2015 Fredericksburg Art Auction Catalog - DEP by Fredericksburg Art Auction

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FREDERICKSBURG ART AUCTION Featuring the Highest Quality Western and American Fine Art from Our Nationâ&#x20AC;&#x2122;s Finest Artists, both Contemporary and Historically Significant M AY 2 , 2 0 1 5

F R E D E R I C KS B U R G , T E X A S

FREDERICKSBURG ART AUCTION

PLEASE REGISTER TO BID as soon as possible on our website at fredericksburgartauction.com or call us at 866.668.3592. It is highly recommended to register early and to make your auction day check-in quick and easy. Absentee and phone bidding arrangements must be made no later than 5pm CDT on Thursday, April 30, 2015. Phone bidders are encouraged to leave an absentee bid (maximum bid) in the event that we cannot reach you at the number(s) provided or due to technical challenges.

AUCTIONEER

HOTELS Reserved for the Fredericksburg Art Auction

Kody Bennett

Inn on Baronâ&#x20AC;&#x2122;s Creek 830.990.9202 | innonbaronscreek.com ONLINE BIDDING AVAILABLE

Hangar Hotel 830.997.9990 | hangarhotel.com

liveauctioneers Register to bid online at liveauctioneers.com

Holiday Inn Express 830.997.3377 | fredericksburgholidayinn.com

FREDERICKSBURG ART AUCTION PARTNERS DAVID PLESKO

BED & BREAKFAST Individual Reservations

InSight Gallery david@fredericksburgartauction.com MEREDITH PLESKO

The All Seasons Collection Reservation Service 800.775.3197 | allseasonsfredericksburg.com

InSight Gallery meredith@fredericksburgartauction.com

As these venues reach capacity, additional options will be made available online at: fredericksburgartauction.com/travel

GREG FULTON

Astoria Fine Art greg@fredericksburgartauction.com

CONCIERGE Accommodation Assistance and Customized Itineraries

The Hill Country Concierge 830.998.0506 | Kelly Harris

Front Cover:

Assistance with specific accommodation needs and specialized service requests including: tours, spa treatments, dinner reservations, and beyond.

Lot 119 MARTIN GRELLE (b. 1954) Apsaalooke Sentinels, 2012 Oil 42 x 48 inches $150,000 - $250,000

Opposite: (clockwise from top left) Lot 71 Lot 190 DANIEL F. GERHARTZ G. HARVEY

Lot 140 CLYDE ASPEVIG

(b. 1965)

(b. 1933)

(b. 1951)

(b. 1934)

(1859-1953)

(1920-2007)

Sparkle Oil 40 x 40 inches $20,000 - $30,000

Bunkhouse Lights, 2010 Oil 24 x 36 inches $70,000 - $90,000

Paradise Valley, 2008 Oil 40 x 50 inches $60,000 - $90,000

Autumn Roses, 2007 Oil 8 x 12 inches $18,000 - $24,000

Hunting Son Oil on canvas 16 x 20 inches $175,000 - $250,000

In Their Prime, 1986 Acrylic on Board 14 x 18 inches $50,000 - $75,000

OFFICE/MAILING ADDRESS

Lot 191 RICHARD SCHMID

Lot 209 Lot 130 JOSEPH HENRY SHARP BOB KUHN

Fredericksburg Art Auction | 214 West Main Street | Fredericksburg, Texas 78624 | tel 866.668.3592 fax 866.668.8757

| info@fredericksburgartauction.com | fredericksburgartauction.com

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and

astoria fine art present

FREDERICKSBURG ART AUCTION Featuring the Highest Quality Western and American Fine Art from Our Nation’s Finest Artists, both Contemporary and Historically Significant

Live Auction | Saturday, May 2, 2015 | 1pm cdt ST. MARY’S EVENT CENTER

| 306 WEST SAN ANTONIO

| FREDERICKSBURG, TEXAS

A CO L L E C T I O N O F T E N M A J O R F R A N K M C C A R T H Y PA I N T I N G S Courtesy of the The Vincent and Carol W. Dean Family Charitable Foundation

The Fredericksburg Art Auction is thrilled to present

one outstanding themeâ&#x20AC;&#x201C;quality. Each painting that

what we believe to be the single finest collection of

is being offered represents McCarthy at his very

Frank McCarthy paintings to ever hit the auction block.

best, and arguably from his finest years of painting.

Each of these works has been on display, as part of a long-term loan, at the Museum of Western Art in Kerrville, Texas from 2002 to 2015. This collection was carefully assembled over the course of many years, having been acquired at art shows, exhibitions, and galleries. Each painting contains elements that Frank McCarthy had mastered during his career, including gripping action and exceptional story-telling. This unique group of major works covers multiple seasons, varied terrain, and scenes that

Each McCarthy painting from this significant collection is designated in the provenance field as: From the Collection of The Vincent and Carol W. Dean Family Charitable Foundation. We thank the Vincent and Carol W. Dean Family Charitable Foundation and the Museum of Western Art in Kerrville for their strong contribution to the auction and for making this remarkable collection available to the Western Art World.

capture the essence of life for numerous Indian tribes. The collection, as a whole, is diverse, but unified in

Lot 129 FRANK C. MCCARTHY (1924-2002) On the Warpath, 1983 Oil on board 18 x 36 inches $40,000 - $60,000

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T H E K E N H O L M CO L L E C T I O N Kendall Hugh Holm (1943-2013)

The Fredericksburg Art Auction is honored to offer a select number of pieces from the collection of Ken Holm, Aurora, Colorado. Ken was a wonderful collector and supporter of the arts. His collection was amassed over the course of several decades and he was a “fixture” at many of the major art shows, events, and auctions all over the country. His support of Western art and artists will not soon be forgotten. Ken was a true lover of all things Western and everything to do with sports, hunting,

At the time of his death, Ken was a business advisor

and fishing. Some of the best times of his life were spent

and counselor to numerous businesses on a national and

with his children and grandchildren, whether it be in a

international scale, and senior shareholder and partner

duck blind or attending a championship game in which

of the Aurora, Colorado firm, Holm, Ryan, Truitt & Hall.

one of the grandkids was participating.

His strong interest in, and love for, artwork stemmed

Ken was born in Iowa, but grew up in Great Falls,

from his hunting and fishing experiences and once he

Montana, where he graduated from high school. He

caught the “bug”, he was on a constant, diligent search

graduated from the University of Denver with a degree in

for sculpture and paintings that fit into his ever-growing

Accounting, then received his CPA designation in 1967.

and impressive collection. Featured shortly before his

He joined the Colorado Society of CPA’s in 1967 and the

death in ‘Artzine’ Magazine, he described his addiction

American Institute of CPA’s in 1968. He entered the Air

as “the chase”, as he frequently made a point to meet

Force Reserves and was honorably discharged in 1971.

artists and get to know them, as well as collecting their art. Going “home” to Montana during C.M. Russell week, which is held annually in Great Falls, Montana, was always at the top of his list of destinations. He also enjoyed Cheyenne Frontier Days (WY), The Prix de West (OK), the Loveland Sculpture Show (CO), the Colorado Sculpture Invitational, and the National Western Stock Show Art Show (CO), among others. The lots from Ken’s collection are spread throughout the sale and noted in the provenance line in the descriptions. We dedicate these to the memory of Ken; remembered always as a much-loved father, grandfather, brother, uncle, friend, and art connoisseur.

Lot 208 TUCKER SMITH (b. 1940) Plainsmen, 2000 Oil 30 x 40 inches $60,000 - $80,000 Provenance: From the Collection of Ken Holm

FREDERICKSBURG ART AUCTION

Reserved for the Fredericksburg Art Auction HA

HANGAR HOTEL 155 Airport Road 830.997.9990 | hangarhotel.com

—

HOFFMAN HOUSE 608 East Creek 830.997.6739 | hoffmanhaus.com

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HOLIDAY INN EXPRESS 500 South Washington 830.997.3377 | fredericksburgholidayinn.com INN ON BARON’S CREEK 308 South Washington 830.990.9202 | innonbaronscreek.com

TRAVIS ST.

AUSTIN ST.

MAIN ST.

THE ALL SEASON’S COLLECTION 417 East Main Street 830.998.1981 | allseasonsfredericksburg.com

CREEK ST.

SUGARBERRY INN 201 North Llano 830.992.3489 | sugarberryinn.com

SAN ANTONIO ST.

BOWIE ST.

EDISON ST. Boot Ranch MILAM ST.

HWY 965

St. Mary’s Event Center ORANGE ST.

InSight Gallery CROCKETT ST.

Hangar Hotel

Hill Country Memorial Hospital

MARKET PLATZ

KERRVILLE — HWY 16 SOUTH

ADAMS ST. Chämpe Jennings Jewelry

Burger Burger Vaudeville

August E’s

Holiday Inn Express

Fischer & Wieser

Inn on Baron's Creek

LLANO ST. Sugarberry Inn

LINCOLN ST. Fredericksburg Visitor Center Otto’s

SAN ANTONIO — HWY 87 SOUTH

WASHINGTON ST. All Season’s Collection

J.E. Cauthen & Sons, Ltd.

ELK ST.

LEE ST.

Hoffman Haus

BARONS CREEK

Willkommen

COLUMBUS ST.

to Fredericksburg. Now get lost.

For a relatively small town, it’s easy to get lost in Fredericksburg. In the beauty of the Hill Country. In

OLIVE ST.

the history of its museums. The many charming guesthouses, B&Bs and inns. Vineyards and wineries. The colorful galleries and oh-so-quaint boutiques. And lots of live entertainment. So come. And lose yourself in the Hill Country magic of Fredericksburg. H

MESQUITE ST.

V isitFredericksburgTX.com | 866 997 3600 VisitFredericksburgTX.org | 866 997 3600

866.997.3600 | visitfredericksburgtx.com

| 302 EAST AUSTIN STREET | M–F 8:30–5 | SAT 9–5 | SUN 11–3

2/11/15 11:52 AM

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S AU

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HWY 16 NORTH — LLANO

SCHEDULE OF EVENTS

THURSDAY, APRIL 30

1pm - 5pm

FRIDAY, MAY 1

10am - 4pm

Auction Preview - Open to the Public St. Mary’s Event Center

Auction Preview - Open to the Public

St. Mary’s Event Center

Auction Registration

10am - 4pm

St. Mary’s Event Center

St. Mary’s Event Center closes 4-7pm for Auction Preview Gala preparation

5pm - 7pm

Mian Situ One-Man Show - Artist Reception and Sale

InSight Gallery

Auction Preview Gala*

7pm - 9pm

St. Mary’s Event Center

* Only patrons registered to bid may attend the Auction Preview Gala

SATURDAY, MAY 2

9am - 1pm

Auction Preview and Registration Open

St. Mary’s Event Center

Live Auction Commences

1pm

St. Mary’s Event Center

Auction Preview Gala hosted in part by Texas Monthly and The Fredericksburg Convention and Visitor’s Bureau.

St. Mary’s Event Center | 306 West San Antonio Street | Fredericksburg, Texas 78624 InSight Gallery | 214 West Main Street | Fredericksburg, Texas 78624

T E R M S A N D CO N D I T I O N S O F S A L E The following Terms and Conditions of Sale are the Fredericksburg Art Auction’s and its agents’ and consignors’ entire agreement with prospective bidders, bidders, and purchasers relative to the lots listed in this catalog. These Terms and Conditions of Sale and all other contents of this catalog are subject to amendment during or before the sale, by posted notice or oral announcement. The lots will be offered by the Fredericksburg Art Auction as agent for the consignors unless the catalog indicates otherwise. The art illustrated in this Catalog (this Fredericksburg Art Auction May 2, 2015 catalog) will be offered for sale by live auction on May 2, 2015 by Fredericksburg Texas Art Auction, LLC (Fredericksburg Art Auction) on premises at 306 W. San Antonio Street, Fredericksburg, Texas, 78624. Fredericksburg Art Auction is not liable for any errors or omissions in Catalog. 1. BUYER’S PREMIUM: The purchase price payable by the purchaser shall be the total of the final bid price (hammer price) PLUS A PREMIUM OF SIXTEEN PERCENT (16%). 2. Unless otherwise announced by the auctioneer, all bids are sold per Lot (each numbered lot of property as represented in this Catalog) and each Lot will be sold “AS IS”. With respect to Lots, the Fredericksburg Art Auction does not make any guarantees, warranties or representations, expressed or implied, as to merchantability or fitness for a particular purpose, the correctness of the Catalog or the authenticity or description of the Lot, its physical condition, size, quality, rarity, importance, medium, provenance, exhibitions, literature, or historical relevance. No statement, anywhere, whether oral or written, whether made in the Catalog, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere, shall be deemed such a warranty, representation or assumption of liability. In no event shall Fredericksburg Art Auction be responsible for genuineness, authorship, attribution, provenance, period, culture, source, origin or condition of the purchased Property and no verbal statements made regarding the Lot either before or after the sale of the Lot, or in any bill of sale, invoice or Catalog or advertisement or elsewhere shall be deemed such a guarantee of genuineness, or authenticity (subject to the terms of Item 8 stated within). 3. All sales are final, with no exchange or refunds. Title to the Lot passes to the 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 the Terms and Conditions of Sale upon the fall of the auctioneer’s hammer, the purchaser will be acknowledged by bidder number by the auctioneer. In addition, purchaser may be required to sign a confirmation of purchase. 4. Terms for all purchases will be cash, check, wire or credit card (see terms below) with settlement and payment due in full the day of the sale unless otherwise arranged. Payments shall be made payable to Fredericksburg Art Auction. At the discretion of Fredericksburg Art Auction, payment will not be deemed to have been made in full until funds represented by checks have been collected or the authenticity of bank or cashier’s checks has been confirmed. Credit card transactions carry a 3% convenience fee and will not be accepted for purchases in excess of $10,000. 5. Unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption must be provided at registration. This tax is not applicable to out of state shipments. In the event of delivery out of state, the purchaser is responsible for any compensating use tax for another state on the total purchase price. 6. Fredericksburg Art Auction and/or auctioneer reserve the right to reject any bids. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, the auctioneer will have absolute and final discretion to either determine the successful bidder or to re-offer and resell the Lot in dispute. If any dispute arises after the sale, the Fredericksburg Art Auction’s sale record shall be final and conclusive. 7. Prospective bidders should inspect the Lot before bidding to determine condition, size and whether or not the Lot has been repaired or restored and to investigate all matters relating to the Lot that is of material importance to the prospective bidder. Any ‘condition report’ given by the Fredericksburg Art Auction is supplied as a courtesy to prospective 6

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bidders and represents only a statement of opinion and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by us of any kind. The condition report is for guidance only and all property should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of a reference in the condition report to damage or restoration does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Bidding on any item indicates your acceptance of these terms and all other terms announced at the time of sale whether bidding in person, by phone, by Internet, by absentee bid, or through a representative. 8. Buyer agrees that in the event of any controversy or claim arising from or relating to the authenticity of any Lot, the party asserting such controversy or claim shall provide written notice to pursue said claim to Fredericksburg Art Auction within ten days following the sale. Subsequently an opinion by a recognized authority in writing to Fredericksburg Art Auction is required within thirty days after written notice. Upon recognition and agreement of the Fredericksburg Art Auction, the purchased Lot may be returned if in the same condition at time of purchase, and a refund of the full purchase price will be issued to the purchaser. It shall be the sole discretion of the Fredericksburg Art Auction to the veracity of the offered opinion. 9. No Lot may be removed from Fredericksburg Art Auction during the sale. After the sale has been completed and after the purchase price has been paid in full, Lot must be removed from the saleroom or Fredericksburg Art Auction storage facility at the purchaser’s expense no later than seven business days following the sale, unless otherwise arranged prior. Fredericksburg Art Auction will, as a service to purchasers, arrange to have Lot packed, insured, and shipped, all charges at the expense and entire risk of purchaser. 10. Some Lots may be offered subject to a “reserve” or confidential minimum price below which the item will not be sold. In such instances, Fredericksburg Art Auction may implement the reserve by bidding through the auctioneer on behalf of the Consignor. In no event shall the reserve exceed the low estimate in the Catalog. 11. Neither Fredericksburg Art Auction, nor auctioneer, nor Consignor make any representations whatsoever that the purchaser of a work of art will acquire any reproduction rights thereto. 12. These Terms and Conditions of Sale and any other applicable conditions, as well as the purchaser’s and Fredericksburg Art Auction’s rights and obligations herein shall be governed by, construed and enforced in accordance with the laws of the State of Texas. If these conditions are not complied with by the purchaser, Fredericksburg Art Auction may, in addition to other remedies available by law, including, without limitation, the right to hold the purchaser liable for the total purchase price stated on the purchase invoice, either (a) cancel the sale and retain as liquidated damages any and all payments made by the purchaser or (b) resell the Lot privately or at public auction on three days’ notice to the purchaser for the payment of any deficiency in the purchase price and all costs including handling charges, warehousing, the expense of both sales, the commissions, reasonable attorneys’ fees, any and all other charges due and incidental damages. 13. Fredericksburg Art Auction reserves the right to withdraw a Lot at any time before or during the sale and shall have no liability for such withdrawal. 14. The Fredericksburg Art Auction shall use reasonable efforts to execute telephone, online and confidential absentee bids as a complimentary, value-added service to bidders unable to attend the sale. Fredericksburg Art Auction shall not be liable for any errors, omissions or failures to execute said bids. 15. Bidding increments will normally follow the pattern below but may vary at the sole discretion of the auctioneer. BID RANGE

INCREMENT

under $2,000 . . . . . . . . . . $100 $2,000-5,000 . . . . . . . . . . $250 $5,000-10,000 . . . . . . . . . $500 $10,000-20,000 . . . . . . . $1,000

BID RANGE

INCREMENT

$20,000-50,000 . . . . . . . $2,500 $50,000-100,000 . . . . . . $5,000 over $100,000 . . . . . . . $10,000

FREDERICKSBURG ART AUCTION Saturday, May 2, 2015 | 1:00pm CDT

1 EDWARD BOREIN (1872-1945) After The Buffalo Hunt Etching 8.75 x 12 inches Signed lower right: ‘Edward Borein’ $3,000 - $5,000 Provenance: From the Collection of Ken Holm

2 CARL RUNGIUS (1869-1959) Friends Again Etching 7 x 9 inches Signed lower right: ‘C. Rungius’ $3,500 - $5,500 Provenance: From the Collection of Ken Holm

3 CARL RUNGIUS (1869-1959) Goats Etching 8 x 11 inches Signed lower right: ‘C. Rungius’ $4,000 - $6,000 Provenance: From the Collection of Don Crouch, author of ‘Carl Rungius: The Complete Prints: A Catalog Raisonné’ 8

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4 TOM BEECHAM (1926-2000) Pronghorn Antelope Oil 20 x 28 inches Signed lower right: ‘T Beecham’ $3,000 - $5,000 Provenance: Private Collection, Illinois

5 JOHN COLEMAN (b. 1949) Mini Poka, Favorite Son, 2011 Bronze #30/35 24 x 9 x 6.5 inches Signed: ‘Mini Poka the Favorite Son John Coleman CA © 2011’ $4,000 - $6,000 Provenance: From the Collection of Ken Holm

The Blackfeet had a special class of children they called the Mini Poka. This literally translates to “child of plenty”. Credit: artist’s website

7 NICHOLAS EGGENHOFER (1897-1985) Buffalo Herd, 1980 Gouache 7 x 8 inches Signed lower left: ‘N. Eggenhofer 1980’ $2,000 - $3,000 Provenance: From the Collection of Ken Holm

8 NICHOLAS EGGENHOFER (1897-1985) Cowboy Riding Buffalo Pen and ink 12 x 9 inches Signed lower right: ‘N. Eggenhofer’ $1,500 - $3,000 Provenance: From the Collection of Ken Holm

9 COWBOY ARTISTS OF AMERICA AND ARTISTS OF AMERICA ANNUAL EXHIBITION BOOKS Twenty-One Cowboy Artists of America and five Denver Rotary Club’s Artists of America Exhibition Books CAA Books: 9.25 x 11.25 inches; AoA Books: 8.75 x 10.75 inches $2,500 - $5,000 Provenance: From the Collection of Melvin C. Warren Private Collection, Texas

All books are from the estate of Melvin Warren and are dedicated/inscribed to Melvin Warren. The Cowboy Artists of America Annual Exhibition Books for twenty-one consecutive years: Sixth Annual, 1971, through the Twenty-Sixth Annual,1991. The Denver Rotary Club’s Artists of America Exhibition book for five consecutive years, 1981 through 1986. Most of the CAA Books in protective boxes, three still in the unwrapped plastic. Many books contain the original signatures of the current year CAA Artists, including Howard Terpning, Tom Lovell, John Clymer, Melvin Warren, Roy Andersen, amongst all of the others.

