signed lower right: Griffing © 2000 VERSO Signed, titled, and dated Describing this painting the artist wrote, “Here you see the everyday reality of survival in these times, warriors on patrol discerning

if the tracks in the snow indicate a possible enemy threat.” PROVENANCE Settlers West Galleries, Tucson, Arizona, 2000 Private collection, Arizona LITERATURE Tim J. Todish, The Narrative Art of Robert Griffing: Volume II: The Journey Continues, Paramount Press, 2007, p. 110, illustrated $ 50,000 – 75,000 – 202 –

255

Z. S. Liang (b. 1953)

Joe Kipp, Trader, Missouri River, 1879 (2013) oil on canvas 44 × 68 inches signed lower right: Z. S. Liang VERSO Signed, titled, and dated Label, Autry Museum of the American West, Los Angeles, California Of the painting artist Tom Saubert wrote, “From his birth in a Mandan village in 1849, the son of an American Fur Company father and a Mandan mother, Joseph Kipp would go on for sixty-four years to lead one of the most extraordinary lives of travel, trade and adventure ever documented in the annals of Western history’s fur trade period. His friends called him ‘Raven Quiver’ and they were many and diverse, whether soled in moccasins or boots. Among this kindred retinue were Indian chiefs and warriors, trappers, merchant traders, French voyageurs, Canadian

Mounties, soldiers, buffalo hunters and bull whackers, mixed-bloods, lawmen, priests and preachers. All these colorful characters populated his wide world which revolved around the Indian trade on the Upper Missouri frontier from 1866 until it ended in 1881. Joe Kipp was a man of singular reputation known as a firm, honest, and generous trader, highly respected by Indian and white alike. In the fall of 1878, Kipp agreed to ‘camp-trade’ with the Piegan bands north of the Missouri River at the foot of the Bear Paw Mountains, and here the scene unfolds in the artist’s painting.”

EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2014 LITERATURE Masters of the American West, Autry Museum of the American West, 2014, p. 52, illustrated Tom Saubert, Z. S. Liang: Native Trails, Fresh Tracks, Greenwich Workshop Press, 2014, pp. 46-47, illustrated $ 60,000 – 90,000

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256

Clyde Aspevig (b. 1951) The Old Orchard

oil on canvas 30 × 40 inches signed lower left: C. Aspevig VERSO Signed and titled PROVENANCE Juniper Ridge Studio, Billings, Montana Private collection, Tucson, Arizona, 2002

EXHIBITED Museum of the Rockies, Bozeman, Montana, 2004 LITERATURE American Art Review, Apr. 2002, p. 81, illustrated Clyde Aspevig 2004, Museum of the Rockies, p. 12, illustrated $ 15,000 – 25,000

257

Mike Barlow (b. 1963) Last Look (2020)

bronze 25 × 49 × 9 inches inscribed on base: Barlow 3/21 According to the artist, “Mule deer have always been an important part of my life. As a young man growing up in eastern Wyoming, I often walked the rugged hills where mule deer live. Finding a large buck was always a thrill. Usually, he sees you first then crests the horizon and disappears into vast country.” $ 10,000 – 15,000 – 204 –

258

Jeremy Winborg (b. 1979)

Learning of the Past, Looking to the Future (2021) oil on board 38 × 40 inches signed lower left: J. Winborg VERSO Signed, titled, and dated Describing this painting the artist writes, “We must look to our ancestors and learn from them. If we know where we came from, we may better know where to go. If we know who we came from, we may better know who we are. In this painting, a granddaughter is taught generations of knowledge from her grandfather as she looks toward her future.” $ 20,000 – 30,000

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259

Steve Burgess (b. 1960)

Are You Coming or What? (2021) oil on board 30 × 30 inches signed lower left: Steve Burgess The artist writes, “I have long been fascinated with the hardiness of the American Rocky Mountain goat and always enjoy painting these fabulous looking animals. Usually staying above the tree line in summer and descending to lower elevations in winter their life seems one of relative hardship and I suppose their ability to adapt to extreme conditions is one of the things that attracts me to paint them. The pair I painted in this painting have survived another winter and are climbing to higher elevations, looking forward to a summer of relative ease in the mountains.” $ 10,000 – 15,000

260

Dustin Van Wechel (b. 1974) Prairie Dog POV (2021)

oil on canvas laid on board 40 × 35 inches signed lower right: D Van Wechel Describing this painting the artist writes, “I’ve long wanted to create a bison painting with a slightly more playful perspective. In this case, the perspective of the prairie dog. Here I’ve utilized a low angle, mildly exaggerated foreshortening and the ‘hero’ pose of the bull to give the viewer a unique look – from the prairie dog’s point of view – that is fun if not still a bit intimidating.” $ 12,000 – 18,000

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261

Luke Frazier (b. 1970) Roving Warrior (2021)

oil on board 30 × 36 inches signed lower left: L. Frazier VERSO Signed, titled, and dated According to the artist, “September in Alaska rings in the rutting season for moose. As the summer colors change from verdant greens and browns to autumn’s red crimson and vibrant purple yellows – youngish bull moose start to get the urge. Years of being shunned and driven off by larger, heavier herd bulls, the powerful young warrior sets out yet again to try his luck.” $ 20,000 – 30,000

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262

Frank McCarthy (1924 – 2002) The Citadel

oil on canvas 12 × 24 inches signed lower right: McCarthy CA © VERSO Signed, titled, and “#951” PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 10,000 – 15,000

263

Wilson Hurley (1924 – 2008)

Rainbow Plateau (Above Lake Powell) oil on canvas 30 × 36 inches signed lower left: Wilson Hurley PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 10,000 – 15,000

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264

Bob Kuhn (1920 – 2007)

Prairie Overture – Bison (2004) acrylic on board 18 × 24 inches signed lower left: Kuhn VERSO Signed and dated LITERATURE Tom Davis, Patrons Without Peer, the McCloy Collection, Collectors Covey, 2009, p. 109, illustrated $ 60,000 – 90,000

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265

Carl Rungius (1869 – 1959)

Bighorn Sheep, Nigel Pass, Alberta (1919) oil on canvas 12 × 16 inches signed lower right: C. Rungius Nigel Pass is in the Columbia Ice Fields area of Alberta, Canada and forms the boundary between Jasper National Park and Banff National Park. It is a natural habitat for bighorn sheep. PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2013 Private collection, Reno, Nevada $ 40,000 – 60,000

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266

Eanger Irving Couse (1866 – 1936) By the Fire (1921)

oil on canvas 24 × 29 inches signed lower right: E- I- Couse- N. A. VERSO Label, The Rees-Jones Collection, Dallas, Texas By the Fire will be included in the E. I. Couse Catalogue Raisonné. Virginia Couse Leavitt writes, “This is a classic Couse firelight painting, a genre for which Couse was famous. Here, Ben Lujan, his favorite model from Taos Pueblo, is seen crouched before a fireplace where he is roasting ears of corn. Multiple ears, still in their husks, sit on the hearth, while the ears that have already been roasted fill a basket to the left. The contemplative attitude of the Indian as he goes about his work enhances his spiritual awareness of the significance of corn in Indian life where corn is both a staple food but also an important ceremonial object. Ceremonially, sprinklings of corn pollen or corn meal are used as spiritual offerings, or are applied to the body for ritual adornment.” PROVENANCE Sotheby’s, New York, New York, 2000 Larry and Utta Kravet, Hewlett Bay Park, New York Private collection $ 80,000 – 120,000 – 211 –

267

Edgar S. Paxson (1852 – 1919) Indian Scouting Party (1901)

oil on canvas 20 × 26 inches signed lower right: E S Paxson 1901 PROVENANCE Pete and Janet Taggares, Washington $ 40,000 – 60,000

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268

Charles M. Russell (1864 – 1926) The Proposal

watercolor on paper 9.25 × 15.5 inches initialed lower left: [artist cipher] CMR VERSO Label, Kimbell Art Museum, Fort Worth, Texas The Proposal is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.UNL.436. PROVENANCE Pete and Janet Taggares, Washington LITERATURE Harold McCracken, The Charles M. Russell Book, Doubleday, 1957, p.115, illustrated $ 100,000 – 150,000

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269

Maynard Dixon (1875 – 1946) Arizona Autumn (1943)

oil on canvas laid on board 16 × 20 inches signed lower left: Maynard Dixon Ariz. Dec. 1943 VERSO Signed, titled, and “#668” Tag, A Place of Refuge: Maynard Dixon’s Arizona, Source: Sublette, J. Mark A Certificate of Authenticity from Mark Sublette will accompany the lot. PROVENANCE Private collection, Reno, Nevada LITERATURE Donald J. Hagerty, The Art of Maynard Dixon, Gibbs Smith, 2010, p. 233, illustrated Thomas Brent Smith, A Place of Refuge: Maynard Dixon’s Arizona, Tucson Museum of Art, 2008, p. 134, illustrated $ 50,000 – 75,000

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270

Gerard Curtis Delano (1890 – 1972) The Drummer

oil on board 10.5 × 17.75 inches signed lower right: Delano VERSO Signed and titled PROVENANCE Jimmy Nicholas, Branson, Missouri Coeur d’Alene Art Auction, Reno, Nevada, 2012 Private collection, Tucson, Arizona $ 15,000 – 25,000

271

Joe De Yong (1894 – 1975) Night Talk

oil on canvas laid on board 14 × 18 inches signed lower right: Joe De Yong PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 8,000 – 12,000

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272

Albert Bierstadt (1830 – 1902) Mount Baker, Washington (1891) oil on canvas 14.5 × 20 inches signed lower right: ABierstadt VERSO Label, Stashka Art Conservation, Dallas, Texas According to William Tylee Abbott, “In August of 1890 Bierstadt was commissioned to paint a large oil of ‘Mt. Baker’ for Sir George Stephens of the Canadian Pacific Railway. According to instructions from William Cornelius Van Horne, General Manager of the Railway, ‘... [if ] you paint Mount Baker from the first little bridge west of our Stone River bridge I am very sure that Sir George would like that, so sure that you might feel entirely safe in stopping there to paint it. Cloudy days are not infrequent there and you

might lose a few days getting a good view of it, but under favorable conditions the view is so magnificent that I am sure it would be well worth your while. I think it the finest natural composition I have ever seen. The point indicated is the nearest one on our line from which a good view of Mount Baker can be had. The Fraser River, very broad here, stretches away towards it, the centre cone of Mount Baker rises apparently directly from the river and is frequently reflected in it with great distinctness.’”

