2022 Coeur d’Alene Art Auction by cdaartauction

Coeur d’Alene Art Auction Fine Western & American Art

RENO, NEVADA • JULY 23, 2022

124 – Front Cover

Edgar Payne (1883 – 1947) Land of the Navajo

oil on canvas 40 × 50 inches signed lower right: Edgar Payne $ 300,000 – 500,000

85 – Back Cover

William Herbert Dunton (1878 – 1936) Treed (ca. 1915)

oil on canvas 40 × 30 inches signed lower left: W. Herbert Dunton $ 400,000 – 600,000

165

Charles M. Russell (1864 – 1926) Shooting the Buffalo (ca. 1892)

oil on canvas 27 × 33 inches signed lower left: C M Russell [artist cipher] $ 400,000 – 600,000

Coeur d’Alene Art Auction Fine Western & American Art

207

Gerard Curtis Delano (1890 – 1972) Misty Morning

oil on canvas 30 × 40 inches signed lower left: © Delano $ 300,000 – 500,000

Coeur d’Alene Art Auction Fine Western & American Art

Schedule of Events RENO, NEVADA Grand Sierra Resort July 23, 2022 FRIDAY, JULY 22 Preview – 9 am - 5 pm Preview Party – 6 - 8 pm SATURDAY, JULY 23 Preview – 8 am - 12 pm Lunch – 10:30 - 11:30 am Auction – 12 pm Auctioneer Troy Black

Bidding No additional fee is incurred for online, absentee, or phone bidding. All absentee & phone bids must be received by July 21. Live online & absentee bidding is available through Bidsquare by visiting cdaartauction.com/Bidsquare Auction results available July 24 at cdaartauction.com

253

Alfred Jacob Miller (1810 – 1874) The Lost Greenhorn

oil on canvas 18 × 24 inches signed lower right: AMiller $ 300,000 – 500,000

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 ART22 – offer valid through July 5, and is subject to limited 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 19 please direct all inquiries to 775-786-1700.

Charles M. Russell (1864 – 1926)

Mexican Vaqueros Roping a Steer (1925) watercolor on paper 18 × 28 inches signed lower left: C M Russell [artist cipher] 1925 $ 400,000 – 600,000

Contents 3

Schedule of Events & Bidding

Reservations & Contact Info

Auction: Lot 1 – Lot 330

240 Index 247

Terms & Conditions of Sale

249 Absentee & Phone Bid Form

Carl Rungius (1869 – 1959)

etching on paper 6 × 8.5 inches signed lower right: C. Rungius

VERSO Label, J. N. Bartfield Galleries, New York, New York

PROVENANCE Private collection, Billings, Montana

LITERATURE Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, 1989, p. 101, example illustrated

LITERATURE Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, 1989, p. 105, example illustrated

$ 2,000 – 3,000

Stampede

Alarmed

Will James (1892 – 1942) Bucking Broncho (1931)

pen and ink on paper 8.5 × 10 inches signed lower left: Will James 31 VERSO Label, Marshall Field and Co., Chicago, Illinois PROVENANCE Private collection, by descent, 2021 $ 3,000 – 5,000

–8–

Oscar Berninghaus (1874 – 1952) Pueblo

monotype 7 × 8 inches signed lower right: O- E- Berninghaus Taos N. M. $ 3,000 – 5,000

Carl Rungius (1869 – 1959)

etching on paper 6 × 8.5 inches signed lower right: C. Rungius

PROVENANCE Private collection, Billings, Montana

LITERATURE Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, 1989, p. 93, example illustrated

LITERATURE Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, 1989, p. 91, example illustrated

$ 2,000 – 3,000

Lord of the Canyon

The Challenge

–9–

Harry Edwards (1868 – 1922) The Signal Smoke

oil on canvas 24 × 20 inches signed lower right: H. C. Edwards VERSO Label, Marshall Henis / Stepping Stone Gallery, Great Neck, New York Label, Jim Fowler’s Period Gallery West, Scottsdale, Arizona PROVENANCE Private collection, by descent $ 3,000 – 5,000

Lone Wolf (1882 – 1970)

Olaf Wieghorst (1899 – 1988)

oil on canvas laid on board 20 × 24 inches signed lower left: Lone Wolf [artist cipher]

watercolor on paper 11.5 × 9.5 inches signed lower center: O – Wieghorst [artist cipher] © 81

Pony Scout (1981)

Caught in the Act

$ 3,000 – 5,000

– 10 –

Carl Rungius (1869 – 1959)

The Answer from the Barren

A Woodland Stag

etching on paper 6 × 8.5 inches signed lower right: C. Rungius

PROVENANCE Private collection, Billings, Montana

LITERATURE Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, 1989, p. 97, example illustrated

LITERATURE Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing, 1989, p. 127, example illustrated

$ 2,000 – 3,000

E. William Gollings (1878 – 1932) A Winter Camp (1927)

etching on paper 7 × 9.75 inches signed lower right: E. W. Gollings 1927 [artist cipher] LITERATURE William T. Ward and Gary L. Temple, Gollings, More of the Story, Patagonia Publishing, 2009, p. 267, illustrated $ 3,000 – 5,000

– 11 –

John Fery (1859 – 1934) Red Eagle Pass

oil on canvas 36 × 72 inches signed lower right: J. Fery PROVENANCE The Estate of Robert M. Scriver, Browning, Montana Coeur d’Alene Art Auction, Kalispell, Montana, 2000 LITERATURE Larry Len Peterson, John Fery: Artist of Glacier National Park and the American West, Coeur d’Alene Art Auction, 2015, p. 11, illustrated $ 15,000 – 25,000

Charles M. Russell (1864 – 1926)

Here’s Hoping Your Trail is a Long One hand-colored lithograph on paper 8.5 × 11 inches PROVENANCE The artist Lulu Margaret Smith Swind, Belton, Montana Private collection $ 8,000 – 12,000

– 12 –

Joe De Yong (1894 – 1975)

Sunset in Glacier National Park (1922) oil on canvas 10 × 14 inches signed lower right: Joe De Yong 1922 PROVENANCE Private collection, Oregon LITERATURE Larry Len Peterson, The Call of the Mountains: The Artists of Glacier National Park, Settlers West Galleries, 2002, p. 119, illustrated $ 4,000 – 6,000

Ralph Earl DeCamp (1858 – 1936)

Walter B. Styles (1862 – 1948)

Gates of the Mountains

Tlingit Curios (1888)

oil on canvas 14 × 20 inches signed lower right: DeCamp

oil on canvas 20 × 30 inches signed lower right: W. B. Styles 1888

PROVENANCE Private collection, Oregon

Copies of letters between Len Braarud and Bill Holm will accompany the lot. Tlingit Curios is recorded in the Smithsonian’s Inventory of American Paintings Executed before 1914.

$ 4,000 – 6,000

PROVENANCE Len Braarud, La Conner, Washington EXHIBITED National Academy of Design, New York, New York, 1888 $ 5,000 – 7,000

– 13 –

Olaf Wieghorst (1899 – 1988) Temptation

oil on canvas 28 × 38 inches signed lower right: O – Wieghorst [artist cipher] $ 15,000 – 25,000

John Fery (1859 – 1934) Moose at Sunset

oil on canvas 22 × 36 inches signed lower right: J. Fery $ 6,000 – 9,000 – 14 –

Frank B. Hoffman (1888 – 1958) The Critical Moment

oil on canvas laid on board 16 × 20 inches signed lower right: Hoffman [artist cipher] VERSO Stamp, Brown and Bigelow No. 1333E $ 20,000 – 30,000

John Fery (1859 – 1934) Winter in Minnesota

oil on canvas 18 × 30 inches signed lower left: J. Fery PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2004 $ 6,000 – 9,000 – 15 –

Robert Lougheed (1910 – 1982) Nevada Country (1976)

oil on board 15 × 30 inches signed lower right: Robert Lougheed CA [artist cipher] © VERSO Signed, titled, and dated Artist label with signature, title, and date PROVENANCE Private collection, Nevada $ 10,000 – 15,000

Grant Speed (1930 – 2011)

– 16 –

Bob Kuhn (1920 – 2007) Moose on Green

acrylic on board 9.5 × 10.5 inches signed lower right: Kuhn EXHIBITED American Miniatures, Settlers West Galleries, Tucson, Arizona, 1999 $ 15,000 – 25,000

Bob Kuhn (1920 – 2007) Buffalo and Wolves

mixed media on paper 9.25 × 14.25 inches signed lower left: Bob Kuhn PROVENANCE Private collection, Macomb, Illinois $ 10,000 – 15,000

– 17 –

Kenneth Riley (1919 – 2015) Apache Raiders (1998)

oil on board 18 × 30 inches signed lower right: Kenneth Riley 98 $ 15,000 – 25,000

Frank McCarthy (1924 – 2002) Escape

oil on board 20 × 16 inches signed lower right: McCarthy $ 6,000 – 9,000 – 18 –

Roy Andersen (1930 – 2019)

PROVENANCE Private collection, Carefree, Arizona

oil on canvas 48 × 30 inches signed lower right: Roy Andersen CA

LITERATURE Jan Adkins, Dream Spinner: The Art of Roy Andersen, Settlers West Galleries, Tucson, Arizona, 2000, p. 156, illustrated

He Wears His Power Like a Shield

VERSO Artist label with title

$ 30,000 – 50,000 – 19 –

Martin Grelle (b. 1954) Captured Pony (2003)

oil on canvas 14 × 18 inches signed lower right: Martin Grelle © 03 CA $ 15,000 – 25,000

Francois Koch (b. 1944)

White Mountain Spring (1995) oil on canvas 36 × 46 inches signed lower right: Francois Koch 95 $ 10,000 – 15,000 – 20 –

Jim Norton (b. 1953) Evening Solitude

oil on board 20 × 31 inches signed lower left: Jim C. Norton CA VERSO Signed and titled PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2013 $ 15,000 – 25,000

Robert Duncan (b. 1952) Spring Morning (1987)

oil on canvas 36 × 48 inches signed lower right: R Duncan © 87 CA VERSO Signed, titled, and dated $ 10,000 – 15,000 – 21 –

Don Oelze (b. 1965) Tables Turned (2022)

oil on canvas 40 × 46 inches signed lower left: Oelze The artist writes, “For years I have been fascinated by the old time horseback buffalo hunts and have painted several versions of that theme. The fast action, flying dirt and the look of determination in the eyes of both hunter and prey makes for a superb drama. This form of hunting was also extremely dangerous and huntsmen and their horses were

specially trained for the event. One of the dangers in chasing down large buffalo was that they had the ability to make a sudden spin move by turning on their front legs 180 degrees and in a moment be head first into the side of the horse. In an instant the tables were turned in favor of the pursued and not the pursuer.”

$ 20,000 – 30,000

– 22 –

Martin Grelle (b. 1954) Morning Misery (1997)

oil on canvas 40 × 48 inches signed lower right: Martin Grelle © 97 CA VERSO Artist label with signature, title, and date PROVENANCE Private collection, Scottsdale, Arizona $ 60,000 – 90,000

– 23 –

Maynard Dixon (1875 – 1946)

Catalina Mountains, the planting of a single cottonwood in the patio signified his reverence for the tree. Frequent expeditions to the Rillito area near his home resulted in paintings like Desert Cottonwoods.”

Desert Cottonwoods (1944)

oil on canvas laid on board 16 × 20 inches signed lower left: Maynard Dixon Ariz 1944

PROVENANCE Private collection, Reno, Nevada

VERSO Signed, titled, and dated

EXHIBITED A Place of Refuge: Maynard Dixon’s Arizona, Tucson Museum of Art, Tucson, Arizona, 2008-09

A Certificate of Authenticity from Mark Sublette will accompany the lot. Dixon authority Donald J. Hagerty wrote, “The cottonwood stands alone or in small groves on the barren plains and mesas but will always be near water. It prefers solitude, as did Dixon himself, using it as a symbol in his paintings. In the last fifteen years of his life, Dixon painted over forty canvases depicting the cottonwood, a tree that tolerates little between it and the sun and wind.… When he moved to Tucson in 1940 and constructed a small house at the base of the Santa

LITERATURE Thomas Brent Smith, A Place of Refuge: Maynard Dixon’s Arizona, Tucson Museum of Art, 2008, p. 37, illustrated Donald J. Hagerty, The Art of Maynard Dixon, Gibbs Smith, 2010, pp. 170, 172, illustrated Jim Turner, Arizona: A Celebration of the Grand Canyon State, Gibbs Smith, 2011, p. 280, illustrated $ 40,000 – 60,000

– 24 –

William R. Leigh (1866 – 1955) Shelling Corn

oil on canvas laid on board 20 × 16 inches signed lower left: W. R. Leigh. An original letter from the artist describing the painting, and copies of letters between Ann K. Williams and Len Braarud will accompany the lot. – 25 –

PROVENANCE The artist Warren E. Green, 1928 Private collection, by descent, 1955 Ann K. Williams, Davison, North Carolina, 2001 Len Braarud, La Conner, Washington, 2001 Marilyn Braarud, Kirkland, Washington, 2015 $ 40,000 – 60,000

Henry Farny (1847 – 1916) A Sioux Camp (1901)

gouache on paper 7 × 10 inches signed lower right: Farny 1901 A Sioux Camp is an outstanding example of Farny’s work and demonstrates his brilliance both as a landscape painter and historian as he pictures the starkness of the Dakota Territory. In many of his most successful paintings, Farny employed a progression of horizontal planes to achieve a sense of receding depth. The figures in the foreground anchor the painting, with a line of teepees and trees in the middle foreground, and a horizontal line of mountains in the distance. The sparse landscape and the quiet solitude of the plains are expertly captured in this composition. Farny made several trips to the West in his pursuit of knowledge of the tribes of the American frontier. He learned two Indian languages and was adopted by the Senecas, the

Sioux, the Blackfeet, and the Zuni. Throughout his career he had remarkable encounters with historical figures and events: Farny introduced Sitting Bull to General Ulysses S. Grant in 1883, he sketched Geronimo, and he witnessed firsthand the Ghost Dance of the Sioux. Farny’s paintings were not glorified images of the Wild West. Instead, he created intimate, realistic depictions of Native Americans, their customs, and their disappearing way of life. Theodore Roosevelt wrote, “The nation owes you [Farny] a great debt. It does not realize now, but it will someday. You are preserving for future generations phases of American history that are rapidly passing away.”

PROVENANCE The artist Harry S. Leyman, Cincinnati, Ohio, 1901 Private collection, by descent EXHIBITED Henry F. Farny and the American Indian, Cincinnati Art Museum, Cincinnati, Ohio, 1943 $ 150,000 – 250,000

– 26 –

– 27 –

Joseph Henry Sharp (1859 – 1953) The War Chief

oil on canvas 18 × 14 inches signed lower left: J H Sharp According to Marie Watkins, a Joseph Henry Sharp scholar and associate professor of art history at Furman University, Greenville, South Carolina, “‘Fine for figure compositions,’ Joseph Henry Sharp observed of his Taos models, ‘but very few have the interesting faces & history of the old plains fighters.’ The painting, however, is more complex than an image of a long ago Plains war chief holding a spear and medicine shield, ostensibly Southern Cheyenne from all the trappings. “Sharp, too, commented subtly on contemporary life in Taos in this loosely-painted and boldly colored composition. Looking closely, one sees the realism of exposure to the sun from tan lines on the model, the dark face and lower right arm opposed to the lighter upper body that has worn a shirt. This is an artist’s model at work. Sharp is addressing the

artifice in his painting. He, too, is challenging the Indian stereotype. Is it the viewer’s perception of Indians or Sharp’s crafting of the appearance which deceives? In Sharp’s painterly composition there is more than meets the eye in this portrait of an ‘old plains fighter.’” PROVENANCE Private collection, Hewlett Bay Park, New York Private collection, Texas Coeur d’Alene Art Auction, Reno, Nevada, 2014 Private collection, Oregon LITERATURE Forrest Fenn, The Beat of the Drum and the Whoop of the Dance: A Study of the Life and Work of Joseph Henry Sharp, Fenn Publishing Co., 1983, p. 256, 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. 29, illustrated Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, p. 323, illustrated $ 60,000 – 90,000 – 28 –

Olaf C. Seltzer (1877 – 1957) Thanks for the Favor (1904)

oil on canvas laid on board 11 × 17.5 inches signed lower left: O. Seltzer 1904 PROVENANCE Private collection, Tennessee $ 15,000 – 25,000

Herman W. Hansen (1854 – 1924) Going to Trade

watercolor on paper 18.5 × 15 inches signed lower right: H. W. Hansen PROVENANCE Helen Campbell, Spokane, Washington Private collection, by descent $ 8,000 – 12,000 – 29 –

Kenneth Riley (1919 – 2015) New Brass

oil on board 12 × 24 inches signed lower right: Kenneth Riley $ 15,000 – 25,000

Russ Vickers (1923 – 1997) A Stranger Here

oil on canvas 24 × 36 inches signed lower right: Russ Vickers © VERSO Label, Husberg Fine Arts Gallery, Sedona, Arizona PROVENANCE Private collection, Carefree, Arizona $ 10,000 – 15,000

– 30 –

Charlie Dye (1906 – 1972) Pow Wow Encampment

oil on canvas 24 × 36 inches signed lower right: Charlie Dye © VERSO Titled $ 30,000 – 50,000

– 31 –

Charles M. Russell (1864 – 1926)

Mexican Vaqueros Roping a Steer (1925) watercolor on paper 18 × 28 inches signed lower left: C M Russell [artist cipher] 1925 VERSO Label, Mongerson Wunderlich Galleries, Chicago, Illinois Mexican Vaqueros Roping a Steer is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.PC.163. A typed letter from Mongerson Wunderlich Galleries detailing the provenance of the work will accompany the lot. Russell historian Ginger K. Renner wrote, “The Great Falls Tribune of Sunday, February 11, 1906, carried a story with a picture of the Cowboy artist, Charles M. Russell, headlined ‘He Is Going To Old Mexico.’ The reporter states that he and Mrs. Russell would visit the interior of Mexico for six weeks or perhaps two months, the purpose being to make a series of studies of ancient and modern types of the Mexican cowpuncher for Outing, the well-known, high-class magazine of sports and out-of-door life, the editor of which, Caspar Whitney, is a personal friend and great admirer of Russell. The story goes on to extol Russell’s art and the success he had been having not only in illustrating for several of the outstanding publications but that he was being recognized as an author, as well, since several of his sketches and stories would be appearing shortly in Outing. “Apparently, between the time of that story and their departure for Mexico the plans developed further. First, Charley’s father, Charles Silas Russell, was invited to

accompany them and probably through the contacts Whitney had, plans were made to present an exhibit of Russell’s art in the Porter Hotel in Mexico City. The Mexico City Daily Record of April 8, 1906, in a two-column story states, ‘The art exhibit at Porter’s Hotel this morning was as refreshing as the dawn itself.… The work of Mr. Russell is difficult to describe. Language faintly describes the exquisite touch of his magic brush and pen, or the marvelous details of his art.’ We have no information on how long the exhibit lasted, but during the Russells’ stay in the Capital they met the owner of the largest ranch in all Mexico. Señor Terrazas cordially invited the Russells to make an extended visit to his giant spread outside the city of Chihuahua, where Charley would have every opportunity to study and sketch the vaqueros and the stock and a different way of ‘cowboying.’ The several weeks the Russells were guests of Señor Terrazas were an eye-opening experience for Montana’s favorite artist and a number of paintings resulted.”

PROVENANCE Nancy Russell, Pasadena, California C. R. Smith, Washington, D.C. George Miller, George Miller, Jr. Earl C. Adams, Los Angeles, California Adams Family Trust, San Marino, California Mongerson Wunderlich Galleries, Chicago, Illinois Corporate collection, Chicago, Illinois EXHIBITED Art League of Santa Barbara, Santa Barbara, California, 1927 Biltmore Salon, Los Angeles, California, 1927 The West Remembered: Artists and Images, 1837-1973, California Historical Society, San Francisco, California, 1973 LITERATURE The West Remembered: Artists and Images, 1837-1973, California Historical Society, 1973, p. 64, illustrated Charles M. Russell: The Artist in His Heyday, Gerald Peters Gallery, 1995, pp. 92-93, illustrated $ 400,000 – 600,000

– 32 –

John Fery (1859 – 1934) Gunsight Lake

oil on canvas 47 × 70 inches signed lower left: J. Fery PROVENANCE The Estate of Robert M. Scriver, Browning, Montana Coeur d’Alene Art Auction, Kalispell, Montana, 2000

“He Is Going To Old Mexico.” – THE GREAT FALLS TRIBUNE

LITERATURE Larry Len Peterson, John Fery, Artist of Glacier National Park & the American West, Coeur d’Alene Art Auction, 2015, p. 104, illustrated $ 15,000 – 25,000

William R. Leigh (1866 – 1955) Canyon River

oil on canvas laid on board 10 × 8 inches signed lower left: W R Leigh VERSO Label, Kennedy Galleries, New York, New York An original letter of authenticity from Grand Central Art Galleries will accompany the lot. $ 6,000 – 9,000 – 34 –

John Fery (1859 – 1934) Lake McDonald

oil on canvas 40 × 60 inches signed lower right: J. Fery PROVENANCE The Estate of Robert M. Scriver, Browning, Montana Coeur d’Alene Art Auction, Kalispell, Montana, 2000 $ 15,000 – 25,000

Thomas Hill (1829 – 1908)

Indian Encampment Along the Rapids oil on canvas 24 × 18 inches signed lower right: T. Hill VERSO Label, Kennedy Galleries, New York, New York PROVENANCE Private collection, Dallas, Texas $ 15,000 – 25,000

– 35 –

– 36 –

Edgar Payne (1883 – 1947) Desert Sky

oil on canvas 25 × 30 inches signed lower right: Edgar Payne According to Payne biographer Nancy Moure, “Mixed with his Sierra excursions Payne also made a number of sketching trips to the Grand Canyon, Canyon De Chelley [sic] and other spots in New Mexico and Arizona. One assumes Payne’s interest in the dry terrain of the Southwest was inspired by the work of fellow Southern California artists such as Conrad Buff (who helped Payne on the Congress Hotel murals in 1917) or Jimmy Swinnerton, or Frank Tenney Johnson (whose works Payne reproduced in his treatise). No doubt the stark mesas, buttes and canyons were a near-at-hand exotic treasurehouse that had the elements of bigness which Payne sought and was so successful at translating onto canvas.