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10 JOE BEELER (1931-2006) Great Plains Buffalo Bronze 13 x 18 x 6 inches Signed: ‘Joe Beeler CA’ $5,000 - $10,000 Provenance: From the Collection of Ken Holm

11 JOE BEELER (1931-2006) Medicine Moon Oil 14 x 18 inches Signed lower right: ‘Joe Beeler’ $4,000 - $6,000 Provenance: From the Collection of Ken Holm

FREDERICKSBURG ART AUCTION

12 GARY NIBLETT (b. 1943) Late Discovery Oil 18 x 24 inches Signed lower left: ‘Gary Niblett ©’; verso: signed and titled by artist $3,500 - $5,000 Provenance: Private Collection, Texas

13 FRED FELLOWS (b. 1934) Winter Encampment Oil 16 x 20 inches Signed lower left: ‘Fellows CA’ $2,500 - $3,500 Provenance: Private Collection, Ohio Private Collection, Wyoming

14 JAMES BOREN (1921-1990) Before The Buffalo Hunt, 1967 Oil 26 x 35 inches Signed lower right: ‘James Boren 1967’ $4,000 - $8,000 Provenance: From the Collection of Ken Holm

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15 GARY CARTER (b. 1939) The Fooler, 1972 Oil on board 24 x 18 inches Signed lower left: ‘© Gary Carter ‘72’, and artist’s cipher $6,000 - $10,000 Provenance: Private Collection, Texas

16 STEVEN LANG (b. 1960) Westward Ho Oil 20 x 16 inches Signed lower right: ‘© Lang OPAM’ $2,000 - $3,000 Provenance: Private Collection, Texas

17 RAMON KELLEY (OPAM) (b. 1939) Cowboy Oil 20 x 16 inches Signed lower left: ‘© Ramon Kelley OPAM’; verso: signed and titled by artist $8,000 - $10,000 Provenance: Private Collection, Texas

FREDERICKSBURG ART AUCTION

18 GREG KELSEY (b. 1971) Drinkin’ with the Ladies, 2003 Bronze #10/25 23 x 24 x 10 inches Signed: ‘Gregory M. Kelsey 2003’ $8,000 - $12,000 Provenance: From the Collection of Ken Holm

From the early beginnings of the breed, Longhorns made their mark on the West, they adapted and evolved to eventually foster life in a new frontier as pioneers in a hard, wild land. While seeming to subsist on air and scenery they became America’s original livestock. With strength, vitality and a special nobility, they spawned a culture. They called forth a breed of men that shaped the American cowboy and ranch life. They became a part of our Western heritage as they carried the dreams of westward expansion in to a new era. Credit: The artist, Greg Kelsey

19 HERB MIGNERY (b. 1937) As the Wet Winds Blow Bronze #5/9 15 x 14 x 6 inches Signed: ‘Mignery CA, FNSS’ $4,000 - $6,000 Provenance: From the Collection of Ken Holm

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FREDERICKSBURG ART AUCTION

21 DON CROWLEY (b. 1926) Buffalo Clan Oil on board 9 x 12 inches Signed lower right: ‘© Don Crowley’; verso: signed and titled by artist, CA $2,000 - $3,000 Provenance: Private Collection, Texas

22 HARLEY BROWN (b. 1939) Small Sparrow Pastel 12 x 9 inches Signed lower left: ‘Harley Brown CA’ $4,000 - $6,000 Provenance: From the Collection of Ken Holm

23 HARLEY BROWN (b. 1939) Plains Girl, 1987 Pastel 12 x 16 inches Signed lower left: ‘Plains Girl, Harley Brown © demo 1987’ $3,500 - $5,000 Provenance: Private Collection, Texas

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24 AIDEN LASSELL RIPLEY (1896-1969) Arlington, Massachusetts, 1964 Watercolor 20 x 30 inches Signed lower left: ‘A. Lassell Ripley ANA’; verso: signed and titled by artist, 1964 $4,000 - $7,000 Provenance: Private Collection, Massachusetts By descent in family to Private Collection, Wyoming

25 AIDEN LASSELL RIPLEY (1896-1969) Winter Streets Watercolor 20 x 30 inches Signed lower right: ‘A. Lassell Ripley’ $4,000 - $7,000 Provenance: Private Collection, Massachusetts By descent in family to Private Collection, Wyoming

26 CARL ROTERS (1898-1989) Block Island, Beach Party, 1937 Watercolor 15 x 22 inches Signed lower right: ‘Carl Roters 1937 Block Island’ $5,000 - $10,000 Provenance: Private Collection, Wyoming

FREDERICKSBURG ART AUCTION

27 MATT SMITH (b. 1960) Logan Falls Oil 12 x 16 inches Signed lower left: ‘Smith’; verso: signed and titled by artist, ‘2005 ©’ $2,500 - $5,000 Provenance: Private Collection, Alaska

28 MATT SMITH (b. 1960) Spring Melt, 2005 Oil 12 x 16 inches Signed lower left: ‘Smith’; verso: signed and titled by artist 2005 © $2,500 - $5,000 Provenance: Private Collection, Alaska

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29 SHERRIE MCGRAW (b. 1954) Sweet Peas & Larkspur Oil 18 x 22 inches Signed lower right: ‘McGraw’ $12,000 - $18,000 Provenance: Private Collection, Wyoming

30 CARRIE BALLANTYNE (b. 1956) Montana Rose Oil 16 x 12 inches Signed upper left: ‘CL Ballantyne’; verso: signed and titled by artist, ‘oil painting #30’ $12,000 - $16,000 Provenance: Private Collection, Nebraska

FREDERICKSBURG ART AUCTION

31 ROBERT MOORE (b. 1957) Summer Grove Oil 36 x 24 inches Signed lower right: ‘R Moore’ $5,000 - $7,000 Provenance: Private Collection, Texas

32 JOSH ELLIOTT (b. 1973) Big Hole Haystacks, 2006 Oil 24 x 30 inches Signed lower right: ‘Elliott’; verso: signed and titled by artist, 2006 $7,000 - $10,000 Provenance: From the Collection of Ken Holm

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33 LOGAN MAXWELL HAGEGE (b. 1980) Somewhere to be Found, 2015 Oil on linen 36 x 46 inches Signed lower left: ‘Logan Maxwell Hagege’; verso: signed and titled by artist, 2015 $20,000 - $25,000 Provenance: The artist

34 G. RUSSELL CASE (b. 1966) Canyon Nomad, 2015 Oil 30 x 40 inches Signed lower right: ‘G. Russell Case’; verso: signed and titled by artist, 2015 $14,000 - $20,000 Provenance: The artist

FREDERICKSBURG ART AUCTION

35 VERYL GOODNIGHT (b. 1947) Prairie Contender, 2003 Bronze #5/20 17 x 13 x 9 inches Signed: ‘Veryl Goodnight 2003’ $4,000 - $6,000 Provenance: From the Collection of Ken Holm

36 ROBERT “SHOOFLY” SHUFELT (b. 1935) The Biscuits Burnt... Pencil 14.75 x 21 inches Signed upper left: ‘THE BISCUITS BURNT, THE COFFEE BITTER, THE MEAT OVER DONE AND THE BEANS COLD...JUST THE WAY I LIKE IT! Shoofly’ $8,000 - $12,000 Provenance: Private Collection, California

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37 TOM BROWNING (b. 1949) The Coffee Clutch Oil 8.5 x 12 inches Signed lower left: ‘Tom Browning’ $2,500 - $3,500 Provenance: Private Collection, Arizona

38 JASON RICH (b. 1970) Riverside Rider, 2011 Oil 26 x 16 inches Signed lower left: ‘J Rich, CA’; verso: signed and titled by artist $5,000 - $8,000 Provenance: Private Collection, California

FREDERICKSBURG ART AUCTION

39 CLARK KELLEY PRICE (b. 1945) Range Detective Oil on canvas 20 x 30 inches Signed lower left: ‘Clark Kelley Price ‘08’, antler insignia, ‘CA’ $8,000 - $12,000 Provenance: From the Collection of Ken Holm

40 JOE ABBRESCIA (1936-2005) Morning Call Oil on canvas 24 x 36 inches Signed lower right: ‘Abbrescia’ $10,000 - $15,000 Provenance: Private Collection, Montana

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41 (Lot includes both paintings) MATT SMITH (b. 1960) Twin Pines Walls of Granite oil Oil 7 x 9 inches 7 x 9 inches signed lower right: ‘Matt Smith’ signed lower left: ‘Matt Smith’ $2,500 - $4,500 Provenance: Private Collection, Alaska

42 RALPH OBERG (b. 1950) Cassiar Range, B.C., 2002 Oil 24 x 30 inches Signed lower right: ‘Oberg’; verso: signed and titled by artist, 2002 $5,000 - $8,000 Provenance: Private Collection, Colorado

FREDERICKSBURG ART AUCTION

43 NICHOLAS COLEMAN (b. 1978) Mountain Passage Oil on canvas 36 x 48 inches Signed lower right: ‘Nicholas Coleman’ $10,000 - $15,000 Provenance: Private Collection, Texas

44 DAN MIEDUCH (b. 1947) Lakota Sioux, 2006 Oil on board 16 x 20 inches Signed lower left: ‘© Dan Mieduch 2006’ $6,000 - $8,000 Provenance: Private Collection, Texas

45 W. STEVE SELTZER (b. 1955) Indian Camp Scene Oil on board 24 x 36 inches Signed lower left: ‘W.S. Seltzer’ $6,000 - $9,000 Provenance: Private Collection, Texas

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46 CYRUS AFSARY (b. 1940) Patrol Men Oil on canvas 14 x 18 inches Signed lower right: ‘Cyrus Afsary’ $6,000 - $10,000 Provenance: From the Collection of Ken Holm

47 WILLIAM MOYERS (1916-2010) Another Man’s Cattle Oil 24 x 36 inches Signed lower left: ‘WM Moyers CA’ $8,000 - $12,000

Provenance: Private Collection, Arizona Exhibition: Cowboy Artists of America Exhibition, Phoenix Art Museum, 1997

FREDERICKSBURG ART AUCTION

48 MARK EBERHARD (b. 1949) Tree Topper Oil 48 x 60 inches $20,000 - $30,000 Provenance: Private Collection, Texas

Mark Eberhard, based just outside of Cincinnati, Ohio, is one of the most soughafter contemporary wildlife artists working today. He has works in such major museum collections as the National Museum of Wildlife Art, Jackson Hole, Wyoming; and the Buffalo Bill Historical Center and Whitney Museum of Western Art, Cody, Wyoming.

49 BRENT COTTON (b. 1972) Solitude at Dusk, 2015 Oil 20 x 24 inches $5,000 - $7,500 Provenance: The artist

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50 MORGAN WEISTLING (b. 1964) Forty-Niner, 2010 Oil 14 x 11 inches Signed lower left: ‘Morgan Weistling ‘10 ©’ $6,000 - $9,000 Provenance: Private Collection, Texas

51 MORGAN WEISTLING (b. 1964) The Painter, 2003 Oil 18 x 14 inches Signed lower left: ‘Morgan Weistling 2003’ $7,000 - $12,000 Provenance: Private Collection, Texas

52 GIUSEPPE D’ANGELICO PINO (1939-2010) Silently Reading Oil on canvas 28 x 18 inches Signed lower left: ‘Pino’ $15,000 - $20,000 Provenance: Private Collection, Texas

FREDERICKSBURG ART AUCTION

53 LUKE FRAZIER (b. 1970) Together, 2015 Oil 18 x 24 inches Signed lower right: ‘L. Frazier’; verso: signed and titled by artist, 2015 $8,000 - $11,000 Provenance: The artist

Greg Beecham (b. 1954) Greg Beecham is one of the most award-winning wildlife artists working today. Three times he has won the distinguished ‘Major General and Mrs. Donald D. Pittman Wildlife Art Award’ at the Prix de West (The National Cowboy and Western Heritage Museum), more than any other artist.

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GREG BEECHAM (b. 1954) Stacked in Her Favor, 2015 Oil 36 x 50 inches Signed lower left: ‘G Beecham © ‘15’ $30,000 - $40,000 Provenance: The artist

55 TIM SHINABARGER (b. 1966) Calling the Bluff Bronze #25/35 16 x 23 x 9 inches Signed: ‘Shinabarger’ $6,000 - $9,000 Provenance: From the Collection of Ken Holm

56 TIM SHINABARGER (b. 1966) Bighorn Oil 16 x 24 inches Signed lower left: ‘Shinabarger’ $3,000 - $5,000 Provenance: Private Collection, Illinois

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57 ROY ANDERSEN (b. 1930) The Deer Tail Roach Oil 12 x 10 inches Signed lower left: ‘Roy Andersen CA’ and lower right: artist’s Arizona studio cipher $3,000 - $5,000 Provenance: Private Collection, Texas Exhibition: Cowboy Artists of America Show “Art Stampede”, Museum of Western Art, Kerrville, Texas, 1994

58 GARY CARTER (b. 1939) Strong Hearts, 1995 Oil 30 x 40 inches Signed lower right: ‘© Gary Carter CA ‘95’; verso: signed, titled, and dated by artist $12,000 - $18,000 Provenance: Private Collection, Montana Exhibitions: Cowboy Artists of America Annual Show, Phoenix Art Museum, 1995

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59 GARY LYNN ROBERTS (b. 1953) Horns, Hides, & Water Oil 30 x 40 inches Signed lower left: ‘Gary Lynn Roberts’ $14,000 - $20,000 Provenance: From the Collection of Ken Holm

60 DON CROWLEY (b. 1926) Apache Cradle Maker Oil 24 x 30 inches Signed lower right: ‘© Don Crowley CA’ $10,000 - $15,000 Provenance: Private Collection, Arizona

Don Crowley (b. 1926) Don Crowley pursued a twenty-one year career as a commercial artist in New York before moving permanently to Tucson, Arizona in 1974. He was born in Redlands, California and, after graduating from high school, served two years in the Merchant Marines and two years in the US Navy. Following his military service, Crowley attended the Art Center College of Design in Los Angeles, California, where he met his wife, Betty Jane, a fellow artist. Crowley worked at the legendary Cooper Studios for seven years, and then pursued freelance illustration until 1973. Crowley moved to Tucson in 1974. His models were often members of the San Carlos Indian Reservation in eastern Arizona and eventually,

almost exclusively, a family of Paiutes, the Martineaus, from the Kaibab Plateau region of northern Arizona. Crowley is a member of the “Tucson 7,” an informal group of artists who all began their careers in commercial art and illustration and have made the successful transition to Western fine art. In 1994, he was elected a member of the Cowboy Artists of America where he has been awarded numerous awards for his oil paintings and drawings. “This is a calling,” Crowley says. “It’s very fortunate to know what you want out of life. It’s the searching and doing of it that’s important. The gift is having the goal.” Credit: Cowboy Artists of America FREDERICKSBURG ART AUCTION

61 WILLIAM ROBINSON LEIGH (1866-1955) Zuni Girl Oil on canvas mounted on board 16.5 x 13 inches Signed lower right: ‘W R Leigh’

Provenance: Private Collection, Texas

$30,000 - $50,000

William Robinson Leigh (1866-1955) William Robinson Leigh is best known for his portrayal of the Southwestern United States and its inhabitants, especially the native people of the Zuni, Hopi and Navajo tribes. Although W.R. Leigh was born in West Virginia, his mother’s ancestral line included the Native American Princess, Pocahontas. Leigh’s knowledge of this tie led him to deeply empathize with Native Americans and later prompted him to depict their lives and stories on canvas. In 1906, Leigh made his first trip to the Southwest. To fund his train fare westward, Leigh struck a deal with the Santa Fe Railroad to paint images of the Grand Canyon for their advertising campaign. After their completion, Leigh traveled to Arizona, 34

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the Dakotas, and eventually Wyoming. In 1912, Leigh was first introduced to the Navajo Nation and to its people and way of life. Leigh instantly connected with the celebration of the land and all that it offered its inhabitants. He was invited to witness ceremonial dances and rituals of the Navajo. This connection with the lifestyles of the Native American people of the Southwest gives Leigh’s pieces a poignancy and accuracy that few other artists of his genre possess. Leigh’s combination of bold color and the subdued shades of the Southwest earned him the title “Sagebrush Rembrandt”. Today, Leigh’s paintings can be seen at the Gilcrease Museum, Huntington Museum, Buffalo Bill Historical Center, the Amon Carter Museum, and the National Cowboy Hall of Fame.