PROVENANCE J. Harrison Mills, New York, New York Private collection, Boston, Massachusetts and Texas, ca. 1910-20 Mrs. Jennifer Harris, California, by descent Private collection, Dallas, Texas Coeur d’Alene Art Auction, Reno, Nevada, 2011 Private collection, Fort Worth, Texas LITERATURE Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, p. 19, illustrated $ 250,000 – 350,000

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273

Andy Thomas (b. 1957) Albert Bierstadt (1830 – 1902) Mount Baker, Washington (1891)

Counter Strike (2021)

oil on canvas 24 × 32 inches signed lower right: Andy Thomas VERSO Signed, titled, and dated According to the artist, “At the Battle of the Big Hole in Montana, Chief Joseph’s Nez Perce repulsed an early morning surprise attack on his camp and drove the soldiers and militia back across a creek and up a rise. There, the soldiers entrenched themselves as best they could. The enraged Nez Perce kept them pinned down for more than a day. “Here, I depicted a group of men launching a counter-attack to drive back the encirclement. The Nez Perce slipped away when a relief force arrived.” $ 20,000 – 30,000

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274

Martin Grelle (b. 1954) The Day Awaits (2020)

275

D. Edward Kucera (b. 1961) Mighty Are the Swift (2021)

oil on canvas 30 × 42 inches signed lower right: D E Kucera © 2021 The artist writes, “The American bison is often thought of as a slow and lumbering creature, but the truth is that they can be as quick as a hiccup, and just as fast.” $ 15,000 – 25,000

276

Harley Brown (b. 1939) Northern Plains

pastel on paper 21.5 × 16.5 inches signed lower right: Harley Brown CA PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 4,000 – 6,000 – 220 –

278

Scott Tallman Powers (b. 1972) 277

John Banovich (b. 1964) High Country Wolves (1993)

oil on board 36 × 24 inches signed lower left: © Banovich 93 PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 5,000 – 7,500

A Life of Cultivation (2012)

oil on board 30 × 36 inches signed lower left: Scott Powers 2012 According to the artist, “Walking through the small villages in central Mexico, you will see countless street vendors plying their wares. These merchants are the arteries of their community. Hard at work, men and women sell their freshly picked fruit and vegetables in the warm sunlight as their children play. This is an honest life they lead, and one I have always admired.” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2012 Private collection, Reno, Nevada $ 10,000 – 15,000

279

Wayne E. Wolfe (b. 1945) Sunning (1980)

oil on board 24 × 36 inches signed lower left: Wayne E. Wolfe © 1980 VERSO Artist label with title and date Label, Texas Art Gallery, Dallas, Texas PROVENANCE Private collection, Texas $ 5,000 – 7,000 – 221 –

280

Dan Mieduch (b. 1947)

Dragoon Mountain Stronghold (2021) oil on board 24 × 36 inches signed lower left: © Dan Mieduch 2021 In discussing this painting the artist writes, “The first horse, so Apache legend holds, was made by ‘Changing Woman’ wife of the sun. This horse had hooves of agate, a mane from rainclouds, and eyes from stars. “‘Changing Woman’s’ twin sons, ‘Monster Slayer’ and ‘Child Born of Water’ brought this gift to the ‘People’ and taught them that ‘Raiding and War’ were spiritually directed and if warriors honored this belief system, that the ‘Gan’ or ‘Mountain Spirits’ would conceal and protect them. “So evolved the bandit culture of the Chiricahua Apache. With their blessed possession the horse, and the rugged topography of their home, they were able to put off the day – for a half century or so – when the encroachment of civilization and the march of technological progress would subdue them all.”

281

$ 12,000 – 18,000

PROVENANCE The Salah M. Hassanein Collection Present owners, by descent, 2019

David Nordahl (b. 1941) Tailwind (2011)

$ 6,000 – 9,000 – 222 –

282

Z. S. Liang (b. 1953) Guardians (2013)

oil on canvas 52 × 34 inches signed lower left: Z. S. Liang VERSO Signed, titled, dated, and “#1240” Of the painting artist Tom Saubert wrote, “From year to year, good patches of buffalo berries usually remained fairly stable in the locations known for them. Berry gathering was an important activity since the addition of this fruit was important to a diet heavy

with meat. At the eastern edge of their territorial range, a band of Blackfeet have pitched their fall berry camp near Wild Horse Butte on Arrow Creek, just south of the Missouri River. It was an area visited by Assiniboine and Gros Ventre hunting parties. Ever wary, an older member of the band leads the younger guards as the vigilantly protect the berry pickers from paternal enemy surprise.” PROVENANCE The artist Settlers West Galleries, Tucson, Arizona, 2013

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Private collection, Montana Coeur d’Alene Art Auction, Reno, Nevada, 2015 Private collection, Texas EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 2013 LITERATURE The Great American West, Settlers West Galleries, 2013, pp. 18-19, illustrated Tom Saubert, Z. S. Liang: Native Trails, Fresh Tracks, Greenwich Workshop Press, 2014, p. 128, illustrated $ 50,000 – 75,000

283

Maynard Dixon (1875 – 1946)

Distant Mesa, Navajo Reservation, Kayenta, Arizona (1922) oil on canvas 16 × 20 inches signed lower left: Maynard Dixon Kayenta Ariz. Aug 1922 VERSO Signed, titled, and “#225” Label, Mark Sublette Medicine Man Gallery, Catalina Foothills, Arizona According to Dixon biographer Mark Sublette, “Dixon’s use of long lines of mesas leads to some of his most iconic paintings in the mid-twenties. Distant Mesa and Ponies Coming Toward Water are two works whose figuration depicts Dixon’s gravitational pull towards the earth.” PROVENANCE Private collection, Reno, Nevada LITERATURE Mark Sublette, Maynard Dixon’s American West: Along the Distant Mesa, Just Me Publishing, 2018, pp. 157, 416, illustrated $ 40,000 – 60,000

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284

Joseph Henry Sharp (1859 – 1953) Glorietta – Taos

oil on canvas 20 × 24 inches signed lower right: J H Sharp VERSO Inscribed, “Glorietta – Taos / A cottonwood grove near the Indian pueblo where they have ceremonial dances, &c. looking out of grove” An original letter from the artist to Mrs. Ruth Hoard will accompany the lot. PROVENANCE The artist Mrs. Ruth Hoard, El Paso, Texas Present owner, by descent $ 50,000 – 75,000

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285

Charles M. Russell (1864 – 1926) Friend Con Letter (1910)

watercolor and ink on paper 8 × 9.75 inches signed lower right: C M Russell VERSO Label, Amon Carter Museum, Fort Worth, Texas Friend Con Letter is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.ILU.282. According to Brian W. Dippie, “Part ownership of the Lazy K Y Ranch was a last hold on the past for Russell. But 1910, with its terrible forest fires, was a drought year on the range as well. No rain fell between April and October, the grass was in miserable condition, and the waterholes had all been filed on by homesteaders. Though the Lazy K Y’s holdings had grown to nearly three hundred head of cattle and sixty horses, 1910 was the year to call it quits. Charlie and Nancy, who between them had filed on 360 acres, arranged on July 6 to rent their land to Pete Wagner for a year at fifty cents an acre. The Prices were considering an apple orchard in Washington, while Charlie was looking into a hay ranch nearer Great Falls.

“After making the decision to sell out, Charlie visited the Lazy K Y in September with Phil Goodwin, his guest over the summer. Henry P. Webster, whose father that year acquired a ranch just across the border in Canada, was also on hand for the farewell visit, and a number of photographs were taken to commemorate the event. Goodwin even got to relive the Wild West when he mounted a spirited bay named Dave, Russell’s favorite saddle horse on the ranch. It bolted, and Goodwin had a scary gallop before it was brought under control. Nevertheless, a few days later he and Charlie departed on Dave and Sandy, a pretty yellow horse intended for Nancy, to make the five-day ride to Great Falls.”

PROVENANCE Pete and Janet Taggares, Washington LITERATURE Brian W. Dippie, Charles M. Russell, Word Painter: Letters 1887-1926, Amon Carter Museum, 1993, p. 139, illustrated Nancy C. Russell, Good Medicine: the Illustrated Letters of Charles M. Russell, Doubleday, 1930, p. 104, illustrated $ 80,000 – 120,000

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286

Melvin Warren (1920 – 1995)

Clearing Skies and Willing Horses (1964) oil on canvas 24 × 36 inches signed lower right: Melvin C. Warren 1964 $ 20,000 – 30,000

287

Frank McCarthy (1924 – 2002) With Carbines Drawn

oil on canvas 30 × 20 inches signed lower right: McCarthy CA © VERSO Signed and titled Label, Big Horn Galleries, Cody, Wyoming $ 15,000 – 25,000 – 228 –

288

Kenneth Riley (1919 – 2015) Bodmer

oil on board 24 × 20 inches signed lower right: Kenneth Riley VERSO Label, Buffalo Trail Fine Art Galleries, Jackson Hole, Wyoming Label, The Vantage Collection of American Western Art, Dallas, Texas In 1833, the artist Karl Bodmer signed on with German Prince Maximilian to travel first by steamer and the keelboat to Fort McKenzie on the upper Missouri River. Their purpose was to study the land and the native people of this largely unexplored region. Biographer Susan Hallsten McGarry wrote, “Riley used Bodmer’s portrait of Piegan Chief Iron Shirt as a resource.… However, as in all his work, Riley expands on the human interaction of the explorers and their subjects, bringing them his personal excitement in imagining the energy that would have filled the room as the artist captured a likeness for posterity.” $ 50,000 – 75,000 – 229 –

289

Richard Schmid (1934 – 2021)

Hewick Church, North Yorkshire, England (1992) oil on canvas 24 × 36 inches signed lower right: Schmid 1992 VERSO Signed, titled, dated, and “#2447” PROVENANCE The K. T. Wiedemann Foundation, Wichita, Kansas EXHIBITED Richard Schmid: Beyond Reality, Selections from the K. T. Wiedemann Foundation Collection, Mark Arts, Mary R. Koch Arts Center, Wichita, Kansas, 2019 LITERATURE Richard Schmid, Richard Schmid: The Landscapes, Stove Prairie Press, 2009, p. 189, illustrated $ 60,000 – 90,000