“In any case, he produced a number of works portraying Indians riding through the Southwestern terrain. Sometimes these traversed a flat desert spread over by a vast sky full of magnificent clouds … At other times Indians ride through narrow canyons sided by sheer vertical sandstone cliffs. Totally different in palette from his other themes, these works have a unity within themselves – of color and spirit. Payne’s talent enabled him to project the vastness of the Southwest. He records the silence of the weather-shaped and striped monuments and magnifies their immensity by comparing them to man.”

PROVENANCE Fred Rosenstock, Denver, Colorado Wolfgang H. Pogzeba, Taos, New Mexico, ca. 1975 Private collection, by descent Private collection, Colorado $ 150,000 – 250,000

– 37 –

John Seerey-Lester (1945 – 2020) Stand Steady (2009)

oil on board 24 × 48 inches signed lower right: Seerey-Lester © VERSO Artist label with title and “WC# 70/15” PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2009 Private collection, Billings, Montana $ 15,000 – 25,000

David Shepherd (1931 – 2017) Tiger (1994)

oil on canvas 9 × 14 inches signed lower right: David Shepherd 94 VERSO Signed and dated PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 7,000 – 10,000

– 38 –

David Shepherd (1931 – 2017) Elephants in the Bush (1981)

oil on canvas 34 × 66 inches signed lower right: David Shepherd 81 VERSO Signed and dated The artist wrote, “It was on my very first visit to Kenya in 1949 and my abortive attempt to become a game warden that I saw my very first elephants in the wild. The initial impression, and one that has gained strength over the years as I have seen more and more of these magnificent animals in their natural environment, is of one’s own complete insignificance. If armed with a gun, man is powerful, but alone, unarmed, he is nothing. The lion has been termed

‘The King of the Beasts’ and, impressive though he can be, I really cannot quite understand why! “The elephant is a gentle giant. The warden, who showed me my very first elephant, said ‘If you leave them alone, they will leave you alone.’ Man is the elephant’s only enemy. I can never think of elephants as dangerous. Why should I? They are only dangerous when man has given them reason to be.”

PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 60,000 – 90,000

– 39 –

Simon Combes (1940 – 2004) Serious Intent (1993)

oil on canvas 24 × 48 inches signed lower right: Simon Combes Jan 93 © $ 20,000 – 30,000

Bob Kuhn (1920 – 2007) Out on a Ledge

acrylic on board 18 × 14 inches signed lower left: Kuhn $ 5,000 – 7,000

– 40 –

Bob Kuhn (1920 – 2007) Fight or Flight (1992)

acrylic on board 22 × 30 inches signed lower left: Kuhn VERSO Signed and dated Artist label with signature, title, and date The artist wrote, “Buffalos have a hard time not looking menacing. They usually run from the intruder, but not always and that’s what you have to bear in mind during any confrontation. Libby and I have twice been charged by ill-tempered old bulls, unprovoked by us, but each time we

were on wheels. For anyone on foot, the possibility of getting hurt is real. One of those charging episodes afforded me the chance to photograph a bull coming flat-out; it’s as dramatic a picture as any I’ve seen.”

PROVENANCE Private collection, Nevada $ 70,000 – 100,000

– 41 –

Joseph Velazquez (b. 1942)

Bent’s Fort – Trade Center of the Plains oil on canvas 24 × 48 inches signed lower right: J. Velazquez EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 2009 $ 15,000 – 25,000

Francois Koch (b. 1944) Forest Trail (2010)

oil on canvas 42 × 36 inches signed lower right: Francois Koch © 10 VERSO Signed, titled, and dated PROVENANCE Private collection, Michigan $ 10,000 – 15,000

– 42 –

C. Michael Dudash (b. 1952)

A Good Raid Means Many Ponies (2016) oil on canvas laid on board 30 × 36 inches signed lower left: C M Dudash VERSO Signed, titled, and dated $ 20,000 – 30,000

– 43 –

Bill Anton (b. 1957) Dusty Drive (2008)

oil on board 24 × 36 inches signed lower left: Bill Anton © VERSO Signed, titled, and dated PROVENANCE Trailside Galleries, Scottsdale, Arizona Private collection, Colorado, 2009 $ 10,000 – 15,000

Jim Norton (b. 1953) Evening Shadows (1993)

oil on canvas 24 × 32 inches signed lower left: Jim C. Norton CA © VERSO Signed, titled, and dated $ 7,000 – 10,000 – 44 –

Howard Terpning (b. 1927) Talk Among Trappers (1982)

oil on canvas 18 × 16 inches signed lower right: © Terpning 1982 CA PROVENANCE Settlers West Galleries, Tucson, Arizona, 1982 Private collection, Colorado EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 1982 $ 50,000 – 75,000 – 45 –

Cindy Baron (b. 1957) Coastal Treasures (2022)

oil on canvas laid on board 30 × 34 inches signed lower left: Cindy Baron PAPA OPAM AIS VERSO Signed and titled The artist writes, “This scene was from a trip I took during the spring, flowers were abundant and the late afternoon sun gave a warm ending to a spectacular day. I had captured this painting when I stopped along Coastal Route 1, the atmosphere was becoming hazy from the setting sun and I could still see for miles beyond this little cove dotted with wild flowers. I love to paint distance and remember where I had been just a short time earlier. I especially took a liking to the tree forms and how they were important, almost like guarding the poppies that had taken root on the hillside. Remembering what I felt, the air was soothing and the ocean was relatively calm, but most important, the colors of the poppies next to the coast gave a wonderful palette of paint to render.” $ 10,000 – 15,000

Brooke Wetzel (b. 1984)

As Morning Sweetly Unfolds (2022) oil on canvas 30 × 42 inches signed lower left: Brooke Wetzel The artist writes, “Waiting out the early morning as it sweetly unfolds, you catch all the inbetweens and the natural order of things. “The tug and pull of an elk herd, the swift transition of wild light, and the ever-changing flow of water and rolling fog, all reveal the very nature of God.” $ 5,000 – 10,000

– 46 –

Clyde Aspevig (b. 1951) Grand Canyon

oil on canvas 60 × 40 inches signed lower left: C. Aspevig PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2007 $ 50,000 – 75,000 – 47 –

– 48 –

Robert Griffing (b. 1940)

Only a Matter of Time (2002) oil on canvas 50 × 42 inches signed lower right: Griffing © 2002 Describing this painting the artist wrote, “This is one of my favorite paintings. The clock represents the invasion of the whites and a loss of traditions and a way of life for the Indians. And what does the future hold? I think the title says it all.” PROVENANCE Private collection, Michigan EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2003 Only a Matter of Time: The Paintings of Robert Griffing, Eiteljorg Museum, Indianapolis, Indiana, 2010 LITERATURE Only a Matter of Time: The Paintings of Robert Griffing, Eiteljorg Museum, 2010, cover, p. 2, illustrated $ 80,000 – 120,000

– 49 –

Frank McCarthy (1924 – 2002) Spooked (1982)

– 50 –

Kenneth Riley (1919 – 2015) Mandan Buffalo Dance (1977)

acrylic on board 30 × 30 inches signed lower right: Kenneth Riley 77 Riley biographer Susan Hallsten McGarry wrote that from the Lewis and Clark journals, “Riley was excited by the Mandan Indians, who hosted the Corps of Discovery during the fall and winter of 1804-05.… Riley’s introduction to the lifeways and material culture came from two additional epic adventurers [George

Catlin and Karl Bodmer] that were recorded in pictures and words.… Catlin’s passion greatly affected Riley, who embarked on a series of works that honored the explorer artist by using his words and his pictures to create paintings … to document the Indians before civilization forever changed them.” PROVENANCE The artist Settlers West Galleries, Tucson, Arizona, 1978 Dr. and Mrs. Richard Toll, Tucson, Arizona – 51 –

Private collection, Tucson, Arizona Coeur d’Alene Art Auction, Reno, Nevada, 2014 Private collection, Albuquerque, New Mexico EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 1978 LITERATURE Southwest Art, May 1978, front cover, illustrated The Great American West, Settlers West Galleries, 1978, illustrated $ 60,000 – 90,000

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Bob Kuhn (1920 – 2007)

Salmon du Jour – Brown Bears (2006) acrylic on board 22 × 23 inches signed lower left: Kuhn VERSO Signed and dated In discussing this subject matter the artist wrote, “This is another version on the bear/gull relationship. It has the earmarks of a cliché, but so do many other symbiotic relationships. The wildlife artist has to, by hook or crook, use a familiar cast of characters in an untried way. It isn’t all that easy, this job of producing a piece of work sufficiently novel

to stand on its own. As many artists will attest, the concept of a painting determines the smoothness of the journey from idea to finished work. Good concept: smooth ride; faulty concept: a long, dusty, bumpy, detour-riddled ride, with the destination always in doubt.”

LITERATURE Tom Davis, Patrons Without Peer, the McCloy Collection, Collectors Covey, 2009, p. 122, illustrated $ 80,000 – 120,000

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Ogden M. Pleissner (1905 – 1983) Trio

watercolor on paper 15 × 22 inches signed lower right: Pleissner PROVENANCE Herbert Feldman, Scarsdale, New York Private collection, by descent $ 15,000 – 25,000

Benton Clark (1895 – 1964) Fishing

oil on canvas 36 × 24 inches signed lower right: Benton Clark $ 6,000 – 9,000 – 54 –

Bob Kuhn (1920 – 2007) In the Gloaming

acrylic on board 9 × 12 inches signed lower left: Kuhn $ 40,000 – 60,000

– 55 –

Fred Machetanz (1908 – 2002) Arctic Monarch (1972)

oil on board 32 × 52 inches signed lower left: F Machetanz 1972 VERSO Signed, titled, and dated PROVENANCE The artist Kenyon Painter, Phoenix, Arizona, 1972 Private collection, by descent EXHIBITED Frye Art Museum, Seattle, Washington, 1972 LITERATURE Sara Machetanz, The Oil Paintings of Frederick Machetanz: Painter of the Alaskan Scene, F. Lewis, 1980, pp. 48, 68, listed $ 25,000 – 35,000

Sydney Laurence (1865 – 1940) Alaska Trail

oil on canvas 16 × 20 inches signed lower left: Sydney Laurence $ 15,000 – 25,000 – 56 –

Carl Rungius (1869 – 1959) Bear in a Stream

oil on canvas 25 × 30 inches signed lower right: C. Rungius In Carl Rungius, Artist and Sportsman, Robert Stacey wrote, “By the 1930s, Rungius’s work coalesced into a mature signature style that was vastly different from anything that had been seen in American wildlife art. True to his own calling, but shaped by the forces of modern art around him,

Rungius extended himself and American wildlife art by reducing anatomical and topographical details to strokes of color and blocks of form and mass. His impressionistic pleinair paintings were perfectly suited to North American big game and the environment of the Canadian Rockies.”

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2017 Private collection, Nevada $ 50,000 – 75,000

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– 58 –

Philip R. Goodwin (1881 – 1935) Quenching Two Thirsts

oil on canvas laid on board 24.5 × 14 inches signed lower right: Philip R. Goodwin VERSO Label, Forbes Lithograph Manufacturing Company, Boston, Massachusetts According to Goodwin biographer Dr. Larry Len Peterson, “1907 was a banner year for the young prodigy. His personal log shows works submitted to Winchester Repeating Arms Company, Scribner’s Magazine, Ladies’ Home Journal, The Saturday Evening Post, Collier’s Weekly, and Nabisco’s Cream of Wheat Company (his famed A ‘Bear’ Chance), among others. Yet the bulk of his finest output was submitted to the venerable Forbes Lithograph Manufacturing Company in Boston, founded by William H. Forbes in 1862. This gem was submitted to them in June and described by Goodwin as ‘One painting of hunter drinking and discovering elk at the same time’ – quenching two thirsts. The image eventually ended up on a rare 1909 poster for The Western Cartridge Co. in East Alton, Illinois. It was executed in anticipation of the artist visiting Charles M. Russell for the first time,

quenching his own thirst for company with his hero. After being paid $150 for his effort, Goodwin headed west to visit his friend at Bull Head Lodge in Montana’s Glacier National Park for most of the rest of the summer. In reality, Goodwin would discover that there were few elk still found in the park, and they were located along the eastern slope, but were scarce, shy, and widely scattered in small bunches. Because Russell’s cabin was on the west side of the park, he probably never saw one. Theodore Roosevelt enjoyed hunting the Rocky Mountain elk (Cervus canadensis nelson), stating it is ‘one of the most attractive of sports, not only because of the size and stately beauty of the quarry and the grand nature of the trophy, but because of the magnificent scenery, and the stirring, exciting nature of the chase itself.’”

PROVENANCE The artist Forbes Lithograph Manufacturing Company, Boston, Massachusetts Private collection, Andover, Massachusetts LITERATURE Larry Len Peterson, Philip R. Goodwin: America’s Sporting & Wildlife Artist, Coeur d’Alene Art Auction and Settlers West Galleries, 2001 Hal Boggess, Classic Hunting Collectibles, KP Books, 2005, p. 49, illustrated Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, pp. 381-91 $ 60,000 – 90,000

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E. Martin Hennings (1886 – 1956)

Clouds Over Moreno Valley, New Mexico oil on canvas 25 × 30 inches signed lower left: E. Martin Hennings. The artist wrote in 1928, “Through the influence of Mr. Martin Carter Harrison I was induced to try the West and have made Taos, N.M. my stomping grounds since 1921 and such successes as I have been fortunate to have, have come from subjects and work done in this environment.” PROVENANCE Private collection, Tucson, Arizona, 1950s Private collection, Wichita, Kansas, by descent $ 60,000 – 90,000

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Edgar Payne (1883 – 1947) Canyon Walls

oil on canvas laid on board 10.5 × 12 inches signed lower right: Edgar Payne VERSO Signed and titled PROVENANCE Private collection, California $ 15,000 – 25,000

Philip R. Goodwin (1881 – 1935) Packing In

gouache and watercolor on paper 5.5 × 8.5 inches signed lower right: Philip R. Goodwin $ 8,000 – 12,000

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Eanger Irving Couse (1866 – 1936) Eagle Dance

oil on canvas 8 × 10 inches signed lower left: E- I- Couse$ 30,000 – 50,000

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Oscar Berninghaus (1874 – 1952) At the Pueblo, Taos

gouache and watercolor on paper 5 × 9 inches signed lower right: O E Berninghaus $ 20,000 – 30,000

Gerald Cassidy (1869 – 1934) The Pottery Vendor

gouache and watercolor on paper 9.5 × 7.5 inches signed lower right: Gerald [artist cipher] Cassidy $ 6,000 – 9,000

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Edgar Payne (1883 – 1947) Payne Lake, Sierras

oil on canvas 24 × 26 inches signed lower right: Edgar Payne PROVENANCE Private collection, Sea Ranch, California $ 25,000 – 35,000

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Grace Carpenter Hudson (1865 – 1937) Tale-O with Squirrels (1915)

oil on canvas 20 × 16 inches signed lower left: © G Hudson 15 VERSO Signed and “#465” The artist wrote, “The Indians are especially fond of squirrels or any game. The old folks say that the reason the tribe is dying is because they are compelled to eat beef and flour instead of fish, game, acorns, buckeyes, wild bulbs and tubers, shellfish and seaweed, salt from the pine tree.” LITERATURE Searles R. Boynton D.D.S., The Painter Lady Grace Carpenter Hudson, Sun House Guild, 1978, p. 122, illustrated $ 15,000 – 25,000

Raphael Lillywhite (1891 – 1958) Waiting for His Rider

oil on board 24 × 30 inches signed lower left: Raphael Lillywhite PROVENANCE Private collection, Texas $ 5,000 – 7,000

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William Herbert Dunton (1878 – 1936) Treed (ca. 1915)

oil on canvas 40 × 30 inches signed lower left: W. Herbert Dunton Treed will be included in Michael R. Grauer’s forthcoming W. Herbert Dunton Catalogue Raisonné. “A ‘lone wolf?’ Yes, to the human. But I am far from alone for with me constantly is my art in which I am absorbed and back in the hills with a saddle horse and one to pack and with a hound or two I’m quite content; with the trees and streams and the deer, elk and bear all about me.” – William Herbert Dunton

and New York publishers such as Forbes Lithograph Manufacturing Company. The most prominent lithographic house for the firearms and ammunition trade, Forbes printed advertising posters and calendars for firearms makers Hopkins & Allen, Marlin, Remington, SavageStevens, and Winchester.

According to art historian Michael R. Grauer, “Unlike his fellow artists in Taos, New Mexico, and most of his peers in Western art, W. Herbert Dunton was a true outdoorsman. Dunton worked annually in the West as a cowboy and hunter from 1896 to his first summer in Taos in 1912. Because of his work as a ‘puncher’ and hunter from Montana to Mexico, at one time Dunton was one of the most prolific and popular Western and outdoor illustrators in the United States.

“For about his first ten years in New Mexico, Dunton actively hunted and acted as a hunting guide. One of his frequent hunting partners was Elliott S. Barker (18861988), particularly on mountain lion hunts. Barker worked as a professional guide and hunter near Las Vegas, New Mexico, for two years before becoming a forest ranger in the Jemez National Forest in Cuba, New Mexico, and the Pecos National Forest in Pecos, New Mexico, beginning in 1909.

“Born near Augusta, Maine, he hunted and fished with his maternal grandfather as a child, and later carried a sketchpad along with his rod or rifle. In 1896 ‘with a … new Winchester’ he traveled to Montana where he became a contract hunter for ranches in Park and Musselshell counties for two years. Back in Boston then New York, he wrote and illustrated articles for outdoor and sporting magazines. He became friends with Philip R. Goodwin, the most popular wildlife and sporting artist in America by the early 1900s.

“Treed probably depicts a mountain lion hunt in which Barker may have been the inspiration for the younger hunter in the red coat mounted on the white horse. Barker was often photographed with a white horse. The figure of the older hunter in the background may have been inspired by Dunton’s friend and fellow hunter Bingham E. ‘Bing’ Abbott (1875-1948). The dogs include hounds, an Airedale, and a terrier.

“After first visiting Taos in 1912, he moved there in 1915. He continued hunting big game in the Sangre de Cristo Mountains, including deer, elk, bear, and mountain lion. Dunton also became Taos Fish and Game Protective Association president in the late ‘teens as his views toward wildlife in New Mexico evolved. While in Kansas City, Missouri, for an exhibition of his work there in 1924, Dunton delivered a radio address titled ‘Hunt But Don’t Kill All,’ lamenting the loss of game in New Mexico and the need to protect what remained. “During pack-horse trips into the Sangre de Cristo Mountains in the late 1920s and early 1930s, he mainly made ‘dry-hunts,’ ‘taking’ game with a thumb-box of oil paints and small canvas panels. His last major paintings from 1930 to 1936 emphasize big-game animals – elk, deer, and especially bears – in simplified, stylized landscapes characterized by rich color. “Treed is an excellent example of Dunton’s hunting paintings created while he still maintained his connections to Boston

“Writing to a patron in 1926, Dunton discussed the source of his ideas for hunter, hunting, and outdoor paintings: ‘The inspiration for this canvas – as in my others – was my own trips in the hills.… I have depicted no particular place – as I do in few of my canvases – changing the lines of those I see in nature to make a ‘composition.’ That is where the art comes in – taking what one wishes from a place or places and knowing what to discard.’ “As far as composition for these type of figure paintings, Dunton wrote to his friend Texas artist H. D. Bugbee in 1922 advising him about how to construct his paintings: ‘you also have got to arrange them so that they form artistic masses along the lines of which the eye is unconsciously led through and back and fourth [sic] across the canvas – never out of the picture.’ This describes Treed perfectly in that the eye is led into the picture by the right hind leg of the dog, exactly at center (his tail helps guide the eye). The curve of his body up to his head point up to whatever is ‘treed’ and is reinforced by the heads of the other four dogs and the hunter in the background all gazing up. The broken branch leaning against the tree at center forms an arrow pointing up the trunk of

– 66 –

the pine tree (that reminds us of one of Goodwin’s signature hemlocks). Then our eye is led back down to the front brim of the younger mounted hunter, around his brim and down his shoulder to the saddle horn, then cantle, then horse’s rump, down its tail to the resting hind foot angled slightly toward the centermost dog’s tail. Then our eye jumps to the tail of the foremost dog and the journey starts all over again: ‘through and back and fourth [sic] across the canvas – never out of the picture.’ “Dunton insisted upon appropriate clothing and accoutrements in his paintings, although he never descended into accuracy for its own sake. In Treed both hunters carry Winchester rifles and the mounted hunter wears Barker’s signature ‘batwing’ chaps and a hat with what appears to be a Stetson Carlsbad crease, favored about this time. The buckskin horse carries a single-rigged open-loop Western stock saddle with Sam Stagg rigging and a cantle with a Cheyenne roll. “Dunton bathed the foreground in a general light in the forest clearing. He posed both hunters and horses and the snow-covered ground and boulders against a dark forest background. This effect presages the theatricality – even artificiality – that came to characterize his much later canvases such as McMullin, Guide (1934), that aligned his work with the Regionalist movement of Grant Wood, John Steuart Curry, and Thomas Hart Benton. This theatricality is only heightened by the mystery of what has been ‘treed.’ This air of mystery (foreboding) is an undercurrent found in the ‘predicament paintings’ of Dunton’s friends Goodwin and Charles M. Russell. “W. Herbert Dunton’s Treed is an outstanding example of wildlife and sporting art depicting the American West. This painting would make an exceptional addition to any collection of art of the American West or wildlife and sporting art, or both.” PROVENANCE The artist Forbes Lithograph Manufacturing Company, Boston, Massachusetts Private collection, Andover, Massachusetts $ 400,000 – 600,000

Joseph Henry Sharp (1859 – 1953) Blackfeet Reservation

oil on canvas laid on board 12 × 24 inches signed lower left: J H Sharp $ 15,000 – 25,000

“I’m quite content; with the trees and streams and the deer, elk, and bear all about me.” – WILLIAM HERBERT DUNTON

Frank P. Sauerwein (1871 – 1910) Indian with Bowl on Ladder

oil on canvas 15 × 11 inches signed lower right: Sauerwein VERSO Label, Kennedy Galleries, New York, New York $ 5,000 – 7,000

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Frederic Remington (1861 – 1909) Louis Brown’s English Setter

oil on canvasboard 21 × 28 inches signed lower right: To my friend Louis Brown Frederic Remington A Letter of Authenticity from the Buffalo Bill Center of the West will accompany the lot. This painting was Remington’s wedding gift to his close friends Louis and Lulu Brown. The imagery began with a bit of drama as the owner’s prized English Setter had to be sent to Remington’s New Rochelle studio and this proved difficult. At the time, New York State held stringent rules

about transporting animals via public transportation. Still, arrangements were finally made and Brown’s setter was able to pose for posterity, in this lasting portrait completed by Frederic Remington.