62 FRANK C. MCCARTHY (1924-2002) After the Council, 1986 Oil on linen 22 x 40 inches Signed lower right: ‘McCarthy CA © 1986’ $30,000 - $50,000 Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, December 12, 1986 From the Collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: Cowboy Artists of America Annual Exhibition, 1986 The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014 Literature: Catalogue Raisonné: Kelton Elmer, ‘The Art of Frank C. McCarthy’ (New York: William Morrow and Company, Inc., 1992): 32-33 62

Frank McCarthy (1924-2002)

Frank McCarthy was a painter and illustrator known for his wo Plains Indians, Mountain Men, and Western figures. He is con time greats in the field of Western Art. Frank McCarthy spent York City and his later years in Arizona. He was born in New Y years was as an illustrator for major magazines including ‘Coll and also for several book publishers. McCarthy studied at Pra Students League in New York and then followed a course of c his illustrations were large Western paintings, something that c reputation as a top-selling artist. His work was extensively repr

Frank McCarthy (1924-2002)

Frank McCarthy was a painter and illustrator known for hi Plains Indians, Mountain Men, and Western figures. He is all-time greats in the field of Western Art. Frank McCarthy in New York City and his later years in Arizona. He was bo twenty-one years was as an illustrator for major magazines and ‘True’ and also for several book publishers. McCarthy the Art Students League in New York and then followed a Many of his illustrations were large Western paintings, som his reputation as a top-selling artist. His work was extensiv

is wonderful depictions of s considered one of the y spent much of his career orn in New York and for s including ‘Colliers’, ‘Argosy’ y studied at Pratt Institute and course of commercial art. mething that continued to earn vely reproduced

and distributed by ‘The Greenwich Workshop’. In 1973, McCarthy had his first major exhibition of his paintings, a show of twenty-three canvases, at the Husberg Gallery in Scottsdale, Arizona, and it sold out in twenty minutes. This success caused him to make a total commitment to fine art, and he moved from New York to Arizona. In 1975, he was elected as a member of the Cowboy Artists of America. In 1997, he was inducted into the ‘Illustrators Hall of Fame.’ He was also a member of the Northwest Rendezvous Group and has exhibited at the National Cowboy Hall of Fame and Western Heritage Center and had a retrospective at the Gilcrease Museum in Tulsa, Oklahoma. Credit: Walt Reed, ‘The Illustrator in America, 1860-2000’; and Exhibition Catalogs from the Cowboy Artists of America

Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, March 14, 1989 From the Collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

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Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, July 16, 1988 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: Cowboy Artists of America Museum, Kerrville, Texas, October 19, 1985-July 15, 1986 The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

65 ROY ANDERSEN (b. 1930) Little Blue Brother Oil 30 x 40 inches Signed lower left: ‘Roy Andersen CA’ $30,000 - $40,000 Provenance: Private Collection, Texas

FREDERICKSBURG ART AUCTION

66 LUKE FRAZIER (b. 1970) Hunter’s Moon Oil 36 x 48 inches Signed lower right: ‘L. Frazier’ $20,000 - $30,000 Provenance: Private Collection, Wyoming

67 JOHN JAMES AUDUBON (1785-1851) American Bison - Plate 57 Hand colored lithograph 22.25 x 25.75 inches Bottom center: printed ‘BOS AMERICANUS, GMEL. American Bison or Buffalo’. Lower left: printed ‘Drawn from Nature by J.J. Audubon.F.R.S.F.L.S.’, Lower right: printed ‘Lith., Printed & Col’d by J.T. Bowen. Philad’a 1845’. Upper left: printed ‘No. 12.’. Upper Right: printed ‘PLATE LVII.’ $15,000 - $20,000 Provenance: From the Collection of Ken Holm

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68 BOB KUHN (1920-2007) River Crossing, 1991; with four original sketches Bronze #1/28 and four conte drawings 46 x 16 x 19 inches; Drawings each 10.5 x 13 inches Bronze signed right front: ‘Kuhn’; back right: ‘Northup’ Drawings signed: ‘BK’ $20,000 - $30,000 Provenance: Private Collection, Arizona Exhibitions: National Museum of Wildlife Art

This lot includes the captivating bronze sculpture “River Crossing” by Bob Kuhn along with four original drawings that Kuhn created as he was developing the sculpture. Bob Kuhn (1920-2007) was arguably the finest painter of wildlife art in recent times; however, he also used his great talent to create a handful of wonderful sculptures. Kuhn said, “For a long period of time, I thought I ought to be able to do a bronze. I paint in a three dimensional way and have some knowledge of animal anatomy,” and with the help of his friend, sculptor George Northup, Kuhn tried his hand in the field of sculpture. Northup helped Kuhn with creating the armature and showing him the mechanics behind working with clay. Bob Kuhn took it from there and created “River Crossing”, a dynamic sculpture that was immediately displayed and honored at the National Museum of Wildlife Art. Kuhn was so grateful for Northup’s assistance in the creative process that he insisted George sign the piece as well and it is inscribed ‘Northup’ along with Kuhn’s signature. The Fredericksburg Art Auction is honored to offer the #1 casting within the edition along with four original signed studies.

FREDERICKSBURG ART AUCTION

69 Z. S. LIANG (b. 1953) Beneath the Cottonwoods Oil 50 x 34 inches Signed lower left: ‘Z.S. Liang’ $40,000 - $60,000 Provenance: Private Collection, Arizona

“Maternal love is one of the most powerful and endearing bonds in all of human emotion and shared in every family of man, including the fiercely protective women of the American Indian tribes. Following the birth of a child, the Blackfoot mother would use a traditional cradleboard to carry and protect the infant during its first crucial year. This was the custom of all Plains Indian peoples and varied only in the shape or design of the cradle. As protective talismans and good luck charms, small beaded pouches were crafted into stylized little animals believed to possess long life. A pouch in the form of a snake was for a boy child and a lizard form was for girls. These attractive pouches, known as umbilical cord amulets, were kept attached to the cradleboard.” Credit: the artist’s book ‘Native Trails, Fresh Tracks’, pages: 124-125

Literature: Featured prominently in the Z.S. Liang book ‘Native Trails, Fresh Tracks’, pgs. 124-125

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70 Z. S. LIANG (b. 1953) Lakota War Chief Oil 36 x 24 inches Signed lower right: ‘Z.S. Liang’ $30,000 - $40,000 Provenance: Private Collection, Arizona Literature: ‘Southwest Art Magazine’, August 2013

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71 G. HARVEY (b. 1933) Bunkhouse Lights, 2010 Oil 24 x 36 inches Signed lower right: ‘G Harvey ©’ $70,000 - $90,000 Provenance: Private Collection, Texas

G. Harvey (b. 1933) One of the most recognizable artists working today, Gerald Harvey Jones grew up in the rugged hills north of San Antonio, Texas where herds of longhorn cattle were once driven up dusty trails to the Kansas railheads. His grandfather was a trail boss at 18 and helped create an American legend for his grandson. The American West is not only the artist’s inspiration but his birthright. Harvey paints the spirit of America from its western hills and prairies to the commerce of its great cities. His original paintings and bronze sculptures are in the collections 42

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of major corporations, prestigious museums, the United States government, American presidents, governors, foreign leaders and captains of industry. The Smithsonian Institution chose Harvey to paint “The Smithsonian Dream,” commemorating its 150th Anniversary. The Christmas Pageant of Peace commissioned Harvey to create a painting celebrating this national event. He has been the recipient of innumerable awards and the subject of three books. Credit: AskArt Archives

72 W.H.D. KOERNER (1878-1938) You Jack O’ Diamonds, 1930 Oil on canvas 28 x 40 inches Signed lower left: ‘W. H. D. Koerner 1930’ $40,000 - $60,000 Provenance: Certificate of Authenticity from Fenn Galleries, 1977, accompanies the lot Private Collection, Texas

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73 WILLIAM ACHEFF (b. 1947) Light Thunder, 1996 Oil on linen 25 x 20 inches Signed lower right: ‘© WM Acheff 1996’; verso: signed and titled by artist, 1996 $35,000 - $45,000 Provenance: Private Collection, Texas

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74 BILL ANTON (b. 1957) Return to Summer Pasture Oil 30 x 48 inches Signed lower left: ‘Bill Anton’; verso: ‘”The Push to Summer Grass” Bill Anton ©’ $28,000 - $35,000 Provenance: Private Collection, Texas

FREDERICKSBURG ART AUCTION

MIAN SITU (b. 1953) Miao Tradition Oil 12 x 9 inches Signed lower right: ‘Mian Situ’

MIAN SITU (b. 1953) Ready for the Festival Oil 12 x 9 inches Signed lower right: ‘Mian Situ’

$6,000 - $8,000

Provenance: Private Collection, Arizona

Mian Situ (b. 1953) Born in Southern China, Mian Situ received his formal art training in his native homeland of Guangdong, formerly Canton. He graduated with a Bachelor of Fine Arts from the prestigious Guangzhou Institute of Fine Art. After instructing for six years, he earned a Masters in Fine Art. Immigrating to Canada, then later moving to the United States, Mr. Situ’s paintings clearly reflect his upbringing in the rural countryside of his native China. His artistic diversification of subject matter, from the people of the small villages and farming communities going about their daily lives to the exquisite portraitures as well as his most recent works inspired by western historical themes and American landscapes, all reflect the sensitive dedication of this Master Artist.

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Mr. Situ’s artistic debut in the United States was meteoric. The first painting he entered in The Oil Painters of America in 1995 won Best of Show as well as the People’s Choice Award. The awards were a foreshadowing of what would prove to be a remarkable career noted by his artistic merit and the response of collectors. In 2002, Situ’s work was selected for the 2002 Gene Autry Museum of Western Heritage show in which he won the Masters of the American West Award, Thomas Moran Memorial Award, and Patrons’ Choice Award. Since 2002, Mr. Situ has won fifteen awards at The Autry Museum including three Artist Choice awards. Situ has an unprecedented number of paintings that have been purchased for the Museum’s permanent collection. No other living artist has three paintings in the Autry Museum’s permanent collection.

77 MIAN SITU (b. 1953) Pacific Mail Steamer, Siberia 1905 Hong Kong-San Francisco, 2015 Oil 40 x 56 inches Signed lower right: ‘Mian Situ’ $80,000 - $120,000 Provenance: The artist

“Pacific Mail Steamer, Siberia 1905 Hong Kong - San Francisco” is a major painting that embodies the elements of the very best of Mian Situ. With his adept brushwork, exquisite compositions and uncanny ability to translate light, Situ is able to capture a moment in time with emotional integrity. The Mail Steamer, Siberia, made 11 crossings from Hong Kong to San Francisco; over half of the ship’s crew was Chinese workers. By 1905, Chinese women and children were no longer allowed to emigrate. Thousands of Chinese entered the country with a dedication to hard work and the opportunity to improve their lives and the lives of their family. Indeed, the men pictured in this eloquent painting are attempting to fulfill the American Dream. Many became laborers, building railroads and mining for gold. Their legacy lives on today and their story is forever preserved in this historically important painting by Mian Situ.

77 MIAN SITU (b. 1953) Pacific Mail Steamer, Siberia 1905 Hong Kong-San Francisco, 2015 Oil 40 x 56 inches Signed lower right: ‘Mian Situ’ $80,000 - $120,000

78 EDOUARD CORTES (1882-1969) Rve de la Paix - Vendome Oil 13 x 18 inches Signed lower right: ‘Edouard Cortes’ $25,000 - $35,000 Provenance: Certificate of Authenticity from David Klein, Klein Gallery, West Hollywood, CA. Private Collection, Texas

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79 EUGENE GALIEN-LALOUE (1854-1941) Place de la Bastille in Winter Gouache 10.75 x 12.5 inches Signed lower left: ‘E. Galien Laloue’ $14,000 - $20,000 Provenance: Certificate of Expertise and Authenticity from David Klein, Klein Gallery, West Hollywood, CA. Private Collection, Texas

80 EDOUARD CORTES (1882-1969) Pont Neuf, c. 1965 Oil 21.75 x 18.25 inches Signed lower right: ‘Edouard Cortes’ $32,000 - $40,000 Provenance: Certificate of Authenticity from David Klein, Klein Gallery, West Hollywood, CA. Private Collection, Texas

81 GIUSEPPE D’ANGELICO PINO (1939-2010) Tranquility Oil on board 30 x 20 inches Signed lower right: ‘Pino’ $20,000 - $30,000 Provenance: Private Collection, Texas

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82 CLYDE ASPEVIG (b. 1951) Bluffs of the Rio Chama, 1993 Oil 40 x 60 inches Signed lower left: ‘C. Aspevig’ $60,000 - $90,000 Provenance: Private Collection, Wyoming

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83 JOHN COLEMAN (b. 1949) Little Pueblo Girl, 2007 Bronze #32/35 17 x 10 x 7.5 inches Signed: ‘Little Pueblo Girl © John Coleman CA 2007’ $4,000 - $6,000 Provenance: From the Collection of Ken Holm

The Pueblo people were known mostly through the images of the Taos painters for their beautiful white robes which were actually sheets made by Sears and Roebuck or Montgomery Ward and were prized by the people of the 20th century. Little Pueblo Girl is wearing such a robe. Catholicism was introduced to the people of the region much earlier and embraced by the pueblo at this time, hence the cross earring. Credit: artist’s website

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86 LINDSAY SCOTT (b. 1955) In the Company of Strangers, 2015 Oil on canvas 40 x 58 inches Signed lower right ‘Lindsay Scott’ $35,000 - $55,000

“Water and reflections...a frequent re-occurring theme in my work, they fascinate me and provide the basis for some bold images, especially when zebras are involved. Technically reflections are very demanding as they are very specific, they are not just a mirror image of the subject it is more like the subject is standing on a mirror, reflecting more of the underbelly, etc. With my irrepressible desire to be accurate I spend a lot of time working these things out. With this piece the impala was needed to add a focal point to the piece and a color contrast, normally you do not see this in the wild very often, other than at Etosha Pan National Park in Namibia, where the water holes attract high concentrations of animals in a small area and you do get this type of interaction. It is one of my favorite spots and my visits there provided inspiration for this piece. The final touch is provided by the Blacksmith Plovers, the great thing about birds is that they can be placed anywhere to balance the compositional elements.” – Lindsay Scott

Provenance: The artist

Lindsay Scott

(b. 1955)

Nationally renowned artist Lindsay Scott is acclaimed for her dynamic and precise oil paintings and her exquisitely detailed pencil drawings, all of which convey the drama and spirit of African Wildlife. With a background as an illustrator, a botanical researcher and a biologist, Scott is an avid observer of nature, and her works reflect her close study of animal life, conveying a candid sense of firsthand experience while capturing intimate 52

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emotional moments. The National Museum of Wildlife Art has acquired two major paintings of Scott’s for their permanent collection. Other major public collection’s that include her work are the Leigh Yawkey Woodson Art Museum, San Bernardino County Museum of Art and Standard Bank of South Africa. Lindsay’s work has been exhibited at the Natural History Museum in London, England.

87 BOB SCRIVER (1914-1999) The Hornaday Buffalo Group, 1991 Bronze 9 x 17 x 15 inches Signed: ‘Bob Scriver 1991’. Inscribed “Special casting to Warren and Delores Perry”

Provenance: From the Collection of Ken Holm This sculpture was commissioned to raise money for the restoration of the popular Hornaday Buffalo Group in the Smithsonian Institute.

$10,000 - $15,000 Bob Scriver was born on the Blackfeet reservation in Browning, Montana and was a noted scholar of Blackfoot Indian culture and history. Scriver was affiliated with the National Sculpture Society, the National Academy of Western Art and was a member of the prestigious Cowboy Artists of America from 1967-1999. The Hornaday Buffalo sculpture, offered today, was commissioned to raise money for the restoration of the popular Hornaday Buffalo Group in the Smithsonian Institute.

88 BOB SCRIVER (1914-1999) A New Camp, 1995 Bronze #23/50 13 x 9 x 24 inches Signed: ‘Bob Scriver 1995’ $3,000 - $5,000 Provenance: From the Collection of Ken Holm

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89 (In studio photograph) WILLIAM ACHEFF (b. 1947) One for Four-Legged Creatures. The Other for Two-Legged Intruders, 2015 Oil 42 x 16 inches Signed lower right: ‘© WM Acheff 2015’; verso: signed, titled and dated by artist

$35,000 - $55,000 Provenance: The artist

William Acheff (b. 1947) William Acheff brilliantly captures the illusory qualities and lifelike perfection that is demanded in a classic trompe l’oeil painting. His realistic compositions often reflect the distinctive influences of Native American cultures and of the Southwest, where he makes his home. From an early age, Acheff had an interest in painting. Though he studied art in high school, he never dreamed of becoming a painter. It was not until several years later, that Acheff had the opportunity to meet the Italian artist, Roberto Lupetti. The Italian awakened Acheff’s interest in art once again. He soon began an intense European-style apprenticeship with Lupetti, spending five days a week for six months studying with the Italian master. Acheff’s lifelong interest became a passion. In 1973, Acheff moved to Taos, New Mexico, to separate himself from the influences of his teacher. It was 54

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in Taos that Acheff found his niche. Acheff, who is of Alaskan Athabascan heritage, has a special affinity for the historical and cultural artifacts that he chooses to paint. The appealing forms and designs of the Indian pots and artifacts are intertwined with Acheff’s preference for painting textures from nature. The vintage photographs that often appear in Acheff’s compositions help the artist set a mood. Each article in relation to the others becomes integral to the composition as a whole. The results are mesmerizing works of striking beauty. His paintings have won the recognition and praise of his peers, critics and collectors alike. In 1989 and again in 2004, Acheff was awarded the Prix De West at The National Cowboy Hall of Fame and Western Heritage Center in Oklahoma City. His exceptional paintings are included in prominent private and public collections throughout the United States. Credit: AskArt.com

90 BOB KUHN (1920-2007) The Lion Trap Gouache 18 x 24 inches Signed lower left: ‘Kuhn’ $12,000 - $18,000 Provenance: Private Collection, Wyoming

91 BOB KUHN (1920-2007) Alaskan Brown Bear Acrylic 24 x 17.5 inches Signed lower center: ‘Kuhn’ $25,000 - $35,000 Provenance: Private Collection, Texas Original art for the ‘Outdoor Life’ Magazine series of big game animals, 1950 Literature: Featured full page in the Bob Kuhn book ‘Drawing on Instinct’, p 107. A copy of the book accompanies this lot.

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92 KEN CARLSON (b. 1937) Texas Brush Country - Whitetails Oil 18 x 36 inches Signed lower left: ‘Carlson’ $35,000 - $45,000 Provenance: Private Collection, Texas

Ken Carlson (b. 1937) Considered by many to be one of the most exceptional wildlife painters of our time, Ken Carlson’s portrayal of the beloved whitetail deer of the “Texas Brush Country” is an example of why his work is so highly regarded. Carlson says his interest in natural subjects began early in his Minnesota childhood and has continued with total dedication to learning and painting nature. While Carlson lived in Minnesota and then in California, he spent more than three decades as a free-lance illustrator. During that time, every free moment was spent painting, studying, sketching and photographing wildlife subjects. He was able to build a reputation through participation in fundraising for conservation organizations such as Ducks Unlimited. Desire to paint representational art pushed him toward a full-time career as a wildlife artist. Carlson cites 1969 as a turning point in his career. 56

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He presented six large game paintings at a major conservation foundation conference and not one sold. He observed that tight renderings of bird illustrations did sell and from that idea, he compiled a portfolio of fifty portraits, later published by MacMillan in a book titled ‘Birds of Western North America’. In 2001 Carlson was the recipient of the inaugural Major General and Mrs. Don Pittman wildlife award for exceptional artistic merit for wildlife painting at the Prix de West Exhibition, National Cowboy and Western Heritage Museum, Oklahoma City, Oklahoma. At the 1999 Prix de West Exhibition, Carlson was the winner of the prestigious Frederic Remington Award for Artistic Merit. He was awarded the ”Distinguished Wildlife Artist” at the 1996 Wildlife Exhibit at the Leigh Yawkey Woodson Museum, Wausau, Wisconsin. Credit: Masterpiece Online

93 WILHELM KUHNERT (1865-1926) Kudu Oil 13.5 x 11 inches Signed lower right: ‘Wilh. Kuhnert’ $40,000 - $60,000 Provenance: J.N. Bartfield Galleries New York, NY (sticker on back) Private Collection, California

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94 BOB KUHN (1920-2007) Elk, 1999 Acrylic on Board 12 x 12 inches Signed lower right: ‘Kuhn ‘99’ $40,000 - $50,000 Provenance: Private Collection, Texas

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95 WILHELM KUHNERT (1865-1926) Auf Blumiger Steppe (On the Flowery Steppe) Oil 30 x 46 inches Signed lower right: ‘Wilh. Kuhnert 1917’; verso: signed and titled by the artist $250,000 - $350,000 Provenance: Private Collection, Germany Private Collection, Kentucky Private Collection, Texas

95 WILHELM KUHNERT (1865-1926) Auf Blumiger Steppe (On the Flowery Steppe) Oil 30 x 46 inches Signed lower right: ‘Wilh. Kuhnert 1917’; verso: signed and titled by the artist $250,000 - $350,000

This painting has never before been offered at auction and the Fredericksburg Art Auction is honored to be able to offer such a magnificent work.