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290

Richard Schmid (1934 – 2021) Lily Joy (2006)

oil on canvas laid on board 10 × 19 inches signed lower right: Schmid 2006 VERSO Signed, titled, dated, and “#2896” The artist wrote, “Most of the Cadmium colors here are just as they appear straight out of the tube, and using them in their full values and full saturation gave me the impact of extravagant color I wanted. All of this, along with the dance of the high key white flowers was risk taking, but made this an intriguing and powerful painting.” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2015 Private collection, Reno, Nevada LITERATURE Richard Schmid, Richard Schmid: My Still Life Art, Stove Prairie Press, 2019, pp. 210-13, illustrated $ 20,000 – 30,000 291

Richard Schmid (1934 – 2021) Nancy (1989)

pastel on paper 23 × 18 inches signed lower right: Schmid VERSO Signed, titled, dated, and “#2237” $ 8,000 – 12,000 – 231 –

292

Bob Kuhn (1920 – 2007) North Country (1991)

acrylic on board 21.5 × 24 inches signed lower right: Kuhn VERSO Signed, titled, and dated The artist wrote, “To be an artist requires that the truth as one knows it should be stretched and bent to the aesthetic demands of the work, for facts alone do not produce art. Rather, they are the raw stuff from which a piece of art might emerge. “I now think, albeit pretty late in the game, that the realism of a painting is honored in the breach. It’s the little glitch that often gives life to a piece of work. A quirk, a twist – something that surprises.” $ 60,000 – 90,000

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293

Melvin Warren (1920 – 1995) Top Hand of the Concho (1974)

oil on canvas 24 × 36 inches signed lower left: © Melvin C. Warren CA 1974 VERSO Signed, titled, and dated Label, Cowboy Artists of America Label, San Diego Museum of Art, San Diego, California PROVENANCE Pete and Janet Taggares, Washington EXHIBITED Cowboy Artists of America 9th Annual Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1974 The Cowboy, San Diego Museum of Art, San Diego, California, 1981 LITERATURE Cowboy Artists of America 9th Annual Exhibition, Phoenix Art Museum, 1974, p. 71, listed Royal B. Hassrick, Western Painting Today, Watson-Guptill, 1975, p. 100, illustrated $ 30,000 – 50,000

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294

Maynard Dixon (1875 – 1946)

Indian and Soldier (The Indian of Yesterday) (1938) oil on board 25 × 34 inches signed lower left: Maynard Dixon Edith Hamlin 1938 Indian and Teacher (The Indian of Today) (1938) oil on board 25 × 34 inches signed lower left: Maynard Dixon Edith Hamlin 1938 VERSO (both works) Signed Inscribed, “Maynard Dixon care Leo Von Heygendorff 50 Chaves Ave. San Francisco” Label, Mark Sublette, Medicine Man Gallery, Tucson, Arizona A signed copy of Maynard Dixon’s American West: Along the Distant Mesa by Mark Sublette will accompany the lot. In 1938, the Treasury Section of Painting and Sculpture held a nationwide competition for the Bureau of Indian Affairs. Dixon was awarded a major commission to complete two murals for the Department of the Interior’s new building in Washington, D.C. Titled The Indian of Yesterday and The Indian of Today, each panel measured eight and a half by thirteen feet. When he finished this major effort he was asked to comment on his work. “Ever since the founding of Jamestown and Santa Fe our dealings with the Indian tribes have been a long series of wars and broken treaties down to to 1870s and ‘80s, ending in a sort of carpetbag era during the final settlement of the Great Plains and Rocky Mountain regions, 1890-1900, and the breaking up of the great Indian Reservations. Only recently our Government has undertaken a new policy based on a real understanding of Indian character and recognition of Indian rights long denied.

so I have chosen this type, with a cavalry officer of 1865-1880. The chief’s gesture says: ‘This is our land. You shall drive us no further.’ “Panel 2 – Indian and Teacher: The Indian says: ‘The Sun is our father, the Earth is our mother.’ The white man says: ‘The ground belongs to us.’ The Indian says: ‘We belong to the ground.’ The white man studies soil chemistry. The Indian prays to the Earth. “The teacher takes a lump of soil from the furrow and tells the Indian boy – the new generation – how to make it produce. The old people look on, somewhat doubtful of new ideas, with some reverence for the old. The large corn plant stands for the generous earth, the young corn for cultivation; the fence for divided lands and the end of freedom. I have always felt something far more tragic in all this – but perhaps here is now also something of hope.”

“Panel 1 – Indian and Soldier: Except for the Apaches (Arizona 1887) our 1st Indian wars were with Plains tribes: LITERATURE Mark Sublette, Maynard Dixon’s American West: Along the Distant Mesa, Just Me Publishing, 2018, front and back endpapers, pp. 310-11, illustrated $ 150,000 – 250,000 for the pair

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295

Bert Geer Phillips (1868 – 1956) Taos Maiden

oil on canvas 36 × 30 inches signed lower right: Phillips Of this painting Robert R. White, author of Bert Geer Phillips and the Taos Art Colony, wrote, “I was very pleased to have a chance to see Bert Phillips’ magnificent painting, Taos Maiden. This painting was previously unknown to me, but it has been hidden away in a private collection for many years and may have originally been known under a different title. The current title is a descriptive one, whereas Phillips would have used a more romantic title. A painting of this size and quality was undoubtedly done as an exhibition piece; that is, it was painted with the hope that it could win a prize or be purchased by a museum.

“Bert Phillips was the founder of the Taos art colony in September 1898, so his work is always of interest to me. Taos Maiden is of particular interest, though, because of the beautiful composition, the refined brushwork, and its unusually large size. The luminous quality of the woman’s dress is truly remarkable. All things considered, I think that this painting is equal to any of Phillips’ depictions of the people of Taos Pueblo.”

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2005 Private collection, Texas LITERATURE Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, p. 321, illustrated $ 100,000 – 150,000

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– 237 –

296

Joseph Henry Sharp (1859 – 1953) Chiz Chile, Navajo Boy (1905)

oil on canvas 14 × 10 inches signed lower right: J H Sharp 05 VERSO Label, Kennedy Galleries, New York, New York PROVENANCE Kennedy Galleries, New York, New York, 1960s Frances Hoard Glasier Jackson, El Paso, Texas Present owner, by descent $ 25,000 – 35,000 – 238 –

297

Eanger Irving Couse (1866 – 1936) Indian Reverie

oil on board 8 × 10 inches signed lower right: E- I- Couse- N- AIndian Reverie will be included in the E. I. Couse Catalogue Raisonné. $ 30,000 – 50,000

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298

Edward Borein (1872 – 1945)

299

Vaquero and Steer

watercolor on paper 6 × 7.25 inches signed lower right: Edward Borein

Charles M. Russell (1864 – 1926) Offering to the Sun Gods

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2010 $ 8,000 – 12,000

PROVENANCE H. E. Britzman The Lola and Ortha D. Wearin Collection Rob Day, Austin, Texas EXHIBITED C. M. Russell Museum, Great Falls, Montana, on loan 1991-2003 LITERATURE Rick Stewart, Charles M. Russell, Sculptor, Amon Carter Museum, 1994, p. 393, illustrated $ 5,000 – 7,000

300

Edward Borein (1872 – 1945) Trail Drive

monotype with painted highlights 13.5 × 11.5 inches signed lower right: Ed Borein VERSO Label, Owings-Dewey Fine Art, Santa Fe, New Mexico PROVENANCE William P. Healey, Jackson, Wyoming $ 8,000 – 12,000 – 240 –

301

W. H. D. Koerner (1878 – 1938) Wolf Dog #2 (1934)

oil on canvas 28 × 40 inches signed lower right: W. H. D. Koerner 1934 PROVENANCE Santa Fe Art Auction, Santa Fe, New Mexico, 2004 Private collection, Texas $ 35,000 – 50,000

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302

Edmund H. Osthaus (1858 – 1928) Let’s Get Acquainted

oil on canvas 30 × 44 inches signed lower right: Edmund Osthaus PROVENANCE Grand Rapids Public Museum, Grand Rapids, Michigan $ 40,000 – 60,000

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303

Albert Bierstadt (1830 – 1902) Sunset Study

oil on canvas laid on board 8 × 10 inches initialed lower right: AB Sunset Study will be included in the Albert Bierstadt Catalogue Raisonné. A letter from Melissa Webster-Speidel, President of the Bierstadt Foundation and Director of the Albert Bierstadt Catalogue Raisonné, will accompany the lot. $ 30,000 – 50,000

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304

Leon Gaspard (1882 – 1964) Argonne Forest (1920)

oil on canvas laid on board 32 × 36 inches signed lower left: Leon Gaspard 1920 In their Gaspard biography, Forrest Fenn and Carleen Milburn wrote, “When World War I broke out in 1914, Gaspard enlisted in the Second Escadrille de Lyon of the French Aviation Corps. He was assigned to the forces aligned with Russia against the German Empire. As an aerial observer, he flew behind the lines to chart enemy positions. Flying was new to the world. It had been only ten years since the Wright brothers’ first successful flight, yet the World War I pilots flew with confidence in their air machines. With open cockpits and few instruments, they flew by the seat of their pants.

“When Gaspard wasn’t flying, he made oil sketches depicting the ravages of war - prisoners slogging through snowy streets, soldiers marching along muddy roads with guns at the ready, and peasants working in the fields. His scenes were not gruesome and bloody, as were many war paintings executed at that time. Instead they showed the bravery and camaraderie of the troops and the citizenry who stoically continued working their farms.”