PROVENANCE The artist, gifted to Louis & Lulu Brown, New York, New York Margaret Eaton Brown Fleming, Pittsburgh, Pennsylvania Louis Brown & Jean Tarr Fleming, Los Angeles, California The Estate of Margaret Eaton Brown Fleming, Pasadena, California Private collection, Pasadena, California, by descent John Moran Auctioneers, Monrovia, California, 2016 Private collection $ 30,000 – 50,000

– 69 –

Peter Hurd (1904 – 1984) A Ranch on the Plains (1951)

tempera on board 25 × 48 inches signed lower left: Peter Hurd N.A. VERSO Signed, titled, and dated Historian Paul Horgan wrote, “Hurd has painted the land and people of his native Southwest, where there are indeed ranches and cattle and men who earn their living by taking care of them. But it has never been the quaintness, or the regionally social character, or the primitive aspects of the culture of the Southwest which have primarily interested him.

“What has led him to enter with all his power into the localisms of the Southwest, and to enfold these within the world he paints, has been his humble love of the land and his lifelong worship of the light upon it, until we could risk saying in a grand simplification that his entire body of work in landscape amounts to a hymn to the sun.”

PROVENANCE The artist Archie Campbell, Roswell, New Mexico Private collection, by descent $ 80,000 – 120,000

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Pino (Guiseppe d’Angelico) (1939 – 2010) Prelude to Love

oil on canvas 20 × 30 inches signed lower left: Pino $ 10,000 – 15,000

Richard Schmid (1934 – 2021) Roses (1984)

oil on canvas 20 × 16 inches signed lower right: Schmid VERSO Signed, titled, dated, and “#2102” The artist wrote about this painting, “Flowers, for me, are always hard because, like portraits, each is unique with personalities just like people. These were the last flowers in a small city garden and I was lucky to get them before the frost so in a sense they are not gone but rather are living through my brush.” EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 1984 LITERATURE The Great American West, Settlers West Galleries, 1984, illustrated $ 20,000 – 30,000 – 72 –

Richard Schmid (1934 – 2021) Tresses (1986)

oil on canvas 20 × 16 inches signed lower right: Schmid VERSO Signed, titled, dated, and “#2158” EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 1986 LITERATURE The Great American West, Settlers West Galleries, 1986, illustrated $ 20,000 – 30,000

Richard Schmid (1934 – 2021) Michelle (1985)

oil on board 12 × 8 inches signed lower right: Schmid VERSO Signed, titled, dated, and “#2144” EXHIBITED American Miniatures, Settlers West Galleries, Tucson, Arizona, 1985 $ 10,000 – 15,000 – 73 –

Montague Dawson (1890 – 1973) Quiet Waters, the Illawarra

oil on canvas 28 × 42 inches signed lower left: Montague Dawson The Illawarra was an iron, full-rigged ship built in Glasgow, Scotland, by Dobie & Co. It was launched in 1881 from London and used primarily for the Australian passenger route. The ship was eventually abandoned at sea in 1912, when a load of coal shifted and caught fire. Her crew was saved by a passing British steam ship. PROVENANCE R. S. H. Trust, Pasadena, California Coeur d’Alene Art Auction, Reno, Nevada, 2008 Private collection, Palm Beach, Florida $ 30,000 – 50,000

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Edouard Cortès (1882 – 1969)

Porte St. Martin, Grands Boulevards oil on canvas 13 × 18 inches signed lower left: Edouard Cortès VERSO Label, Fenn Galleries, Santa Fe, New Mexico A Certificate of Authenticity from Nedra Matteucci Galleries will accompany the lot. PROVENANCE Private collection, Florida $ 15,000 – 25,000

Robert Wright Stewart (1875 – 1980) Mexican Standoff (1927)

oil on canvas 26 × 40 inches signed lower left: Robert W Stewart 1927 PROVENANCE Private collection, Nevada $ 6,000 – 9,000 – 75 –

Edgar Payne (1883 – 1947) Tuna Boats

oil on canvas 16 × 20 inches signed lower left: Edgar Payne PROVENANCE Private collection, Nevada $ 15,000 – 25,000

Kathryn Leighton (1875 – 1952) Standing Bear Jr.

oil on canvas laid on board 24 × 18 inches signed lower right: Kathryn W. Leighton $ 6,000 – 9,000 – 76 –

Edouard Cortès (1882 – 1969)

Porte St. Martin, Grands Boulevards – A Cold Evening oil on canvas 13 × 18 inches signed lower right: Edouard Cortès VERSO Titled A Certificate of Authenticity from Nedra Matteucci Galleries will accompany the lot. PROVENANCE Private collection, Florida $ 15,000 – 25,000

100

Donald Teague (1897 – 1991) Night Raid

oil on board 14 × 18 inches signed lower right: Donald Teague N. A. VERSO Signed and titled $ 6,000 – 9,000 – 77 –

101

Norman Rockwell (1894 – 1978)

Norman Rockwell Visits a County Agent in Jay, Indiana (1948) watercolor on paper 9 × 12 inches initialed lower right: N R One of the professions that Norman Rockwell profiled in his over 1,000 illustrations for The Saturday Evening Post was that of the county agricultural agent, a “uniquely American institution.” For a four-page article in the July 24, 1948 Post, Rockwell shadowed County Agent Herald Rippey of Jay, Indiana, chronicling in ten illustrations his eclectic job activities: laying out a terrace line for soil conservation, culling hens, lecturing to the Rotarians about the fiscal ties

between the city and the farm, testing recipes prepared by the Home Economics Club, meeting with specialists from Purdue University on plant research, and examining the Guernsey calf of a fourteen-year-old 4-H Club member. This illustration from the cover page of the article shows Rippey engaged in an especially important task, analyzing the soil of a farm to be used in fertilizer experiments.

PROVENANCE The artist, gifted to Private collection, Stockbridge, New York, 1961 Heritage Auctions, Dallas, Texas, 2015 Private collection, Winter Park, Florida LITERATURE The Saturday Evening Post, July 24, 1948, pp. 30-33, illustrated $ 30,000 – 50,000

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102

Birger Sandzén (1871 – 1954)

Once a Home (Kansas Landscape) (1952) oil on board 20 × 24 inches signed lower right: Birger Sandzén VERSO Signed, titled, and dated PROVENANCE Gary T. Leach, Houston, Texas $ 30,000 – 50,000

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103

Harvey Dunn (1884 – 1952) The Homesteaders (1942)

oil on canvas 40 × 60 inches signed lower right: Harvey Dunn 1942 VERSO Signed Inscribed, “Calander [sic] rights reserved by Gerlach – Barklow Co. Joliet Illinois Harvey Dunn” An original calendar from 1946 featuring The Homesteaders will accompany the lot. In 1945, Harvey Dunn was recognized by the National Academy of Design with the coveted status of National Academician. Taught by Howard Pyle, Dunn went on to teach a legion of great American artists beginning shortly before World War I and continuing until World War II. The artist and historian Walt Reed thought Dunn was “one of the most important illustrators of the 20th century, best known for the authenticity of his Western subjects.”

The Homesteaders was purchased by Arthur Cahalan when he was president of The First National Bank in Miller, South Dakota, from 1930 to 1963. The painting has hung there continuously since. The painting appeared on a calendar published by Gerlach Barklow Co. This was the first and only Dunn picture to appear on a calendar for more than 30 years.

PROVENANCE The artist Private collection, South Dakota LITERATURE Walt Reed, Harvey Dunn: Illustrator and Painter of the Pioneer West, Flesk Press, 2010, pp. 192-93, illustrated $ 150,000 – 250,000

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104

Mian Situ (b. 1953) Land of the Ancients

oil on canvas 48 × 42 inches signed lower left: Mian Situ PROVENANCE Private collection, Nevada $ 20,000 – 30,000 – 82 –

105

Howard Terpning (b. 1927) Cheyenne (1983)

oil on board 8 × 10 inches signed lower left: © Terpning 1983 CA VERSO Signed and titled PROVENANCE The artist Settlers West Galleries, Tucson, Arizona, 1984 Private collection, Texas

Private collection, Hawaii Coeur d’Alene Art Auction, Reno, Nevada, 2018 Private collection, Reno, Nevada EXHIBITED American Miniatures, Settlers West Galleries, Tucson, Arizona, 1984 LITERATURE American Miniatures, Settlers West Galleries, 1984, p. 3, illustrated $ 40,000 – 60,000

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106

Tim Cox (b. 1957)

Better Days Ahead (1988) oil on board 36 × 60 inches signed lower left: A. T. Cox 88 © PROVENANCE Private collection, Carefree, Arizona $ 50,000 – 70,000

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107

Jim Norton (b. 1953) Splittin’ ‘n Gettin’ (1991)

oil on canvas 32 × 24 inches signed lower right: Jim C. Norton CA © VERSO Artist label with signature, title, and date Label, Cowboy Artists of America Museum, Kerrville, Texas PROVENANCE Private collection, Carefree, Arizona EXHIBITED The Story Tellers, Cowboy Artists of America Museum, Kerrville, Texas, 1992 $ 15,000 – 25,000

108

Michael Coleman (b. 1946) Black Bear Family

oil on board 16 × 24 inches signed lower right: Michael Coleman © $ 5,000 – 7,500 – 85 –

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109

Frederic Remington (1861 – 1909)

A Peccary Hunt in Northern Mexico (ca. 1888) oil on canvas 18 × 28 inches signed lower right: Frederic Remington. A Peccary Hunt in Northern Mexico is included in the Frederic Remington Catalogue Raisonné as number 397. Of note, the main rider in A Peccary Hunt in Northern Mexico is a self-portrait of Remington. A framed original reproduction of the painting from Harper’s Weekly, Vol. XXXII, No. 1667, and a copy of the same magazine, will accompany the lot. In discussing this painting the artist wrote, “Having been an ardent sportsman all my life, I was greatly interested in the accounts of the peculiar delights of the pursuit of the peccary, as narrated by a mining engineer of my acquaintance, as we sat conversing in the court of an adobe

hotel situated in the Mexican town of Hermosillo, state of Sonora. Upon my expressing a desire to participate in an affair of the sort, my friend invited me to go out into the country and try it with him, a suggestion of which I quickly availed myself.”

PROVENANCE The artist, gifted to John Abner Harper, Newburg, New York S. N. Peterson, New York, 1922 John N. Bradley, St. Louis, Missouri, 1924, gifted to J. M. Bradley, St. Louis, Missouri, 1951 Private collection, Nevada, 1986 LITERATURE Harper’s Weekly, Vol. XXXII, No. 1667, December 1, 1888, p. 916, illustrated Frederic Remington’s Own Outdoors, The Dial Press, 1964, p. 43, illustrated Peggy and Harold Samuels, Frederic Remington, Doubleday, 1982, p. 253, illustrated Michael Edward Shapiro, Frederic Remington: The Masterworks, Harry N. Abrams, Inc., 1988, p. 109, illustrated Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, Vol. I, Buffalo Bill Historical Center, 1996, p. 161, illustrated $ 150,000 – 250,000

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110

Thomas Hill (1829 – 1908) Among the Redwoods

oil on canvas 30 × 20 inches signed lower left: T. Hill PROVENANCE Private collection, Ladue, Missouri $ 20,000 – 30,000 – 88 –

111

Albert Bierstadt (1830 – 1902) Butterfly (1890)

oil on paper 6.5 × 9 inches signed lower left: Albert Bierstadt July 24/90 $ 15,000 – 25,000

112

Hermann Herzog (1832 – 1932)

From the Oeschinen Sea, Kandersteg, Switzerland oil on canvas 15 × 22 inches signed lower left: H Herzog

VERSO Titled PROVENANCE The Estate of R. Rogers and Mary Ellen Aston Coeur d’Alene Art Auction, Reno, Nevada, 2000 $ 6,000 – 9,000 – 89 –

113

John Fery (1859 – 1934) Avalanche Lake

oil on canvas 22 × 36 inches signed lower right: J. Fery PROVENANCE Private collection, by descent $ 10,000 – 15,000

114

Charles Partridge Adams (1858 – 1942)

The End of the Day, Vicinity of Golden, Colorado oil on canvas 10 × 14 inches signed lower right: Charles Partridge Adams VERSO Titled PROVENANCE Private collection, Scottsdale, Arizona

115

$ 3,000 – 5,000

Theodore Baur (1835 – 1894) Chief Crazy Horse (1885)

bronze 29 inches high inscribed on base: Th. Baur 1885 New York Copyright By Theodore Baur March 1885 $ 6,000 –9,000 – 90 –

116

Albert Bierstadt (1830 – 1902) Yosemite Valley

oil on paper mounted on board 22 × 14 inches signed lower right: Bierstadt Yosemite Valley is included in the Albert Bierstadt database being compiled by Melissa Webster Speidel in preparation for the Albert Bierstadt Catalogue Raisonné. $ 40,000 – 60,000 – 91 –

117

William Acheff (b. 1947) Night Song (2015)

oil on canvas 24 × 20 inches signed lower right: Acheff 2015 VERSO Signed, titled, and dated PROVENANCE Private collection, Weatherford, Texas $ 30,000 – 50,000 – 92 –

118

Z. S. Liang (b. 1953)

Paying Homage to the Bear (2017) oil on canvas 42 × 30 inches signed lower right: Z. S. Liang VERSO Signed, titled, dated, and “#1317” PROVENANCE Private collection, Cave Creek, Arizona $ 30,000 – 50,000 – 93 –

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119

Logan Maxwell Hagege (b. 1980) Where Land Meets Sky (2017)

oil on canvas 44 × 54 inches signed lower right: Logan Maxwell Hagege VERSO Signed, titled, and dated Michael Clawson, Executive Editor, Western Art Collector wrote, “Originally painted in late 2016 and early 2017, Where Land Meets Sky made its debut at the 2017 Masters of the American West exhibition at the Autry Museum of the American West in Los Angeles. The painting was part of a pivotal year at the Masters, one in which Hagege won the Thomas Moran Memorial Award for Painting for a large piece titled The Heart of Everything, which hung next to Where Land Meets Sky in the gallery. The coveted Thomas Moran Award had previously been given to Howard Terpning for 11 consecutive years beginning in 2005. The iconic artist turned illustrator, Terpning, then approaching 90 years old, had retired from museum exhibitions the year before, though he was in attendance at the 2017 exhibition. When Hagege’s name was called during the awards ceremony, the importance of his recognition could be felt in the crowd – the old guard was ceding to the new.

“The work itself is Hagege at his purest: The natural rock formations stand with a resolute power. The two figures, arranged in a way to call out to the land forms behind them, are subdued and yet dignified and timeless. His golden light radiates warmth as it rakes across the rock spires. Each element is a form of balance, from the detail in the figures’ faces and the simplified renderings of the sky, to the intricate patterns in the Navajo blankets and the jagged order of cracks and shadows on the towering cliff walls. Even the title, Where Land Meets Sky, is uniting two thematic elements – the terrestrial with the celestial. Hagege is famously shy about revealing his intentions with his paintings, preferring to allow viewers to respond in their own way. When I see one of his works I see a union of flesh and rock, sand and sage, land and sky. His monuments are not just the features in the landscape, but also the people, their histories, their lives and their dreams.”

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2020 Private collection, Reno, Nevada EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2017 LITERATURE Desert Survey, Maxwell Alexander Gallery, 2018, pp. 52-53, illustrated $ 80,000 – 120,000

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120

Birger Sandzén (1871 – 1954)

Autumn Chord (Smoky Hill River, Kansas) (1951) oil on board 16 × 20 inches signed lower right: Birger Sandzén VERSO Signed, titled, and dated PROVENANCE Gary T. Leach, Houston, Texas $ 20,000 – 30,000

121

Fremont Ellis (1897 – 1985) Summer Shadows

oil on canvas laid on board 16 × 20 inches signed lower right: Fremont Ellis $ 6,000 – 9,000 – 96 –

122

Emil Bisttram (1895 – 1976) Heavens Boundless Space

oil on board 25 × 40 inches signed lower right: [artist cipher] Bisttram VERSO Signed and titled PROVENANCE Wurlitzer Family, Cincinnati, Ohio Private collection, by descent $ 15,000 – 25,000

123

Gerard Curtis Delano (1890 – 1972) Saguaro Country

watercolor on paper 10 × 14 inches signed lower left: © Delano PROVENANCE Private collection, Scottsdale, Arizona $ 4,000 – 6,000

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124

Edgar Payne (1883 – 1947) Land of the Navajo

oil on canvas 40 × 50 inches signed lower right: Edgar Payne In his essay titled Edgar Payne’s Southwest, Peter H. Hassrick cites a biographical sketch written after the artist’s death by Payne’s wife, Elsie. “In 1916 the Santa Fe Railroad, just opening that country to tourists, sent him … to paint the Indian Pueblos and Mesas and mountains of New Mexico and the Canyon de Chelley [sic], Monument Valley and Grand Canyon of Arizona … he returned to that glorious country nearly every year that he was in America the rest of his life. It was the last place he painted before his final illness.” In focusing on his Indian subject Hassrick writes, “Payne had clearly expressed himself about his vision as an artist, and it did not include expending effort on the mundane. The Pueblo Indians were a pastoral, agrarian people who by middecade had become the most popular indigenous culture in America. The Pueblo were picturesque, but the Navajo, with their nomadic ways and their expansive geographic realm, were considered sublime. Payne responded to ‘bigness’ and Navajo land promised all he could imagine.

“But the major factor regarding Payne’s selection of Navajo land rather than the Rio Grande pueblos probably came down to patronage. The Santa Fe Railway was vigorously attempting to promote its Chicago-Los Angeles line. A new train it called ‘The Navajo’ had just been put into service in 1915, and the promotions department was anxious to increase ridership. In addition, the railroad had invested vast amounts of money in developing accommodations and amenities around the Grand Canyon. Landscape painters were in demand, and someone with Payne’s freshness of vision and adventuresome spirit would be a welcome addition to the scene.” In any case, Payne produced a number of works portraying the Navajo traveling through the desert landscape on their rugged ponies. Payne’s talent enabled him to artistically portray the color, vastness, and silence of the Southwest.

PROVENANCE The artist Traffic Club of Chicago, Chicago, Illinois Rosenstock Arts, Denver, Colorado The Estate of Wolfgang H. Pogzeba, Denver, Colorado, 1985 Private collection, Santa Fe, New Mexico Adamson-Duvannes Galleries, Los Angeles, California Private collection, Wyoming, 2013 $ 300,000 – 500,000

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125

Bob Coronato (b. 1970)

Today is One of the “Good O’l Days” of Tomorrow (1997) oil on canvas 22.5 × 38 inches signed lower left: Bob Coronato © 97 A letter from the artist discussing this painting will accompany the lot. PROVENANCE Private collection, Tucson, Arizona $ 10,000 – 15,000

“Payne responded to ‘bigness’ and Navajo land promised all he could imagine.” – PETER H. HASSRICK 126

Brent Cotton (b. 1972) Daydreaming (2022)

oil on board 26 × 34 inches signed lower left: Cotton The artist writes, “When I’m fly fishing I often find myself lost in the moment … my mind drifting along with the currents. This painting was inspired by those special memories of warm days and solitude found on the river.” $ 10,000 – 15,000

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127

Howard Terpning (b. 1927)

PROVENANCE The artist Settlers West Galleries, Tucson, Arizona, 1988 Private collection, Tucson, Arizona Coeur d’Alene Art Auction, Reno, Nevada, 2015 Private collection, Albuquerque, New Mexico

Northern Blackfeet (1988)

oil on canvas 20 × 16 inches signed lower right: © Terpning 1988 CA VERSO Signed and titled

EXHIBITED The Great American West, Settlers West Galleries, Tucson, Arizona, 1988 $ 75,000 – 100,000 – 101 –

128

George Hallmark (b. 1949) Almost Home (2022)

oil on canvas 40 × 36 inches signed lower left: © Hallmark In discussing this painting the artist writes, “It’s another beautiful day in the highlands of central Mexico and almost every day is beautiful here because of the near perfect climate. Everything grows and everything blooms. Old Diego and his partner Pablo are returning

from their daily trip to town. Today has been a good day as they have sold all their wares. Pablo always heads back faster because he knows fresh alfalfa and cold water await. He is Almost Home.”