Wilhelm Kuhnert (1865-1926)

Wilhelm Kuhnert is considered by many to be the finest Africa have ever lived. He visited Africa on many occasions and large in great demand by collectors worldwide, though rarely found. excellent condition for its age and represents Kuhnert at his b caught “at attention” and their natural colors make for a great beautiful wildflowers that surround them. Kuhnert’s amazing g animal is well shown in this work, but what makes this paintin bright colors not often found in Kuhnert’s masterworks. The su purple flowers on the zebra’s hides shows the subtleties that o the medium can bring to life.

Kuhnert was born in Oppeln, Germany in 1865. He was one o artists to travel to East Africa to sketch the wildlife and terrain end of the nineteenth-century, Kuhnert trained at the Berlin A that time, Berlin was a hotbed of sporting art. Most of Kuhnert students studied animals in captivity. However, Kuhnert worke

95 WILHELM KUHNERT (1865-1926) Auf Blumiger Steppe (On the Flowery Steppe) Oil 30 x 46 inches Signed lower right: ‘Wilh. Kuhnert 1917’; verso: signed and titled by the artist $250,000 - $350,000

This painting has never before been offered at auction and the Fredericksburg Art Auction is honored to be able to offer such a magnificent work.

Wilhelm Kuhnert (1865-1926)

Wilhelm Kuhnert is considered by many to be the finest A have ever lived. He visited Africa on many occasions and in great demand by collectors worldwide, though rarely fo excellent condition for its age and represents Kuhnert at h caught “at attention” and their natural colors make for a g beautiful wildflowers that surround them. Kuhnert’s amazi animal is well shown in this work, but what makes this pa bright colors not often found in Kuhnert’s masterworks. Th purple flowers on the zebra’s hides shows the subtleties th the medium can bring to life.

Kuhnert was born in Oppeln, Germany in 1865. He was o artists to travel to East Africa to sketch the wildlife and ter end of the nineteenth-century, Kuhnert trained at the Berl that time, Berlin was a hotbed of sporting art. Most of Kuh students studied animals in captivity. However, Kuhnert w

African wildlife painter to large oils like this are und. This painting is in his best. The zebras are great contrast with the ing gift of capturing the inting truly unique is the he subtle reflection of the hat only a true master of

one of the first European rain of the region. At the lin Academy of Arts. At hnert’s teachers and fellow worked with the prominent

animal painter Richard Friese who emphasized studying animals in their native habitats. Kuhnert first traveled to Africa in 1891. He went on safaris in the German and English colonial territories in South and East Africa in 1905 and 1911-12. In 1906, he toured India and Ceylon. On these expeditions, he sketched and made field notes as a basis for his art, which he later executed in his studio in Berlin. Not only a painter, but also a hunter, Kuhnert traveled to Africa to capture its wild animals in the flesh and on the canvas. In between Kuhnert’s extended visits to Africa, he returned to Germany where he continued his wildlife studies, traveling throughout Europe in pursuit of indigenous species including the red stag, elk, bison, wild boar, and moose. It is estimated that Kuhnert’s body of work totaled over 5,000 paintings. Today, there are less than a thousand known works in existence. The remainder of his artwork was destroyed or lost in World War II. Kuhnert died while traveling in Switzerland in 1926, leaving a legacy of extraordinary wildlife paintings behind. Credit: The National Museum of Wildlife Art and AskArt.com

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98 MELVIN WARREN (1920-1995) Range Talk, 1965 Oil 16 x 20 inches Signed lower left: ‘Melvin C. Warren 1965’; verso: signed and titled by artist, ‘Fort Worth, Texas 1965’ $10,000 - $12,000 Provenance: Private Collection, Texas Exhibition: The American Cowboy: Reality and Reactions, The Art Museum of Southeast Texas, 1989

99 GEORGE HALLMARK (b. 1949) Drinking Buddies, 2013 Oil on linen 24 x 30 inches Signed lower left: ‘Hallmark ©’ $15,000 - $20,000 Provenance: Private Collection, Texas

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100 MARK EBERHARD (b. 1949) The Texans Oil 36 x 84 inches Signed lower right: ‘M. Eberhard’

Mockingbird State Bird

Monarch Butterfly State Insect

$30,000 - $40,000 Provenance: The artist

Texas Longhorns State Mammal

The Texans 36 x 84” oil/canvas

101 G. RUSSELL CASE (b. 1966) Hogan on the Montezuma Oil 30 x 50 inches $18,000 - $24,000 Provenance: Private Collection, Oklahoma

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Texas Bluebonnets State Flower

Prickly Pear State Cactus

Texas Horned Lizard State Reptile

102

“Landscape is my love and is always a challenge, spiritually and emotionally. The variety and vastness of it can sometimes be overwhelming. Simplification is the answer. Less Is More. The last light of the day or daybreak interests me more than other times of the day. I also love gray cloudy days. Trying to capture the spirit and emotion of what is happening before my eyes is the greatest challenge. I want the viewer to feel the physicality and emotional essence of the subject matter of the painting.” – Nancy Bush

NANCY BUSH (b. 1947) Spring Pasture, 2015 Oil 48 x 60 inches Signed lower right: ‘Bush’ $30,000 - $40,000 Provenance: The artist

Nancy Bush (b. 1947) Nancy Bush is a native Texan and currently resides in Fredericksburg, Texas. Her pursuit of art has taken her to many beautiful places in the world to study and paint a wide variety of subject matter. One of the country’s premiere tonalist painters, Bush is acknowledged as a master by the American Impressionist Society and has participated in

countless invitational shows including the American Women Artists Invitational Show, The Briscoe Museum Night of Artists, Cowgirl Up and, most recently, was honored with an exhibition of her work by the Rockwell Museum of Western Art in Corning, New York.

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103 FRANK C. MCCARTHY (1924-2002) High Traverse, 1989 Oil on linen 15 x 30 inches Signed lower right: ‘McCarthy CA © 1989’ $20,000 - $40,000 Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, October 12, 1989 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

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104 FRANK C. MCCARTHY (1924-2002) Warriors of the Sioux Nation, 1989 Oil on linen 27 x 20 inches Signed lower left: ‘McCarthy CA © 1986’ $25,000 - $45,000 Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, May 30, 1990 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

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105 MARJORIE REED (1915-1996) Sunset After the Shower Oil 22 x 28 inches Signed lower left: ‘Marjorie Reed’ $3,000 - $4,000 Provenance: Private Collection, Arizona

106 TIM COX (b. 1957) Where Riches Lie, 2008 Oil 16 x 12 inches Signed lower right: ‘A.T. Cox © ‘08 CA’ $10,000 - $15,000 Provenance: Private Collection, Arizona

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107 HOWARD TERPNING (b. 1927) Trouble, 1976 Mixed media 24 x 20 inches Signed lower right: ‘Terpning 76’; verso: signed and titled by artist $50,000 - $70,000 Provenance: Private Collection, California

Howard Terpning (b. 1927) Howard Terpning is the premier Western artist of our time, an artist whose name will go down in history with the likes of Remington and Russell as the finest storytellers of the American West to ever pick up a paintbrush. In the late 1970’s, Terpning

created a series of stunning black and white drawings and paintings like the one featured here and went on to win multiple awards with such works at the Cowboy Artists of America exhibitions. FREDERICKSBURG ART AUCTION

108 JAMES REYNOLDS (1926-2010) Roping the Stray Oil on masonite 23 x 32 inches Signed: ‘James Reynolds CA’ $20,000 - $30,000 Provenance: Private Collection, Texas

James Reynolds (1926-2010) James Reynolds is recognized as one of the finest western painters not only of his era but of all time. Following service in the South Pacific during World War II, Reynolds studied at the School of Allied Arts in Los Angeles. He then pursued a brief career in commercial art and soon went on to Hollywood to the motion-picture studios where he would remain for the next 15 years. In 1967 Reynolds, gave up a solid career in the film industry and chose instead the uncertainty of a fine-art future on a piece of raw land outside Sedona, Arizona.

109 BILL ANTON (b. 1957) Away From It All, 2008 Oil 24 x 40 inches Signed lower right: ‘Bill Anton’; verso: signed and titled by artist, 2008 $18,000 - $24,000 Provenance: Private Collection, California

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Reynolds’ art came alive there with the colors of sunup and sundown among the rugged red rocks and beneath the royal blue midday skies. There was an eager audience for his work through the galleries in Scottsdale, and the acceptance of his peers came with membership in the Cowboy Artists of America in 1968. In Reynolds’ 30 plus year career he amassed countless awards and recognition not only from his peers but from distinguished museum shows and collectors.

110 GARY LYNN ROBERTS (b. 1953) A Strange Sign Oil on canvas 30 x 40 inches Signed lower right: ‘Gary Lynn Roberts ©’ $7,000 - $10,000 Provenance: Private Collection, Texas

111 GARY CARTER (b. 1939) One Night Stand, 1997 Oil on Canvas 32 x 52 inches Signed lower left: ‘Gary Carter CA ‘97’ $25,000 - $35,000 Provenance: Private Collection, Texas

Exhibitions: Cowboy Artists of America Annual Show, Phoenix Art Museum, 1997 Artist’s Commentary: “They’ll be a hot time in the old town tonight...Wild Rose and the Buffalo Gals are in town for one night. And entertainment is as scarce as beautiful women here in the “backside of nowhere”. Remembering my time at the ranch and how starved we were for diversion and recalling a long ago weekend when the girls of HEE HAW were to appear in West Yellowstone, I dreamed up this painting...”

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112 FREDERIC REMINGTON (1861-1909) Bow Case Sioux - Illustration for Longfellow’s Song of Hiawatha Pen and ink 7 x 8 inches Signed upper center: ‘Remington’; upper edge: ‘Wos 165+166, Remington, Hiawatha, Bow Case Sioux’ $6,000 - $8,000 Provenance: Kennedy Galleries Arizona West Galleries From the Collection of Ken Holm Literature: ‘The Song of Hiawatha’ illustrated by Frederic Remington, written by Henry Wadsworth Longfellow; Page 127.

113 CHARLES M. RUSSELL (1864-1926) Red Moon, c. 1886 Pen and ink 4.5 x 3.5 inches Signed lower right: ‘CMR’ and artist’s buffalo skull cipher. Titled lower left: ‘Red Moon’ $10,000 - $15,000 Provenance: From the Collection of Ken Holm Exhibitions: Trigg-CM Russell Foundation 1957 California Palace of the Legion of Honor 1957 Phoenix Art Museum Historical Society of Montana This work is recorded in the C.M. Russell catalogue raisonné as reference number CR.DR.226. Literature: B. Byron Price, editor and Anne Morand, ‘Charles M. Russell: A Catalogue Raisonné’, Vol. 1, Norman, Oklahoma: University of Oklahoma Press, 2007 Accompanying the lot is letter of authenticity from Ginger Renner.

Charles M. Russell (1864-1926) Considered by many to be the premier artist of the American West, Charles Russell was no armchair cowboy. Not interested in school, he left home for Helena, Montana at the suggestion of his father, who paid his son’s way after Charlie turned 16. His father thought that rough and tough realities of the West would shake romantic notions of it out of the boy’s head. But instead, Russell fell totally in love with the environment, getting a job as a night wrangler and having his days free for observation and painting. He spent seven years working at cowboy jobs and carried his watercolors in his bedroll. In 1887, he spent the winter with the Blood Indians in Canada. He became very sensitive to the plight of Indians and respectful of their ways. In 1888, ‘Harper’s Weekly’ published one of his cowboy paintings and he spent that winter among the Blackfeet Indians of Alberta. He studied their language and ceremonies, and the Chief tried unsuccessfully to get Russell to take an

Indian wife. In 1890, a folio of fourteen of his paintings was published, but it was not until 1896, that he pursued art as a serious career. That year he married Nancy Cooper and settled in Great Falls, Montana. Devoting her life to furthering his career, Nancy Cooper Russell persuaded him to set up a studio and do commissions. Russell was a masterful painter, and each of his paintings told a great story. His paintings of men and wild animals, pitted against tough life in the West sold widely to celebrities, oil-rich collectors, and numerous others who liked reminders of the “Wild West.” Russell began to sell his paintings at good prices and together he and Nancy began to enjoy the rewards of fame. He died in Great Falls, Montana on October 24, 1926 of heart failure. Credit: The archives of AskArt.com, specifically cited to: Peter Hastings Falk, Editor, ‘Who Was Who in American Art’; Jean Ershler Schatz, artist and researcher; ‘Talking Pictures’ by Joan Stauffer in ‘Art and Antiques’ Magazine.

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114 CHARLES M. RUSSELL (1864-1926) The Scout, c. 1894 Watercolor 19.5 x 29 inches Signed lower left: ‘CM Russell’ and artist’s buffalo skull cipher $200,000 - $300,000 Provenance: Nedra Matteucci Gallery Private Collection, Texas This painting is recorded in the C.M. Russell catalogue raisonné as reference number CR.PC.422. Literature: B. Byron Price, editor and Anne Morand, ‘Charles M. Russell: A Catalogue Raisonné’, Vol. 1, Norman, Oklahoma: University of Oklahoma Press, 2007 114

CHARLES M. RUSSELL (1864-1926) The Scout, c. 1894 Watercolor 19.5 x 29 inches Signed lower left: ‘CM Russell’ and artist’s buffalo skull cipher $200,000 - $300,000

The Scout, c. 1894

Offering this wonderful piece of history fr greatest Western artists is an honor and Auction. “The Scout” is a great example medium and his first-hand experiences i life of the Plains Indians. The watermark watercolor paper (referenced below) is st

C.M. Russell created approximately eleve about one-third of his total artistic output was a better watercolorist than oil painter with him. When Russell first arrived in M small brushes, and a few pans of waterc cloth in his coat pocket. Within a few yea

114 CHARLES M. RUSSELL (1864-1926) The Scout, c. 1894 Watercolor 19.5 x 29 inches Signed lower left: ‘CM Russell’ and artist’s buffalo skull cipher $200,000 - $300,000

The Scout, c. 1894

Offering this wonderful piece of history from one of Americ artists is an honor and privilege for the Fredericksburg Art a great example of Russell’s knack for the watercolor med experiences in observing and capturing the daily life of the watermark, dated 1893,on the J. Whatman watercolor pap visible in this iconic painting.

C.M. Russell created approximately eleven hundred water one-third of his total artistic output. Russell himself always watercolorist than oil painter, and there were many who ag Russell first arrived in Montana he carried a sketchbook, s pans of watercolors wrapped in a piece of flannel cloth in few years he was well known in the frontier communities f

ca’s all-time greatest Western t Auction. “The Scout” is dium and his first-hand e Plains Indians. The per (referenced below) is still

drawing and sketching the cowboy life he experienced and the Indians and wildlife that he encountered. At every opportunity he observed the Indians and soon learned to converse with them in their sign language. Whenever Russell spoke to his Indian friends he would sign his name as “The Picture Man.” Russell’s most productive period as a watercolorist extended from about 1894 through 1908, with a peak concentration between 1897 and 1905.(1)

rcolors, constituting about s thought he was a better greed with him. When small brushes, and a few his coat pocket. Within a for his incessant habit of

Russell preferred sable bristle watercolor brushes and materials such as Winsor & Newton watercolor paint and handmade J. Whatman watercolor paper. These materials were imported from England and were available at the local paint store when the artist was living and working in Montana.(2) (1) ‘Charles M. Russell: American Master of Watercolor’ by Rick Stewart; (2) ‘Romance Maker: The Watercolors of Charles M. Russell’ by Jodie Utter

115 GARY LYNN ROBERTS (b. 1953) Oil Town, 2015 Oil on linen 30 x 45 inches Signed lower left: ‘Gary Lynn Roberts ©’ $16,000 - $24,000 Provenance: The artist

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116 OLAF WIEGHORST (1899-1988) Strays Oil 16 x 20 inches Signed lower right: ‘O Wieghorst’; verso: signed and titled by artist on top stretcher bar, artist’s cipher $10,000 - $15,000 Provenance: Private Collection, Idaho

117 OLAF WIEGHORST (1899-1988) Renegade, 1982 Oil 14 x 12 inches Signed lower left: ‘O. Wieghorst’, artist’s cipher $15,000 - $25,000 Provenance: Private Collection, Texas

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118 G. HARVEY (b. 1933) A Good Lookin’ Day, 2014 Oil 24 x 20 inches Signed lower right: ‘G. Harvey ©’; verso: signed and titled by artist, 2014 $65,000 - $75,000 Provenance: Private Collection, Texas

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119 The Crow Nation, originally called “Apsaalooke” meaning “children of the large-beaked bird” (later misinterpreted by the White men as the word “Crow”) is the Native American tribe that has lived around the base of the sacred Big Horn Mountains of Southern Montana from time immemorial. With their camp in the distance, these braves stand sentinel on their horses. The people of the tribe have peace within their camp knowing they are safe with these ever-observant guardians keeping sharp watch and ready to warn their fellow tribesmen, should enemies be near.

MARTIN GRELLE (b. 1954) Apsaalooke Sentinels, 2012 Oil 42 x 48 inches Signed lower right: ‘Martin Grelle CA © 2012’; verso: signed, titled and dated by artist $150,000 - $250,000 Provenance: Private Collection, Arizona

Martin Grelle

(b. 1954)

Martin Grelle was born and raised in Clifton, Texas, and still lives on a small ranch a few miles from town. His studio sits in the picturesque Meridian Creek Valley, surrounded by the oak and cedar-covered hills of Bosque County, just a short distance from his home, but also within a few miles of the family and friends who are so important in his life. Grelle began drawing and painting when he was very young, and was fortunate to have James Boren and Melvin Warren, two professional artists

and members of the prestigious Cowboy Artists of America, move to the area when he was still in high school which had a lasting impact on his direction and career. Mentored by Boren, Grelle had his first one-man show at a local gallery within a year of graduating from high school in 1973. In the nearly forty years since that time, Grelle has produced some thirty one-man exhibitions, and has won awards of both regional and national importance at shows around the country. FREDERICKSBURG ART AUCTION

120 DAVID YORKE (b. 1949) Independent and Free Oil 48 x 36 inches Signed lower left: ‘David Yorke’ $25,000 - $35,000 Provenance: Private Collection, Texas

121 ALLAN HOUSER (1914-1994) Primitive Nude, 1978 Marble 17 x 12 x 12 inches Signed: ‘Allan Houser’ $10,000 - $15,000 Provenance: Private Collection, Oregon Literature: Barbara H. Perlman ‘Allan Houser (Ha-o-zous)’ (David R. Godine, Publisher - Boston), illustrated pg. 241

From the ‘Allan Houser’ book by Barbara Perlman: “Raised in a strict religious home where missionaryderived Victorian principles prevailed, Houser perhaps understandably layers the female with garments reminiscent of the nineteenth century. His few nude sculptures include an ingenious, earthy form, the 1978 pink Tennessee marble “Primitive Nude”.