PROVENANCE Denver Art Gallery, Denver, Colorado, 1968 The Estate of Jack & Cally Vickers, Castle Pines, Colorado $ 150,000 – 250,000

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305

Mikel Donahue (b. 1956) Canyon Caravan (2021)

acrylic on board 22 × 30 inches signed lower right: M Donahue CA The artist writes, “Inspired by the classic movie ‘The Searchers’ directed by John Ford, Canyon Caravan depicts three hands of the Babbitt Ranches in northern Arizona. Set in an area of the ranch on the edge of the south rim of the Grand Canyon, this country reminded me of the panoramic views seen in that epic movie.” $ 10,000 – 15,000

306

Michael Workman (b. 1962) Morning Horses – Thistle (2021) oil on board 25.5 × 31.25 inches signed lower right: M W According to the artist, “There is a beautiful little spot that I frequently pass through called Thistle. Sometimes the morning light is dramatic and perfect for painting. This picture is inspired by one of those magical times when the lighting and subject all come together just right.” $ 15,000 – 25,000

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307

Andy Thomas (b. 1957) Look Who’s Here

oil on canvas 24 × 48 inches signed lower left: Andy Thomas Describing this painting the artist wrote, “The saloon was filled with the usual characters and they eyed me good. I eyed them, too, and wondered how this would play out. Hell’s Bells, I’ll soon find out.” PROVENANCE Settlers West Galleries, Tucson, Arizona, 2016 Private collection, Reno, Nevada EXHIBITED Great American West, Settlers West Galleries, Tucson, Arizona, 2016 $ 25,000 – 35,000

308

Steven Lang (b. 1960) Badger Medicine (2004)

oil on canvas 38 × 26 inches signed lower right: © Lang OPAM VERSO Typed artist’s description of painting PROVENANCE Rob Day, Austin, Texas $ 6,000 – 9,000 – 247 –

309

Z. S. Liang (b. 1953)

Observers Above Fort Phil Kearny, 1868 (2013) oil on canvas 42 × 32 inches signed lower right: Z. S. Liang VERSO Signed, titled, dated, and “#1253” LITERATURE Tom Saubert, Z. S. Liang: Native Trails, Fresh Tracks, Greenwich Workshop Press, 2014, p. 8, illustrated $ 40,000 – 60,000 – 248 –

310

Robert Griffing (b. 1940) The Trackers (2010)

oil on canvas laid on board 14 × 11 inches signed lower left: Griffing © 2010 VERSO Signed, titled, and dated According to Michael Galban, “Native trackers were known to be able to distinguish not only between European shoes and moccasins, but also between tribal moccasin styles! James Smith recounts a story from the 1750s of Catawba warriors who strapped buffalo hoofs to their feet to entice their enemies by the tracks they left behind. Mohawk hunters, as a consequence, found the tracks and followed them into a deadly ambush.” EXHIBITED Only a Matter of Time: The Paintings of Robert Griffing, Eiteljorg Museum, Indianapolis, Indiana, 2010 LITERATURE Michael Galban, The Historical Art of Robert Griffing: An Amazing Journey, Paramount Press, 2018, p. 41, illustrated $ 10,000 – 15,000

311

David Nordahl (b. 1941) Ambush (2012)

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312

Randy Van Beek (b. 1958)

Shoshone Elk Hunters of the Wind River Range (2021) oil on canvas 33 × 48 inches signed lower right: R. Van Beek In discussing this painting the artist writes, “I am intrigued by history of the Native American tribes. The Mountain Shoshone camped in the high altitude meadows of the Wind River Range in Wyoming. Artifacts found at prehistoric sites indicate they hunted bighorn sheep, mountain goat, and elk. The painting portrays morning light on a village as men and young scouts ready for the hunt.” $ 15,000 – 25,000

313

Bonnie Marris (b. 1951) Fire and Ice

oil on canvas 24 × 36 inches signed lower right: B L Marris VERSO Label, Trailside Galleries, Jackson, Wyoming $ 8,000 – 12,000 – 250 –

314

Ken Carlson (b. 1937) Miles to Go

oil on board 24 × 36 inches signed lower right: Carlson $ 15,000 – 25,000

315

William Hook (b. 1948)

Winter in the Ranchos de Taos oil on canvas 42 × 60 inches signed lower right: W. C. Hook VERSO Signed and titled PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 10,000 – 15,000

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The Harry Jackson Collection of the California State University, Northridge

316

317

Harry Jackson (1924 – 2011)

Trapper II (1982)

Settin’ Purty (1959)

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

$ 2,500 – 3,500

$ 3,000 – 5,000

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318

Harry Jackson (1924 – 2011)

John Wayne – First Unfinished Model (1981) bronze 38 inches high inscribed on base: © Harry Jackson 1981 WUB [WFS Italia stamp] [artist’s thumbprint] John Wayne first unfinished model for the monument Harry Jackson The artist wrote, “After Cézanne a lot of artists made art for art’s sake, and when I became an Abstract Expressionist in New York I was among them. In 1953 and ‘54 I moved on from there to again deal with man through my art. The New York school and interlude for me was too private and removed from man. It did not speak to the people I was born and raised with, the ones I’ve learned the most timeless lessons from and admire with my whole heart. John Wayne spoke for these people. He was a perfect figure for me to sculpt.” PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 20,000 – 30,000 – 253 –

320

Harry Jackson (1924 – 2011) The Marshall II (1979)

bronze 16.5 inches high inscribed on base: © Harry Jackson 1979 [WFS Italia stamp] [artist’s thumbprint] MAII 81 PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 4,000 – 6,000

319

Harry Jackson (1924 – 2011) Ropin’ a Star (1982)

bronze 28 inches high inscribed on base: © Harry Jackson 1982 RS 30 [artist’s thumbprint] [WFS Italia stamp] PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 5,000 – 7,000

321

Harry Jackson (1924 – 2011) Indian Mother and Child (1980)

bronze 26 inches high inscribed: [WFS Italy stamp] [artist’s thumbprint] SBU5 © Harry Jackson 1980 PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 5,000 – 7,000 – 254 –

322

323

Harry Jackson (1924 – 2011)

Sarah (1966)

Gunsil (1966)

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

$ 3,000 – 5,000

$ 2,000 – 3,000

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324

325

Harry Jackson (1924 – 2011)

Ground Roper (1958)

Frontiersman (1965)

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

$ 2,000 – 3,000

$ 6,000 – 9,000

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326

Harry Jackson (1924 – 2011) A Lack of Slack (1973)

bronze 14.5 inches high inscribed on base: © Harry Jackson 1973 26 PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

327

$ 3,000 – 5,000

Harry Jackson (1924 – 2011) Admiral Lord Cochrane (1969)

bronze 36 inches high inscribed: © Harry Jackson 1969 2 VERSO Label, Kennedy Galleries, New York, New York Harry Jackson was commissioned by the city of Valdivia in Chile to complete a monument of Admiral Lord Cochrane, a hero in Chile’s war of independence with Spain. Ten years later Jackson wrote that when he was doing the Sacagawea monument he drew on the experience of this bronze “for the spirit and courage that I feel in both of them.” PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

328

$ 6,000 – 9,000

Harry Jackson (1924 – 2011) First Saddle (1960)

bronze 12.5 inches high inscribed on base: [WFS Italia stamp] [artist’s thumbprint] FS © H Jackson 60 30. PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 3,000 – 5,000 – 257 –

329

Harry Jackson (1924 – 2011) Two Champs (1974)

bronze 27.5 inches high inscribed on base: Clayton Danks on Old Steamboat Two Champs 1907 1909 Cheyenne Wyoming © Harry Jackson 1974 10.P. In discussing this bronze the artist wrote, “Clayton Danks, who I show winning the world championship on Steamboat in Two Champs was high sheriff of Fremont County, the second largest in Wyoming, for sixteen years. He was general manager of a big cow outfit in the badlands – outlaw country south of Baggs, Wyoming – for many years before that, and he was one of the best bronc riders and steer ropers for twenty years starting at the turn of the century. In those days they rode broncs until they stopped bucking.… I want to show that you can’t ‘fit a ride’ like that without finding the horse’s center, and you can’t get in the horse’s center except through your own. You must go into where both centers are one. The moment they become two, you’re in orbit. It is a necessary point to find in this ever-faster world we live in today.” PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 10,000 – 15,000 – 258 –

330

331

Harry Jackson (1924 – 2011)

bronze 26.5 inches high inscribed on base: [WFS Italia stamp] [artist’s thumbprint] SAP 13P © Harry Jackson 1977 Sacagawea first working model for a monument by Harry Jackson painted on base: © Harry Jackson 1980

bronze 12.5 inches high inscribed on base: [artist’s thumbprint] H Jackson 59 3/12 [Fono Vignali & Tommasi Italy Pietrasanta stamp]

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

$ 5,000 – 7,000

$ 3,000 – 5,000

Sacagawea [or] Sacagawea, First Working Model (1977)

Ropin’ (1959)

VERSO Label, Kennedy Galleries, New York, New York

– 259 –

332

333

Harry Jackson (1924 – 2011)

bronze 26.5 inches high inscribed on base: © Harry Jackson 1977. [WFS Italy stamp] 36. Sacagawea first working model for a monument by Harry Jackson

Sacagawea, First Working Model (1977)

Bronc Stomper (1959)

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

$ 4,000 – 6,000

$ 5,000 – 7,000

– 260 –

334

Harry Jackson (1924 – 2011)

Steer Roper – Hard and Fast (1959) bronze 16.25 inches high inscribed on base: Bustin’ One 17. © Harry Jackson 59 PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

335

$ 3,000 – 5,000

Harry Jackson (1924 – 2011) Pony Express II (1980)

bronze 12 inches high inscribed on base: © Harry Jackson 1980 PEII 25 [WFS Italia stamp] [artist’s thumbprint] The artist wrote, “There is a wonderful cowboy expression that you hear to this day – ‘packing the mail.’ … It certainly comes from the Pony Express rider, who rode between St. Joe, Missouri, and Sacramento, California, along the North Platte and the Sweetwater rivers and across South Pass, right through the heart of Wyoming, with outlaws and Indians trying to stop him from doing what he set out to do and no law to protect him. He wasn’t interested in wiping them out, he was just interested in defending himself and standing them off, doing his job of packing the mail.”