$ 30,000 – 50,000 – 102 –

129

Harley Brown (b. 1939)

Mother and Daughter (1997) pastel on paper 25 × 33 inches signed lower left: Harley Brown © 97 PROVENANCE Private collection, Tucson, Arizona $ 8,000 – 12,000

130

Howard Post (b. 1948) Range Mare

oil on canvas 30 × 40 inches signed lower right: H E Post $ 10,000 – 15,000

131

Phil Beck (b. 1949) Captured Ponies

oil on canvas 30 × 48 inches signed lower left: Phil Beck PROVENANCE Private collection, Texas $ 5,000 – 7,000 – 103 –

132

Bonnie Marris (b. 1951) Passing Storm

oil on canvas 24 × 30 inches signed lower right: B L Marris $ 8,000 – 12,000

133

Carl Brenders (b. 1937)

An Autumn Gentleman (1996) gouache on paper 28 × 20.5 inches signed lower left: © Brend 96 $ 15,000 – 25,000 – 104 –

134

Ken Carlson (b. 1937) Rocky Terrain – Big Horn

oil on board 30 × 45 inches signed lower right: Carlson VERSO Label, J. N. Bartfield Galleries, New York, New York $ 30,000 – 50,000

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135

Joseph Henry Sharp (1859 – 1953) Blackfeet Sun Dance (1903)

oil on canvas 12 × 18 inches signed lower right: J. H. Sharp. 1903. Hugh Dempsey, historian of the Blackfoot, wrote, “In the spring, the people moved out onto the prairies, sometimes in small family groups or bands depending on the movements of the buffalo. Some people would go deep into the foothills to cut new tipi poles or travois poles, while others went to trading posts or killed enough buffalo to make new lodge covers. In early summer they joined together in large camps, sometimes comprising a whole tribe, so that the Sun Dance and other rituals could be held. During this time, women visited their families, warrior societies held meetings, hours

were spent in gambling and horse racing, and marriages were arranged. The large camp provided a rare chance for visiting and renewing old friendships.” Although reservation life had changed the Blackfeet world by 1903, the cultural importance of the Sun Dance was very much alive when Joseph Henry Sharp visited this camp located on the eastern prairie bordering what is now Glacier National Park.

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2019 Private collection, California LITERATURE Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, p. 335, illustrated $ 200,000 – 300,000

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– 107 –

136

E. William Gollings (1878 – 1932) Roundup Time (1911)

oil on canvas laid on board 7 × 10 inches signed lower center: Gollings [artist cipher] 1911 PROVENANCE Private collection, Billings, Montana $ 30,000 – 50,000

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137

Carl Oscar Borg (1879 – 1947) Summer Clouds

oil on canvas 30 × 34 inches signed lower left: Carl Oscar Borg PROVENANCE Private collection, Billings, Montana $ 15,000 – 25,000

138

Edgar Payne (1883 – 1947) Sierra Monument

oil on canvas laid on board 15 × 12 inches signed lower right: Edgar Payne PROVENANCE Private collection, Billings, Montana $ 10,000 – 15,000 – 109 –

139

Olaf Wieghorst (1899 – 1988) The Lost Trail

oil on canvas 20 × 24 inches signed lower left: O – Wieghorst [artist cipher] The Lost Trail was released as a limited edition print by American Masters in 1978 in the Suite of Fourteen series. PROVENANCE The Read Mullan Collection, 1978 Private collection, Palm Desert, California $ 20,000 – 30,000

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140

Charlie Dye (1906 – 1972) Beef and Beans

oil on board 24 × 36 inches signed lower right: Charlie Dye CA VERSO Label, Leanin’ Tree Museum of Western and Wildlife Art, Boulder, Colorado Joe Beeler wrote, “Charlie and I were together in many different situations and with many different types of people, but whether it was in an executive meeting, or around a campfire with some cowboys, he was always the same Charlie. He was sure of himself and you knew where he stood on any subject.” LITERATURE Paul Weaver, Charlie Dye: One Helluva Western Painter, Petersen Prints, 1981, pp. XV, 135, illustrated, listed $ 60,000 – 90,000

– 111 –

141

William Standing (1904 – 1951) Buffalo Hunt

oil on canvas laid on board 18 × 24 inches signed lower right: Wm Standing According to Western art historian Dr. Larry Len Peterson, “Legendary art dealer Bob Drummond believed this oil was William Standing’s masterwork. It proudly hung on the wall behind his office desk. He told everyone it was painted by Charlie Russell, and he routinely fooled them, which brought great laughter every time he recounted his charade.” PROVENANCE Bob Drummond, Hayden, Idaho Private collection, 2004 $ 15,000 – 25,000

142

Marjorie Reed (1915 – 1996) Mission Camp

oil on canvas 30 × 40 inches signed lower right: Marjorie Reed LITERATURE Greg Fillmore, All Aboard, The Life and Work of Marjorie Reed, Schiffer Publishing, 2009, p. 221, illustrated $ 5,000 – 7,000 – 112 –

143

Olaf Wieghorst (1899 – 1988) Sunset Trail

oil on canvas 20 × 24 inches signed lower left: O – Wieghorst [artist cipher] PROVENANCE Private collection, Palm Desert, California $ 20,000 – 30,000

– 113 –

144

Bob Kuhn (1920 – 2007) Elephants

acrylic on board 24 × 36 inches signed lower left: Kuhn VERSO Signed Label, Wildlife of the American West Art Museum, Jackson Hole, Wyoming The artist wrote, “Elephants are great bluffers. Most of their menacing posturing is just that. Even when they come at you in a cloud of dust, they’re apt to pull up short, shake their great ears, then trundle off with tail held high. The trouble is

you can’t be certain that the one bearing down on you knows of or abides by this aspect of elephant behavior. Thus, it’s a good idea to figure out a line of retreat when you approach them, whatever your reason for doing so.”

PROVENANCE Private collection, Nevada EXHIBITED Bob Kuhn: Wild Things, Wild Places, Wildlife of the American West Art Museum, Jackson Hole, Wyoming, 1992 $ 80,000 – 120,000

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– 115 –

145

Bob Kuhn (1920 – 2007) Varmint (1974)

acrylic on board 16 × 36 inches signed center left: Kuhn VERSO Signed The artist wrote, “I was in the middle of this coyote painting when family business and the prospect of some skiing took me to Utah. The snow-laden sagebrush that bordered most of the rural roads near our son’s house was exactly what I was

looking for. In addition to the numerous photos, I made a little tempera/pencil study that reinforced my confidence in finishing the piece. I was and am pleased with the result.”

PROVENANCE Private collection, Nevada LITERATURE Tom Davis, The Art of Bob Kuhn, Briar Patch Press, 1989, p. 42, illustrated $ 50,000 – 75,000

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146

Bob Kuhn (1920 – 2007) Night Sounds (1990)

acrylic on board 12 × 16 inches signed lower right: Kuhn VERSO Signed and dated PROVENANCE Private collection, Nevada $ 20,000 – 30,000

147

Robert Lougheed (1910 – 1982) The Log Barn Shelter

oil on board 12 × 16 inches signed lower left: Robert Lougheed VERSO Signed and titled PROVENANCE Private collection, Nevada $ 5,000 – 7,000 – 117 –

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148

Frank Schoonover (1877 – 1972) Pickerel (1917)

oil on canvas 34 × 24 inches signed lower left: Schoonover ‘17 Pickerel is recorded in the Frank Schoonover Catalogue Raisonné as reference number 793. A passion for illustrating outdoor adventure stories, coupled with Howard Pyle’s advice that an artist should, “live what he paints,” prompted Schoonover to travel, first to the Canadian Hudson Bay area and Alaska in 1903, where he traversed 1,200 miles by canoe, snowshoe and dogsled. He later went west to Colorado and Montana in 1906. Experiencing life on these pioneer frontiers enabled him to depict accurately the rugged lifestyles of the people he met along the way including Indians, Eskimos and cowboys. “The people I paint,” he said, “are rugged as their environment.” Schoonover utilized the notes and sketches recorded during these excursions as fodder for illustrated stories, the first completed in 1905. Pickerel exemplifies the influence of the outdoors on Schoonover’s work, as well as his tendency to create action-

filled scenes. In the present work, two fishermen admire their catch, which immediately draws the viewer’s eye with its central position and shining quality. Though the act of catching the fish is complete, the artist succeeds in creating understated action. For example, the fishing rod in the upper left corner bends with the weight of the fish, implying that the fish still hopelessly struggles against the fisherman’s strength. Also, the seated man reaches out, ready to snatch the fish, creating a moment of suspense and pending action. Characterized by the outdoors and adventure, Pickerel was the perfect illustrative complement for publications such as Top Notch Magazine, Sporting Classics, and The Ultimate Fishing Book.

PROVENANCE The artist The Gift Horse, West Chester, Pennsylvania, 1967 Mr. James A. Collins, Wilmington, Delaware, 1967 The Chester Marron Collection, Christiana, Pennsylvania, 1972 Montrose Galleries, Bethesda, Maryland, 1979 American Illustrators Gallery, New York, 2002 Private collection, Delaware EXHIBITED Illustrations by Frank E. Schoonover, West Chester State College, West Chester, Pennsylvania, 1972 Frank E. Schoonover 95th Birthday Celebration Exhibition, Delaware Art Museum, Wilmington, Delaware, 1972 Paintings, Drawings, and Prints by Frank E. Schoonover Illustrator and Artist, Shawnee Inn, Shawnee on Delaware, Pennsylvania, 1978 Exhibition of Paintings & Drawings by Frank E. Schoonover, Montrose Galleries, Bethesda, Maryland, 1979 Frank Schoonover Exhibition, Community Gallery of Lancaster County, Lancaster, Pennsylvania, 1980 Frank Schoonover 1877-1972, Society of Illustrators, New York, New York, 2001 LITERATURE Top Notch Magazine, December 1917, cover, illustrated Popular Magazine, 1917, cover, illustrated The Edge of the Wilderness: A Portrait of the Canadian North, Methuen Publications, 1974, p. 67, illustrated Robert E. Jones, The Ultimate Fishing Book, Houghton Mifflin, 1981, p. 122, illustrated Tom Davis, Sporting Classics, May / June 2001, cover, illustrated $ 100,000 – 150,000

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149

Leon Gaspard (1882 – 1964)

Morocco – People in Medina (1937) oil on board 18 × 23 inches signed lower left: Leon Gaspard Morocco 1937 VERSO Label, Maxwell Galleries, San Francisco, California Stamp, The Estate of Leon Gaspard C-2751 Stamp, Hammer Galleries No. 20556, New York, New York PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2005 $ 20,000 – 30,000

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150

Albert Bierstadt (1830 – 1902) Mariposa, California

oil on paper mounted on board 15 × 20 inches signed lower right: Bierstadt Mariposa, California is included in the Albert Bierstadt database being compiled by Melissa Webster Speidel in preparation for the Albert Bierstadt Catalogue Raisonné. $ 30,000 – 50,000

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151

Gerard Curtis Delano (1890 – 1972) Navajo Girls with Sheep

oil on board 20 × 24 inches signed lower left: Delano VERSO Signed and titled PROVENANCE The artist Richard G. Bowman, Denver, Colorado Private collection, Colorado, 2002 $ 30,000 – 50,000

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152

Bert Geer Phillips (1868 – 1956) The Pueblo Family, Spring oil on board 20 × 14 inches signed lower left: Phillips VERSO Titled PROVENANCE Private collection, Scottsdale, Arizona $ 20,000 – 30,000

153

Gordon Coutts (1868 – 1937) Return from the Hunt

oil on canvas 30 × 40.5 inches signed lower right: Gordon Coutts $ 6,000 – 9,000

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154

Joseph Henry Sharp (1859 – 1953) The Bonnet Maker

oil on canvas 14 × 18 inches signed lower right: J H Sharp VERSO Label, The Rees-Jones Collection, Dallas, Texas According to Sharp biographer Forrest Fenn, “Always on the go and anxious to paint another Indian, Sharp thought nothing of renting a wagon and traveling as many as fifty miles to find new subjects. At times Addie [Sharp’s wife] accompanied him on these outings, but just as often he would travel alone, lost in the vast, beautiful, and still unspoiled country around him. On these occasions he was sometimes filled with a strange sorrow that his romanticized

paintings reflected in tone and subject; he felt the deepest compassion for the Indians and for the passing of their era within the solemn, incomprehensible movement of history. It was probably this sensitivity, more than anything else, which was responsible for Sharp’s attention to detail. His portraits were praised almost as much for their ethnological value as for their artist merit, and within a short time Sharp gained wide recognition as a national authority on Indian culture.”

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2008 Private collection, Scottsdale, Arizona $ 70,000 – 100,000 – 124 –

155

Gerard Curtis Delano (1890 – 1972) Going to the Ceremonial

watercolor on paper 14.5 × 21.75 inches signed lower right: © Delano VERSO Signed and titled PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2020 Private collection, Scottsdale, Arizona $ 20,000 – 30,000

156

Edgar S. Paxson (1852 – 1919) Chief Red Cloud (1905)

watercolor on paper 9 × 7 inches signed lower right: E. S. Paxson 1905 PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2011 $ 8,000 – 12,000 – 125 –

157

Howard Terpning (b. 1927) Young Warrior (1989)

mixed media on paper 16 × 12 inches signed lower center: © Terpning 1989 CA PROVENANCE Private collection, Carefree, Arizona EXHIBITED Summer Show, Settlers West Galleries, Tucson, Arizona, 1989 $ 25,000 – 35,000 – 126 –

158

Ralph Oberg (b. 1950) The Many Faces of Water

oil on canvas laid on board 42 × 42 inches signed lower right: Oberg VERSO Signed and titled PROVENANCE Private collection, Nevada $ 8,000 – 12,000

159

Jeremy Winborg (b. 1979) Smoke Follows Beauty (2022)

oil on board 24 × 22 inches signed lower right: J. Winborg VERSO Signed, titled, and dated Describing this painting the artist writes, “An Apache woman kindles a fire to stave off the cold of the desert night. Fire plays a significant role in indigenous culture. It is used to keep warm, cook food and clear land, but it also plays a more spiritual role. Fire symbolizes the heart of the People and smoke is often associated with cleansing and renewal. It is also thought that smoke acts as a messenger to bring prayers up to the Great Spirit.” $ 8,000 – 12,000 – 127 –

160

Robert Griffing (b. 1940) At the River’s Edge (2005)

oil on canvas 44 × 30 inches signed lower right: Griffing © 2005 According to the artist, “The Clarion River is one of my favorite places to visit – a pristine waterway that passes through an old growth forest. I have many fond memories of canoe trips taken there in the past. As we paddled

downstream it was easy to imagine being watched by eighteenth century warriors, or on a more peaceful note just seeing them in friendly conversation at the river’s edge.” PROVENANCE Private collection, Michigan EXHIBITED Only a Matter of Time: The Paintings of Robert Griffing, Eiteljorg Museum, Indianapolis, Indiana, 2010 $ 60,000 – 90,000 – 128 –

161

Martin Grelle (b. 1954) A Rose in the Wild (2011)

oil on canvas 40 × 30 inches signed lower right: Martin Grelle © 2011 CA VERSO Signed, titled, and dated Label, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma PROVENANCE Scottsdale Art Auction, Scottsdale, Arizona, 2012 $ 50,000 – 75,000

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162

Bob Coronato (b. 1970) Winter Roundup (1996) oil on canvas 23 × 48 inches signed lower right: Bob Coronato © 96 VERSO Signed and dated A letter from the artist discussing this painting will accompany the lot. PROVENANCE Private collection, Tucson, Arizona $ 10,000 – 15,000

163

Mian Situ (b. 1953) Vantage Point

oil on canvas 20 × 30 inches signed lower left: Mian Situ VERSO Signed and titled PROVENANCE Private collection, Nevada $ 8,000 – 12,000

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164

Mark Boedges (b. 1973) Mountain Cascade (2022)

oil on canvas 28 × 40 inches signed lower right: Boedges In discussing this painting the artist writes, “No subject is as universally and consistently captivating as water. We love it in all its forms and movements. This particular location is a favorite of mine: a set of cascades and waterfalls along

a rugged and little-used stream that winds and tumbles its way through the mountains. It’s always refreshing on a warm spring day and, for me, powerfully evocative of the seasonal rebirth and eternal movement of life.”

$ 15,000 – 25,000

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165

Charles M. Russell (1864 – 1926) Shooting the Buffalo (ca. 1892)

oil on canvas 27 × 33 inches signed lower left: C M Russell [artist cipher] VERSO Label, Amon Carter Museum, Fort Worth, Texas Label, Buffalo Bill Historical Center, Cody, Wyoming Shooting the Buffalo is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.ACM.133. According to Russell biographer Dr. Larry Len Peterson, “In the American West, opportunity calls men of courage. Around the time Shooting the Buffalo (ca. 1892) was created, Russell was preparing to leave the cowboy life behind for the uncertain life of a full-time artist. His dream would soon come to fruition, but that didn’t mean he erased from memory his last dozen years on the Montana range. Real life experiences along with bunkhouse banter and bravado would fuel his imagination the rest of his life. His future wife Nancy Russell explained, ‘No man can be a painter without imagination,’ and also courage. Better titled Contest on the Plains, this oil is a nostalgic tribute to Buffalo Bill Cody, the cowboy, and the bison – gratitude in solid form. Studying the bison more extensively than any other artist, Russell immortalized the symbol of ‘The West That Has Passed’ in oil, watercolor, clay, bronze, and nostalgic prose and poetry. The woolly beast inspired him to create his famous buffalo skull cipher and his most desirable art, the buffalo hunt. “No artist was a better predicament painter than Russell. In this duel it is uncertain which gladiator will come out victorious. While the hunter advances the first blow, if the target isn’t lethal, then his future is in peril. Notice that he is teetering on uneven ground, backed up to the edge of a ravine, and there is no horse in sight to make a quick and safe escape. There were many stories of a raging bull enjoying the last laugh, which was just fine with Russell who was not a hunter. Very likely the popular legend that directly inspired this painting involved his idol, Theodore Roosevelt. The future president arrived in Dakota Territory in September 1883, just as the bison were near extinction. A rancher who made a thousand-mile trek throughout northern Montana reported to Roosevelt that during his entire trip he had never been out of sight of a dead buffalo and never been in sight of a live one. In 1881 with the commercial hunters killing 320,000 bison,

the animals almost vanished from the plains, much like the Indian. The killing came to an end in 1883, when the Blackfeet netted their last few animals. “As a disciple of Charles Darwin – champion of survival of the fittest – Roosevelt was determined to bag one of the last bison. Who was the fittest on the plains? Well, in his mind he was. Undaunted by rain and mud, the wilderness warrior and his hunting guide Joe Ferris confidently crossed into the badlands of eastern Montana, yet experienced no luck for days. Still, on September 20 they were finally rewarded. Exhausted from riding, walking, and crawling, Roosevelt wrote, ‘I put the bullet in behind his shoulder. The wound was an almost immediately fatal one, yet with surprising agility for so large and cumbersome an animal, he bounded up the opposite side of the ravine … and disappeared over the ridge at a gallop.’ In the next gully they found their prize ‘stark dead.’ The victor performed an Indian war dance and handed his guide a hundred-dollar bill. And Russell had the story to inspire him to create this work. Falling in love with the West, in 1884 Roosevelt built his famed Elkhorn cattle ranch, which was thirty-five miles north of the booming cow town of Medora, Dakota Territory. He would go on to pen the wildly popular Hunting Trips of a Ranchman (1885), Ranch Life and the Hunting Trail (1888), and The Winning of the West (1889), among dozens of other books. “Early works such as Shooting the Buffalo anticipated Russell’s rise over the next thirty years to become the most beloved and famous Western American artist. Russell was an artist savant. He was a one-off. People have tried, but nobody’s come close to approaching his art, folksy appeal, and sheer fame. Western American art has never been bigger, thanks to Charlie, but at the same time, it feels a little smaller without him.”