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122 JOSEPH HENRY SHARP (1859-1953) Chief Deaf Bull, Crow Oil on canvas 18 x 12.25 Signed lower left: ‘J.H. Sharp’, upper right: ‘Chief Deaf Bull Crow’ $100,000 - $150,000

Provenance: Acquired by the Butler Institute of American Art Sold by the Butler Institute to benefit the Acquisitions Fund through Christies Private Collection, Arizona Private Collection, California Literature: The Butler Institute of American Art, ‘Sixty Years of Collecting American Art: An Index to the Permanent Collection’, Youngstown, Ohio, 1979, p. 33.I.S. Sweetkind, ed. The Butler Institute of American Art Index to the Permanent Collection, Youngstown, Ohio, 1997, p. 155 FREDERICKSBURG ART AUCTION

123 THOMAS MORAN (1837-1926) Tower Ruins, 1905 Oil on canvas 20 x 30 inches Signed lower right: ‘Moran 1905’ $15,000 - $25,000 Provenance: Private Collection, Texas

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Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, April 10, 1992 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

125 MORGAN WEISTLING (b. 1964) The Chef’s Daughter, 2012 Oil 30 x 22 inches Signed lower right: ‘Morgan Weistling ‘12’ $30,000 - $50,000 Provenance: Private Collection, Arizona

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127 CARRIE BALLANTYNE (b. 1956) Kiowa Country Cowgirl Oil 14.5 x 14 inches Signed lower right: ‘CL Ballantyne’ $15,000 - $25,000 Provenance: Private Collection, Arizona

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128 MORGAN WEISTLING (b. 1964) The Corn Shuckers, 2013 Oil 22 x 36 inches Signed lower left: ‘Morgan Weistling ‘13’ $40,000 - $60,000 Provenance: Private Collection, Arizona

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Joseph Henry Sharp

Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, April 16, 1992 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: Cowboy Artists Retrospective: Frank McCarthy Cowboy Artists of America Museum, Kerrville, Texas, January 24-March 29, 1992 The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

(1859-1953)

Joseph Henry Sharp is widely considered to have been the “Spiritual Father” of the Taos Society of Artists. He was the first painter in the group to visit New Mexico and he left behind a vast cultural record of Native American life, landscapes, and portraiture. Sharp’s first trip to the West was in 1883 at age 24. He visited pueblos in New Mexico (though not Taos), and then took a boat up the West Coast and disembarked in the Washington Territory. In the northwest he encountered numerous native tribes, and the sketches he completed on that trip would be the basis for his first Native American portraits.

Roosevelt took an interest in Sharp’s work. Roosevelt had the Indian Commission build and furnish a cabin and studio for Sharp at Little Big Horn. While working in Montana, Sharp began amassing a huge personal collection of Native American artifacts and costume. It was important to him that these things be preserved and understood, and that he was closely connected to and had a thorough understanding of his subject matter. He made sure that he got to know all of his portrait subjects personally. In this way he was as much an anthropologist as a painter.

Sharp married in 1892, and finally visited Taos for the first time in 1893, on a commission from ‘Harper’s Weekly’. He was captivated by the then unspoiled life of the natives in Taos. The pictures he completed for the commission were very well received, and led to further illustration work with numerous publications. In spite of this success, Sharp did not go back to the pueblos of New Mexico right away. He taught in Cincinnati, worked as an illustrator, and spent time in Montana, camping on the battlefield of Little Big Horn, becoming acquainted with and painting portraits of Plains Indians. In 1900, an exhibition of these portraits would travel to Paris and to Washington D.C., and would prove to be a turning point in his career. The Smithsonian Institution purchased 11 portraits, and President

In 1912, Sharp relocated to Taos permanently, and was a charter member of the Taos Society of Artists. Sharp threw himself into recording the environment and life of the pueblo. One of his favorite subjects was that of Hunting Son, and the painting featured in the Fredericksburg Art Auction shows Sharp at his best, capturing the essence of his subject and his surroundings. He left behind an unparalleled visual record of the Native American. Hardly is there a painter who could strive for more. But Sharp achieved something else: he was one of the West’s most important historians, and America owes him a debt for it. Credit: Edan Hughes, ‘Artists in California’, 1786-1940”; ‘Dictionary of American Painters, Sculptors and Engravers’ (Fielding, Mantle); ‘Artists of the American West’ (Doris Dawdy); ‘Artists of the American West’ (Samuels); ‘Artists and Illustrators of the Old West’ (Robert Taft)

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130 JOSEPH HENRY SHARP (1859-1953) Hunting Son Oil on canvas 16 x 20 inches Signed lower right: ‘JH Sharp’ $175,000 - $250,000 Provenance: Private Collection, Arizona Private Collection, California Exhibitions: Nedra Matteucci Gallery, Santa Fe, NM J.N. Bartfield Galleries, New York, NY Gerald Peters Gallery, Santa Fe, NM

130 JOSEPH HENRY SHARP (1859-1953) Hunting Son Oil on canvas 16 x 20 inches Signed lower right: ‘JH Sharp’ $175,000 - $250,000

131 G. HARVEY (b. 1933) Congress Avenue-Austin Oil 7 x 9 inches Signed lower left: ‘G. Harvey’ $12,000 - $15,000 Provenance: Private Collection, Texas

132 G. HARVEY (b. 1933) Evening Lights of Boston, 2013 Oil 20 x 16 inches Signed lower left: ‘G. Harvey ©’ $40,000 - $50,000 Provenance: Private Collection, Texas

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133 EUGENE GALIEN-LALOUE (1854-1941) Place de la Bastille Gouache 10.5 x 11 inches Signed lower left: ‘E. Galien Laloue’ $12,000 - $18,000 Provenance: Certificate of Expertise and Authenticity from David Klein, Klein Gallery, West Hollywood, CA. Private Collection, Texas

134 EDOUARD CORTES (1882-1969) Boulevard de la Madeleine at Sunset, c. 1925 Oil 10.5 x 18 inches Signed lower right: ‘Edouard Cortes’ $25,000 - $35,000 Provenance: Certificate of Authenticity from David Klein, Klein Gallery, West Hollywood, CA. Private Collection, Texas Literature: Nicole Verdier, ‘Edouard Cortès Catalogue Raisonné’, Volume II. # 678

135 EUGENE GALIEN-LALOUE (1854-1941) Winter Street Scene - Paris Gouache 7.25 x 12.25 inches Signed lower left: ‘E. Galien-Laloue’ $12,000 - $18,000 Provenance: Appraisal, July 3, 2009 from Nedra Matteucci Galleries, Santa Fe, NM. Certificate of Authenticity, March 2, 2013 from Nedra Matteucci Galleries, Santa Fe, NM. Private Collection, Texas

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136 ELDRIDGE HARDIE (b. 1940) Fly Fishing Watercolor 14 x 21 inches Signed lower right: ‘Eldridge Hardie’ $6,000 - $9,000 Provenance: Private Collection, Maryland

137 MANFRED SCHATZ (1925-2004) Flushed Oil 20 x 24 inches Signed lower left: ‘M Schatz’ $8,000 - $12,000 Provenance: Private Collection, Maryland

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138 FRANK C. MCCARTHY (1924-2002) Scouting the Long Knives, 1984 Oil on linen 16 x 40 inches Signed lower left: ‘McCarthy CA © 1984’ $25,000 - $45,000 Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, April 16, 1992 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: Cowboy Artists of America Museum, Kerrville, Texas, October 3-November 21, 1984 The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014 Literature: Kelton Elmer, ‘The Art of Frank C. McCarthy’ (New York: William Morrow and Company, Inc., 1992): 102-103

FREDERICKSBURG ART AUCTION

139 KYLE POLZIN (b. 1974) Lookin’ For Eight Oil 18 x 28 inches Signed lower right: ‘Polzin ©’ $25,000 - $45,000

“Inspired by the song ‘Amarillo by Morning’, I wanted this painting to portray the life of a cowboy trying to make a living as a rodeo bull rider. I found these boots and spurs that perfectly capture the hard, rugged lifestyle these cowboys live.” – Kyle Polzin

Provenance: Private Collection, Arizona

Kyle Polzin

(b. 1974)

Kyle Polzin grew up in South Texas, and began developing his artistic skills at a young age under the guidance of his father. Brought up around horses and the Gulf coast, Polzin grew to appreciate the beauty and heritage of his Texas surroundings which is reflected in his art. He worked closely with his grandfathers who were both skilled carpenters, and through their teachings, learned the value of craftsmanship and the reward of creating with your hands. In 1992 Polzin began his formal training in fine art at Victoria College with emphasis in oil painting. During this time, he participated in instructional sessions under Dalhart Windberg, whose work has influenced him since boyhood. After college Polzin worked as a graphic 88

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artist and web designer while painting in his free time. As his popularity and success as a painter grew, he switched to painting full time in 2000. Polzin received the Express Ranches Great American Cowboy Award at the 2013 Prix de West in Oklahoma City, and the Don B. Huntley, Spirit of the West Award, given in recognition of the most outstanding work in cowboy subject matter for two years in a row at the Autry National Center’s Master’s of the American West Fine Art Exhibition and Sale. He has had numerous sold out shows and his work has been featured in ‘Art of the West’, ‘Southwest Art’, ‘Western Art Collector’, ‘Texas Outdoors Journal’, and numerous other publications. Credit: artist’s website

140 CLYDE ASPEVIG (b. 1951) Paradise Valley, 2008 Oil 40 x 50 inches Signed lower left: ‘C. Aspevig ‘08’ $60,000 - $90,000 Provenance: Private Collection, Wyoming

Clyde Aspevig

(b. 1951)

“Clyde Aspevig is arguably the greatest American landscape painter of our time. In my various careers as an art dealer, an art historian, a college level art history instructor and a museum director specializing in American landscapes, I have seen a great number of American landscape paintings. In my short list of the very best contemporary landscape painters, Clyde Aspevig is at the top.” Jean Stern, Executive Director, The Irvine Museum. For Clyde Aspevig, painting expresses human emotion better than any other medium. The divine nature of light reveals to the receptive eye the timeless interaction of land forms and

sky, water, flora, soil and rock. If he has any “mission” beyond the canvas in his creative endeavors, it is simply a wish to call attention to the timeless, intrinsic worth of our natural environment. The image resolves from a deliberative yet intuitive process of the artist, seeing. Nature, undistorted by the filters of acculturation. Clyde’s intent is to create something beautiful and harmonic. While subject matter is of prime consideration, further contemplation of the painting eventually yields its subtle nuances of texture and rhythm. His paintings possess qualities meant to outlast the viewer’s initial infatuation, qualities that will endure well into succeeding generations. Credit: artist’s website FREDERICKSBURG ART AUCTION

141 O.C. SELTZER (1877-1957) Buffalo Watercolor 8 x 10 inches Signed lower left: ‘O.C. Seltzer’ $7,000 - $10,000 Provenance: From the Collection of Ken Holm

142 O.C. SELTZER (1877-1957) Untitled - Indian Brave Watercolor 10 x 4 inches Signed lower left: ‘O.C. Seltzer’ $8,000 - $12,000 Provenance: Private Collection, Montana

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143 O.C. SELTZER (1877-1957) Blackfeet Scouts Watercolor/gouache on paper 14 x 19 inches Signed lower left: ‘O.C. Seltzer’ $30,000 - $40,000 Provenance: From the Collection of Ken Holm

O.C. Seltzer

(1877-1957)

O.C. Seltzer came to Montana during the final days of Indian wars and outlaws, and he spent the latter part of his life documenting them in watercolors and oils. The majority of Seltzer’s subjects included cowboys, Native Americans, homesteaders, miners, ministers and barmaids. Seltzer was known for spending copious amounts of time researching his subject matter to make sure his paintings contained authentic detail and accurate historical facts. Born in Copenhagen, Denmark, in 1877, Seltzer and his mother came to Great Falls

in 1892 to join her family after his father died. He worked for local “horse outfits” until 1893, when he got a job as a machinist in the Great Northern Railway shops in Great Falls. He worked similar jobs for almost 30 years, painting and sketching in his spare time. Seltzer was a close friend of cowboy artist Charles M. Russell and that was surely a factor in his decision to paint full time in 1921. Seltzer gained critical acclaim throughout his career. His legacy is that his work is highly sought after for its artistic merit and the historical accuracy that he strove to attain. FREDERICKSBURG ART AUCTION

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145 KYLE POLZIN (b. 1974) Awaiting Her Beloved Oil 30 x 39 inches Signed lower right: ‘Polzin ©’ $35,000 - $55,000 Provenance: Private Collection, Arizona

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146 WILLIAM ROBINSON LEIGH (1866-1955) Zuni Indian Oil on canvas mounted on board 17 x 13 inches Signed lower left: ‘W R Leigh’ $15,000 - $20,000 Provenance: Private Collection, Texas

147 WILLIAM GOLLINGS (1878-1932) Untitled, 1904 Oil 12 x 18 inches Signed lower left: ‘Gollings 04’ $20,000 - $30,000 Provenance: Private Collection, Texas

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148 OSCAR BERNINGHAUS (1874-1952) In the Forest of Pueblo Cañon Mixed Media 12 x 17 inches Signed lower left: ‘O. E. Berninghaus, Taos’ $40,000 - $60,000 Provenance: Private Collection, Texas Exhibitions: Nedra Matteucci Gallery, “Works on Paper”, March 16-April 10, 2007

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149 WILLIAM ACHEFF (b. 1947) Many Crows, 2010 Oil 16 x 20 inches Signed lower left: ‘Acheff 2010’; verso: signed, titled “Old Crow”, and dated by artist $25,000 - $35,000 Provenance: Private Collection, Texas

150 WILLIAM ACHEFF (b. 1947) Watching the Dancers, 2008 Oil 16 x 14 inches Signed lower right: ‘Acheff 2008’; verso: signed, titled, and dated by artist $20,000 - $30,000 Provenance: Private Collection, Texas

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151 SCOTT TALLMAN POWERS (b. 1972) What Lies Ahead, 2013 Oil 24 x 21 inches Signed lower right: ‘Scott Powers 2013’ $10,000 - $15,000 Provenance: Private Collection, Wyoming Exhibitions: Masters of the American West, Autry Museum, February, 2014

152 RAMON KELLEY (OPAM) (b. 1939) A Western Type Oil 12 x 9 inches Signed lower left: ‘Ramon Kelley © OPAM’; verso: signed and titled by artist $6,000 - $8,000 Provenance: Private Collection, Texas Exhibitions: Exhibited and live-auctioned at The Prix de West, 2010, National Cowboy & Western Heritage Museum, Oklahoma City, OK.

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153 JOSEPH HENRY SHARP (1859-1953) Hunting Son Oil 16 x 12 inches Signed lower left: ‘JH Sharp’ $40,000 - $60,000 Provenance: Private Collection, Texas

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154 WILLIAM ACHEFF (b. 1947) Steeped in Traditions, 2008 Oil 34 x 26 inches Signed lower right: ‘© Wm Acheff 2008’; verso: signed and titled by artist, 2008 $50,000 - $70,000 Provenance: Private Collection, Texas

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155 GARY LYNN ROBERTS (b. 1953) Seniority Oil on canvas 24.5 x 36.5 inches Signed lower right: ‘Gary Lynn Roberts’ $6,000 - $9,000 Provenance: Private Collection, Texas

156 TONY EUBANKS (b. 1939) The Hay Wagon Oil on canvas 30 x 42 inches Signed lower right: ‘Eubanks’ $9,000 - $12,000 Provenance: Private Collection, Texas

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158 GEORGE HALLMARK (b. 1949) La Paloma de Sonora (Dove of the Desert), 2015 Oil 48 x 36 inches Signed lower right: ‘© Hallmark’ $25,000 - $35,000 Provenance: The artist

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As the sun sets on another beautiful day in the Sonoran desert, two old friends visit in front of the mission, in waning light. Founded in 1692, Mission San Xavier del Bac is situated in the center of a Papago Indian settlement, along the banks of the Santa Crux River, approximately seven miles south of present day Tucson. The mission has been restored many times and has kept the wonderful white stucco exterior, thus the name: The White Dove of the Desert, “La Paloma de Sonora”.

159 OSCAR BERNINGHAUS (1874-1952) At the Hitching Post Oil on canvas 22.25 x 28 inches Signed lower left: ‘O. E. Berninghaus, Taos N.M.’ $100,000 - $150,000 Provenance: Gerald Peters Gallery, Santa Fe, NM Private Collection, Texas

“At the Hitching Post” is an exceptional painting by Oscar E. Berninghaus (1874-1952), one of the founders of the Taos Society of Artists, and one of the most important Southwestern artists of all time. This remarkable painting represents Berninghaus at his best. This work is full of wonderful light and 159 color along with great brushwork and texture. From the finely rendered details in the horses to the OSCAR BERNINGHAUS shapes and shadows of the(1874-1952) mountains surrounding Taos, the painting takes the viewer back in time Oscar Berninghaus (1874-1952 At the in Hitching Post at the beginning of the 20th century. to life New Mexico Oil on canvas Oscar E. Berninghaus was born in St. Lo 22.25 x 28 inches NM in 1952. A founder of the Taos Socie Signed lower left: ‘O. E. Berninghaus, Taos N.M.’ at drawing and painting animals, figures, Berninghaus developed an interest in art $100,000 - $150,000 business. He attended night classes at th 1898, he was on an illustration assignme took him for the first of many times into N heard of the special beauty of Taos and t was already a resident, and Phillips invite a tradition of spending the winter months Taos. He remained active in both commu the costumes and floats for the Veiled Pr event in St. Louis.

159 OSCAR BERNINGHAUS (1874-1952) At the Hitching Post Oil on canvas 22.25 x 28 inches Signed lower left: ‘O. E. Berninghaus, Taos N.M.’ $100,000 - $150,000

Oscar Berninghaus

(1874-1952)

Oscar E. Berninghaus was born in St. Louis, MO in 1874 a A founder of the Taos Society of Artists, Berninghaus exce animals, figures, and Southwestern landscape. Berningha in art through his family’s lithography business. He attend Louis School of Fine Art. In 1898, he was on an illustration magazine, which took him for the first of many times into He had heard of the special beauty of Taos and there met already a resident, and Phillips invited him to return. This spending the winter months in St. Louis and the summers in both communities, and for many years designed the co Veiled Prophet parade, a famous annual event in St. Louis

and died in Taos, NM in 1952. elled at drawing and painting aus developed an interest ded night classes at the St. n assignment for ‘McClure’s’ New Mexico and Arizona. t Bert Geer Phillips, who was s visit began a tradition of s in Taos. He remained active ostumes and floats for the s.

Berninghaus was a sketch artist for the Denver and Rio Grande Railroad to depict landscape of Colorado and New Mexico. In 1912, he joined the founding members of the Taos Society of Artists, whose goal was to promote sales of their work in Taos and other markets. In 1919, he bought an old adobe house near Taos overlooking the town and in 1925 settled there permanently. He did some painting in surrounding states including Phoenix, Arizona in 1931, where he painted a five lunette mural at the Post Office building of the opening of the west. His style was one of short, quick brush strokes, which gave his work a unique texture. Early in his career, he painted on site, but later from memory, which was described as being extremely accurate. One of the reasons he was committed to the Taos Art Colony was that he believed it was a distinctly American art, something definitive of subject matter unique to this country. He depicted Indians in a realistic, un-romanticized way, going about their lives as they actually did in twentieth-century New Mexico. Credit: AskArt.com

160 HARRY JACKSON (1924-2011) Dog Soldier II, 1992 Bronze #6 painted 19 x 20 x 13 inches Signed: ‘© Harry Jackson 1992 DSP#6P’ with thumbprint and JHS Cody stamp $8,000 - $12,000 Provenance: Private Collection, Texas Bronze plaque reads: Harry Jackson (1924- ); Dog Soldier II 1992; egg/oil tempera on bronze

161 FRANK C. MCCARTHY (1924-2002) In the Land of Ever Winter, 1994 Oil on linen 18 x 40 inches Signed lower left: ‘McCarthy CA © 1994’ $30,000 - $50,000 Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, March 10, 1992 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

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162 FRANK C. MCCARTHY (1924-2002) Blackfoot Threat, 1987 Oil on linen 28 x 40 inches Signed lower left: ‘McCarthy CA © 1987’ $50,000 - $70,000 Provenance: Purchased John Lane Gallery, Poughkeepsie, New York, October 20, 1987 From the collection of The Vincent and Carol W. Dean Family Charitable Foundation Exhibitions: The Museum of Western Art, Kerrville, Texas, long-term loan, 2002-2014

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163 WINOLD REISS (1886-1953) White Dog Mixed media 28 x 22 inches Signed lower right: ‘Winold Reiss’ $10,000 - $20,000 Provenance: From the Collection of Ken Holm

There is a pastel portrait of a gentleman on the back side, protected under plexiglass.