336

Harry Jackson (1924 – 2011)

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

Long Horn (1966)

$ 6,000 – 9,000

Old Timer (1970) bronze 5.25 inches high inscribed: 32.P © H Jackson 1970 PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 1,000 – 1,500 for the pair – 261 –

338

Harry Jackson (1924 – 2011) Center Fire (1958)

bronze 9.25 inches high inscribed on base: © HJ 58 7. PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 1,500 – 2,500

337

Harry Jackson (1924 – 2011) Two Champs II (1977)

bronze 20 inches high inscribed on base: Clayton Danks on Old Steamboat Two Champs 1907 1909 Cheyenne Wyoming [WFS Italia stamp] [artist’s thumbprint] TCIIP 9P © Harry Jackson 1977 PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

339

$ 6,000 – 9,000

Frontiersman (1965)

Harry Jackson (1924 – 2011) bronze 20.5 inches high inscribed on base: Pennsylvania Woodsman 1750 © Harry Jackson 1965 37. PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 6,000 – 9,000 – 262 –

340

341

Harry Jackson (1924 – 2011)

bronze 18.5 inches high inscribed on base: [WFS Italia stamp] [artist’s thumbprint] © Harry Jackson 1981 WAII II 13P painted on base: © Harry Jackson 1981

Where the Trail Forks (1964)

Washakie II (1981)

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

$ 3,000 – 5,000

$ 2,500 – 3,500

– 263 –

342

343

Harry Jackson (1924 – 2011)

bronze 18 inches high inscribed on base: [WFS Italia stamp] [artist’s thumbprint] © Harry Jackson 1980 SAII P 29P Sacagawea first working model for a monument by Harry Jackson painted on base: © Harry Jackson 1980

bronze 20 inches high inscribed on base: Clayton Danks on Old Steamboat Two Champs 1907 1909 Cheyenne Wyoming © Harry Jackson 1977 sculptural reduction by Gary Shoop TCII 80. [WFS Italy stamp] [artist’s thumbprint]

Two Champs II (1977)

Sacagawea II (1980)

PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California

$ 6,000 – 9,000

$ 3,000 – 5,000

– 264 –

344

Harry Jackson (1924 – 2011) Plantin’ (1959)

bronze 10.75 inches high inscribed on base: 5. © Harry Jackson 59 The artist wrote, “Plantin’ came about in late 1959. The range burial bronze had an operatic staginess. The setting is like a formal platform with actors arranged on its various sandstone levels. I wanted to simplify and make it much more spartan, emphasizing action turned to though, the activity of inner reflection by the men around the grave.” PROVENANCE The Collection of the California State University, Northridge, Los Angeles, California $ 20,000 – 30,000

– 265 –

345

Frank McCarthy (1924 – 2002) Buckskin Brigade (1987)

oil on canvas 18 × 24 inches signed lower left: McCarthy CA © 1987 VERSO Signed, titled, dated, and “#816” Label, Husberg Fine Arts Gallery, Scottsdale, Arizona PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 10,000 – 15,000

346

John Hampton (1918 – 1999)

347

Ray Swanson (1937 – 2004)

The Wreck-Maker (1974)

Hosteen Tallman

VERSO Label, Cowboy Artists of America

VERSO Label, Autry Museum of the American West, Los Angeles, California

PROVENANCE Pete and Janet Taggares, Washington EXHIBITED Cowboy Artists of America 9th Annual Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1974

PROVENANCE Private collection, Reno, Nevada EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2004

$ 6,000 – 9,000

$ 2,000 – 3,000 – 266 –

349

Olaf Wieghorst (1899 – 1988)

348

The Scout

watercolor on paper 10 × 8 inches signed lower left: O – Wieghorst [artist cipher]

Wilson Hurley (1924 – 2008)

Cathedral in the Desert, Escalante River oil on canvas 38 × 32 inches signed lower right: Wilson Hurley

$ 3,000 – 5,000

VERSO Label, The Jamison Galleries West, Tucson, Arizona $ 8,000 – 12,000

350

Joe Beeler (1931 – 2006) It Goes with the Job

oil on board 20 × 16 inches signed lower right: Joe Beeler © CA An original letter, dated December 14, 1982, from the artist discussing the painting; and a copy of Hashknife Cowboy by Stella Hughes and illustrated by Joe Beeler will accompany the lot. EXHIBITED Cowboy Artists of America 17th Annual Exhibition, Phoenix Art Museum, Phoenix, Arizona, 1982 LITERATURE Stella Hughes, Hashknife Cowboy, Recollections of Mack Hughes, University of Arizona Press, 1984, cover, illustrated $ 4,000 – 6,000

– 267 –

351

Native American Collection Fine Group of Indian Artifacts

Beaded awl, ca. 1890 Great Lakes beaded bag, ca. 1900 Northern Plains beaded bag, ca. 1890 Iroquois beaded bag, ca. 1900 Strand of beads for necklace, ca. 1900 Northern Plains men’s shirt, probably Blackfeet, with finely beaded strips on Hudson Bay Stroud, ca. 1890 Great Lakes beaded panel, possibly used as a belt, ca. 1900 PROVENANCE Pete and Janet Taggares, Washington $ 8,000 – 12,000

352

Grant Speed (1930 – 2011) Followin’ the Bell Mare (1979)

– 268 –

353

Earl Biss (1947 – 1998) First Snow in the High Country (1990)

oil on canvas 36 × 48 inches signed upper right: Biss VERSO Signed, titled, and dated PROVENANCE Private collection, Tucson, Arizona $ 15,000 – 25,000

354

Ross Stefan (1934 – 1999) Apache Heritage

oil on canvas 28 × 40 inches signed lower left: Ross Stefan VERSO Signed and titled PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 8,000 – 12,000

– 269 –

355

Frank McCarthy (1924 – 2002) On the Warpath (1977)

oil on board 18 × 24 inches signed lower left: McCarthy CA © 77 VERSO Signed, titled, and “#384” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2013 Private collection, Reno, Nevada $ 15,000 – 25,000

356

Edward Borein (1872 – 1945) Vaquero on Horseback

watercolor on paper 5 × 4.5 inches signed lower right: Edward Borein $ 4,000 – 6,000

– 270 –

357

Nick Eggenhofer (1897 – 1985) Pony Express Rider

gouache on paper 15 × 25.25 inches signed lower right: N. Eggenhofer PROVENANCE Pete and Janet Taggares, Washington LITERATURE Nick Eggenhofer, Horses, Horses, Always Horses: The Life and Art of Nick Eggenhofer, Sage Publishing, 1981, p. 159, illustrated $ 6,000 – 9,000

358

Elizabeth Lochrie (1890 – 1981) Pine Tree (1961)

oil on canvas laid on board 28 × 22 inches signed lower right: E. Lochrie 1961 VERSO Titled and dated Inscribed, “Tis awunga (Pine Tree) Shoshonie aged 74 at – Fort Washakie 7/26/54” PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 5,000 – 7,000 – 271 –

359

360

Oliver Kemp (1887 – 1934)

Carl Rungius (1869 – 1959)

oil on canvas 30 × 20 inches signed lower left: Oliver Kemp

oil on canvas laid on board 7.5 × 11.25 inches signed lower right: C. Rungius

VERSO Label, The Knapp Company, New York, New York

$ 6,000 – 9,000

The Primeval Forest

Mountain Peaks at the Forks

$ 6,000 – 9,000

361

Sydney Laurence (1865 – 1940) Fishing Vessel at Sea

oil on board 7.75 × 10 inches signed lower right: Sydney Laurence VERSO Signed PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2010 Private collection, Reno, Nevada $ 10,000 – 15,000

– 272 –

362

Montague Dawson (1890 – 1973) Ship Driving onto the Aucklands oil on canvas 12.5 × 20 inches initialed lower left: MD VERSO Label, Vallejo Gallery, Newport Beach, California Label, The Minneapolis Institute of Arts, Minneapolis, Minnesota PROVENANCE Frost & Reed, London, United Kingdom Christie’s, London, United Kingdom, 1974 Private collection, England Northern Pump Company, Minneapolis, Minnesota, gifted to The Minneapolis Institute of Arts, Minneapolis, Minnesota Sotheby’s, New York, New York, 2014 Private collection, Reno, Nevada

363

John Fery (1859 – 1934)

Southwest Face of Mt. Olympus oil on canvas 20 × 16 inches signed lower right: J. Fery VERSO Label, Braarud Fine Art, La Conner, Washington $ 6,000 – 9,000

$ 6,000 – 9,000

364

Sydney Laurence (1865 – 1940) Below the Rapids

oil on canvas laid on board 16 × 20 inches signed lower right: Sydney Laurence $ 10,000 – 15,000 – 273 –

365

Frederick A. Verner (1836 – 1928) Shoreline Camp (1898)

watercolor on paper 8.5 × 20.75 inches signed lower right: Verner 1898 PROVENANCE William P. Healey, Jackson, Wyoming $ 6,000 – 9,000

366

Carl Rungius (1869 – 1959) Dall Sheep

watercolor on paper 4 × 5.25 inches initialed lower center: C.R. VERSO Label, Louis Antoville Gallery, New York, New York Label, The Crossroads of Sport Gallery, New York, New York Bear watercolor on paper 4.75 × 6.75 inches initialed lower center: C.R. PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 8,000 – 12,000 for the pair

– 274 –

367

William Samuel Parrott (1843 – 1915) Mount Hood and Lost Lake

oil on board 14 inches diameter signed lower right: W. S. Parrott

368

VERSO Titled

Albert Bierstadt (1830 – 1902) Untugono

PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho

oil on paper 7.5 × 5.5 inches signed lower right: ABierstadt

$ 3,000 – 5,000

PROVENANCE Mr. & Mrs. John K. Goodman, Tucson, Arizona Present owner, by descent $ 8,000 – 12,000

369

Charles M. Russell (1864 – 1926) Mountain Goat

bronze 5.25 inches high inscribed on base: © CMR Findlay Galleries Inc No. 3 PROVENANCE Findlay Galleries, Chicago, Illinois, 1954 Rob Day, Austin, Texas, 2004 $ 2,000 – 3,000

– 275 –

370

371

James Nathan Muir (b. 1945)

George Carlson (b. 1940)

bronze 33 inches high inscribed on base: J N Muir SAHA 11/24 Kentucky

bronze 31 inches high inscribed on base: Carlson 2001 17/21

$ 5,000 – 7,000

PROVENANCE The K. T. Wiedemann Foundation, Wichita, Kansas

The Graceful Dance (2001)

Saving the Flag

$ 8,000 – 12,000

372

Michael Coleman (b. 1946) Wild Turkeys

oil on canvasboard 23 × 36 inches signed lower left: Michael Coleman © VERSO Label, The Owings Gallery, Santa Fe, New Mexico PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 8,000 – 12,000