PROVENANCE Mrs. Rose Lane, Lewiston, Montana Amon Carter Museum, Fort Worth, Texas Coeur d’Alene Art Auction, Coeur d’Alene, Idaho, 1999 Private collection, Bryn Mawr, Pennsylvania Private collection, Colorado, 2005 EXHIBITED Bison in Art, Buffalo Bill Historical Center, Cody, Wyoming, 1977 LITERATURE Don Russell, The Lives and Legends of Buffalo Bill, University of Oklahoma Press, 1960, p. 88, illustrated Frederic G. Renner, Charles M. Russell: Paintings, Drawings and Sculptures in the Amon Carter Museum, Harry N. Abrams, Inc., 1974, p. 56, illustrated $ 400,000 – 600,000 – 132 –

166

Frederic Remington (1861 – 1909) The Sergeant

bronze 10.25 inches high inscribed on base: Copyright by Frederic Remington Roman Bronze Works. N.Y. N 50 PROVENANCE Private collection, Saratoga Springs, New York LITERATURE Michael Edward Shapiro, Cast and Recast: The Sculpture of Frederic Remington, Smithsonian Institution Press, 1981, pp. 53, 115, listed Michael D. Greenbaum, Icons of the West: Frederic Remington’s Sculpture, Frederic Remington Art Museum, 1996, pp. 113-15, 202, example illustrated $ 20,000 – 30,000

“Western American art has never been bigger, thanks to Charlie, but at the same time, it feels a little smaller without him.” – DR. LARRY LEN PETERSON

167

Charles M. Russell (1864 – 1926) The Medicine Man

bronze 7 inches high inscribed on base: CM Russell [artist cipher] Roman Bronze Works Inc N.Y. $ 15,000 –25,000 – 134 –

168

Edgar S. Paxson (1852 – 1919) Flathead Indian (1911)

oil on canvas 16 × 11 inches signed lower right: E. S. Paxson 1911 PROVENANCE William Wallace Witherspoon, Newman Lake, Washington Private collection, by descent $ 30,000 – 50,000 – 135 –

169

Gerard Curtis Delano (1890 – 1972) Pals

oil on canvas laid on board 25.5 × 19.5 inches signed lower right: Delano $ 20,000 – 30,000

170

John Fery (1859 – 1934) Zion Canyon

oil on board 7 × 11.5 inches signed lower right: J. Fery $ 3,000 – 5,000 – 136 –

171

Olaf Wieghorst (1899 – 1988) The Chuck Wagon

oil on canvas 24 × 36 inches signed lower left: O – Wieghorst [artist cipher] VERSO Label, Thomas Gilcrease Institute of American History and Art, Tulsa, Oklahoma EXHIBITED Wieghorst Dean of Western Painters, Thomas Gilcrease Institute of American History and Art, Tulsa, Oklahoma, 1982-83 $ 40,000 – 60,000

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172

Edgar Payne (1883 – 1947) Riders in Canyon de Chelly

oil on canvas laid on board 9.5 × 11 inches signed lower right: Edgar Payne VERSO Signed and titled PROVENANCE Private collection, California $ 15,000 – 25,000

173

Eanger Irving Couse (1866 – 1936) Umatilla Chief

oil on canvas 12 × 9 inches signed lower left: Couse PROVENANCE Private collection, Billings, Montana $ 10,000 – 15,000 – 138 –

174

Charles M. Russell (1864 – 1926)

To Noses That Read, A Smell That Spells Man bronze 4.75 inches high inscribed on base: To Noses That Read A Smell That Spells Man CM Russell [artist cipher] Roman Bronze Works According to Rick Stewart, “Russell modeled the small figure of a wolf shying away from a bottle in 1920. Like the artist’s first depiction of a wolf in bronze, The Last Laugh, it is in ashtray form and represents the wolf’s controversial relationship with man. Russell’s title, To Noses That Read, A

Smell That Spells Man, appears on the surface of the base – one of the few instances where he inscribed a title directly on one of his bronze subjects. In a skillfully rendered moment, the wary animal recoils from the scent of an object that represents the wolf’s bitter enemy, man.”

PROVENANCE The artist James and Josephine Woods, Willows, California Private collection, by descent LITERATURE Rick Stewart, Charles M. Russell, Sculptor, Amon Carter Museum, 1994, pp. 243-48, illustrated $ 50,000 – 75,000

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175

Joseph Henry Sharp (1859 – 1953) Eagle Star

oil on canvas 14 × 10 inches signed lower right: J H Sharp. VERSO Zaplin Lampert Gallery, Santa Fe, New Mexico Eagle Star, a Taos Indian, posed for over 30 portraits painted by Joseph Henry Sharp. LITERATURE Forest Fenn, Teepee Smoke: A New Look Into the Life and Work of Joseph Henry Sharp, One Horse Land & Cattle Co., 2007, p. 206, illustrated $ 25,000 – 35,000 – 140 –

176

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” PROVENANCE The artist Frank Simpson Cunningham, Evanston, Illinois, ca. 1929 Private collection, by descent $ 10,000 – 20,000

177

William R. Leigh (1866 – 1955) Zuni Indian

oil on canvas laid on board 17 × 13 inches signed lower left: W. R. Leigh. PROVENANCE Fredericksburg Art Auction, Fredericksburg, Texas, 2015 $ 20,000 – 30,000 – 141 –

178

Richard Schmid (1934 – 2021) Carnations (1986)

oil on canvas 22 × 28 inches signed lower right: Schmid VERSO Signed, titled, dated, and “#2156” The artist wrote, “Apart from the fun of painting itself, there are several other things I like about still life painting. To begin with, I don’t have to worry about my subject falling asleep or moving, and I don’t have to deal with spectators either. I can paint anything I want to, even things that might be impossible in real life, as long as I do it in a plausible way.

“Because of the almost unlimited painting time I have, I’m free to explore my colors and ways to use them. It’s the same with my tools as well. Still life has become an opportunity to discover new effects, and then develop new techniques for achieving them. Still life for me is anything but still. It is really a vast arena of creativity, and I can also have my lunch while I paint!”

PROVENANCE Private collection, Colorado $ 75,000 – 125,000

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179

Robert Lougheed (1910 – 1982) Logging Near Lachine, Quebec

oil on canvas 20 × 26 inches signed lower right: R Lougheed PROVENANCE Private collection, Nevada $ 10,000 – 15,000

180

Paul Calle (1928 – 2010) The Snow Hunter (1986)

181

Roy Andersen (1930 – 2019) Cold Maker Hides the Camp

oil on canvas 30 × 50 inches signed lower right: Roy Andersen CA PROVENANCE Scottsdale Art Auction, Scottsdale, Arizona, 2008 $ 30,000 – 50,000

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182

G. Harvey (1933 – 2017) Lights on the Avenue

oil on canvas 40 × 30 inches signed lower left: G. Harvey © VERSO Signed and titled The artist wrote, “No city in the United States holds more meaning to all of us than Washington, D.C., so named in honor of George Washington, founder of this great nation of ours, and Christopher Columbus, the man who discovered the North American Continent. “And what a place Washington is! My visits there always renew my respect for the people who made history happen

by building the institutions we live with today. Washington is a hub around which the wheels of democracy, commerce, transportation, learning and the arts revolve. And of course, the very physical layout of the city reminds us of this. Planned by Maj. Pierre Charles L’Enfant, the city focuses on the nation’s Capitol building from which the streets radiate outwards like spokes in a wheel … to the people and the rest of the nation.”

PROVENANCE Private collection, Florida $ 80,000 – 120,000

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183

Philip R. Goodwin (1881 – 1935)

Between the Devil and the Deep Blue Sea oil on canvas 30 × 39 inches signed lower right: Philip R. Goodwin Proceeds from this sale will benefit the St. Jude Children’s Research Hospital. According to Goodwin biographer Dr. Larry Len Peterson, “This masterwork is one of the finest sporting art collectibles of the twentieth century. It is a stellar example of why for over a hundred years Goodwin has been recognized as America’s sporting artist. For example, early on famed author Jack London appreciated his genius and called on Goodwin to illustrate what would become one of the greatest and most endearing publications in American history, The Call of the Wild (1903). Likewise, Theodore Roosevelt, the most celebrated hunter in the world, commissioned the young wunderkind to illustrate his classic African Game Trails (1909). “Philip Russell Goodwin was born on September 16, 1881 – not 1882 as often erroneously written – in Norwich, Connecticut. Early on he was recognized as a child prodigy, attending the prestigious Rhode Island School of Design when he was only fourteen. He soon caught the eye of America’s most famous illustrator, Howard Pyle, who taught such greats as Maxfield Parrish, N. C. Wyeth, Harvey Dunn, Frank Schoonover, W. H. D. Koerner, and Frank Stick. Pyle started the Brandywine School in Chadds Ford, Pennsylvania, where most of the great illustrators would train. In 1907 when he visited his friend Charles M. Russell in Montana, Goodwin had already illustrated a dozen books; dozens of magazine articles; three covers of the great magazine of the day, The Saturday Evening Post; and countless sporting advertisements – one of the most famous would be Winchester’s Horse and Rider (1919). Goodwin was only twenty-five years old. “A popular subject during the ‘Golden Age of Illustration’ (1880-1930) was sporting art – hunting and fishing the kings. Why did hunting become so popular and inspired such great artists as Goodwin? Look no further than Theodore Roosevelt, the American West’s president. He was idolized

by generations of citizens. What was manlier than hunting? In many ways, he carried the baton of Western identity handed off by Buffalo Bill Cody, as he championed the strenuous life. Between the Devil and the Deep Blue Sea is a fine tribute to both sports. The title of the painting has been an idiom for a dilemma for over 600 years. The predicament lies with the outdoorsman in the back of the canoe. With a fish on the line, does he pursue a risky shot at the bull moose in the distance; or as a thoughtful companion, grab the fishing net and haul in the trophy fish? “Now the real story. A lithograph of this image appeared on a rare 1927 Gerlach Barklow calendar, which came with an envelope and informational insert – a printed letter addressed to ‘Dear Ed’ and signed ‘Jim’ – detailing Jim’s fishing trip. Organized in 1907, the company was located in Joliet, Illinois, and within a decade became one of the largest calendar and advertising businesses in America. Typically, companies suggested subjects to their illustrators – fishing being the most popular at the time. But this request was special. The ‘Jim’ may have been Jim Mackeever, vicepresident of the company who supervised Goodwin’s art submissions, advised him on subjects, and critiqued his pieces. ‘Ed’ may have been his boss, Edward J. Barklow, one of the founders. After an eventful summer fishing trip, Mackeever most likely commissioned Goodwin to recreate his unforgettable adventure. The insert mentioned that the bass – described as a ‘whale’ – had eluded every angler for the entire season. Mackeever also noted that when his friend Sam ‘spied’ the moose, ‘Sam grabbed the rifle and sat petrified, actually between the Devil and the Deep Blue Sea’ and whispered, ‘What the hell do I do?’ Jim said, ‘Get the bull.’ But just after Sam’s shot missed the mark, the fishing line snapped. Jim lamented, I ‘tried to please everybody, pleased none. We lost ‘em both.’ Fortunately, Goodwin left the outcome to the viewer’s imagination.”

PROVENANCE Gerlach Barklow Company, Joliet, Illinois Private collection, Illinois LITERATURE Larry Len Peterson, Philip R. Goodwin: America’s Sporting & Wildlife Artist, Coeur d’Alene Art Auction and Settlers West Galleries, 2001, pp. 197-98, 201 Tim Smith and Michelle Smith, Joliet’s Gerlach Barklow Calendar Company, Arcadia Publishing, 2009 Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, pp. 381-91 $ 150,000 – 250,000

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184

Gerard Curtis Delano (1890 – 1972) Navajos on the Move

oil on board 20 × 24 inches signed lower right: © Delano VERSO Signed and titled PROVENANCE Earl B. and Margaret Hathaway, Tucson, Arizona Private collection, by descent, 1998 $ 40,000 – 60,000

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185

Edmund H. Osthaus (1858 – 1928) On the Scent

oil on canvas 26 × 38 inches signed lower left: Edm H. Osthaus PROVENANCE The artist Alfred Fritzsche, Cleveland, Ohio Private collection, by descent $ 40,000 – 60,000

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186

William Herbert Dunton (1878 – 1936) Crest of the Ridge, Grizzly oil on board 8 × 10 inches signed lower left: Dunton VERSO Label, C. M. Russell Museum, Great Falls, Montana Label, Panhandle-Plains Historical Museum, Canyon, Texas Crest of the Ridge, Grizzly will be included in Michael R. Grauer’s forthcoming W. Herbert Dunton Catalogue Raisonné. According to Dunton biographer Julie Schimmel, “In Dunton’s wildlife art, the one subject that always dominated the picture space was the bear. The bear was a subject dear to Dunton since boyhood, as he described in a manuscript he prepared on this animal, apparently in the 1930s: ‘Bear! How my heart leaped and my pulse quickened as I sat, motionless and agape, drinking in those weird tales of an ancient past!

For, to me, a bear seemed to belong to those bygone years of the screaming panther and skulking Indian with his war whoop and bloody tomahawk. In my childish imagination I visioned, in the weaving flames of the fire, a vast and unbroken wilderness, solitude so dense, so foreboding, so limitless that only the brave dare penetrate.’”

PROVENANCE Private collection, Carmel, California EXHIBITED W. Herbert Dunton, C. M. Russell Museum, Great Falls, Montana, 1989 W. Herbert Dunton: A Retrospective, Panhandle-Plains Historical Museum, Canyon, Texas, 1991 $ 200,000 – 300,000

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187

Joseph Henry Sharp (1859 – 1953) Storm Clouds Over Taos Mountain oil on canvas 22 × 27 inches signed lower left: J. H. Sharp PROVENANCE Private collection, Scottsdale, Arizona $ 15,000 – 25,000

188

Bert Geer Phillips (1868 – 1956) Riders in Taos

oil on board 6.5 × 7 inches signed lower right: Phillips PROVENANCE Private collection, Scottsdale, Arizona $ 10,000 – 15,000

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189

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.”

$ 20,000 – 30,000

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190

Clyde Aspevig (b. 1951) Monhegan, Maine

oil on canvas laid on board 30 × 40 inches signed lower left: C. Aspevig VERSO Artist label with signature and title PROVENANCE Private collection, Tucson, Arizona $ 20,000 – 30,000

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191

Bonnie Marris (b. 1951) Red Alert

oil on canvas 30 × 48 inches signed lower right: B L Marris PROVENANCE Private collection, Tucson, Arizona $ 20,000 – 30,000

192

Michael Coleman (b. 1946) Catching the Scent

oil on canvas laid on board 30 × 40 inches signed lower right: Michael Coleman © PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2012 $ 10,000 – 15,000 – 157 –

193

Bonnie Marris (b. 1951) Top of the World

oil on canvas 30 × 40 inches signed lower right: B L Marris © PROVENANCE Private collection, Tucson, Arizona $ 15,000 – 25,000

194

Andrew Peters (b. 1954) Mountain Landscape

oil on canvas 30 × 36 inches signed lower right: Andrew Peters $ 8,000 – 12,000

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195

David Nordahl (b. 1941)

196

Dan Mieduch (b. 1947) Hassayampa (1990)

oil on board 12 × 16 inches signed lower right: Dan Mieduch 1990 PROVENANCE Private collection, Carefree, Arizona $ 4,000 – 6,000

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197

Howard Terpning (b. 1927) Sioux Scout (1980)

mixed media on paper 11 × 14 inches signed lower right: © Terpning 1980 CA $ 15,000 – 25,000

198

Harley Brown (b. 1939) Faraway Drum

pastel on paper 36 × 24 inches signed lower right: Harley Brown CA PROVENANCE Private collection, Michigan $ 10,000 – 15,000 – 160 –

199

David Nordahl (b. 1941)

200

David Yorke (b. 1949) Magic Box

oil on canvas laid on board 24 × 30 inches signed lower left: David Yorke © VERSO Signed and titled EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2006 $ 8,000 – 12,000 – 161 –

201

Edgar Payne (1883 – 1947) Canyon de Chelly (ca. 1916-19)

oil on canvas 26 × 32 inches signed lower left: Edgar Payne Canyon de Chelly is unique in that Payne featured an Anasazi dwelling in the background, cut into the vermillion cliffs. A rare subject for the artist. Western art historian Donald J. Hagerty wrote, “Among the many fine landscape painters active in the West between the two World Wars, Edgar Payne stands out. Born in Missouri’s Ozark Mountains, Payne left home at fourteen to pursue art and finally settled in southern California. Payne, who was primarily self-taught, encountered the ‘other’ West when, at the invitation of the Santa Fe Railway, he journeyed to the Navajo Reservation and Canyon de Chelly in 1916. He continued to make frequent pilgrimages to the region until the early 1940s.

“Artists, Payne believed, must respond to an unpolluted natural world to uncover the animate and inanimate forms around them. In his bold, structured, postimpressionist paintings, soliloquies about light, he celebrated the West’s landscapes, from the snow-capped Sierra Nevada to the limitless horizons of Navajo country. The relationship between the Native American and the landscape is a constant theme that runs through Payne’s Southwestern work, especially his paintings of Canyon de Chelly.”

PROVENANCE The artist Private collection, Laguna Beach, California By descent $ 150,000 – 250,000

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202

Oscar Berninghaus (1874 – 1952) Indians Crossing the Plains

oil on board 20 × 24 inches signed lower right: O. E. Berninghaus VERSO Label, Sarachek’s, Kansas City, Missouri Noted art historian Rick Stewart wrote, “Oscar Berninghaus was an illustrator whose life and career were completely transformed by his contact with Taos. Unlike most of his fellow artists in the Society, his artistic training was somewhat brief. Berninghaus was born and raised in St. Louis, and in 1893 he obtained a job with a major printing house, learning the skills of draftsmanship and design associated with the lithographic process. He also enrolled in night classes at Washington University where he studied the

elements of drawing and composition. In 1899 he received a commission from the Denver and Rio Grande Railroad to journey to Colorado and New Mexico to make sketches for travel literature. On his way south from Alamosa to Santa Fe he discovered Taos, met Bert Phillips, and stayed there a week. He claimed in later life that the experience made him want to become an independent artist, and there is no doubt that on his return to St. Louis he worked towards that goal. He began painting western subjects in oil and watercolor, and in 1900 spent the first of many subsequent summers in Taos. Like several of the other artists, Berninghaus initially regarded Taos as a picturesque source of inspiration, rather than as a permanent home. By 1913 he was spending half of each year in New Mexico.” PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 70,000 – 100,000

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203

Gerard Curtis Delano (1890 – 1972) The Chief Gives Directions

watercolor on paper 6 × 8.5 inches signed lower right: Delano LITERATURE Richard G. Bowman, Walking with Beauty: The Art and Life of Gerard Curtis Delano, 1990, p. 40, illustrated $ 8,000 – 12,000

204

205

Olaf Wieghorst (1899 – 1988)

Frederic Remington (1861 – 1909)

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

pen and ink on paper 4.5 × 7.25 inches signed lower right: Remington ‘88

Mountain Man

PROVENANCE Private collection, Tennessee $ 3,000 – 5,000

Old Faithful (1888)

A Certificate of Authenticity from Mongerson Wunderlich Galleries will accompany the lot. PROVENANCE Dr. James Alexander, Jackson, Wyoming, 1974 Private collection, Chicago, Illinois $ 10,000 – 15,000

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206

Philip R. Goodwin (1881 – 1935) On the Edge (1909)

oil on canvas 35 × 18 inches signed lower right: Philip R. Goodwin 1909 A .30-30 Winchester Model 1894 similar to the rifle featured in the painting will accompany the lot. According to Goodwin biographer Dr. Larry Len Peterson, “After completing this oil in late 1909, Goodwin submitted it to the W. F. Powers Lithograph Company in New York City in January 1910. In his hand-written ledger he described it as ‘goat hunting.’ His $200 commission helped pay for his second trip to visit his friends Charles and Nancy Russell at their summer retreat, Bull Head Lodge on beautiful Lake McDonald in Glacier National Park. The setting for On the Edge reflects Goodwin’s nostalgic salute to his time with Russell in the park. It was special because he rarely dated his major works. The Rocky Mountain goats are common on all of the high peaks and ridges throughout the park. During the tourist season they are generally found above timberline. Even though they are called a goat, in reality the Rocky Mountain goat (Oreamnos americanus) is an antelope mainly found in the Rocky Mountains of British Columbia,

south as far as Colorado. The Virginian author Owen Wister wrote, ‘The perverted animals invariably chose the sharpest slant they could find to walk on.… If there were a precipice and a sound flat top, they took the precipice, and crossed its face on juts that did not look as if your hat would hang on them.’ Because of where they lived, for decades most hunters did not pursue them. However, once they were in the rifle’s sight, they were easily bagged because when they were alarmed, they tended to move to cover at a quite deliberate pace. Theodore Roosevelt found hunting the mountain goat somewhat challenging as it was ‘laborious rather than exciting, but still worth it just to enjoy the grandeur of the country.’ It’s easy to see why the Great Northern Railway, the Mazama Club, and others chose the mountain goat as their symbol.”

PROVENANCE Christie’s, New York, New York, 1991 Private collection, Nevada LITERATURE Larry Len Peterson, Philip R. Goodwin: America’s Sporting & Wildlife Artist, Coeur d’Alene Art Auction and Settlers West Galleries, 2001 Larry Len Peterson, Charles M. Russell, Photographing the Legend: A Biography in Words and Pictures, University of Oklahoma Press, 2014 $ 80,000 – 120,000

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207

Gerard Curtis Delano (1890 – 1972) Misty Morning

oil on canvas 30 × 40 inches signed lower left: © Delano VERSO Titled Richard G. Bowman, who was a collector of Delano’s work, wrote, “Gerard Curtis Delano occupies a special place in Western art history, alongside those who found the challenge of a lifetime in observing and painting the American West firsthand, and specialized in depicting the American Indians. We can define stages between the late 1800s and the present in paintings and sculptural renditions of the Indians. When we consider these from the vantage point of the last decade of the twentieth century, Delano begins to loom large as the successor to Remington and Russell.” In the early 1920s, Delano began getting assignments for magazine illustrations depicting the West. He returned from Colorado to an East 57th Street studio in New York where magazines like Colliers and Cosmopolitan started to carry his work. “It was during this period that Delano absorbed

influences from several great teachers who had a bearing on the evolution of his career. We learn from his autobiography that he studied at the Art Students League with Frank DuMond, and at the Grand Central School of Art with Harvey Dunn and N. C. Wyeth.” In 1933, as the Great Depression began to affect the country, Delano returned to Colorado to begin his fine art career while still pursuing the world of illustration. “Delano’s break came within a few years, when, in 1936, he signed the contract with Street and Smith Publishers for the series of stories and drawings, ‘Story of the West.’ … The end of the ‘Story of the West’ series in 1940, seemed to mark a turning point in Delano’s life. At last he was able to fulfill his great desire to concentrate on easel painting.”