164 FRANCOIS KOCH (b. 1944) Mending Fences Oil on canvas 18 x 24 inches Signed lower right: ‘Francois Koch’ $8,000 - $12,000 Provenance: Private Collection, Texas

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165 Z. S. LIANG (b. 1953) Observers Above Fort Phil Kearny 1868, 2013 Oil 42 x 32 inches Signed lower right: ‘Z.S. Liang’; verso: signed and titled by artist, 2013 $40,000 - $60,000 Provenance: Private Collection, Wyoming

“Fort Phil Kearny was located east of the Bighorn Mountain region, built in 1866 by the U.S. Army to protect travelers on the Bozeman trail. Continuing attacks by bands of Lakota Sioux and Cheyenne caused the abandonment of the Fort in 1868 at which time the Indian Warriors burned the fort to the ground to prevent their return. This painting represents two Lakota Sioux scouts observing the departure of the Soldiers and other personnel.” – Z.S. Liang

Literature: Featured prominently as the first image (pg. 8) in the Z.S. Liang book, ‘Native Trails, Fresh Tracks’, 2014.

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166 OLAF WIEGHORST (1899-1988) Out of the Chute Watercolor on paper 12 x 18.5 inches Signed lower left: ‘O. Wieghorst’ $4,000 - $6,000 Provenance: Private Collection, Texas

167 JOHN CLYMER (1907-1989) Guardians of the Flock Oil on board 16 x 40 inches Signed lower right: ‘John Clymer’ $20,000 - $30,000 Provenance: Private Collection, Texas

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168 G. HARVEY (b. 1933) Yosemite’s Sentinel Oil 30 x 40 inches Signed lower left: ‘G. Harvey’; verso: signed and titled by the artist, item ‘no. KRG1’ $80,000 - $120,000 Provenance: Private Collection, Utah

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169 MELVIN WARREN (1920-1995) Five Rode Together, 1973 Oil 36 x 60 inches Signed lower left: ‘Melvin C. Warren CA 1973’ $80,000 - $120,000 Provenance: Private Collection, Texas Exhibitions: Exhibition sticker from Whitney Gallery of Western Art, Cody, Wyoming

Melvin Warren

(1920-1995)

Warren’s fascination with cowboy life, and his desire to become an artist, were constants in his youth. Warren’s father had been a ranch hand and cowboy, and Warren grew up on a succession of ranches in Texas and New Mexico. He had ample opportunity to watch cowboys in many different situations and was familiar with all their customary chores. He first brought the two interests together while living on a ranch in Seymour, Texas. After seeing an ad for a course from the Federal Art School, he performed odd jobs to earn enough money to take the course. From then on, his life direction was set. By the early 1960’s, Warren had

achieved enough success selling his paintings in galleries to leave the commercial art field. He joined the Cowboy Artists of America in 1968 and won the group’s Memorial Award in his very first exhibition with them. Skilled as both a painter and sculptor, Warren specialized in depicting scenes of the heroic West. His early experiences of ranch life informed his artwork throughout his career. Many of his paintings were used to tell the history of early Texas in the books ‘Frontier Forts of Texas’ and ‘Trails of the Southwest’. President Lyndon Baines Johnson was one of the most avid collectors of Warren’s work. Credit: Cowboy Artists of America website

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170 Z. S. LIANG (b. 1953) Advocate for Peace, Chief Moses, 1890’s, 2015 Oil 48 x 34 inches Signed lower left: ‘Z.S. Liang’ $55,000 - $75,000 Provenance: The artist

Z.S. Liang

(b. 1953)

Z. S. Liang was born in China and raised in a family of artists. He studied at the Central Academy of Fine Arts in Beijing and Guangzhou Academy of Fine Arts in Guangzhou. Liang furthered his art study in the United States in 1982. He earned his BFA in painting at Massachusetts College of Arts in 1986 and his MFA in Painting at Boston University in 1989. Liang received his great inspiration in this country while studying and painting the Wampanoag Indian culture at the outdoor

Museum in Plymouth, Massachusetts. This newfound interest fired his imagination, and he began to focus his painting primarily on Native American Indian cultures and their traditional ways of life. During the ensuing years of field research, he has made many connections and friends among Native tribes from the East coast to the West coast. Liang’s obvious passion for the Indians as a people, coupled with his emphasis on historical accuracy, adds strength and truth to his portrayals. Credit: artist’s website FREDERICKSBURG ART AUCTION

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171 VERYL GOODNIGHT (b. 1947) Running the Chaparral, 1997 Bronze #8/25 27 x 27 x 17 inches Signed: ‘Veryl Goodnight ‘97 ©’ $5,000 - $10,000 Provenance: Private Collection, Texas

172 ACE POWELL (1912-1978) Warrior at Sunset Oil on canvas 16 x 20 inches Signed lower left: Ace playing card cipher above ‘Powell’ $7,000 - $10,000 Provenance: Gerald Peters Gallery Private Collection, Montana

Ace Powell

(1912-1978)

Asa L. Powell was born in New Mexico in 1912 and lived near Kalispell, Montana, until his death on January 25, 1978. His father was a stable boss and guide in Glacier National Park. At the age of ten, “Ace” was a working wrangler. He went to high school in Browning and attended Montana State University. As a boy, Powell had watched Charles Russell paint in Bull’s Head Lodge in Apgar. In 1938, after a few private art lessons, Powell became a self-taught artist, sketching and painting what he knew best, the cowboy and the Indian with their horses in the region around Glacier Park. The following is quoted from an article that 112

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appeared in ‘Art West Magazine’, Spring 1978, entitled “Don’t Shake Hands With The Devil, Or He’ll Pull You Into Hell” by Van Kirke Nelson. “Ace said this of himself, that I have ‘been more fortunate than most, helped and have been helped, painted some great paintings and some terrible paintings. There were times when I thought the price I was charging was close to larceny -- so I have never regretted someone else making a dollar on my paintings as I’ll get it back from them next time. I’ve shaken hands with the devil -- perhaps more than most, but the good Lord has seen fit to keep me around for a bit longer.’”

173 CARL OSCAR BORG (1879-1947) Cowboy Camp Watercolor 20 x 24 inches Signed lower left: ‘Carl Oscar Borg’ Framed Companion Drawing Pencil 10 x 9 inches Signed lower right ‘Carl Oscar Borg’

$8,000 - $12,000 Provenance: Private Collection, California

174 DONALD TEAGUE (1897-1991) Crossing the Rio Grande Watercolor on paper 9.5 x 13.5 inches Signed lower right: ‘Donald Teague NA’ $8,000 - $12,000

Provenance: Private Collection, Minnesota Literature: Claudia Meyer, ‘Donald Teague A Life in Color’ (Bozeman, Montana: Nygard Publishing Company, 1988), page 67, illustrated

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175 RAY SWANSON (1937-2004) Winter Ride, 1976 Watercolor & gouache on board 21.25 x 29.25 inches Signed lower right: ‘Ray Swanson ©’; verso: signed and titled by artist, 1976 $7,000 - $10,000 Provenance: Private Collection, Texas

176 NICHOLAS COLEMAN (b. 1978) Morning Light, 2015 Oil on canvas 30 x 24 inches Signed lower right: ‘Nicholas Coleman’ $7,000 - $10,000 Provenance: The artist

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177 WAYNE BAIZE (b. 1943) Down Time Oil 16 x 20 inches Signed lower right: ‘Wayne Baize CA’ $3,000 - $5,000 Provenance: From the Collection of Ken Holm

178 DON PERCEVAL (1908-1979) Yosemite National Park Tempera 22 x 16 inches Signed lower right: ‘Don Perceval’ $5,000 - $7,000 Provenance: Private Collection, Texas

This painting is an original from the series Don Perceval created for the Santa Fe Railroad. This popular series featured national parks throughout the West, and the posters and original paintings are highly sought after today.

179 FRED DARGE (1900-1978) The Supply Run Oil on canvas on board 18 x 24 inches Signed lower right: ‘F. Darge’; verso: Inscribed ‘Fred Darge - From the Frost Collection, San Antonio’ $9,000 - $12,000 Provenance: Private Collection, Texas

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180 JOHN FALTER (1910-1982) Man’s Work to Be Done, 1977 Oil on canvas 12 x 16 inches Signed lower left: ‘J. Falter © ‘77’; verso: signed, titled and dated by artist $12,500 - $17,500 Provenance: Private Collection, Texas

181 CHARLES PARTRIDGE ADAMS (1858-1942) The Spanish Peaks, 1916 Oil 16.25 x 24 inches Signed lower left: ‘Charles Partridge Adams’; verso: ‘Spanish Peaks - Southern Colo. Afternoon Early Spring - Valley of Cuchaca Creek’, signed, 1916 $12,000 - $18,000 Provenance: Private Collection, Texas

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182 TOM DORR (b. 1950) About to Soak Some Hides, 2015 Oil 36 x 66 inches Signed lower right: ‘Tom Dorr’ $12,000 - $24,000 Provenance: The artist

183 JOSEPH ZBUKVIC (b. 1952) San Antonio, Texas Watercolor 13 x 18.75 inches Signed lower right: ‘J Zbukvic’ $2,000 - $4,000 Provenance: Private Collection, California

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184 TERESA ELLIOTT (b. 1953) Hidalgo, 2015 Oil 32 x 72 inches Signed lower right: ‘Elliott’ $25,000 - $35,000 Provenance: The artist

Teresa Elliott

(b. 1953)

A native Texan, Elliott graduated from The University of Kansas with a BA in Fine Arts. She then returned to Texas working as a leading freelance illustrator in Dallas for 27 years. “I have many years of art experience, so my development as an oil painter was fueled by working with the figure, portraiture and design,” says Elliott. In 2005 she returned to her fine art roots, dedicating herself exclusively to her studio practice as an oil painter. Teresa Elliott was the featured artist at the Coors Western Art Exhibit in 2015. Recipient of countless awards including

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The Chairman’s Choice Award at the Art Renewal Center’s International Salon in 2012, People’s Choice Award at the Coors Western Art Exhibit in 2014, 2012, 2011, 2010 and 2009, Best of Show at the Briscoe Museum’s Night of Artists’ Show in 2009 and Artist Choice Award at the Cowgirl Up! Show in 2008. Additionally, Elliott’s work is garnering international acclaim with her recent invitation to exhibit in the Contemporary Realism show in Beijing, China. Elliott lives and paints in the wide open spaces of West Texas near Alpine and the Big Bend.

185 BRUCE GREENE (b. 1953) For Better or For Worse Bronze #4/10 with hand-painted base 25 x 21 x 20 inches Signed: ‘Bruce Greene CA’ $6,000 - $12,000 Provenance: Private Collection, Texas

186 VERYL GOODNIGHT (b. 1947) Spirit Horse, 1994 Bronze #30/30 27 x 24 x 8 inches Signed: ‘Veryl Goodnight 1994 ©’ $3,000 - $5,000 Provenance: Private Collection, Texas

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187 SCOTT CHRISTENSEN (b. 1962) Summer at Dunoir Valley Oil 20 x 40 inches Signed lower center: ‘Christensen ©’ $10,000 - $15,000

Provenance: Private Collection, Alaska

188 SCOTT CHRISTENSEN (b. 1962) Winter Light Oil 20 x 40 inches Signed lower right: ‘Christensen ©’ $10,000 - $15,000

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Provenance: Private Collection, Alaska

189 MORGAN WEISTLING (b. 1964) Woodlands, 2008 Oil on canvas 48 x 34 inches Signed lower right: ‘Morgan Weistling 2008’ $40,000 - $60,000 Provenance: Private Collection, Texas

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190 DANIEL F. GERHARTZ (b. 1965) Sparkle Oil 40 x 40 inches Signed lower left: ‘DF Gerhartz’ $20,000 - $30,000 Provenance: Private Collection, New Jersey Literature: Featured in the book “Not Far From Home The Paintings of Daniel F. Gerhartz”

191 RICHARD SCHMID (b. 1934) Autumn Roses, 2007 Oil 8 x 12 inches Signed lower left: ‘Schmid 2007’ $18,000 - $24,000 Provenance: Private Collection, Texas

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192 HERMANN HERZOG (1831-1932) A Mountain Torrent Oil on canvas 44 x 60 inches Signed lower right: ‘H. Herzog’ $80,000 - $120,000 Provenance: Private Collection, New York Private Collection, Utah

In this spectacular work entitled “A Mountain Torrent” the viewer can see what made Herzog so famous and highly sought after by collectors. Not only has he captured the true beauty of the mountain landscape, but managed to highlight contrasting elements with great technical expertise, adding wonderful drama and emotion to the scene. The viewer can feel the power of the roaring waterfall, yet can also experience the serenity of living in the countryside during a quieter time of existence. One experiences the feeling of tranquility that can be found in the mountains and in living 192 a mountain lifestyle, but(1831-1932) simultaneously the foreboding, dramatic clouds and sky also tells a story HERMANN HERZOG Hermann Herzog (1831-1932) of Mountain its own. IfTorrent great works of art convey beauty, drama, emotion, and power, then Hermann Herzog A hason accomplished this feat and more with “A Mountain Torrent”. Oil canvas Hermann Herzog was born in Bremen, G 44 x 60 inches to the United States during the 1860s, se Signed lower right: ‘H. Herzog’ artists of the time he was independently wise investments, and was thus able to d $80,000 - $120,000 of financial hardship. Herzog followed in of the Romantic Movement by studying a primarily trained with Johann Wilhelm Sc Norwegian landscape painter Hans Gude acclaim for his landscape paintings throu attracted the patronage of such figures a II of Russia. In the United States, the pai landscape of his new home and the grea

192 HERMANN HERZOG (1831-1932) A Mountain Torrent Oil on canvas 44 x 60 inches Signed lower right: ‘H. Herzog’ $80,000 - $120,000

Hermann Herzog

(1831-1932)

Hermann Herzog was born in Bremen, Germany, in 1831 United States during the 1860s, settling in Philadelphia. U he was independently wealthy, having made a series of wi able to devote his life to painting without fear of financial h in the footsteps of many of the painters of the Romantic M Düsseldorf Academy, and primarily trained with Johann W the renowned Norwegian landscape painter Hans Gude. H acclaim for his landscape paintings throughout Europe an the patronage of such figures as Queen Victoria and Czar United States, the painter found renewed energy in the la

1* and immigrated to the Unlike many artists of the time ise investments, and was thus hardship. Herzog followed Movement by studying at the Wilhelm Schirmer and later with Herzog received widespread nd his abilities soon attracted Alexander II of Russia. In the ndscape of his new home and

the great American West. He took frequent trips to the western United States and with his sensitive style Herzog was able to capture the landscape at the peak of its beauty, paying close attention to the light and how it played upon the scenery. Hermann Herzog died February 6, 1932 at the phenomenal age of 100. The artist’s remarkable talent and skill has been recognized by many institutions and his works can be found in such venerable institutions as the Metropolitan Museum of Art. * Hermann Herzog’s date of birth is one of debate. Many sources say that he was born in November of 1932, however it was written at the time of his death (“Herzog is Dead at 100, ‘The Art Digest’, vol. 6, no. 10, February 15, 1932, p. 8) that he was 100 years old and was actually born in November of 1831. Our research tends to support this conclusion.

193 GILBERT GAUL (1855-1919) Cold Comfort on the Outpost Oil on canvas 25.25 x 30 inches Signed lower right: ‘Gilbert Gaul’ $20,000 - $30,000 Provenance: Private Collection, Minnesota

194 THOMAS HILL (1829-1908) Gates of Yosemite Oil 16 x 24 inches Signed lower left: ‘T Hill’ $10,000 - $15,000 Provenance: Private Collection, Texas

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195 RICHARD SCHMID (b. 1934) Cheryl, 1970 Conte crayon 22 x 17 inches Signed lower right: ‘Schmid 1970’ with artist’s fingerprint $5,000 - $10,000 Provenance: Private Collection, Illinois Private Collection, Wyoming

196 JAY MOORE (b. 1964) Monarch of the Forest, 2015 Oil 40 x 30 inches Signed lower left: ‘Jay Moore’ $14,000 - $19,000 Provenance: The artist

“I am and always have been a landscape painter, but after hundreds of excursions painting in the field, I have encountered such beautiful wildlife that they often have literally walked into my paintings. In these recent works, the animal does not dominate as in many wildlife paintings, but are shown in their natural environment. It is where they belong. They act so naturally and gracefully in their environment and in many cases they do not even know that I am there. I have observed this so many times, that I have recently challenged myself with capturing their beauty, as well as the beauty of the landscape that they live in. Every great painting has a concept or story, and the minute you include an element like a barn, road or animal the viewer can participate and fill in their version of the story from their own experience.” – Jay Moore

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197 NANCY GLAZIER (b. 1947) The Return Oil 28 x 36 inches Signed lower right: ‘N. Glazier’ $20,000 - $30,000 Provenance: Private Collection, Wyoming

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198 DAVE WADE (b. 1952) Hunting the Ice Floe Oil 30 x 40 inches Signed lower right: ‘Wade’ $8,000 - $12,000 Provenance: Private Collection, Wyoming

199 LUKE FRAZIER (b. 1970) Grey Ghost, 2015 Oil 24 x 24 inches Signed lower left: ‘L Frazier’; verso: signed and titled by artist, 2015 $10,000 - $14,000 Provenance: The artist

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200 JOHN BANOVICH (b. 1964) Something Stirring in the Moonlight, 2015 Oil on Belgian linen 35 x 21 inches Signed lower center: ‘© Banovich 2015’ $30,000 - $40,000 Provenance: The artist

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201 DAVID SHEPHERD (b. 1931) Giraffe Oil 14 x 11 inches Signed lower right: ‘David Shepherd’ $14,000 - $20,000 Provenance: Private Collection, California

202 DAVID SHEPHERD (b. 1931) Buffalo Alerted Oil 20 x 30 inches Signed lower right: ‘David Shepherd’ $50,000 - $70,000 Provenance: Private Collection, California

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203 JOHN DEMOTT (b. 1954) The Posse, 2015 Oil 36 x 48 inches Signed lower left: ‘© John DeMott’; verso: signed and titled by the artist $35,000 - $55,000 Provenance: The artist

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“The Posse”, a term most often associated with the American Old West, also known as “The Sheriff’s Posse”, refers to civilians who were deputized for a limited time in order to accompany the sheriff in apprehending fugitives and outlaws throughout the isolated frontier. The posses of the Old West were made up mostly of a group of “hard-ridin’ men”; men that were quick on a horse and could handle a gun. Faced with trying to restore order in the sprawling West, some bands of men bent on justice became something more, such as a group of forty cattlemen who met under an oak tree in Graham, Texas, in 1877, to try and solve the problem of cattle rustling. Those ranchers became the founders of what would become the Texas & South Western Cattle Raiser’s Association, which still exists today. This special group of rangers of the TSCRA, all commissioned law enforcement officers, investigate agriculture crimes. One of those crimes is still referred to as “cattle rustling” even today in Texas and Oklahoma...