– 276 –

373

Martin Grelle (b. 1954) Long Way to Camp (2006)

oil on canvas 9 × 12 inches signed lower right: Martin Grelle © 06 CA VERSO Signed, titled, and dated PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent $ 10,000 – 15,000

374

Buckeye Blake (b. 1946)

The Outlaw Dobie Gray (1989) oil on canvas 48 × 60 inches signed lower right: © Buckeye Blake 89 VERSO Titled and dated $ 6,000 – 9,000 – 277 –

375

Howard Terpning (b. 1927) Far from the Madding Crowd mixed media on paper 21 × 27 inches signed lower left: Terpning Far from the Madding Crowd is a 1967 British epic drama film adapted from Thomas Hardy’s 1874 book of the same name. The film, starring Julie Christie, Alan Bates, Terence Stamp and Peter Finch, and directed by John Schlesinger, featured this image for the film’s promotion. $ 10,000 – 15,000

377 376

Joseph Velazquez (b. 1942) Old Man of the Mountain (2011)

William S. Phillips (b. 1945)

oil on canvas 12 × 16 inches signed lower right: J. Velazquez

The Gofer

VERSO Signed, titled, and dated

VERSO Label, Autry Museum of the American West, Los Angeles, California

PROVENANCE Settlers West Galleries, Tucson, Arizona, 2011 Private collection, Reno, Nevada

PROVENANCE Private collection, Reno, Nevada

EXHIBITED Great American West, Settlers West Galleries, Tucson, Arizona, 2011

EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2015

$ 3,000 – 5,000

$ 6,000 – 9,000

– 278 –

378

Francois Koch (b. 1944) Chimney Rock Creek (2010)

oil on canvas 36 × 42 inches signed lower right: Francois Koch © PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2010 Private collection, Reno, Nevada $ 8,000 – 12,000

379

380

Michael Coleman (b. 1946)

Brett James Smith (b. 1958)

PROVENANCE Norman & Joan Kinsey Collection, Tucson, Arizona Present owner, by descent

VERSO Signed and titled Label, Altermann Galleries, Santa Fe, New Mexico

$ 5,000 – 7,500

$ 5,000 – 7,000

Rocky Pool

On the North Fork

– 279 –

382

George Northup (b. 1940) 381

David Mann (b. 1948) Medicine Man

oil on canvas 12 × 9 inches signed lower left: David Mann PROVENANCE Rob Day, Austin, Texas

Big Bugs in Box Canyon (1999) bronze 32 inches high inscribed on base: 1999 Northup AC/35 PROVENANCE William P. Healey, Jackson, Wyoming $ 3,000 – 5,000

$ 2,000 – 3,000

383

C. Michael Dudash (b. 1952)

Leaving Bannack, Montana – 1865 (2016) oil on canvas laid on board 20 × 30 inches signed lower left: C M Dudash VERSO Signed, titled, and dated $ 6,000 – 9,000

– 280 –

384

David Maass (b. 1929)

Dusk on the Chesapeake – Canada Geese oil on board 26 × 38 inches signed lower left: Maass VERSO Titled PROVENANCE The Estate of Bob & Mary Drummond, Hayden, Idaho $ 6,000 – 9,000

In loving memory of Bob & Mary Drummond …

– 281 –

Index Acheff, William (b. 1947) Enchantment (1999) 30 Taos Hunter (2006) 126 Ahrendt, William (b. 1933) Chief Joseph 65 Andersen, Roy (1930 – 2019) Learnin’ the Ropes 167 Anton, Bill (b. 1957) Moon Shadows (2019) 119 Aspevig, Clyde (b. 1951) The Old Orchard 256 Balink, Henry (1882 – 1963) Chief Juan Martinez 95 Banovich, John (b. 1964) High Country Wolves (1993) 277 Barlow, Mike (b. 1963) Last Look (2020) 257 Baron, Cindy (b. 1957) Playing Misty (2021) 200

Bodelson, Dan (b. 1949) The Morning Begins to Warm 204 Boedges, Mark (b. 1973) Hidden Lake (2021) 29 Borein, Edward (1872 – 1945) Cowboys Roping a Steer 103 The Roper 211 A Rurale 213 A Sioux Indian, Montana (1924) 111 Stagecoach Mud Wagon 110 Stand Right There 245 Trail Drive 300 Vaquero and Steer 298 Vaquero on Horseback 356 Borg, Carl Oscar (1879 – 1947) The Herd 54 Brown, Harley (b. 1939) Northern Plains 276 Browne, George (1918 – 1958) Lighting In 148 Browning, Tom (b. 1949) Out of the Brush (2021) 203

Bateman, Robert (b. 1930) Above the Rapids – Gulls and Grizzly (2005) 242 Evening Light – American Elk (1995) 62

Burgess, Steve (b. 1960) Are You Coming or What? (2021) 259

Beeler, Joe (1931 – 2006) It Goes with the Job 350

Buttersworth, James Edward (1817 – 1894) Racing Schooner Ambassadress Leads the Regatta 92

Berninghaus, Oscar (1874 – 1952) The Domain of Their Ancestors (1925) 176 In the Forest 118 Taos Indians on Horseback 55 Wagon Yard – Taos (1944) 22 The Wood Peddler, Taos, New Mexico 193

Carlson, George (b. 1940) The Graceful Dance (2001) 371

Bierstadt, Albert (1830 – 1902) Hanabach, Westphalia, Germany (1856) 229 Mount Baker, Washington (1891) 272 Sunset Study 303 Untugono 368 Bishop, Richard (1887 – 1975) Bald Pate – Widgeon (1948) 3 Biss, Earl (1947 – 1998) First Snow in the High Country (1990) 353 Blackshear II, Thomas (b. 1955) Mighty Wind 66 Blake, Buckeye (b. 1946) The Outlaw Dobie Gray (1989) 374

Carlson, Ken (b. 1937) Miles to Go 314 Cassidy, Gerald (1869 – 1934) The Desert Sand Dune (1929) 214 Governor of Taos 60 Clark, Roland (1874 – 1957) Mallards 1 Clymer, John (1907 – 1989) Buffalo Talk 186 Snow Line (1977) 42 Visitors at Fort Clatsop (1978) 76 Coleman, John (b. 1958) Wunnestow, the White Buffalo (2010) 121 Coleman, Michael (b. 1946) On the North Fork 379 Wild Turkeys 372

– 282 –

Index Cooper, A. D. M. (1856 – 1924) Buffalo Hunt in Dakota (1906) 18 Red Cloud (1903) 17

Donahue, Mikel (b. 1956) Canyon Caravan (2021) 305

Cortès, Edouard (1882 – 1969) Marché aux fleurs, Place de la Madeleine, Paris 227

Dudash, C. Michael (b. 1952) Leaving Bannack, Montana – 1865 (2016) 383 Traveling an Ancient Land (2021) 238

Cotton, Brent (b. 1972) Where the River Flows (2021) 240

Dunn, Harvey (1884 – 1952) The Night Falls 109

Couse, Eanger Irving (1866 – 1936) By the Fire (1921) 266 Clouds Over Taos Valley 74 The Evening Camp (1920) 219 Indian Reverie 297 Moonlight Sonata 61 The New Rug (1917) 48 Repose 94 Two Indian Children 117

Dye, Charlie (1906 – 1972) Bronco Ballet (1959) 170 Taking the Tally (1960) 45

Cox, Tim (b. 1957) God’s Gift to Man (2018) 63 Daughters, Robert (1929 – 2013) Taos Winter 50 Dawson, Montague (1890 – 1973) Clipper Ship – Forest Queen 90 Night Suspect (A British Coast Guard Cutter in Pursuit, ca. 1830) 93 Ship Driving onto the Aucklands 362 De Yong, Joe (1894 – 1975) Night Talk 271 Dean, Glenn (b. 1976) The Soul’s Refuge (2017) 161 Delano, Gerard Curtis (1890 – 1972) Arizona – Navajos on Their Way to a Ceremonial 58 Cattle Country 79 Children of the Canyons 57 Desert Riders 106 The Drummer 270 Williams Mountain 198 DeMott, John (b. 1954) His Shield, Her Memories (1994) 156 Dixon, Maynard (1875 – 1946) Arizona Autumn (1943) 269 Clouds of a Summer Afternoon (1945) 199 Distant Mesa, Navajo Reservation, Kayenta, Arizona (1922) 283 El Lechero (The Milkman), Guadalajara, Mexico 234 Indian and Solider (The Indian of Yesterday) (1938); Indian and Teacher (The Indian of Today) (1938) 294 Rain on the Mesa (1945) 73 Shifting Light on a Poplar (1930) 163

Eggenhofer, Nick (1897 – 1985) Night Wagon (1976) 46 Pony Express Rider 357 Turning Back 99 Farny, Henry (1847 – 1916) Mother and Child (1900) 19 Fechin, Nicolai (1881 – 1955) Indian Girl 221 Fery, John (1859 – 1934) Cabin in the Castle Mountains, Montana 84 Glacier Afternoon 189 Lake McDonald 13 Mount Cleveland from Grossley Lake 9 Southwest Face of Mt. Olympus 363 Vernal Falls, Yosemite Valley 178 Firfires, Nicholas (1917 – 1990) Moving Camp (1986) 40 Fox, Robert Atkinson (1860 – 1935) Mount of the Holy Cross (ca. 1900) 10 Frazier, Luke (b. 1970) Roving Warrior (2021) 261 Gaspard, Leon (1882 – 1964) Argonne Forest (1920) 304 Russia 226 A Street in Peking (1936) 233 Glazier, Nancy (b. 1947) My World (2006) 31 Gleason, Duncan (1881 – 1959) A California Afternoon 81 Gollings, E. William (1878 – 1932) Cattle Drive (1921) 82 Insult to Injury (1912) 101 Lady at Roundup 164 Sign Talk (1905) 210 Watching the Herd (1917) 249 Winter Country (ca. 1920s) 251 – 283 –