PROVENANCE The artist Henry Sellers McKee, West Islip, New York, 1959 Private collection, by descent $ 300,000 – 500,000

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208

Bert Geer Phillips (1868 – 1956) Jicarilla Apache

oil on canvas laid on board 17 × 12.5 inches signed lower left: Phillips $ 20,000 – 30,000

“Gerard Curtis Delano occupies a special place in Western art history.” – RICHARD G. BOWMAN

209

Gerald Cassidy (1869 – 1934) Juan Justo (1915)

oil on canvas laid on board 12.5 × 9 inches signed lower right: Gerald [artist cipher] Cassidy VERSO Titled and dated $ 3,000 – 5,000 – 170 –

210

Kathryn Leighton (1875 – 1952)

The Firemaker, Two Guns White Calf oil on canvas 44 × 36 inches signed lower right: Kathryn W. Leighton An original bill of sale from the Biltmore Salon dated 1931 will accompany the lot. According to Dr. Larry Len Peterson, “As noted in The American West Reimagined, of the 700 Indian portraits she completed, this is Leighton’s finest. After the death of Chief Joseph in 1904 and Geronimo in 1909, Blackfeet Chief Two Guns White Calf was the most famous Indian in America. Because of his striking figure, he was a model for numerous artists who often ascribed their paintings of him to different tribes. In 1925 Leighton and her husband Edward rented a cabin in Glacier National Park close to Charlie Russell’s summer retreat, Bull Head Lodge. While there, she not only painted Two Guns White Calf and other Blackfeet Indians but also decorated the Russell’s famed 1925 Bull Head Lodge privacy screen with a beautiful scene of the mountains towering above Lake McDonald. An art critic for the Los Angeles Evening Herald on February 27, 1926 wrote, ‘The first to bring to galleries here the strange, wild charm of Glacier National Park for an entire exhibit, Leighton has a masculine sweep and strength to her brush, and few men painters can outdo the virility of her sunbathed peaks and wind-winnowed snowfields.’ The Blackfeet adopted her into their tribe and gave her the name ‘Anna-Tar-Kee,’ which meant ‘beautiful woman in spirit.’ For several years she served as vice-president of the California Art Club and at the club’s 1936 exhibition at the Los Angeles Museum, was awarded ‘first cash prize,’ while club president Frank Tenney Johnson accepted an honorary first prize. In 2015 legendary art dealer Bob Drummond wrote, ‘They [McDonalds] had a wonderful mansion on the edge of Coeur d’Alene Lake – I am told, Leighton came to Coeur d’Alene for two weeks to finish the commission, and hung it over their fireplace for many years.’”

PROVENANCE Mrs. Agnes J. McDonald, Spokane, Washington, 1931 Private collection, by descent Coeur d’Alene Art Auction, Coeur d’Alene, Idaho, 1995 Private collection EXHIBITED Biltmore Salon, Los Angeles, California, 1931 LITERATURE Larry Len Peterson, The Call of the Mountains: The Artists of Glacier National Park, Settlers West Galleries, 2002, p. 143, illustrated Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, pp. 211-12, 227 $ 30,000 – 50,000

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211

William Herbert Dunton (1878 – 1936) The Hunter’s Return (ca. 1932) oil on board 8 × 10 inches signed lower right: Dunton The Hunter’s Return will be included in Michael R. Grauer’s forthcoming W. Herbert Dunton Catalogue Raisonné. According to art historian Michael R. Grauer, “When Dunton’s emphasis on subject also shifted again in the mid-twenties, his work aligned itself with the tenets of Regionalism, albeit perhaps without a complete break from his earlier work. Instead of concentrating solely on an Old West that had virtually disappeared by then, he turned instead to subjects who had been a part of the Old West in Taos, but he chose to paint and draw them as they were then rather than as they had been.”

Dunton said, “The West has passed – more’s the pity. In another twenty-five years the old-time westerner will have gone too – gone with the buffalo and the antelope. I’m going to hand down to posterity a bit of unadulterated real thing, if it’s the last thing I do – and I’m going to do it, muy pronto.”

PROVENANCE Private collection, Carmel, California $ 200,000 – 300,000

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212

Joseph Henry Sharp (1859 – 1953) Beat of the Drum

oil on canvas 14 × 10 inches signed lower left: J H Sharp

PROVENANCE Christie’s, New York, New York, 1989 Gerald Peters Gallery, Santa Fe, New Mexico Private collection, Oklahoma $ 40,000 – 60,000

VERSO Label, Christie’s, New York, New York Label, Gerald Peters Gallery, Santa Fe, New Mexico – 174 –

213

A. D. M. Cooper (1856 – 1924) Land of the Sioux (1906)

oil on canvas 27 × 41 inches signed lower left: A. D. M. Cooper 1906 PROVENANCE Nanci and John Garzoli, San Francisco, California, ca. 1968 Private collection, by descent EXHIBITED Colorado Springs Collects, Colorado Springs Fine Arts Center, Colorado Springs, Colorado, 1981-82 $ 20,000 – 30,000

214

Edgar S. Paxson (1852 – 1919) Indians in a Canoe (1911)

oil on board 18.5 × 11 inches signed lower right: E. S. Paxson 1911 PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2000 Coeur d’Alene Art Auction, Reno, Nevada, 2003 $ 10,000 – 15,000 – 175 –

215

Charles M. Russell (1864 – 1926) Scouting the Camp

watercolor on paper 13.5 × 19.5 inches signed lower left: C M Russell [artist cipher] VERSO Label, Charles E. Cobb, Boston, Massachusetts Scouting the Camp is recorded in the C. M. Russell Catalogue Raisonné as reference number CR.CHF.44. According to author and Russell authority, Rick Stewart, “By the middle 1890s Russell had already achieved considerable proficiency in the art of transparent watercolor. This fine example appears to date from that period; it is painted on a good-quality watercolor paper of medium texture in colors that still remain fresh. Looking closely, one can see the artist’s graphite underdrawing, and some adjustments from the original composition can be seen alongside the mounted figure to the right. Elements in the distance including the camp to the left and the shadows and folds of the surrounding landscape are freely applied with transparent washes and light touches of the brush in a

very skillful manner. Russell becomes much more focused and detailed with his brushwork in the central group of mounted Indians, supposedly a Blackfoot war party on the prowl. The mounted figure to the left, for example, has a very carefully delineated beaded or quilled war shirt, a hair pipe adornment on his chest, and a closely-painted tack-studded quirt hanging from his outstretched arm. During this period Russell was working hard to master the reflections of light, color, and forms in water; this particular watercolor is notable for that, and for the preponderance of water in the whole composition as a way of suggesting recession.”

PROVENANCE Oklahoma Publishing Company, Oklahoma City, Oklahoma Private collection Coeur d’Alene Art Auction, Reno, Nevada, 2015 Private collection, Winter Park, Florida $ 200,000 – 300,000

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216

Roy Andersen (1930 – 2019) He Owns the White Bear

oil on canvas 30 × 40 inches signed lower left: Roy Andersen CA VERSO Label, Phippen Museum, Prescott, Arizona Label, Tucson Museum of Art, Tucson, Arizona EXHIBITED A Collector’s Dream: The Walter F. Kessler Collection, Phippen Museum, Prescott, Arizona, 1999 Artist of the Year, Tucson Museum of Art, Tucson, Arizona, 1999 $ 20,000 – 30,000

217

Roger Cooke (1941 – 2012) Big Brother

oil on board 30 × 24 inches signed lower left: Roger Cooke PROVENANCE Private collection, Carefree, Arizona $ 6,000 – 9,000 – 178 –

218

Frank McCarthy (1924 – 2002) The Marauders (1990)

219

Dan Knepper (b. 1961)

The Long Story Hike (2022) oil on canvas 30 × 40 inches signed lower right: Knepper The artist writes, “The long story involves being lead to believe there was a large elk to photograph, ‘directly on the path, another half mile or so ….’ No water on the hottest day of the summer, continually being told, ‘It’s just another half mile or so,’ every 30 minutes as we hiked on to a lake we never reached. Traveling through this amazing valley of golden grasses, blue water and the cool mountains receding into the distance of Rocky Mountain National Park.” $ 8,000 – 12,000

220

Scott Rogers (b. 1961)

Chiricahua Apache (2009) bronze 41 inches high inscribed on base: Chiricahua Apache Scott Rogers ‘09 © 19/30 $ 10,000 – 15,000 – 180 –

221

Jennifer Johnson (b. 1973) Million Dollar Sunset (2022)

oil on canvas 40 × 40 inches signed lower right: Jennifer Johnson [artist cipher] The artist writes, “The neon bucking bronco of the Million Dollar Cowboy Bar and the Grand Tetons are two icons of the Wild West. Famous for Western swing dancing, country music, iconic saddle barstools, and the occasional cowboy brawl, the Million Dollar Cowboy Bar was known for gambling and drinking during Prohibition.” $ 15,000 – 25,000

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223

Bill Nebeker (b. 1942)

DG House (b. 1959)

bronze 21 inches high inscribed on base: Bill Nebeker 1983 © 3/25

oil on canvas 36 × 72 inches signed lower right: © DG House

PROVENANCE Private collection, Carefree, Arizona

PROVENANCE Private collection, Scottsdale, Arizona

$ 3,000 – 5,000

$ 6,000 – 9,000

Early Morning Mount (1983)

On This Journey, Too

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224

W. Steve Seltzer (b. 1945) Wanderlust (2022)

oil on canvas 30 × 40 inches signed lower right: W. S. Seltzer The artist writes, “This small band of intrepid travelers has ventured far from their traditional hunting grounds to discover a strange new wonderland of nature’s awesome creative forces. They are likely aware of the potential hazards that may confront them on this adventure, but curiosity is a powerful incentive and they hope to have many exciting stories to share when they return home.” $ 8,000 – 12,000

225

Charles Muench (b. 1966) High Plains Drifters (2022)

oil on canvas 24 × 36 inches signed lower right: Charles Muench According to the artist, “High Plains Drifters is the culmination of exploring this part of the Eastern Sierra for over 27 years. The title references both the deer moving through the high desert and the Clint Eastwood movie filmed here.” $ 8,000 – 10,000 – 182 –

226

Andy Thomas (b. 1957) The Alamo (2022)

oil on canvas 27 × 38 inches signed lower right: Andy Thomas The artist writes, “In the 1836 Battle of the Alamo, Texian and Tejano defenders were under siege by the Mexican Army of Santa Anna. “On March 6, a general assault began in the early morning. Soon, Mexican soldiers breached the north wall and began pouring into the compound. A few defenders, including

Davy Crockett, attempted to hold a line near the front of the chapel. “They were soon overwhelmed by the swarming Mexican troops. “The sun had not yet risen.”

$ 30,000 – 50,000

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227

Michael Coleman (b. 1946) Oh Great, Bears! (1989)

oil on board 30 × 46 inches signed lower left: Michael Coleman © VERSO Artist label with title and date PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 10,000 – 15,000

228

Curt Walters (b. 1950) Above Ute Creek

oil on canvas 28 × 36 inches signed lower right: Curt Walters VERSO Titled $ 8,000 – 10,000

229

Nancy Glazier (b. 1947)

Power Landing – Bald Eagle oil on canvas 28 × 42 inches signed lower left: N. Glazier PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 7,000 – 10,000 – 184 –

230

Dan Mieduch (b. 1947)

The Spirits of the Shadows Play Tricks (2022) oil on board 24 × 36 inches signed lower left: Dan Mieduch 2022 The artist writes, “There are many variations among the Native tribes of trickster spirits and the various forms they take. Most often they become fox or raven and their purpose is to teach important lessons, kind of like the fables of Aesop. “And, like any good fable, they haunt the memory with warnings ‘not to take things at face value,’ they are metaphorical, so as to be able to embody themselves in a multitude of animate forms. “To these Lakota youths, the movements of the trees and their deceptive shadows on the rippling stream bed could easily appear as trickster spirits behaving in a capricious mood.” $ 15,000 – 25,000

231

Michael Coleman (b. 1946) The Explorers

oil on board 24 × 30 inches signed lower right: © Michael Coleman PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 6,000 – 9,000 – 185 –

232

Roy Andersen (1930 – 2019)

A Vision Through the Hoop (1993) oil on canvas 48 × 30 inches signed lower left: Roy Andersen CA VERSO Artist label with title and date Label, Desert Caballeros Western Museum, Wickenburg, Arizona Label, National Cowboy Hall of Fame, Oklahoma City, Oklahoma

Label, Phippen Museum, Prescott, Arizona Label, Tucson Museum of Art, Tucson, Arizona EXHIBITED Covering the West: The Best of Southwest Art, National Cowboy Hall of Fame, Oklahoma City, Oklahoma, 1996 A Collector’s Dream: The Walter F. Kessler Collection, Phippen Museum, Prescott, Arizona, 1999 – 186 –

Artist of the Year, Tucson Museum of Art, Tucson, Arizona, 1999 Arizona Collects, Desert Caballeros Western Museum, Wickenburg, Arizona, 2004 LITERATURE Jan Adkins, Dream Spinner: The Art of Roy Andersen, Settlers West Galleries, Tucson, Arizona, 2000, p. 2, illustrated $ 25,000 – 35,000

233

Paul Calle (1928 – 2010) Sioux Chief (1975)

pencil on paper 39.5 × 29.5 inches signed lower left: Paul Calle © 1975 VERSO Signed Label, Gilcrease Museum, Tulsa, Oklahoma Label, Husberg Fine Arts Gallery, Sedona, Arizona PROVENANCE Private collection, Carefree, Arizona EXHIBITED Gilcrease Rendezvous, Gilcrease Museum, Tulsa, Oklahoma, 1991 LITERATURE Pam Hait and James Dean, Paul Calle: An Artist’s Journey, Mill Pond Press, 1992, p. 125, illustrated $ 10,000 – 15,000

234

Ray Swanson (1937 – 2004) The Contest Prize

oil on board 24 × 14 inches signed lower right: Ray Swanson CA © PROVENANCE Private collection, Carefree, Arizona $ 5,000 – 7,000 – 187 –

235

Martin Grelle (b. 1954) Packing Out (1989)

oil on canvas 36 × 60 inches signed lower right: Martin Grelle 1989 © PROVENANCE Private collection, Carefree, Arizona $ 40,000 – 60,000

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236

David Nordahl (b. 1941) Stormy Weather (2007)

237

Dan Mieduch (b. 1947) Better Part of Valor (1981) oil on board 24 × 36 inches signed lower right: Dan Mieduch 1981 © VERSO Signed and titled $ 10,000 – 15,000

238

Joni Falk (b. 1933) Pueblo Designs

oil on canvas 20 × 30 inches signed lower right: Joni Falk PROVENANCE Private collection, Carefree, Arizona $ 6,000 – 9,000 – 189 –

239

Francois Koch (b. 1944) Under the Golden Canopy

oil on canvas 47 × 65 inches signed lower right: Francois Koch © PROVENANCE Private collection, Tucson, Arizona $ 15,000 – 25,000

240

Ralph Oberg (b. 1950) On the Rocks (2005)

oil on canvas laid on board 40 × 50 inches signed lower right: Oberg VERSO Signed, titled, and dated PROVENANCE Private collection, Nevada $ 8,000 – 12,000 – 190 –

241

Deborah Butterfield (b. 1949) Berlin (1990)

bronze 29.5 inches high inscribed: Walla Walla 1990 According to art critic Ellen Handy, “Long one of our most distinguished sculptors, Deborah Butterfield has always chosen to mine a single theme deeply and, one might add, very slowly. Her long series of sculptures of horses has taken many forms despite its constant subject. The media, from plaster to mud to scrap metal, imply the diversity of sculptural materials available in the twentieth century and, more importantly, demonstrate the apparently effortless technical virtuosity of Butterfield’s work.” Born in San Diego, California, Deborah Butterfield studied at the University of California at Davis $ 60,000 – 90,000

– 191 –

(BA, MFA) and attended the Skowhegan School of Painting and Sculpture, Maine. Since 1979, she has lived with her husband, artist John Buck, near Bozeman. She has been the recipient of two NEA fellowships and a Guggenheim award. Her works are included in numerous important public and corporate collections including: the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; the Metropolitan Museum of Art, New York; and the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

242

Robb Woods (20th C.) Autumn Crossing

oil on canvas 24 × 48 inches signed lower left: Robb Woods PROVENANCE Private collection, Carefree, Arizona $ 6,000 – 9,000

243

Mike Barlow (b. 1963) Big Medicine II

bronze 21 inches high inscribed on base: Michael Barlow 12/15 According to the artist, “One of my favorite wildlife spectacles is the migration of bison through Yellowstone National Park. I especially love watching the battle-hardened bulls in the Hayden Valley during August. Big Medicine is a tribute to the wildlife of the west.” 244

$ 8,000 – 12,000

Tim Shinabarger (b. 1966) Distant Movement (1997)

bronze 20 inches high inscribed on base: © 97 Shinabarger 11/30 $ 4,000 – 6,000 – 192 –

245

Francois Koch (b. 1944) September Skies, Arizona

oil on canvas 28 × 56 inches signed lower right: Francois Koch © PROVENANCE Private collection, Michigan $ 15,000 – 25,000

246

John Cogan (b. 1953) Grand Canyon (1990)

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247

Gary Lynn Roberts (b. 1953) When Fall Yields to Winter

oil on canvas 40 × 50 inches signed lower right: Gary Lynn Roberts PROVENANCE The Russell Auction, Great Falls, Montana, 2009 $ 15,000 – 25,000

248

George Dee Smith (b. 1944) Checkin’ the Spring (2000)

oil on board 18 × 24 inches signed lower right: George D. Smith VERSO Signed, titled, and dated $ 5,000 – 7,000 – 194 –

249

Clyde Aspevig (b. 1951) July in the Tetons (1984)

oil on canvas 30 × 40 inches signed lower left: C. Aspevig 84 PROVENANCE Private collection, Palm Desert, California $ 20,000 – 30,000

– 195 –

250

Andy Thomas (b. 1957)

Sioux Defiance – Live Free or Die (2008) oil on canvas 30 × 40 inches signed lower right: Andy Thomas VERSO Titled and dated PROVENANCE The Russell Auction, Great Falls, Montana, 2009 $ 25,000 – 35,000

– 196 –

251

David Yorke (b. 1949) The Crossing

oil on canvas 30 × 40 inches signed lower right: David Yorke © VERSO Signed and titled EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2006 $ 10,000 – 15,000

252

Gary Lynn Roberts (b. 1953) Hillside Cafe

oil on canvas 36 × 30 inches signed lower left: Gary Lynn Roberts © PROVENANCE Private collection, Weatherford, Texas $ 15,000 – 25,000 – 197 –

253

Alfred Jacob Miller (1810 – 1874) The Lost Greenhorn

oil on canvas 18 × 24 inches signed lower right: AMiller The Lost Greenhorn is recorded in the Alfred Jacob Miller Catalogue Raisonné as reference number 147I. According to Western art historian Ron Tyler, “Few artists paint a picture that personifies their career as well as Alfred Jacob Miller’s The Lost Greenhorn. Born in Baltimore and trained in Paris and Rome, Miller had spent only a few months in his New Orleans studio before being whisked away on a western adventure that he could hardly have dreamed of. He was, indeed, a greenhorn, completely at the mercy of his patron, Captain William Drummond Stewart. Fortunately, Stewart was a veteran of four previous trips to the American West and had experienced help from some of the most legendary trappers and hunters of the era. When Miller painted the expedition’s cook, John, lost on the prairie, he might well have been painting his own portrait for the title was an apt description of his only expedition to the Rocky Mountains.

“This picture had its origin in the fact that John, the English cook on the expedition, boasted of what he could accomplish on a buffalo hunt. ‘When anyone boasted,’ Miller said, ‘our captain … put them to the test.’ John was given the day off to prove his statements. He did not return to camp at the end of the day. When he was missing for a second day, Fitzpatrick, the caravan commander, sent the hunters out in different directions to try and find him. They brought back a crestfallen cook who told of being near death as he found himself in the path of a stampeding herd of buffaloes. He had lost his way and was nearly starved to death by the time the hunters found him.”

PROVENANCE Arpad Antiques, Washington, D.C., 1959 Anslew Gallery, Norfolk, Virginia, 1970 Arthur J. Phelan, Jr., Chevy Chase, Maryland, 1970s Private collection, by descent EXHIBITED American West: Selected Works from the Collection of Arthur J. Phelan, Jr., Government Services Savings and Loan, Bethesda, Maryland, 1978 The American West, Longwood Fine Arts Center, Farmville, Virginia, 1979 Treasury Building, Washington, D.C., 1989-97 Marriner S. Eccles Federal Reserve Board Building, Washington, D.C., 1998 LITERATURE American West: Selected Works from the Collection of Arthur J. Phelan, Jr., Government Services Savings and Loan, 1978, p. 20 The American West, Longwood Fine Arts Center, 1979, pp. 12, 15, illustrated Ron Tyler, Alfred Jacob Miller: Artist on the Oregon Trail, Amon Carter Museum of Western Art, 1982, p. 249 Alfred Jacob Miller: Artist as Explorer, Gerald Peters Gallery, 1999, p. 129, illustrated $ 300,000 – 500,000

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“Few artists paint a picture that personifies their career as well as … The Lost Greenhorn” – RON TYLER

254

Bert Geer Phillips (1868 – 1956) The Rabbit Hunter, Winter

oil on board 10 × 8 inches signed lower left: Phillips Taos, N M VERSO Artist label with signature and title

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2019 Private collection, Scottsdale, Arizona LITERATURE Larry Len Peterson, The American West Reimagined: Gems from the Coeur d’Alene Art Auction, Coeur d’Alene Art Auction, 2021, p. 323, illustrated $ 25,000 – 35,000 – 200 –

255

Winchester Repeating Arms Company Ammunition Display 42 × 60 inches VERSO “No. 1059” PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 10,000 – 15,000

256

Edward Borein (1872 – 1945) Bronc Rider

watercolor on paper 6.5 × 6.5 inches signed lower right: Edward Borein $ 6,000 – 9,000

– 201 –

257

Victor Higgins (1884 – 1949) Adobe House – Taos

oil on canvas 24 × 27 inches signed lower left: Victor Higgins The artist wrote, “The West is composite and it fascinates me. In the West are forests as luxurious as the forests of Fontainebleau or Lebanon; desert lands as alluring as the Sahara; and mountains most mysterious. Cañons and mesa that reveal the construction of the earth, with falls as fantastic as facades of Dravidian Temples. An architecture, also fast disappearing, as homogenous as the structures of Palestine and the northern coast of Africa; and people as

old as the peoples of history; with customs and costumes as ancient as their traditions. And all this is not the shifting of playhouse scenes but the erosion and growth of thousands of years, furrowed for centuries by Western rains, dried by Western winds and baked by Western suns. Nearly all that the world has, the West has in nature, fused with its own eternal self.”