204 BILL ANTON (b. 1957) Sierra Nomads, 1999 Oil on panel 28 x 34 inches Signed lower left: ‘Bill Anton ©’; verso: signed and titled by artist $17,500 - $22,500

Bill Anton

Provenance: Private Collection, Texas

(b. 1957)

The moment in the early sixties when Bill Anton first saw the Rocky Mountains, he vowed to return to the expansive western landscape. Exposed to art early and often, Anton drew constantly from the time he was old enough to hold a pencil. Inevitably, his two great loves in life united when he turned to western art full-time in 1982. Since 1982, Anton’s work has remained in high demand as collectors continue to clamor for the next great painting from

Bill Anton. Invited to exhibit in the country’s premiere shows, Anton has also met with significant critical acclaim including the Autry Museum’s Masters of the American West Show, ‘Purchase Award’, 2012 and the ‘Spirit of the West Award’ 2011, 2010 and 2009, the National Cowboy and Western Heritage Museum’s Prix de West, ‘Great American Cowboy Award’, 2009 and 2011. FREDERICKSBURG ART AUCTION

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205 ROY ANDERSEN (b. 1930) The Spanish Saddle Oil 30 x 40 inches Signed lower left: ‘Roy Andersen CA’ $30,000 - $40,000 Provenance: Private Collection, Arkansas

Roy Andersen

“Indians believe life moves in circles. I return to a love of horses and the native people who lived their lives on horse back. I paint Indians not just because they are picturesque, but because they are living symbols, that express the thoughts of free men and animals moving through a natural world. They are real, serious, and honest people looking for a connection between God and their own nature and the beautiful landscape around them.” – Roy Andersen

(b. 1930)

One knows when they are looking a painting by Roy Andersen. The confident strokes, the magnificent use of color and the carefully executed composition all point to a work created by a living master. Roy Andersen studied at the Chicago Academy of Fine Art and the Art Center School in Los Angeles. He achieved distinction in the crowded world of illustration art; producing work for such prestigious periodicals as ‘National Geographic’, ‘Sports Illustrated’ and ‘Time’. He also executed 132

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commissions for everything from Hollywood studios to the U.S. Postal Service. Andersen received the same distinction when he decided to turn his sights on fine art where he has been invited to exhibit in the country’s top museum shows including the Prix de West, The Masters of the American West Show at the Autry Museum and The Cowboy Artists of America Shows. Andersen has also had the honor of receiving Lifetime Achievement Awards from both the Briscoe Museum and the Booth Western Art Museum.

206 NICHOLAS EGGENHOFER (1897-1985) Night Run, 1971 Gouache 20 x 24 inches Signed lower right: ‘N. Eggenhofer CA’ $8,000 - $12,000

Provenance: From the Collection of Ken Holm Exhibitions: Cowboy Artists of America Exhibition, 1971 Subsequently in the Leanin’ Tree Museum of Western Art for over twenty years

207 JOE BEELER (1931-2006) The Dog Soldiers Bronze #9/15 20 x 37 x 11 inches Signed: ‘Joe Beeler CA’ $10,000 - $20,000 Provenance: From the Collection of Ken Holm Exhibitions: Silver Medal Award Winner for Sculpture, 1974 Cowboy Artists of America Exhibition

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208 TUCKER SMITH (b. 1940) Plainsmen, 2000 Oil 30 x 40 inches Signed lower right: ‘Tucker Smith ‘00’ $60,000 - $80,000 Provenance: From the Collection of Ken Holm

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209 BOB KUHN (1920-2007) In Their Prime, 1986 Acrylic on Board 14 x 18 inches Signed lower left: ‘Kuhn ‘86’ $50,000 - $75,000 Provenance: Private Collection, Texas

209 BOB KUHN (1920-2007) In Their Prime, 1986 Acrylic on Board 14 x 18 inches Signed lower left: ‘Kuhn ‘86’ $50,000 - $75,000

Bob Kuhn (1920-2007)

209 BOB KUHN (1920-2007) In Their Prime, 1986 Acrylic on Board 14 x 18 inches Signed lower left: ‘Kuhn ‘86’ $50,000 - $75,000

Bob Kuhn (1920-2007)

Bob Kuhn is regarded by many as the finest wildlife painte Kuhn was one of the best illustrators and fine artists Amer in Buffalo, New York and educated at the Pratt Institute in design, anatomy, and life-drawing. Kuhn’s career started a 30 years he was one of the most popular magazine-cover painting full time in 1970. Kuhn traveled around the world many of his wildlife expeditions lasting several weeks at a to Africa, to Alaska and Canada, and countless trips to the

Kuhn’s first love was perhaps African wildlife art, but in lat North American wildlife. He worked primarily in acrylics a regarded for capturing the personalities and traits of wild a are often infused with horizontal bands of color and light.

er of his time. For 50 years rica has known. He was born n Brooklyn where he studied as a wildlife illustrator and for artists. Kuhn turned to easel d to obtain inspiration, with time. He made several trips e American West.

ter years he concentrated on and has always been highly animals. Kuhn’s backgrounds Kuhn was a member of the

Society of Animal Artists in New York and his works are featured in museum collections including The National Museum of Wildlife Art in Jackson Hole, WY, and The National Cowboy Hall of Fame in Oklahoma City, OK. Regarding the painting featured here, “In Their Prime”, the words of Tom Davis, author of “The Art of Bob Kuhn”, seem to describe Bob and his painting with pinpoint accuracy: “Bob Kuhn’s animals are strong, vital, self-assured, at that razor-sharp pitch of perfection that allows them to survive in the wild. Always, they are in peak physical condition: alert, well-muscled, glossy-coated, supple-skinned. They are the cream of the race, the lords and ladies” Credit: The archives of AskArt.com; “The Art of Bob Kuhn” by Tom Davis, p.125-126

210 GREG BEECHAM (b. 1954) Angus, 2013 Oil 30 x 40 inches Signed lower right: ‘G. Beecham ‘13’ $16,000 - $24,000 Provenance: The artist

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211 MELVIN WARREN (1920-1995) Edge of Talpa, 1969 Oil on canvas 18 x 24 inches Signed lower left: ‘CA Melvin C. Warren 1969’; verso: signed and titled by artist, 1969 $15,000 - $25,000 Provenance: Private Collection, Texas

212 TOM RYAN (1922-2011) Robe Woman Oil 14 x 10 inches Signed lower right: ‘Tom Ryan’ $12,000 - $17,000 Provenance: Private Collection, Texas

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213 CHARLES FRITZ (b. 1955) West of Fort Laramie on the Oregon Trail, 2012 Oil on canvas 24 x 36 inches Signed lower left: ‘C. Fritz © ‘12’ $15,000 - $20,000 Provenance: From the Collection of Ken Holm Exhibitions: The Prix de West, National Cowboy & Western Heritage Museum, Oklahoma City, OK, 2012

214 RAY SWANSON (1937-2004) Cowboy Whittler Gouache 24 x 24 inches Signed lower right: ‘Ray Swanson CA’ $12,500 - $17,500 Provenance: Private Collection, Texas Exhibitions: Cowboy Artists of America, 39th Annual Exhibition, Phoenix Art Museum, 2004

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215 BILL OWEN (1942-2013) Leadin’ Out a Wild One, 2013 Oil on canvas 24 x 36 inches Signed lower right: ‘Bill Owen CA 2013’ $30,000 - $40,000 Provenance: Private Collection, Texas

Bill Owen

(1942-2013)

Bill Owen was born in 1942 in Gila Bend, Arizona to a mother who was an artist and a father who had been a cowboy throughout the early 1900s. These influences shaped his desire to be an artist and cultivated his interest in the cowboy lifestyle. Having inherited the God-given talent, it was only natural he would strive to become an artist who chronicled the lives and works of the contemporary cowboy. Bill exhibited at the Whitney Museum in Cody, Wyoming, the Grand Palais in Paris, France, and the Western Art Show in Beijing, China. In 1993, Bill became a member and staff artist of Rancheros Visitadores and, that year, was awarded the “Frederic Remington Award

for Artistic Merit” by The Cowboy Hall Of Fame. In 1996, the prestigious Gilcrease Museum in Tulsa, Oklahoma honored Bill as their Rendezvous Artist and at the 2003 Prix De West Invitational Exhibition and Sale he became the first recipient of Express Ranches “Great American Cowboy Award”. Inducted into the Cowboy Artists Of America in 1973, Bill served as CA President three times and earned numerous medals and awards at the annual show. Two awards that were especially meaningful to Bill are the CA award and the Traditional Cowboy Arts Association Award for “Best Portrayal of a Cowboy Subject”. Credit: Cowboy Artists of America website FREDERICKSBURG ART AUCTION

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Life was extremely difficult for the Native American tribes during the reservation period of the 1890s. Holding onto as many of the traditions that celebrate the old ways was very important. Reservations Dolls depicts a little Sioux girl from Rosebud wearing a traditional deerskin dress, probably passed down from better times as well as her mother’s hair bone necklace. Credit: artist’s website

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218 JOHN COLEMAN (b. 1949) Sun Priest, 2013 Charcoal 18 x 12 inches Signed lower right: ‘”Sun Priest” John Coleman CA ©’13’ $8,000 - $12,000 Provenance: Private Collection, Texas Exhibitions: Cowboy Artists of America Show, National Cowboy & Western Heritage Museum, Oklahoma City, OK, 2013

219 MICHAEL COLEMAN (b. 1946) On the Milk River, 2015 Oil on board 17 x 24 inches Signed lower right: ‘Michael Coleman’ $10,000 - $15,000 Provenance: The artist

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220 VERYL GOODNIGHT (b. 1947) Sprite, 2004 Bronze #11/21 65 x 72 x 24 inches Signed: ‘Veryl Goodnight 2004’ $15,000 - $25,000 Provenance: Private Collection, Texas

One of the world’s leading equine sculptors, Veryl Goodnight has said of her work, “I was born loving animals and the American West, [and] this has been the focus of my art for decades.” As a child growing up in the 1950s near Denver, Goodnight dreamed about having her own horse, a yearning she translated into horse drawings and sculptures out of snow. Today, an entire menagerie - not merely horses but bison, deer, elk, goats, sheep, coyotes, and bears - live on her property near Santa Fe and serve as live models. Goodnight possesses the uncanny ability to render animal personalities such as this exuberant colt, “Sprite”, as well as the communion between animals and people. Her equine bronzes grace numerous public institutions, including The National Cowboy and Western Heritage Museum in Oklahoma City and The Old West Museum in Cheyenne. “The Day the Wall Came Down”, her most celebrated piece, depicts five horses jumping over the ruins of the Berlin Wall; one casting resides at the George Bush Presidential Library and the other at The Allied Museum in Berlin.

221 KIM MACKEY (b. 1953) Vista Oil on canvas 30 x 40 inches Signed lower right: ‘Mackey OPA ©’ $6,000 - $9,000 Provenance: Private Collection, Texas

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222 G. HARVEY (b. 1933) Light Morning Showers Oil 12 x 9 inches Signed lower left: ‘G. Harvey ©’ $15,000 - $20,000 Provenance: Private Collection, Texas

223 G. HARVEY (b. 1933) Morning Reflections Oil 6 x 6 inches Signed lower right: ‘G Harvey ©’; verso: signed and titled by artist $7,000 - $10,000 Provenance: Private Collection, Texas

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Clark Hulings

(1922-2011)

Clark Hulings was born in Florida in 1922, and was raised in New Jersey. Over his lifetime he resided in New York, Louisiana, and throughout Europe before settling in Santa Fe, New Mexico, in 1972. His art training began as a teenager and continued at The Art Students League with Frank Reilly. Hulings initially pursued a career as a portraitist in Louisiana, followed by freelance illustration in New York working on paperback book covers. By the early 1960s, Hulings devoted himself to easel paintings. In 1965 he debuted in New York, N.Y., at The Grand Central Art Galleries. In 1973 he was the first recipient of the Prix de West Award at the National Academy of Western Art and in 1976 he was the subject of a solo exhibition at the National Cowboy and Western Heritage Center, Oklahoma City, OK, that was documented in the book ‘Hulings—A Collection of Oil Paintings’ (Lowell Press). This was followed in 1978 by a retrospective at the Museum of the Southwest, Midland, TX, and a 1981 exhibition at the C.M. Russell Museum, Great Falls, MT. As one of the leading American realist painters, Hulings traveled the world looking for rural and urban landscapes and genre scenes to become the subjects of paintings reflecting 144

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the vibrancy of the human spirit. He searched for beauty in places where others might only find misery. In the world of street people he saw compassion and self-respect. In urban alleyways he envisioned sunlit corridors of family activity. Among rustic farmers he discovered people whose lives were synchronized with cycles of the seasons and the animals they care for. Hulings ability to see timeless beauty in momentary human gestures and activities won him the appellation “master” on numerous occasions. His celebration of textures as expressed through light, shadow, and atmosphere was explained as “describing air itself.” His modesty in the face of such acclaim was legendary. His affection for donkeys was a trademark, with the animal’s quiet demeanor becoming a metaphor of human patience and perseverance. Hulings was the recipient of numerous awards from organizations including The Allied Artists of America, The Salmagundi Club and The Hudson Valley Art Association. In his adopted state, Hulings was recognized with shows at the New Mexico Museum of Art, Santa Fe. In 1985, the museum installed a Hulings plaque on its artist walk of fame; and in 2004, he received the New Mexico Governor’s Award for Excellence in the Arts. Credit: The Archives of AskArt.com

225 SCOTT CHRISTENSEN (b. 1962) June on the Marsh, 2008 Oil 22 x 30 inches Signed lower right: ‘Christensen ©’; verso: signed and titled by artist $12,500 - $25,000 Provenance: Private Collection, Texas

Scott Christensen

(b. 1962)

Given that he rarely picked up an artist’s brush until his college years, some would say Scott Christensen came to the canvas late. Yet, in a sense, art was with him all along. One of his strongest memories of his Wyoming boyhood is visits with his grandfather, who, having been injured in a farm accident and confined to a wheelchair, gave himself over to painting. “What I remember best in that house,” Scott says, “is the smell of paint.” Christensen’s work embodies both tradition and innovation. His singular vision is deeply informed by the masters. He has studied Isaac Levitan, Alphonse Mucha, and Joaquin Sorolla, among others, as well as Anders Zorn, whose luminous work inspired Christensen to adopt a similarly limited palette. Christensen’s work has been exhibited in many prestigious museums and shows throughout the country, including the National Academy

of Western Art; the Prix de West Invitational at the National Cowboy and Western Heritage Museum in Oklahoma City; the Gilcrease Museum in Tulsa, Oklahoma; the National Museum of Wildlife Art in Jackson, Wyoming; the Denver Art Museum; the Salmagundi Club in New York; the Masters of the American West Fine Art Exhibition and Sale at the Autry National Center of the American West; and the Salon d’ Arts at the Colorado History Museum. “June in the Marsh” is an eloquent example of Christensen’s painterly approach that captures the emotion of a singular sublime moment in time. Indeed, if the painting resonates with you then Christensen would agree that he has succeeded as a conduit of nature’s true expression. Credit: AskArt; artist’s website FREDERICKSBURG ART AUCTION

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226 BOB WYGANT (1927-2008) Serene Morning Acrylic on board 18 x 24 inches Signed lower right: ‘Bob Wygant TA’ $6,000 - $9,000 Provenance: Private Collection, Texas

227 JOE FERRERA (1932-2004) Bare Knuckles, 1990 Oil 18 x 24 inches Signed lower right: ‘Ferrera ‘90’ $2,000 - $4,000 Provenance: Private Collection, Texas

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228 HAROLD VON SCHMIDT (1893-1982) The Battle Axe of Company L, The Saturday Evening Post illustration Oil on canvas 30 x 40 inches Signed upper right: ‘Harold Von Schmidt 1955’; verso: written by hand “Part II page number 41. He went down before Sally Ran’s shot. Toppled into the makeshift fort.”

Provenance: Attached to the back is a typed note card that says: ‘For publication in the Saturday Evening Post’. Includes artist’s name and title. Dated April 1, 1955 Private Collection, Wyoming

$5,000 - $10,000

229 JAMES REYNOLDS (1926-2010) Near Wilcox, Arizona, 1986 Oil on canvas 18 x 24 inches Signed: ‘James Reynolds ‘86’ $10,000 - $14,000 Provenance: Private Collection, Texas

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230 ROBERT LOUGHEED (1910-1982) Cedar Pastures Oil 12 x 16 inches Signed lower left: ‘Robert Lougheed’, with artist’s horse cipher $7,000 - $10,000 Provenance: Private Collection, Idaho Private Collection, Wyoming

231 ROBERT WOOD (1889-1979) Texas Oaks, 1947 Oil 25 x 30 inches Signed lower right: ‘Robert Wood ‘47’ $15,000 - $25,000 Provenance: Private Collection, Texas

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232 MATT SMITH (b. 1960) The Granite Wave, 2000 Oil 14 x 18 inches Signed lower left: ‘Matt Smith’; verso: signed and titled by artist $3,000 - $5,000 Provenance: Private Collection, Alaska

233 DAN MIEDUCH (b. 1947) Moses Brings Plenty, 2005 Oil 11.5 x 8.5 inches Signed lower left: ‘© Dan Mieduch 2005’ $2,500 - $3,500 Provenance: Private Collection, Arizona

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234 MICHAEL COLEMAN (b. 1946) Passing Showers in Yellowstone Gouache 18 x 12 inches Signed lower left: ‘Michael Coleman’ $6,000 - $8,000 Provenance: Private Collection, Texas

235 JIM NORTON (b. 1953) Looking for the Signal Oil 11 x 14 inches Signed lower left: ‘Jim C. Norton CA’ $5,000 - $10,000 Provenance: Private Collection, Arizona

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236 JOHN MOYERS (b. 1958) Red Rock Rendezvous, 1999 Oil 16 x 20 inches Signed lower right: ‘John Moyers, CA’ $5,000 - $7,000 Provenance: Private Collection, Texas

237 PAUL MANN (b. 1955) Coming Out of the Rocks Oil 24 x 40 inches Signed lower right: ‘Paul Mann’ $6,000 - $10,000 Provenance: From the Collection of Ken Holm

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238 TIM CHERRY (b. 1965) Heads or Tails Bronze #2/18 22 x 26 x 21 inches Signed: ‘© Tim Cherry’ $10,000 - $15,000 Provenance: Private Collection, Texas

239 JONI FALK (b. 1933) Tesuque Pueblo Oil 30 x 40 inches Signed lower right: ‘Joni Falk AWA’ $10,000 - $15,000 Provenance: Private Collection, Arizona

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240 PATRICIA DOBSON (b. 1947) Pueblo Chiaroscuro Oil on linen 34 x 30 inches Signed lower right: ‘Patricia Dobson’; verso: signed and titled by artist $12,000 - $18,000 Provenance: Private Collection, Texas Private Collection, Wyoming Literature: This painting was featured prominently in the May/June 2012 issue of ‘Art of the West’ Magazine