Index Goodwin, Philip R. (1881 – 1935) Hitting the Trail 250 Gray, Percy (1869 – 1952) California Oaks 116 Grelle, Martin (b. 1954) The Day Awaits (2020) 274 Days of the Cold Maker (2011) 129 A Hard Journey (2009) 67 In a World of Change (2019) 159 Long Way to Camp (2006) 373 Piegan Hunter (2000) 27 Sundown at Brazos Cliffs (1991) 205 Griffing, Robert (b. 1940) Friend or Foe (2000) 254 The Trackers (2010) 310 Hallmark, George (b. 1949) Aniversario (2021) 124 Hampton, John (1918 – 1999) The Wreck-Maker (1974) 346 Hansen, Herman W. (1854 – 1924) Attack on the Stagecoach 71 The Signal – Buffalo in Sight 135 Harrison, John Cyril (1898 – 1985) Black Cock; Eagle in Flight; Lesser Bustards; Secretary Birds at Zimbabwe Ruins 149 Harvey, G. (1933 – 2017) Among the Silence of Canyon Echoes (1980) 169 Hauser, John (1859 – 1913) Winter Hunt – Sioux (1909) 21 Hennings, E. Martin (1886 – 1956) Indian in Green Blanket (1920) 107 Hitchcock, George (1850 – 1913) Arranging Flowers (1889) 228 Conversation 225 Hoffman, Frank B. (1888 – 1958) Day Watch 139 Duck Hunt 145 Taking Over [or] Bear Country 15 Hogue, Alexandre (1898 – 1994) Old Adobe House, Hopi Indian Reservation, North Eastern Arizona 100 Hook, William (b. 1948) Winter in the Ranchos de Taos 315

Hudson, Grace Carpenter (1865 – 1937) Greenie (1896) 114 The Last Stitch (Tul-e-ba) (1913) 232 Natives (Ski-Ko-Da) (1915) 113 Hulings, Clark (1922 – 2011) The Collector, Naples 51 Hunt, Lynn Bogue (1878 – 1960) Wild Turkey and Chicks 4 Hurd, Peter (1904 –1984) The Eve of St. John 171 Hurley, Wilson (1924 – 2008) Cathedral in the Desert, Escalante River 348 Rainbow Plateau (Above Lake Powell) 263 Jackson, Harry (1924 – 2011) Admiral Lord Cochrane (1969) 327 Bronc Stomper (1959) 332 Center Fire (1958) 338 First Saddle (1960) 328 Frontiersman (1965) 325 Frontiersman (1965) 339 Ground Roper (1958) 324 Gunsil (1966) 322 Indian Mother and Child (1980) 321 John Wayne – First Unfinished Model (1981) 318 A Lack of Slack (1973) 326 Long Horn (1966); Old Timer (1970) 336 The Marshall II (1979) 320 Plantin’ (1959) 344 Pony Express II (1980) 335 Ropin’ (1959) 331 Ropin’ a Star (1982) 319 Sacagawea [or] Sacagawea, First Working Model (1977) 330 Sacagawea, First Working Model (1977) 333 Sacagawea II (1980) 342 Safe and Sound (1983) 47 Sarah (1966) 323 Settin’ Purty (1959) 316 Steer Roper – Hard and Fast (1959) 334 Trapper II (1982) 317 Two Champs (1974) 329 Two Champs II (1977) 337 Two Champs II (1977) 343 Washakie II (1981) 341 Where the Trail Forks (1964) 340 Johnson, Frank Tenney (1874 – 1939) The Horse Thief (1925) 209 The New Mount (1903) 23 Taking Aim – Yellow Jacket Pass (1905) 246 Kemp, Oliver (1887 – 1934) Moose Hunters (ca. 1914) 190 The Primeval Forest 359

– 284 –

Index Koch, Francois (b. 1944) Canyon Country (2007) 125 Chimney Rock Creek (2010) 378 Morning Chores (2005) 26

Marris, Bonnie (b. 1951) Fire and Ice 313 The Gathering (2014) 157 Serenity (2021) 123

Koerner, W. H. D. (1878 – 1938) Bringing Him In (1932) 70 Wolf Dog #2 (1934) 301

McCarthy, Frank (1924 – 2002) Buckskin Brigade (1987) 345 The Citadel 262 Demand for Tribute (1973) 166 He Saw the Hawk in its Restless Arc of Watch Flight (1971) 43 On the Warpath (1977) 355 The Sentinel 49 Snow Melt 168 Warriors of the Northern Mountains (1987) 53 Winter Hunt 175 With Carbines Drawn 287

Kucera, D. Edward (b. 1961) Mighty Are the Swift (2021) 275 Kuhn, Bob (1920 – 2007) Hanging Out 33 North Country (1991) 292 Prairie Overture (2004) 264 Where the Deer and the Antelope Play (1996) 188 Kurz, Rudolph Friedrich (1818 – 1871) American Bison 16 Lang, Steven (b. 1960) Badger Medicine (2004) 308 Laurence, Sydney (1865 – 1940) Alaskan Harbor Scene 89 Below the Rapids 364 Fishing Vessel at Sea 361 Mount McKinley, Alaska (1928) 85 The Northern Lights (1920) 87 Leigh, William R. (1866 – 1955) Outside the Pueblo 222 Liang, Z. S. (b. 1953) Guardians (2013) 282 Joe Kipp, Trader, Missouri River, 1879 (2013) 255 Lakota War Chief (2013) 239 Observers Above Fort Phil Kearny, 1868 (2013) 309 Lochrie, Elizabeth (1890 – 1981) Pine Tree (1961) 358 Lovell, Tom (1909 – 1997) Horse Raid (1978) 243 Maass, David (b. 1929) Dusk on the Chesapeake – Canada Geese 384 Machetanz, Fred (1908 – 2002) The Bootmakers (1972) 86 The Prowler (1969) 83 Sunlit Sea (1986); Supper’s Coming (1987) 88 Mann, David (b. 1948) The Horse Made Him Master 32 Medicine Man 381 Marchand, John Norval (1875 – 1921) Sergeant Kinnaird (1908) 253

McGrew, R. Brownell (1916 – 1994) Summertime – Evening Meal (1979) 39 Medearis, Roger (1920 – 2001) Rio Chama, Near Taos, New Mexico (1986) 172 Mieduch, Dan (b. 1947) Dragoon Mountain Stronghold (2021) 280 Milhomme, Denis (b. 1954) Poetic Serenity (2011) 128 Moore, Jay (b. 1964) September on the San Miguel 241 Moses, Anna Mary Robertson “Grandma” (1860 – 1961) The Church in the Hills (1944) 224 Moyers, John (b. 1958) Trade Blanket 207 Muir, James Nathan (b. 1945) Saving the Flag 370 Native American Collection Fine Group of Indian Artifacts 351 Nordahl, David (b. 1941) Ambush (2012) 311 Tailwind (2011) 281 Unaware (2006) 69 Northup, George (b. 1940) Big Bugs in Box Canyon (1999) 382 Norton, Jim (b. 1953) Sunset on Currant Creek (2008) 155 A Warm Fire on a Chilly Day (2012) 68 Oelze, Don (b. 1965) Kids, Colts and Copper Kettles (2021) 24

– 285 –

Index Osthaus, Edmund H. (1858 – 1928) Grouse in Flight 144 Let’s Get Acquainted 302 Returning Home 179 Two Hunting Dogs (1891) 147 Parrott, William Samuel (1843 – 1915) Mount Hood and Lost Lake 367 Paxson, Edgar S. (1852 – 1919) Indian Scouting Party (1901) 267 Payne, Edgar (1883 – 1947) Along the Trail 134 Harbor Rest 91 Sardine Boats – Chioggia, Italy 220 Sierra Scene of Lake Sabrina 177 Peterson, Jane (1876 – 1965) Leaning Tower – Venice 230 Phillips, Bert Geer (1868 – 1956) Taos Maiden 295 Phillips, William S. (b. 1945) The Gofer 376 Pleissner, Ogden M. (1905 – 1983) Above the Rapids 14 A Chance Shot – Woodcock 146 Coming to the Gaff 5 Pletka, Paul (b. 1946) All the King’s Men (1975) 154 Crow Indian (1975) 235 Txicao (1991) 236 Powers, Scott Tallman (b. 1972) Leather and Steel (2015) 25 A Life of Cultivation (2012) 278 Ralston, James Kenneth (1896 – 1987) Six-horse Stage at the Beaverhead Crossing (1941) 78 Remington, Frederic (1861 – 1909) Apache Head Study 115 The Borderland of the Other Tribe (ca. 1897) 162 Old Timer (1888) 212 The Rattlesnake 72 Reynolds, James (1926 – 2010) Castle Rock 41 Riley, Kenneth (1919 – 2015) Ancestral Pulse 174 Bodmer 288 Hidatsa Pipe (2000) 98 Stronghold Sanctuary 151

Rungius, Carl (1869 – 1959) Bighorn Sheep, Nigel Pass, Alberta (1919) 265 Carl Rungius, Big Game Painter: Fifty Years with Brush and Rifle 2 Dall Sheep; Bear 366 Mountain Peaks at the Forks 360 On Simpson Pass (1920) 12 Packhorses 247 Ram Head 11 Russell, Charles M. (1864 – 1926) Antelope Hunting 20 Antelopes (ca. 1883-84); Steer Roper (ca. 1884-87); Woman Chopping Wood (ca. 1884); Elk (ca. 1884) 137 The Brave’s Return for His Answer 231 Cowboy on a Bronco (1898) 108 Deer (1917) 136 Friend Ad Letter (1923) 195 Friend Con Letter (1910) 285 Friend Ed Letter (1908) 218 Friend Wallace Letter (1918) 248 Indian on a Pinto (1898) 217 Mountain Goat 369 Offering to the Sun Gods 299 The Proposal 268 Roping a Wolf (1904) 142 Watcher of the Plains (1901) 165 Schaldach, William J. (1896 – 1982) Brook Trout; Brown Trout 7 Leaping Rainbow Trout; Pike 8 Schmid, Richard (1934 – 2021) Charles Gates Dawes House Evanston, Illinois (1988) 36 Hewick Church, North Yorkshire, England (1992) 289 Lily Joy (2006) 290 Little Begonias (2008) 38 Nancy (1989) 291 Orchid (2010) 37 Taos Alley 150 Schmidt, Carl (1885 – 1969) Venice 223 Schwiering, Conrad (1916 – 1986) Clearing Off (1979) 133 Scriver, Robert M. (1914 – 1999) Tail Stander (1981) 44 Seltzer, Olaf C. (1877 – 1957) Hunter with Dog 143 Seeking New Camping Ground 252 Seltzer, W. Steve (b. 1945) Along the Birdtail Route (2021) 122 Sharp, Joseph Henry (1859 – 1953) Aspens in Hondo Creek in October 75 Chiz Chile, Navajo Boy (1905) 296