PROVENANCE Private collection, Tucson, Arizona, 1950s Private collection, Wichita, Kansas, by descent $ 150,000 – 250,000

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– 203 –

258

Luke Frazier (b. 1970) Evening Prize (2022)

oil on board 24 × 36 inches signed lower right: L. Frazier The artist writes, “Joys come from simple and natural things – love of the outdoors, camaraderie of brothers with a common goal of adventure, camping gear and a canoe.” “There is magic in the feel of a paddle and the movement of a canoe, a magic compounded of distance, adventure, solitude, and peace. The way of a canoe is the way of the wilderness and of a freedom almost forgotten. It is an antidote to insecurity, the open door to waterways of ages past and a way of life with profound and abiding satisfactions. When a man is part of his canoe, he is part of all that canoes have ever known.” – Sigurd F. Olson, The Singing Wilderness $ 20,000 – 30,000

259

Jim Norton (b. 1953) Spring Ride (1993)

260

Steve Burgess (b. 1960) Family Outing (2022)

oil on board 30 × 30 inches signed lower left: Steve Burgess In discussing this painting the artist writes, “I have had a fascination with red foxes ever since reading a 75page poem at the age of 14 by the poet John Masefield, titled Reynard the Fox, a thrilling story of an English fox hunt and how the fox as the main protagonist lives to fight another day. “A new fox painting is always something I look forward to starting and with this painting I wanted to convey the playfulness of the fox kits and the ability of foxes to easily adapt to living side by side with humans.” $ 10,000 – 15,000

261

Nancy Glazier (b. 1947) Spring Break – Grizzlies

oil on canvas 28 × 42 inches signed lower right: N. Glazier PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 7,000 – 10,000

262

Douglas Allen (b. 1935) Gros Ventre Elk

oil on canvas 20 × 30 inches signed lower left: Douglas Allen PROVENANCE Private collection, Nevada $ 5,000 – 7,000 – 205 –

263

Dustin Van Wechel (b. 1974) The Catbird Seat (2022)

oil on canvas 35 × 40 inches signed lower left: D Van Wechel The artist writes, “I’ve always been drawn to the mystique of the mountain lion. As one of the America’s most elusive predators, I find them fascinating. They provide a wealth of inspiration for me to tell their stories through my work.” $ 15,000 – 25,000

264

Dan Young (b. 1959)

Evening on the Colorado (2022) oil on canvas laid on board 30 × 36 inches signed lower left: Young The artist writes, “This is one of my favorite locations to paint. It is a side channel on the Colorado River near my studio in Western Colorado. The river runs east to west which makes it perfect for sunrise or sunset paintings year round. Wintertime is exciting as the river can freeze and thaw differently every day making it a new scene daily.” $ 10,000 – 15,000

– 206 –

265

Tom Darro (b. 1946)

Father Sky, Mother Earth oil on canvas 34 × 48 inches signed lower left: © Tom Darro PROVENANCE Private collection, Tucson, Arizona $ 10,000 – 15,000

266

Doug Hyde (b. 1946) Intertribal Greeting

267

This is the maquette for the life-size version at the entrance of the Heard Museum in Phoenix, Arizona.

American Girl (2005)

$ 6,000 – 9,000

Morgan Weistling (b. 1964) oil on canvas laid on board 12 × 9 inches signed lower left: Morgan Weistling 05 © VERSO Signed, titled, and dated $ 3,000 – 5,000

– 207 –

268

Eli Levin (b. 1938)

Fight and Dance (1992) tempera on board 30 × 40 inches signed lower right: Eli Levin 92 A copy of a letter from Eli Levin dated June 26, 2011, confirming the authenticity and provenance of the painting will accompany the lot. $ 4,000 – 6,000

269

John Banovich (b. 1964) Standing Bear (1987)

270

PROVENANCE Ted and Sue Dalzell, Santa Barbara, California

George Hallmark (b. 1949) Rains of Colima

$ 2,000 – 3,000

271

Richard Greeves (b. 1935) Bird Woman (2001)

bronze 70 inches high inscribed on base: Bird Woman Shoshone R. Greeves 7/10 2001 Sacagawea, or Bird Woman as her Lemhi Shoshone name translates, helped the Lewis and Clark Expedition succeed in their mission of exploring the Louisiana Territory. In the early 1900s, the National American Woman Suffrage Association adopted Sacagawea as a symbol of women’s worth and independence by creating statutes and plaques in her memory. EXHIBITED Masters of the American West, Autry Museum of the American West, Los Angeles, California, 2002 LITERATURE Western Art & Architecture, June / July 2022, p. 124, illustrated $ 20,000 – 30,000

– 209 –

272

Frank Tenney Johnson (1874 – 1939) Sounds in the Canyon

oil on canvas 22 × 30 inches signed lower right: F. Tenney Johnson According to Western art historian Harold McCracken, “The March 1931 issue of the publication Progressive Arizona included a lengthy article about F. T. J.’s work by the highly regarded art critic Everett Carroll Maxwell. The whole article was complimentary, although the following two excerpts were enough to warm the heart of any artist: ‘As a painter of the romance of the Old West, F. Tenney Johnson stands wholly in a class by himself. He possesses a vision

and imagination that reaches far into the past and records it upon canvas with fidelity and unusual pictorial beauty.’ The other excerpt reads: ‘An outstanding characteristic of Johnson’s work is his ability to paint moonlight, and in this field he stands preeminantly [sic] alone.’ It is significant that a number of other critics gave the same appraisal of F. T. J.’s work in similar phraseology.”

PROVENANCE Private collection, Nevada $ 100,000 – 150,000

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– 211 –

273

Charles M. Russell (1864 – 1926) The Robe Flesher

bronze 4.75 inches high inscribed on base: CMR [artist cipher] R.B.W. An original bill of sale from Rash Gallery dated 1975 will accompany the lot. According to Rick Stewart, “During his initial years in Montana, Russell probably witnessed the practice of fleshing and scraping a buffalo hide himself, and he depicted it several times in his art, as in his early painting titled The Silk Robe.… Russell

apparently modeled his small sculpture of an Indian woman with a fleshing tool in her lap during the last year of his life.” PROVENANCE The Brown Estate Rash Gallery, South Laguna, California, 1975 Peter Philips, Monterey Park, California LITERATURE Rick Stewart, Charles M. Russell, Sculptor, Amon Carter Museum, 1994, p. 350, illustrated $ 30,000 – 50,000

– 212 –

274

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 $ 20,000 – 30,000

275

Edward Borein (1872 – 1945) Cowboys Ridin’ the Trail

watercolor on paper 6.75 × 4.75 inches signed lower right: Edward Borein $ 5,000 – 7,000 – 213 –

276

Henry Farny (1847 – 1916) Indian Brave (1891)

gouache on paper 10 × 6 inches signed lower right: Farny 91 VERSO Label, J. N. Bartfield Galleries, New York, New York PROVENANCE Sotheby’s, New York, New York, 1984 J. N. Bartfield Galleries, New York, New York, 1994 Walter “Happy” Goodman, Jr. Goodman Family Trust, by descent Private collection, Sea Ranch, California $ 70,000 – 100,000

– 214 –

277

Charles M. Russell (1864 – 1926) Indian Head (1899)

watercolor on paper 11 × 8 inches signed lower left: C M Russell [artist cipher] 1899 VERSO Label, California Palace of the Legion of Honor, San Francisco, California Label, Department of Municipal Art, Los Angeles, California Label, Historical Society of Montana, Helena, Montana Label, Trigg-C. M. Russell Foundation, Great Falls, Montana Label, Western Canada Art Circuit, Calgary, Alberta

PROVENANCE Hammer Brothers, New York, New York Gerald Peters Gallery, Santa Fe, New Mexico Private collection, Kansas City, Kansas Owings-Dewey Fine Art, Santa Fe, New Mexico Brix Collection, Rancho Mirage, California EXHIBITED Charles M. Russell, Historical Society of Montana, Helena, Montana, 1951 Department of Municipal Art, Los Angeles, California, 1957 Charles M. Russell, California Palace of the Legion of Honor, San Francisco, California, 1957 Trigg-C. M. Russell Foundation, Great Falls, Montana, 1957 $ 50,000 – 75,000

– 215 –

278

Edgar Payne (1883 – 1947)

Fourth Lake, Big Pine Canyon (ca. late 1930s) oil on canvas 24 × 42 inches signed lower left: Edgar Payne VERSO Label, Hilbert Museum of California Art, Orange, California Label, Los Angeles County Museum of Art, Los Angeles, California One of the first post-war essays and illustrations published on Edgar Payne was of this painting Fourth Lake, Big Pine Canyon in the 1980 seminal exhibition Painting and Sculpture in Los Angeles, 1900-1945 at the Los Angeles County Museum of Art. This exhibition was held as part of the bicentennial celebration of the City of Los Angeles and to introduce hitherto unknown areas of art to the public. Edgar Payne’s famous Eastern High Sierra oil paintings were in the vast majority painted and inspired from his many visits to the North Fork of Big Pine Canyon. Edgar always

stayed at the Upper Glacier Lodge, enjoying a regular bed and having his meals prepared for him versus camping rough in the backcountry. The upper lodge commanded a superb view of Fourth Lake and the Palisades Glacier. Scott A. Shields wrote, “The remoteness and duration of Payne’s excursions into the vastness of the Sierra far exceeded 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.”

EXHIBITED Painting and Sculpture in Los Angeles, 1900-1945, Los Angeles County Museum of Art, Los Angeles, California, 1980 Out of the West, Hilbert Museum of California Art, Orange, California, 2017 LITERATURE Nancy Moure, Painting and Sculpture in Los Angeles, 1900-1945, Los Angeles County Museum of Art, 1980, p. 20, illustrated $ 100,000 – 150,000

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– 217 –

279

Thomas Moran (1837 – 1926) Castle Ruins on Hill

watercolor on paper 17 × 12 inches signed lower left: Moran PROVENANCE Clars Auction Gallery, Oakland, California, 2009 $ 30,000 – 50,000 – 218 –

280

Edmund H. Osthaus (1858 – 1928) Setter Family

oil on canvas 34.5 × 31 inches signed lower left: Edmund Osthaus Setter Family served as inspiration for the etching The Daredevil, one of 11 etchings done by the artist, and will accompany the lot. $ 20,000 – 30,000

281

Bert Geer Phillips (1868 – 1956) First Blossoms of Hawthorne

watercolor on paper 14.5 × 21.25 inches signed lower right: Hawarden, May 17th Bert Phillips VERSO Titled PROVENANCE Private collection, Scottsdale, Arizona $ 4,000 – 6,000

– 219 –

282

Robert Lougheed (1910 – 1982)

VERSO Signed, titled, and dated

oil on board 12 × 24 inches signed lower right: Robert Lougheed [artist cipher]

PROVENANCE Private collection, Nevada

In the Valley of the Bow (1980)

$ 8,000 – 12,000

283

Robert Abbett (1926 – 2015) Bo and Duke (1982)

284

VERSO Artist label with title and date

Kofa Dawn

Gary Swanson (1941 – 2010)

PROVENANCE Private collection, Colorado

$ 6,000 – 9,000

$ 3,000 – 5,000 – 220 –

285

Richard D. Thomas (1939 – 2019) Heading Out (1979)

287

Ray Swanson (1937 – 2004) Native American 286

Robert Lougheed (1910 – 1982)

VERSO Signed, titled, and dated

oil on board 12 × 24 inches signed lower left: Robert Lougheed Rancho de Cañada N. M.

PROVENANCE Private collection, Nevada

PROVENANCE Private collection, Tucson, Arizona

$ 7,000 – 10,000

$ 5,000 – 7,000

Spring Below the Jemez (1977)

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288

Oleg Stavrowsky (1927 – 2020) Smokin’

oil on canvas 26 × 63 inches signed lower left: Oleg Stavrowsky VERSO Signed and titled PROVENANCE Private collection, Michigan $ 15,000 – 25,000

289

Kenneth Riley (1919 – 2015) The New Man

oil on board 11 × 12 inches signed lower right: Kenneth Riley CA VERSO Artist label with signature and title PROVENANCE Private collection, Carefree, Arizona $ 15,000 – 25,000

– 222 –

290

Richard Schmid (1934 – 2021) The Blue Dress (1992)

oil on board 10 × 16 inches signed lower right: Schmid VERSO Signed, titled, dated, and “#2440” PROVENANCE Private collection, Colorado $ 10,000 – 15,000

291 292

Richard Schmid (1934 – 2021) Nancy (1989)

William Whitaker (1943 – 2018)

watercolor on paper 10 × 7 inches signed lower center: Schmid

The Curtain

oil on board 20 × 15 inches signed lower left: W. Whitaker

VERSO Signed, titled, dated PROVENANCE Private collection, Colorado

PROVENANCE Coeur d’Alene Art Auction, Reno, Nevada, 2009 Private collection, Colorado

$ 5,000 – 7,500

$ 5,000 – 7,500 – 223 –

293

Ted Long (1932 – 2007) Crossing the Continent

oil on canvas 24 × 36 inches signed lower right: Ted Long PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 6,000 – 9,000

294

Ted Long (1932 – 2007)

Bluewater Parley – Battle of Ash Hollow 1855 oil on canvas 24 × 36 inches signed lower right: Ted Long PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 6,000 – 9,000

295

Marjorie Reed (1915 – 1996)

Departure from Cooke’s Spring Station oil on canvas 24 × 36 inches signed lower left: Marjorie Reed $ 4,000 – 6,000 – 224 –

296

Marjorie Reed (1915 – 1996) Crossing the Plains

oil on canvas 24 × 36 inches signed lower right: Marjorie Reed $ 4,000 – 6,000

297

Robert Lougheed (1910 – 1982) The Sorrell Mare

oil on board 16 × 20 inches signed lower right: Robert Lougheed [artist cipher] VERSO Signed and titled PROVENANCE Private collection, Nevada $ 5,000 – 7,000

298

Frank McCarthy (1924 – 2002) Double Cross

oil on board 18.5 × 27 inches signed lower left: McCarthy PROVENANCE Private collection, Tennessee $ 4,000 – 6,000 – 225 –

299

Hubert Wackermann (b. 1945)

300

301

Dave McGary (1958 – 2013)

bronze 42 inches high inscribed on base: [artist’s thumbprint] Dave McGary 1988 21/30

bronze 39 inches high inscribed on base: [artist’s thumbprint] Dave McGary 19/30

PROVENANCE Private collection, Carefree, Arizona

$ 6,000 –9,000

$ 10,000 –15,000

Carrier of the Sun (1988)

Four Bears

– 226 –

302

G. Harvey (1933 – 2017) Pike Place Street Market

oil on canvas 20 × 18 inches signed lower right: G. Harvey VERSO Signed and titled PROVENANCE Private collection, Albuquerque, New Mexico $ 40,000 – 60,000 – 227 –

303

Martin Grelle (b. 1954) The Frenchman’s Friend

oil on canvas 30 × 24 inches signed lower right: Martin Grelle © VERSO Signed and titled PROVENANCE Private collection, Tucson, Arizona $ 20,000 – 30,000 – 228 –

304

D. Edward Kucera (b. 1961) The Hand of a Comrade (2022)

oil on canvas 30 × 44 inches signed lower right: D E Kucera © 2022 The artist writes, “Winter will arrive soon, and making sure there will be enough food for the difficult months ahead is imperative. The hazards of achieving this task are apparent with the rider in the back left, and may also explain how the man receiving the hand of a comrade lost his mount.” $ 15,000 – 25,000 305

Ross Buckland (b. 1958) She’s Home (2021)

oil on board 20 × 30 inches signed lower right: R. Buckland $ 5,000 – 7,500

– 229 –

306

Eric Bowman (b. 1960) On Our Way

oil on canvas 25 × 28 inches signed lower right: Bowman VERSO Signed and titled PROVENANCE Private collection, Scottsdale, Arizona $ 10,000 – 15,000

307

Michael Coleman (b. 1946) After the Hunt

gouache on paper 19.5 × 14 inches signed lower right: © Michael Coleman In the Camp of the Blackfeet gouache on paper 15 × 9.25 inches signed lower left: Michael Coleman © PROVENANCE Ted and Sue Dalzell, Santa Barbara, California $ 4,000 – 6,000 for the pair

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308

Sue Krzyston (b. 1948) Blending Cultures (2006)

309

Michael Coleman (b. 1946) Eagle’s Rest

VERSO Signed, titled, and dated

PROVENANCE Private collection, Cave Creek, Arizona

PROVENANCE Ted and Sue Dalzell, Santa Barbara, California

$ 3,000 – 5,000

$ 6,000 – 9,000

310

Paul Mullally (b. 1947) Alaskan Harbor (2003)

oil on canvas 30 × 40 inches signed lower left: Mullally 2003 $ 8,000 – 12,000 – 231 –

311

Dan Bodelson (b. 1949) Halter Breaking (1981)

312

Richard Greeves (b. 1935)

VERSO Signed, titled, and dated

bronze 24 inches high inscribed on base: R Greeves 2000 8/20

Eagle Chief (2000)

PROVENANCE Private collection, Texas

PROVENANCE Private collection, Tucson, Arizona

$ 4,000 – 6,000

$ 5,000 – 7,500

313

Christy Daniels (b. 1968)

PROVENANCE The Russell Auction, Great Falls, Montana, 2008

$ 8,000 – 12,000

The Crossing, See You On the Other Side (2006)

– 232 –

314

W. H. D. Koerner (1878 – 1938) After the Shootout (1925)

oil on canvas 28 × 40 inches signed lower right: W. H. D. Koerner 1925 PROVENANCE Private collection Heritage Auctions, Dallas, Texas, 2006 A. J. Kollar Fine Paintings, Seattle, Washington The Estate of Bruce Leven, Mercer Island, Washington Coeur d’Alene Art Auction, Reno, Nevada, 2018 $ 15,000 – 25,000 315

Donald Teague (1897 – 1991) The Unexpected (1936)

ink wash on paper 15 × 24 inches signed lower left: D T 36 $ 3,000 – 5,000

– 233 –

316

Olaf Wieghorst (1899 – 1988) Tracks

oil on canvas 20 × 24 inches signed lower left: O – Wieghorst [artist cipher] © Tracks was released as a limited edition print by Hadley House in 1990 as the fourth and final image in the Spirit of the West series. PROVENANCE Private collection, Palm Desert, California LITERATURE James Drye, A Collector’s Guide to the Prints of Olaf Wieghorst, Spidy Quality Printing, 2000, pp. 106-07, illustrated $ 20,000 – 30,000

317

Olaf Wieghorst (1899 – 1988) Visitors (1981)

318

Robert Lougheed (1910 – 1982) Changing Teams

oil on board 24 × 36 inches signed lower right: Robert Lougheed [artist cipher] VERSO Signed and titled PROVENANCE Private collection, Billings, Montana $ 15,000 – 25,000

319

Olaf Wieghorst (1899 – 1988) Marble Canyon Country

oil on canvas 11 × 14 inches signed lower left: O Wieghorst $ 5,000 – 7,000

– 235 –

320

Edgar Payne (1883 – 1947) Pasadena, California, San Gabriel Mountains

oil on canvas 14 × 18 inches signed lower right: Edgar Payne PROVENANCE James Reynolds, 1995, gifted to Sheila Cottrell, Tucson, Arizona Coeur d’Alene Art Auction, Reno, Nevada, 2017 $ 15,000 – 25,000

321

322

Carl Rungius (1869 – 1959)

oil on canvas laid on board 9 × 11 inches signed lower right: C. Rungius

PROVENANCE Private collection, Billings, Montana

PROVENANCE Private collection, Garrison, Montana

$ 10,000 – 15,000

Banff Country

At Timberline

– 236 –

323

Belmore Browne (1880 – 1954) Winter Sunshine, Bow River

oil on canvas 18 × 24 inches signed lower left: Belmore Browne VERSO Signed and titled Label, Grand Central Art Galleries, New York, New York PROVENANCE Private collection, Billings, Montana $ 8,000 – 12,000

324

Carl Rungius (1869 – 1959) Poboktan Pass Country

325

oil on canvas laid on board 7.5 × 11 inches signed lower right: C. Rungius

Edgar S. Paxson (1852 – 1919) Indian Portrait (1906)

oil on board 5.5 × 4.5 inches signed lower right: E. S. Paxson 1906

PROVENANCE Private collection, Garrison, Montana $ 6,000 – 9,000

$ 6,000 – 9,000

– 237 –

326

Frank B. Hoffman (1888 – 1958) Chief Joseph Surrenders

oil on canvas laid on board 22 × 28 inches signed lower left: Hoffman [artist cipher] VERSO Titled PROVENANCE Private collection, Nevada $ 6,000 – 9,000

328

Edward Borein (1872 – 1945) Many Coups 327

William R. Leigh (1866 – 1955) The Foul Rope

watercolor on paper 5 × 6.75 inches signed lower left: Edward Borein $ 4,000 – 6,000

etching on paper 10 × 8 inches signed lower left: W. R. Leigh. $ 2,500 – 3,500

– 238 –

329

Carl Rungius (1869 – 1959) Horse, Nos. 1 – 7

pencil on paper 8.5 × 6.5 inches each signed lower right: Rungius Sheep, No. 1 pencil on paper 4 × 6.5 inches signed lower right: Rungius PROVENANCE The artist Ruth Wacker, Port Washington, New York Bob Drummond, Hayden, Idaho, 1989 Len Braarud, La Conner, Washington, 1990 $ 6,000 – 9,000 for the group of eight

330

Eustace Paul Ziegler (1881 – 1969) Dear Jack Letter (1935)

watercolor and ink on paper 10 × 14 inches signed lower center: Ziegler VERSO Signed Label, Anchorage Museum of History and Art, Anchorage, Alaska A copy of a letter from the artist to Jack Gilbert will accompany the lot.