241 LLOYD MOYLAN (1893-1963) Singing Navajos Oil 18 x 24 inches Signed lower right: ‘Lloyd Moylan’ $4,000 - $6,000 Provenance: Private Collection, Texas

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242 ALFREDO RODRIGUEZ (b. 1954) Juntando Flores, 1983 Oil 28 x 22 inches Signed lower right: ‘A. Rodriguez ©’83’; verso: signed and titled “Gathering Flowers” © 1983 $3,500 - $5,000 Provenance: Private Collection, Texas

243 OLEG STAVROWSKY (b. 1927) Taking a Break Oil on canvas 20 x 24 inches Signed lower left: ‘Oleg Stavrowsky’ $4,000 - $6,000 Provenance: Private Collection, Texas

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244 PAUL STRISIK (1918-1998) Moraine Flats, 1983 Oil 12 x 20 inches Signed lower right: ‘P. Strisik © 83’ $2,500 - $3,500 Provenance: Private Collection, Michigan

245 RAY SEXTON (1959-1996) September in Yellowstone Oil 18 x 30 inches Signed lower left: ‘Ray Sexton’ $4,000 - $6,000 Provenance: From the Collection of Ken Holm

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246 BOB KUHN (1920-2007) Deer and Canada Geese, 1992 Pencil on paper 11 x 20 inches Signed lower right: ‘Kuhn ‘92’ $5,000 - $8,000 Provenance: Private Collection, Texas

247 JOHN CLYMER (1907-1989) Moose and Calf Oil on board 8 x 10 inches Signed lower right: ‘John Clymer’; verso: signed and titled by artist $4,000 - $6,000 Provenance: Private Collection, Texas

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248 KYLE POLZIN (b. 1974) A Vintage Reward, 2013 Oil 16 x 16 inches Signed lower left: ‘Polzin ©’ $12,000 - $18,000 Provenance: Private Collection, Texas

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249 OSCAR BROUSSE JACOBSON (1882-1966) Untitled - Southwest Landscape Oil 19 x 23.5 inches Signed lower right: ‘Jacobson’ $6,000 - $8,000 Provenance: Private Collection, Texas

250 WILL JAMES (1892-1942) Untitled - Cowboy, 1928 Ink 7 x 6.75 inches Signed lower right: ‘Will James ‘28’ $3,000 - $5,000 Provenance: Private Collection, Texas

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251 JAMES MUIR (b. 1945) On the Skirmish Line, 1982 Bronze #29/30 20.25 x 12.50 x 6.50 inch Signed: ‘JN Muir ©1982’ with crossed sabers inscription and artist’s ‘M’ mark $1,200 - $2,400 Provenance: Private Collection, Texas

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253 GARY KAPP (b. 1942) Wapiti Hunters Oil on canvas 30 x 40 inches Signed lower left: ‘Gary Kapp’ $6,000 - $9,000 Provenance: Private Collection, Texas

254 CONRAD BUFF (1886-1975) Horses Oil on board 18 x 22 inches Signed lower right: ‘Conrad Buff’ $2,000 - $3,000 Provenance: Private Collection, California By descent in family to Private Collection, Texas

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255 T.D. KELSEY (b. 1946) Dressed for Dinner, 2004 Bronze #3/5 12 x 16 inches Signed: ‘TD Kelsey 2004’ $6,000 - $9,000 Provenance: From the Collection of Ken Holm

256 T.D. KELSEY (b. 1946) Looks Ain’t Everything, 2011 Bronze #2/5 15 x 22 x 12 inches Signed: ‘TD Kelsey CA 2011’ $6,000 - $9,000 Provenance: From the Collection of Ken Holm

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258 ROBERT SUMMERS (b. 1940) The Guidon, 1999 Oil on board 12 x 9 inches Signed lower left: ‘Robert Summers 1999’ $1,000 - $1,500 Provenance: Private Collection, Texas

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259 MICHAEL STACK (b. 1947) Sundown Over Manzano Oil 20 x 30 inches Signed lower left: ‘Michael Stack’ $6,000 - $8,000 Provenance: Private Collection, Wyoming

260 CURT WALTERS (b. 1950) Surf At Carmel Oil on canvas 20 x 30 inches Signed lower left: ‘Curt Walters’ $4,000 - $7,000 Provenance: Private Collection, Texas

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261 TERRY ISAAC (b. 1958) Full Steam Ahead Acrylic 27 x 20.5 inches Signed lower right: ‘© T. Isaac’ $5,000 - $8,000 Provenance: Private Collection, California

262 DANIEL SMITH (b. 1954) Silent Surveillance, 2009 Acrylic 20 x 18 inches Signed lower right: ‘Smith © ‘09’ $8,000 - $12,000 Provenance: Private Collection, Arizona

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263 DON STIVERS (1926-2009) The Advance, 1988 Oil 9 x 14 inches Signed lower left: ‘Stivers ‘88’ $3,000 - $5,000 Provenance: Private Collection, Texas

264 MIMI JUNGBLUTH (b. 1934) Tewa Baby Pastel 9.5 x 9.5 inches Signed lower right: ‘Mimi’ $1,000 - $1,500 Provenance: Private Collection, California

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265 LINDA ST. CLAIR (b. 1952) Texas Troubadour, 2015 Oil 40 x 30 inches Signed lower right: “St. Clair” $5,000 - $8,000 Provenance: The artist

266 DAN MCCAW (b. 1942) Watchful Eye Oil on masonite 14 x 18 inches Signed lower left: ‘D. McCaw’ $1,500 - $3,000 Provenance: Private Collection, Texas

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267 DEAN ST. CLAIR (1942-2003) Wet Paint Oil on canvas 36 x 48 inches Signed lower right: ‘Dean St. Clair’ $5,000 - $8,000 Provenance: Private Collection, Texas

268 W. STANLEY PROCTOR (b. 1947) Wind in Her Hair Bronze #8/30 28 x 14 x 8 inches Signed: ‘W Stanley Proctor’ $3,000 - $5,000 Provenance: Private Collection, Texas

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269 DAVID DRINKARD (b. 1948) Covered Up Acrylic on board 24 x 36 inches Signed lower right: ‘Drinkard’ $1,500 - $3,000 Provenance: Private Collection, Texas

270 DAVID DRINKARD (b. 1948) Heartstopper Acrylic on board 24 x 30 inches Signed lower right: ‘Drinkard’ $2,500 - $5,000 Provenance: Private Collection, Texas

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271 OLAF WIEGHORST (1899-1988) Christmas Card, 1977 Watercolor 7 x 5 inches Signed lower left: Initialed ‘OW’, lower right: inscribed from artist “To Doc, Merry Xmas 1977” $1,500 - $2,000 Provenance: Private Collection, Arizona

272 JOHN DEMOTT (b. 1954) Sioux Camp Watercolor 3.5 x 5.75 inches Signed lower left: ‘Sioux Camp DeMott 80’; verso: “To Doc: A friend I greatly admire! John DeMott” $300 - $500 Provenance: Private Collection, Arizona

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ARTIST INDEX

ARTIST

LAST, FIRST

LOT# (S)

ARTIST

LAST, FIRST

LOT# (S)

Abbrescia, Joe . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Drinkard, David . . . . . . . . . . . . . . . . . . . . . . . 269, 270

Acheff, William . . . . . . . . . . . . . . 73, 89, 149, 150, 154

Eberhard, Mark . . . . . . . . . . . . . . . . . . . . . . . . 48, 100

Adams, Charles Partridge . . . . . . . . . . . . . . . . . . . 181

Eggenhofer, Nicholas . . . . . . . . . . . . . . . . . . . 7, 8, 206

Afsary, Cyrus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Elliott, Josh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Andersen, Royâ&#x20AC;Ś . . . . . . . . . . . . . . . . . . . . 57, 65, 205

Elliott, Teresa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Anton, Bill . . . . . . . . . . . . . . . . . . . . . . . . 74, 109, 204

Eubanks, Tony . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Aspevig, Clyde . . . . . . . . . . . . . . . . . . . . . . . . . 82, 140

Falk, Joni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Audubon, John James . . . . . . . . . . . . . . . . . . . . . . . 67

Falter, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Baize, Wayne . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Fellows, Fred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Ballantyne, Carrie . . . . . . . . . . . . . . . . . . . . . . 30, 127

Ferrera, Joe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Banovich, John . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Frazier, Luke . . . . . . . . . . . . . . . . . . . . . . . 53, 66, 199

Beecham, Greg . . . . . . . . . . . . . . . . . . . . . . . . 54, 210

Fritz, Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Beecham, Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Galien-Laloue, Eugene . . . . . . . . . . . . . . . 79, 133, 135

Beeler, Joe . . . . . . . . . . . . . . . . . . . . . . . . 10, 11, 207

Gaul, Gilbert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Berninghaus, Oscar . . . . . . . . . . . . . . . . . . . . 148, 159

Gerhartz, Daniel F. . . . . . . . . . . . . . . . . . . . . . . . . . 190

Borein, Edward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Glazier, Nancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Boren, James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Gollings, William . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Borg, Carl Oscar . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Goodnight, Veryl . . . . . . . . . . . . . . . . 35, 171, 186, 220

Brown, Harley . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 23

Greene, Bruce . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Browning, Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Grelle, Martin . . . . . . . . . . . 96, 97, 119, 126, 144, 157

Buff, Conrad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Greves-Neilson, Sheri . . . . . . . . . . . . . . . . . . . . . . 257

Bush, Nancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Hagege, Logan Maxwell . . . . . . . . . . . . . . . . . . . . . . 33

CAA Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Hallmark, George . . . . . . . . . . . . . . . . . . . . . . 99, 158

Carlson, Ken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Hardie, Eldridge . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Carter, Gary . . . . . . . . . . . . . . . . . . . . . . . . 15, 58, 111

Harvey, G. . . . . . . . . . 71, 118, 131, 132, 168, 222, 223

Case, G. Russell . . . . . . . . . . . . . . . . . . . . . . . 34, 101

Herzog, Hermann . . . . . . . . . . . . . . . . . . . . . . . . . 192

Cherry, Tim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Hill, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Christensen, Scott . . . . . . . . . . . . . . . . . 187, 188, 225

Houser, Allan . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Clymer, John . . . . . . . . . . . . . . . . . . . . . . . . . 167, 247

Hulings, Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Coleman, John . . . . . . . 5, 6, 83, 84, 85, 216, 217, 218

Isaac, Terry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Coleman, Michael . . . . . . . . . . . . . . . . . . . . . 219, 234

Jackson, Harry . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Coleman, Nicholas . . . . . . . . . . . . . . . . . . . . . 43, 176

Jacobson, Oscar Brousse . . . . . . . . . . . . . . . . . . . . 249

Cortes, Edouard . . . . . . . . . . . . . . . . . . . . 78, 80, 134

James, Will . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Cotton, Brent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Jungbluth, Mimi . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Cox, Tim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Kapp, Gary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Crowley, Don . . . . . . . . . . . . . . . . . . . . . . . . . . . 21, 60

Kelley, Ramon . . . . . . . . . . . . . . . . . . . . . . . . . 17, 152

Darge, Fred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Kelsey, Greg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

DeMott, John . . . . . . . . . . . . . . . . . . . . . . . . 203, 272

Kelsey, T.D. . . . . . . . . . . . . . . . . . . . . . . . . . . 255, 256

Dobson, Patricia . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Koch, Francois . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Dorr, Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Koerner, W.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

170

M AY 2 , 2 0 1 5

ARTIST

LAST, FIRST

LOT# (S)

ARTIST

LAST, FIRST

LOT# (S)

Kuhn, Bob . . . . . . . . . . . . . . . 68, 90, 91, 94, 209, 246

Roters, Carl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Kuhnert, Wilhelm . . . . . . . . . . . . . . . . . . . . . . . . 93, 95

Rungius, Carl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,3

Lang, Steven . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Russell, Charles Marion . . . . . . . . . . . . . . . . . 113, 114

Leigh, William Robinson . . . . . . . . . . . . . . . . . 61, 146

Ryan, Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Liang, Z.S. . . . . . . . . . . . . . . . . . . . . . 69, 70, 165, 170

Schatz, Manfred . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Lougheed, Robert . . . . . . . . . . . . . . . . . . . . . . . . . 230

Schmid, Richard . . . . . . . . . . . . . . . . . . . . . . 191, 195

Mackey, Kim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Scott, Lindsay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Mann, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Scriver, Bob . . . . . . . . . . . . . . . . . . . . . . . . . . . 87, 88

McCarthy, Frank . . . . . . . . . . . . . . 20, 62, 63, 64, 103,

Seltzer, O.C. . . . . . . . . . . . . . . . . . . . . . 141, 142, 143

. . . . . . . . . . . . . . . . . . . 104, 124, 129, 138, 161, 162

Seltzer, W. Steve . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

McCaw, Dan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Sexton, Ray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

McGraw, Sheri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Sharp, Joseph Henry . . . . . . . . . . . . . . . 122, 130, 153

Mieduch, Dan . . . . . . . . . . . . . . . . . . . . . . . . . 44, 233

Shepherd, David . . . . . . . . . . . . . . . . . . . . . . 201, 202

Mignery, Herb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Shinabarger, Tim . . . . . . . . . . . . . . . . . . . . . . . . 55, 56

Moore, Jay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Shufelt, Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Moore, Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Situ, Mian… . . . . . . . . . . . . . . . . . . . . . . . . 75, 76, 77

Moran, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Smith, Daniel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Moyers, John . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Smith, Matt . . . . . . . . . . . . . . . . . . . . . 27, 28, 41, 232

Moyers, William . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Smith, Tucker . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Moylan, Lloyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

St. Clair, Dean . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Muir, James . . . . . . . . . . . . . . . . . . . . . . . . . 251, 252

St. Clair, Linda . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Niblett, Gary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Stack, Michael . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Norton, Jim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Stavrowsky, Oleg . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Oberg, Ralph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Stivers, Don . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Owen, Bill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Strisik, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Perceval, Don . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Summers, Robert . . . . . . . . . . . . . . . . . . . . . . . . . 258

Pino, Giuseppe D’Angelico . . . . . . . . . . . . . . . . . 52, 81

Swanson, Ray . . . . . . . . . . . . . . . . . . . . . . . . 175, 214

Polzin, Kyle . . . . . . . . . . . . . . . . . . . . . . . 139,145, 248

Teague, Donald . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Powell, Ace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Terpning, Howard . . . . . . . . . . . . . . . . . . . . . . . . . 107

Powers, Scott Tallman . . . . . . . . . . . . . . . . . . . . . . 151

Von Schmidt, Harold . . . . . . . . . . . . . . . . . . . . . . . 228

Price, Clark Kelley . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Wade, Dave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Proctor, W. Stanley . . . . . . . . . . . . . . . . . . . . . . . . 268

Walters, Curt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Reed, Marjorie . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Warren, Melvin . . . . . . . . . . . . . . . . . . . . 98, 169, 211

Reiss, Winold . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Weistling, Morgan . . . . . . . . . . . . 50, 51, 125, 128, 189

Remington, Frederic . . . . . . . . . . . . . . . . . . . . . . . 112

Wieghorst, Olaf . . . . . . . . . . . . . . . . 116, 117, 166, 271

Reynolds, James . . . . . . . . . . . . . . . . . . . . . . 108, 229

Wood, Robert . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Rich, Jason . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Wygant, Bob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Ripley, Aiden Lassell . . . . . . . . . . . . . . . . . . . . . 24, 25

Yorke, David . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Roberts, Gary Lynn . . . . . . . . . . . . . . 59, 110, 115, 155

Zbukvic, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Rodriguez, Alfredo . . . . . . . . . . . . . . . . . . . . . . . . . 242 FREDERICKSBURG ART AUCTION

171

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Willkommen to Fredericksburg. Now get lost.

For a relatively small town, it’s easy to get lost in Fredericksburg. In the beauty of the Hill Country. In the history of its museums. The many charming guesthouses, B&Bs and inns. Vineyards and wineries. The colorful galleries and oh-so-quaint boutiques. And lots of live entertainment. So come. And lose yourself in the Hill Country magic of Fredericksburg. H V isitFredericksburgTX.com | 866 997 3600 VisitFredericksburgTX.org | 866 997 3600

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CHÄMPE JENNINGS JEWELRY

Featuring our collection of Native American jewelry from designers such as Sherry Estes, Mary Salazar, and Juan Willy, knives from William Henry Studios, and other fine jewelry.

Chämpe Jennings Jewelry 109 N. Adams Fredericksburg, Texas 990-9998

You are invited . . .

You are invited...

214 WEST MAIN STREET

FREDERICKSBURG, TEXAS 78625

TEL 866.668.3592

F R E D E R I C KS B U R G A R TAU C T I O N . CO M

ABSENTEE | PHONE BID FORM MAY 2, 2015 | FREDERICKSBURG ART AUCTION NAME

ADDRESS

CITY

STATE

FAX

ZIP

PHONE (GENERAL CONTACT PHONE BEFORE OR AFTER AUCTION DAY)

Absentee and phone maximum bids are kept confidential. Fredericksburg Art Auction will bid on your behalf (just as if you would in person) in an effort to obtain the lots(s) at the lowest possible hammer price and will not exceed the stated maximum bid. Phone bidders please submit this form early as the total number of phone lines are subject to availability. Phone bidders will be contacted several minutes in advance of your lot coming to bid (expect roughly one lot per minute to calculate the approximate time(s) you will be called). If your absentee/phone bid is successful you will be contacted for shipping and payment information. Payment is due immediately upon invoicing.

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LOT #

DESCRIPTION

MAXIMUM BID

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With my signature below, please bid on my behalf for the lot(s) listed above up to my maximum bid (maximum bid not required for telephone bidders but encouraged as described above). I understand that my bids are subject to the Fredericksburg Art Auction Terms and Conditions of Sale as printed on page 6 of this catalog (and also available on our website), and that the Fredericksburg Art Auction provides absentee and phone bidding as a complimentary service and cannot guarantee the execution of these bids. I also understand that if my bid is successful, it will be subject the the Buyer’s Premium, as stated in the Terms and Conditions of Sale, as well as any applicable taxes. Please complete and fax, email or mail by 5pm CDT Thursday, April 30th, 2015. FAX: 866.668.8757 SIGNATURE (I AGREE TO THE ABOVE STATEMENTS) EMAIL: INFO@FREDERICKSBURGARTAUCTION.COM FREDERICKSBURG ART AUCTION 214 W. MAIN ST., FREDERICKSBURG, TX 78624

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| F R E D E R I C KS B U R G A R TAU C T I O N . CO M

Lot 170 | Z. S. LIANG (b. 1953) | Advocate for Peace, Chief Moses, 1890â&#x20AC;&#x2122;s, 2015 | Oil | 48 x 34 inches

Mian Situ T H RE E F RI E NDS ° 30 X24 ° OI L

Mian Situ One Man Show ° May 1-25 ° Join us for an artist reception with Mian Situ Friday, May 1, 5-7 pm Internationally acclaimed artist, Mian Situ, captures the history of the people of rural China and those that came before him making a new life in the west during the 1800s. Mr. Situ feels a strong need, as a painter, to preserve their traditional ways of life and dress before they are lost. “My paintings always tell stories, “ Mian says. “I have spent many years traveling throughout China, studying the people...trying to capture the rhythm of their lives.”

214 West Main Street ° Fredericksburg, Texas 888.997.9921 ° insightgallery.com ° info @ insightgallery.com

Lot 169 | MELVIN WARREN (1920-1995) | Five Rode Together, 1973 | Oil | 36 x 60 inches

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