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Index Sharp, Joseph Henry (1859 – 1953) (continued ) Firelight Drummer 192 Glorietta – Taos 284 Hunting Son 138 Storm on the Mountains 191 Taos Memories 96

Thomas, Andy (b. 1957) Counter Strike (2021) 273 Look Who’s Here 307

Shepherd, David (1931 – 2017) After the Rains (1975) 184 Amboseli Evening [or] Rhinos with Mt. Kilimanjaro (1967) 34 Asian Rhino and Water Buffalo (1978) 185 Elephant Reflections 182 Indian Rhino 181 Lion in the Bush (1977); In the Thick Stuff (1978) 35 Pregnant Skies 180 Tiger (1991) 183

Van Beek, Randy (b. 1958) Shoshone Elk Hunters of the Wind River Range (2021) 312

Situ, Mian (b. 1953) Canyon de Chelly 64 Navajo Sheep Herder (2006) 127

Verner, Frederick A. (1836 – 1928) Fresh Caught 6 Shoreline Camp (1898) 365

Sloane, Eric (1905 – 1985) A Single Plane on the Edge of a Storm 130

Von Hassler, Carl (1887 – 1969) New Mexico Summer Splendor 194

Smith, Brett James (b. 1958) Rocky Pool 380

Walters, Curt (b. 1950) Ledges of the Tapeats 202

Smith, Daniel (b. 1954) Alpine Kingdom (2021) 28

Warren, Melvin (1920 – 1995) Clearing Skies and Willing Horses (1964) 286 Top Hand of the Concho (1974) 293

Smith, Tucker (b. 1940) Clay Bank (1981) 237 Sunset on the Madison Range, Montana (1984) 158 Solliday, Tim (b. 1952) Trading in the Shade (2021) 201 Speed, Grant (1930 – 2011) Followin’ the Bell Mare (1979) 352 Stefan, Ross (1934 – 1999) Apache Heritage 354 At Chinle (Navajos Arizona) 152 There are Spirits in the Wind – Monument Valley 187 Swanson, Ray (1937 – 2004) Acoma Morning (1978) 153 Hosteen Tallman 347 Navajo Riders (1977) 97 Selling Wool (1979) 52 Teague, Donald (1897 – 1991) The Flight; The Chase; On the Trail 102 A Parting Shot 59 Terpning, Howard (b. 1927) Apache (2009) 160 Crow Brave (1996) 206 Far from the Madding Crowd 375 A Sense of Danger (1975) 208

Ufer, Walter (1876 – 1936) Greasewood and Sage 112

Van Wechel, Dustin (b. 1974) Prairie Dog POV (2021) 260 Velazquez, Joseph (b. 1942) Old Man of the Mountain (2011) 377 Snake River Expedition (2011) 120

Wieghorst, Olaf (1899 – 1988) Big Bend Patrol 77 Changing Outfits (1958) 141 Going to Trade 105 In the Rockies 131 Indian Scout 132 Mountain Trail 80 Open Range (1986) 140 Packing In 196 The Road 56 Rugged Trail 216 The Scout 349 Stop on the Trail 215 Sundown [or] Summer Storm (1958) 173 Sunset Trail 197 The Trail Home 244 The Visitor 104 Winborg, Jeremy (b. 1979) Learning of the Past, Looking to the Future (2021) 258 Wolfe, Wayne E. (b. 1945) Sunning (1980) 279 Workman, Michael (b. 1962) Morning Horses – Thistle (2021) 306

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Terms & Conditions of Sale The following Terms & Conditions of Sale are Coeur d’Alene Art Auction’s and its consignors’ entire agreement with the purchaser relative to the property listed in this catalogue. These Terms & Conditions of Sale and all other contents of this catalogue are subject to amendment during or before the sale. The property will be offered by Coeur d’Alene Art Auction as agent for the consignors, unless the catalogue indicates otherwise. 1. Coeur d’Alene Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction sale fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The purchase price will be the sum of the final bid price plus a buyer’s premium of 21% 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. The buyer’s premium is calculated separately for each lot. 2. Unless otherwise announced by the auctioneer, all bids are per lot as numbered in the catalogue. Successful bidders shall pay for their purchases during or immediately following the auction. Payment may be made by cash, credit card, or check made payable to Coeur d’Alene Art Auction. Credit card purchases cannot exceed $10,000 regardless of the number of lots. Coeur d’Alene Art Auction accepts Visa and Mastercard only. 3. All sales are final, with no exchanges or refunds. Title to the lot passes to buyer upon the fall of the auctioneer’s hammer and the announcement by the auctioneer that the lot has been sold, subject to compliance by the buyer with all other Terms & Conditions of Sale. The buyer assumes full risk and responsibility for the lot and shall immediately pay the full purchase price. In addition, buyer may be required to sign a confirmation of purchase. We reserve the right to impose a late charge of 18% per annum of the total purchase price if payment is not made in accordance with this paragraph.

6. Some items may be offered with a “reserve,” which is the minimum price below which the lot will not be sold. Coeur d’Alene Art Auction may act to protect the reserve by bidding through the auctioneer. The auctioneer may open bidding on any lot below the reserve by placing a bid on behalf of the consignor. The auctioneer may continue to bid on behalf of the consignor up to the amount of the reserve, either by placing

7. All property will be sold “AS IS,” and Coeur d’Alene Art Auction does not make any guarantees, warranties or representations, expressed or implied, as to merchantability or fitness for a particular purpose, the correctness of the catalogue or other description of the authenticity, physical condition, size, quality, rarity, importance, medium, provenance, exhibitions, literature or historical relevance of any property. 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. In no event shall Coeur d’Alene Art Auction be responsible for genuineness, authorship, attribution, provenance, period, culture, source, origin or condition of the purchased property and no verbal statements made regarding this property either before or after the sale of the state property, or in any bill of sale, or invoice or catalogue or advertisement or elsewhere shall be deemed such a guarantee of genuineness. 8. Coeur d’Alene Art Auction reserves the right to withdraw any property at any time before the actual sale and shall have no liability whatsoever for such withdrawal.

4. No lot may be removed from the premises until the buyer has paid the purchase price in full. Subject to the foregoing, all lots are to be paid for and removed from our premises at the buyer’s expense within twenty-four hours after the conclusion of the auction. Buyer may make arrangements with representatives of Coeur d’Alene Art Auction for shipment of purchased items. However, such shipping is at the entire risk of buyer, as Coeur d’Alene Art Auction shall not be responsible for acts or omissions in shipping or packaging or those of other carriers, whether recommended or selected by Coeur d’Alene Art Auction or not. 5. Unless exempt by law, the purchaser is required to pay Nevada state and local sales taxes, except on out-of-state shipments. Like all out-of-state sellers, Coeur d’Alene Art Auction is required to collect sales tax from buyers in states where economic nexus has been reached. When this occurs, applicable state and local sales taxes will be included on the invoice. Buyers with valid resale certificates on file with the auction house will continue to be exempt from being charged sales tax, regardless of where the artwork is shipped. All outof-state sales taxes will be computed in real time with sales tax tracking software and will be based on the delivery location.

consecutive bids or by placing bids in response to other bidders. In no event shall the reserve exceed the low estimate listed in the catalogue.

9. Coeur d’Alene 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 shall have the final discretion to determine the successful bidder, cancel the sale, or reopen and resell the article in dispute. If any dispute arises after the sale, Coeur d’Alene Art Auction’s sale record shall be final and conclusive. Coeur d’Alene Art Auction, at its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, Coeur d’Alene Art Auction is not responsible for any errors or omissions in connection therewith. 10. If the auctioneer determines that any opening bid is not commensurate with the value of the article offered, he may reject the same and withdraw the article from the sale; and if, having acknowledged an opening bid, he decides that any advance thereafter is not of sufficient amount, he may reject the advance. 11. Bidding increments will be as follows but may vary at the sole discretion of the auctioneer: Estimate Increment $ 2,000 – 5,000 $ 250 $ 5,000 – 10,000 $ 500 $ 10,000 – 20,000 $ 1,000 $ 20,000 – 50,000 $ 2,500 $ 50,000 – 100,000 $ 5,000 $ 100,000 – 200,000 $ 10,000 $ 200,000 – 500,000 $ 25,000 $ 500,000 – 1,000,000 $ 50,000 $ 1,000,000 + Auctioneer’s discretion

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Coeur d’Alene Art Auction

11944 North Tracey Road • Hayden, Idaho 83835 tel 208-772-9009 • fax 208-772-8294 • info@cdaartauction.com cdaartauction.com After July 27 Phone – 775-786-1700 Fax – 775-786-0311

ABSENTEE & PHONE BID FORM 1.

Absentee bids are executed alternately in competition with the bidders in attendance. It is possible, due to the variations in bidding patterns, that a lot may be won by the audience for the same amount authorized by an absentee bidder. A (+) sign to the right of the bid amount will authorize the absentee bidder to bid one additional bid. In the event of identical bids, the first bid received will take precedence.

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A buyer’s premium of 21% 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, will be added to the auctioneer’s hammer price. The buyer’s premium is calculated separately for each lot. Payment up to $10,000 may be made by Visa/Mastercard, balance to be paid by check/wire.

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All absentee & phone bids must be received by July 29, 2021.

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 Absentee Bid  Phone Bid PRICE LIMIT

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Bids will not be executed without signature. Signature denotes that you agree.

ALL ABSENTEE & PHONE BIDS MUST BE RECEIVED BY JULY 29, 2021 Live online & absentee bidding available at no additional fee – cdaartauction.com/Bidsquare

Design Michael Eric Scott Photography Asa Gilmore Nick Sorrentino Printing Advanced Litho Printing Great Falls, Montana

Coeur d’Alene Art Auction 11944 North Tracey Road • Hayden, Idaho 83835 tel 208-772-9009 • fax 208-772-8294 • info@cdaartauction.com cdaartauction.com