PROVENANCE The artist Jack Gilbert, Ketchikan, Alaska, 1935 June Reynolds, Lynnwood, Washington, 1987 Braarud Fine Art, La Conner, Washington, 1987 Harry & Judy Mullikin, Seattle, Washington, 1990 Len Braarud, La Conner, Washington, 2010 Marilyn Braarud, Kirkland, Washington, 2015 – 239 –

EXHIBITED Spirit of the North: The Art of Eustace Paul Ziegler, Anchorage Museum of History and Art, Anchorage, Alaska, 1998 LITERATURE Spirit of the North: The Art of Eustace Paul Ziegler, Anchorage Museum of History and Art, 1998, p. 106, illustrated $ 5,000 – 7,000

Index Abbett, Robert (1926 – 2015) Bo and Duke (1982) 283

Boedges, Mark (b. 1973) Mountain Cascade (2022) 164

Acheff, William (b. 1947) Night Song (2015) 117

Borein, Edward (1872 – 1945) Bronc Rider 256 Cowboys Ridin’ the Trail 275 Many Coups 328

Adams, Charles Partridge (1858 – 1942) The End of the Day, Vicinity of Golden, Colorado 114 Allen, Douglas (b. 1935) Gros Ventre Elk 262 Andersen, Roy (1930 – 2019) Cold Maker Hides the Camp 181 He Owns the White Bear 216 He Wears His Power Like a Shield 28 A Vision Through the Hoop (1993) 232 Anton, Bill (b. 1957) Dusty Drive (2008) 59 Aspevig, Clyde (b. 1951) Grand Canyon 64 July in the Tetons (1984) 249 Monhegan, Maine 190 Banovich, John (b. 1964) Standing Bear (1987) 269 Barlow, Mike (b. 1963) Big Medicine II 243 Baron, Cindy (b. 1957) Coastal Treasures (2022) 62 Baur, Theodore (1835 – 1894) Chief Crazy Horse (1885) 115 Beck, Phil (b. 1949) Captured Ponies 131 Berninghaus, Oscar (1874 – 1952) At the Pueblo, Taos 80 Indians Crossing the Plains 202 Pueblo 4 Bierstadt, Albert (1830 – 1902) Butterfly (1890) 111 Hanabach, Westphalia, Germany (1856) 189 Mariposa, California 150 Yosemite Valley 116 Bisttram, Emil (1895 – 1976) Heavens Boundless Space 122 Bodelson, Dan (b. 1949) Halter Breaking (1981) 311

Borg, Carl Oscar (1879 – 1947) Summer Clouds 137 Bowman, Eric (b. 1960) On Our Way 306 Brenders, Carl (b. 1937) An Autumn Gentleman (1996) 133 Brown, Harley (b. 1939) Faraway Drum 198 Mother and Daughter (1997) 129 Browne, Belmore (1880 – 1954) Winter Sunshine, Bow River 323 Buckland, Ross (b. 1958) She’s Home (2021) 305 Burgess, Steve (b. 1960) Family Outing (2022) 260 Butterfield, Deborah (b. 1949) Berlin (1990) 241 Calle, Paul (1928 – 2010) Sioux Chief (1975) 233 The Snow Hunter (1986) 180 Carlson, Ken (b. 1937) Rocky Terrain – Big Horn 134 Cassidy, Gerald (1869 – 1934) The Desert Sand Dune (1929) 176 Juan Justo (1915) 209 The Pottery Vendor 81 Clark, Benton (1895 – 1964) Fishing 70 Cogan, John (b. 1953) Grand Canyon (1990) 246 Coleman, Michael (b. 1946) After the Hunt; In the Camp of the Blackfeet 307 Black Bear Family 108 Catching the Scent 192 Eagle’s Rest 309 The Explorers 231 Oh Great, Bears! (1989) 227

– 240 –

Index Combes, Simon (1940 – 2004) Serious Intent (1993) 53

Duncan, Robert (b. 1952) Spring Morning (1987) 32

Cooke, Roger (1941 – 2012) Big Brother 217

Dunn, Harvey (1884 – 1952) The Homesteaders (1942) 103 The Night Falls 274

Cooper, A. D. M. (1856 – 1924) Land of the Sioux (1906) 213 Coronato, Bob (b. 1970) Today is One of the “Good O’l Days” of Tomorrow (1997) 125 Winter Roundup (1996) 162 Cortès, Edouard (1882 – 1969) Porte St. Martin, Grands Boulevards 95 Porte St. Martin, Grands Boulevards – A Cold Evening 99 Cotton, Brent (b. 1972) Daydreaming (2022) 126 Couse, Eanger Irving (1866 – 1936) Eagle Dance 79 Umatilla Chief 173 Coutts, Gordon (1868 – 1937) Return from the Hunt 153 Cox, Tim (b. 1957) Better Days Ahead (1988) 106 Daniels, Christy (b. 1968) The Crossing, See You On the Other Side (2006) 313 Darro, Tom (b. 1946) Father Sky, Mother Earth 265 Dawson, Montague (1890 – 1973) Quiet Waters, the Illawarra 94 De Yong, Joe (1894 – 1975) Sunset in Glacier National Park (1922) 15 Decamp, Ralph Earl (1858 – 1936) Gates of the Mountains 17 Delano, Gerard Curtis (1890 – 1972) The Chief Gives Directions 203 Going to the Ceremonial 155 Misty Morning 207 Navajo Girls with Sheep 151 Navajos on the Move 184 Pals 169 Saguaro Country 123 Dixon, Maynard (1875 – 1946) Desert Cottonwoods (1944) 35

Dunton, William Herbert (1878 – 1936) Crest of the Ridge, Grizzly 186 The Hunter’s Return (ca. 1932) 211 Treed (ca. 1915) 85 Dye, Charlie (1906 – 1972) Beef and Beans 140 Pow Wow Encampment 43 Edwards, Harry (1868 – 1922) The Signal Smoke 7 Ellis, Fremont (1897 – 1985) Summer Shadows 121 Falk, Joni (b. 1933) Pueblo Designs 238 Farny, Henry (1847 – 1916) Indian Brave (1891) 276 A Sioux Camp (1901) 37 Fery, John (1859 – 1934) Avalanche Lake 113 Gunsight Lake 45 Lake McDonald 47 Moose at Sunset 19 Red Eagle Pass 13 Winter in Minnesota 21 Zion Canyon 170 Frazier, Luke (b. 1970) Evening Prize (2022) 258 Gaspard, Leon (1882 – 1964) Morocco – People in Medina (1937) 149 Glazier, Nancy (b. 1947) Power Landing – Bald Eagle 229 Spring Break – Grizzlies 261 Gollings, E. William (1878 – 1932) Roundup Time (1911) 136 A Winter Camp (1927) 12 Goodwin, Philip R. (1881 – 1935) Between the Devil and the Deep Blue Sea 183 On the Edge (1909) 206 Packing In 78 Quenching Two Thirsts 75

Dudash, C. Michael (b. 1952) A Good Raid Means Many Ponies (2016) 58

– 241 –

Index Greeves, Richard (b. 1935) Bird Woman (2001) 271 Eagle Chief (2000) 312 Grelle, Martin (b. 1954) Captured Pony (2003) 29 The Frenchman’s Friend 303 Morning Misery (1997) 34 Packing Out (1989) 235 A Rose in the Wild (2011) 161 Griffing, Robert (b. 1940) At the River’s Edge (2005) 160 Only a Matter of Time (2002) 65 Hagege, Logan Maxwell (b. 1980) Where Land Meets Sky (2017) 119 Hallmark, George (b. 1949) Almost Home (2022) 128 Rains of Colima 270 Hansen, Herman W. (1854 – 1924) Going to Trade 40 Harvey, G. (1933 – 2017) Lights on the Avenue 182 Pike Place Street Market 302 Hennings, E. Martin (1886 – 1956) Clouds Over Moreno Valley, New Mexico 76 Herzog, Hermann (1832 – 1932) From the Oeschinen Sea, Kandersteg, Switzerland 112 Higgins, Victor (1884 – 1949) Adobe House – Taos 257 Hill, Thomas (1829 – 1908) Among the Redwoods 110 Indian Encampment Along the Rapids 48 Hoffman, Frank B. (1888 – 1958) Chief Joseph Surrenders 326 The Critical Moment 20 House, DG (b. 1959) On This Journey, Too 223 Hudson, Grace Carpenter (1865 – 1937) Tale-O with Squirrels (1915) 83 Hurd, Peter (1904 –1984) A Ranch on the Plains (1951) 89 Hyde, Doug (b. 1946) Intertribal Greeting 266

James, Will (1892 – 1942) Bucking Broncho (1931) 3 Johnson, Frank Tenney (1874 – 1939) Sounds in the Canyon 272 Johnson, Jennifer (b. 1973) Million Dollar Sunset (2022) 221 Knepper, Dan (b. 1961) The Long Story Hike (2022) 219 Koch, Francois (b. 1944) Forest Trail (2010) 57 September Skies, Arizona 245 Under the Golden Canopy 239 White Mountain Spring (1995) 30 Koerner, W. H. D. (1878 – 1938) After the Shootout (1925) 314 Krzyston, Sue (b. 1948) Blending Cultures (2006) 308 Kucera, D. Edward (b. 1961) The Hand of a Comrade (2022) 304 Kuhn, Bob (1920 – 2007) Buffalo and Wolves 25 Elephants 144 Fight or Flight (1992) 55 In the Gloaming 71 Moose on Green 24 Night Sounds (1990) 146 Out on a Ledge 54 Salmon du Jour – Brown Bears (2006) 68 Varmint (1974) 145 Laurence, Sydney (1865 – 1940) Alaska Trail 73 Leigh, William R. (1866 – 1955) Canyon River 46 The Foul Rope 327 Shelling Corn 36 Zuni Indian 177 Leighton, Kathryn (1875 – 1952) The Firemaker, Two Guns White Calf 210 Standing Bear Jr. 98 Levin, Eli (b. 1938) Fight and Dance (1992) 268 Liang, Z. S. (b. 1953) Paying Homage to the Bear (2017) 118 Lillywhite, Raphael (1891 – 1958) Waiting for His Rider 84

– 242 –

Index Lone Wolf (1882 – 1970) Caught in the Act 8 Long, Ted (1932 – 2007) Bluewater Parley – Battle of Ash Hollow 1855 294 Crossing the Continent 293 Lougheed, Robert (1910 – 1982) Changing Teams 318 In the Valley of the Bow (1980) 282 The Log Barn Shelter 147 Logging Near Lachine, Quebec 179 Nevada Country (1976) 22 The Sorrell Mare 297 Spring Below the Jemez (1977) 286 Machetanz, Fred (1908 – 2002) Arctic Monarch (1972) 72 Marris, Bonnie (b. 1951) Passing Storm 132 Red Alert 191 Top of the World 193 McCarthy, Frank (1924 – 2002) Double Cross 298 Escape 27 The Marauders (1990) 218 Spooked (1982) 66 McGary, Dave (1958 – 2013) Carrier of the Sun (1988) 300 Four Bears 301 Mieduch, Dan (b. 1947) Better Part of Valor (1981) 237 Hassayampa (1990) 196 The Spirits of the Shadows Play Tricks (2022) 230

Norton, Jim (b. 1953) Evening Shadows (1993) 60 Evening Solitude 31 Splittin’ ‘n Gettin’ (1991) 107 Spring Ride (1993) 259 Oberg, Ralph (b. 1950) The Many Faces of Water 158 On the Rocks (2005) 240 Oelze, Don (b. 1965) Tables Turned (2022) 33 Osthaus, Edmund H. (1858 – 1928) On the Scent 185 Setter Family 280 Paxson, Edgar S. (1852 – 1919) Chief Red Cloud (1905) 156 Flathead Indian (1911) 168 Indian Portrait (1906) 325 Indians in a Canoe (1911) 214 Payne, Edgar (1883 – 1947) Canyon de Chelly (ca. 1916-19) 201 Canyon Walls 77 Desert Sky 49 Fourth Lake, Big Pine Canyon (ca. late 1930s) 278 Land of the Navajo 124 Pasadena, California, San Gabriel Mountains 320 Payne Lake, Sierras 82 Riders in Canyon de Chelly 172 Sierra Monument 138 Tuna Boats 97 Peters, Andrew (b. 1954) Mountain Landscape 194

Moran, Thomas (1837 – 1926) Castle Ruins on Hill 279

Phillips, Bert Geer (1868 – 1956) First Blossoms of Hawthorne 281 Jicarilla Apache 208 The Pueblo Family, Spring 152 The Rabbit Hunter, Winter 254 Riders in Taos 188

Muench, Charles (b. 1966) High Plains Drifters (2022) 225

Pino (Guiseppe D’Angelico) (1939 – 2010) Prelude to Love 90

Mullally, Paul (b. 1947) Alaskan Harbor (2003) 310

Pleissner, Ogden M. (1905 – 1983) Trio 69

Nebeker, Bill (b. 1942) Early Morning Mount (1983) 222

Post, Howard (b. 1948) Range Mare 130

Nordahl, David (b. 1941) Leaving the Stronghold (1987) 199 Stormy Weather (2007) 236 Winter on the Mogollon Rim (1987) 195

Reed, Marjorie (1915 – 1996) Crossing the Plains 296 Departure from Cooke’s Spring Station 295 Mission Camp 142

Miller, Alfred Jacob (1810 – 1874) The Lost Greenhorn 253

– 243 –

Index Remington, Frederic (1861 – 1909) Louis Brown’s English Setter 88 Old Faithful (1888) 205 A Peccary Hunt in Northern Mexico (ca. 1888) 109 The Sergeant 166

Schoonover, Frank (1877 – 1972) Pickerel (1917) 148

Riley, Kenneth (1919 – 2015) Apache Raiders (1998) 26 Mandan Buffalo Dance (1977) 67 New Brass 41 The New Man 289

Seltzer, Olaf C. (1877 – 1957) Thanks for the Favor (1904) 39

Roberts, Gary Lynn (b. 1953) Hillside Cafe 252 When Fall Yields to Winter 247

Sharp, Joseph Henry (1859 – 1953) Beat of the Drum 212 Blackfeet Reservation 86 Blackfeet Sun Dance (1903) 135 The Bonnet Maker 154 Eagle Star 175 Storm Clouds Over Taos Mountain 187 The War Chief 38

Rockwell, Norman (1894 – 1978) Norman Rockwell Visits a County Agent in Jay, Indiana (1948) 101 Rogers, Scott (b. 1961) Chiricahua Apache (2009) 220 Rungius, Carl (1869 – 1959) Alarmed 1 The Answer from the Barren 10 At Timberline 322 Banff Country 321 Bear in a Stream 74 The Challenge 6 Horse, Nos. 1 – 7; Sheep, No. 1 329 Lord of the Canyon 5 Poboktan Pass Country 324 Stampede 2 A Woodland Stag 11 Russell, Charles M. (1864 – 1926) Here’s Hoping Your Trail is a Long One 14 Indian Head (1899) 277 The Medicine Man 167 Mexican Vaqueros Roping a Steer (1925) 44 The Robe Flesher 273 Scouting the Camp 215 Shooting the Buffalo (ca. 1892) 165 To Noses That Read, A Smell That Spells Man 174 Sandzén, Birger (1871 – 1954) Autumn Chord (Smoky Hill River, Kansas) (1951) 120 Once a Home (Kansas Landscape) (1952) 102 Sauerwein, Frank P. (1871 – 1910) Indian with Bowl on Ladder 87 Schmid, Richard (1934 – 2021) The Blue Dress (1992) 290 Carnations (1986) 178 Michelle (1985) 93 Nancy (1989) 291 Roses (1984) 91 Tresses (1986) 92

Seerey–Lester, John (1945 – 2020) Stand Steady (2009) 50

Seltzer, W. Steve (b. 1945) Wanderlust (2022) 224

Shepherd, David (1931 – 2017) Elephants in the Bush (1981) 52 Tiger (1994) 51 Shinabarger, Tim (b. 1966) Distant Movement (1997) 244 Situ, Mian (b. 1953) Land of the Ancients 104 Vantage Point 163 Smith, George Dee (b. 1944) Checkin’ the Spring (2000) 248 Speed, Grant (1930 – 2011) When Quiet Can Save Your Life (1986) 23 Standing, William (1904 – 1951) Buffalo Hunt 141 Stavrowsky, Oleg (1927– 2020) Smokin’ 288 Stewart, Robert Wright (1875 – 1980) Mexican Standoff (1927) 96 Styles, Walter B. (1862 – 1948) Tlingit Curios (1888) 16 Swanson, Gary (1941 – 2010) Kofa Dawn 284 Swanson, Ray (1937 – 2004) The Contest Prize 234 Native American 287

– 244 –

Index Teague, Donald (1897 – 1991) Night Raid 100 The Unexpected (1936) 315 Terpning, Howard (b. 1927) Cheyenne (1983) 105 Northern Blackfeet (1988) 127 Sioux Scout (1980) 197 Talk Among Trappers (1982) 61 Young Warrior (1989) 157 Thomas, Andy (b. 1957) The Alamo (2022) 226 Sioux Defiance – Live Free or Die (2008) 250

Woods, Robb (20th C.) Autumn Crossing 242 Yorke, David (b. 1949) The Crossing 251 Magic Box 200 Young, Dan (b. 1959) Evening on the Colorado (2022) 264 Ziegler, Eustace Paul (1881 – 1969) Dear Jack Letter (1935) 330

Thomas, Richard D. (1939 – 2019) Heading Out (1979) 285 Van Wechel, Dustin (b. 1974) The Catbird Seat (2022) 263 Velazquez, Joseph (b. 1942) Bent’s Fort – Trade Center of the Plains 56 Vickers, Russ (1923 – 1997) A Stranger Here 42 Wackermann, Hubert (b. 1945) Chiricahua Apache Scouting Party (1995) 299 Walters, Curt (b. 1950) Above Ute Creek 228 Weistling, Morgan (b. 1964) American Girl (2005) 267 Wetzel, Brooke (b. 1984) As Morning Sweetly Unfolds (2022) 63 Whitaker, William (1943 – 2018) The Curtain 292 Wieghorst, Olaf (1899 – 1988) The Chuck Wagon 171 The Lost Trail 139 Marble Canyon Country 319 Mountain Man 204 Pony Scout 9 Sunset Trail 143 Temptation 18 Tracks 316 Visitors (1981) 317 Winborg, Jeremy (b. 1979) Smoke Follows Beauty (2022) 159 Winchester Repeating Arms Company Ammunition Display 255

– 245 –

The American West Reimagined

The American West Reimagined: Gems from the Coeur d’Alene Art Auction by Dr. Larry Len Peterson

The American West Reimagined (2021) is a 528-page hardcover book, 12 × 12 inches, and features 560 spectacular color illustrations of past Auction works, with accompanying profiles of 120 artists. In this landmark publication, Western art historian Dr. Larry Len Peterson tells the sweeping story of the artists of the American West, and their respective works, in a fresh and enlightening manner. Now available for $85 (plus shipping) – order online at cdaartauction.com or by calling our office at 208-772-9009.

– 246 –

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 catalog. These Terms & Conditions of Sale and all other contents of this catalog are subject to amendment during or before the sale. The property will be offered by Coeur d’Alene Art Auction as agent for the consignors, unless the catalog 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 catalog. 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

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

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 $ 2,000 – 5,000 $ 5,000 – 10,000 $ 10,000 – 20,000 $ 20,000 – 50,000 $ 50,000 – 100,000 $ 100,000 – 200,000 $ 200,000 – 500,000 $ 500,000 – 1,000,000 $ 1,000,000 +

– 247 –

Increment $ 250 $ 500 $ 1,000 $ 2,500 $ 5,000 $ 10,000 $ 25,000 $ 50,000 Auctioneer’s discretion

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 Beginning July 19 Phone – 775-786-1700 Fax – 775-786-0311

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All absentee & phone bids must be received by July 21, 2022.

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ALL ABSENTEE & PHONE BIDS MUST BE RECEIVED BY JULY 21, 2022 Live online & absentee bidding available at no additional fee – cdaartauction.com/Bidsquare

Design Michael Eric Scott Photography Asa Gilmore 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