Saturday • April 15, 2023 • Session II
SESSION II
Saturday, April 15 11:00 a.m.
L ots 163 - 418
Saturday • April 15, 2023 • Session II
Saturday • April 15, 2023 • Session II
Auction preview open to the public
Monday - Friday, 10 a.m. - 5 p.m. beginning Monday, March 24.
Friday, April 14 9:00 a.m. - 11:00 a.m. ........................
Registration & Preview 11:00 a.m. First Session: Lots 1-162
Saturday, April 15 9:00 a.m. - 11:00 a.m. ........................ Registration & Preview 11:00 a.m. Second Session: Lots 163-418
This event requires registration.
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Scottsdale Art Auction Partners
MICHAEL FROST
J.N. Bartfield Galleries PO Box 2400 New York, NY 10021 (212) 245-8890
michael@scottsdaleartauction.com
BRAD RICHARDSON
Legacy Gallery
7178 E. Main Street
Scottsdale, AZ 85251 (480) 945-0225
Legacy Gallery 225 Canyon Road Santa Fe, NM 87501 (505) 986-0440
info@scottsdaleartauction.com
Opposite 274 Howard Terpning b. 1927 Buffalo Runners (detail)
Mixed Media 29 x 46 inches
Signed/CA and dated 1983 lower left; Titled and signed verso
Estimate: $125,000 - 175,000
Saturday • April 15, 2023 • Session II
SESSION II
L ots 163 - 418
Jason Brooks, Auctioneer
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Opposite 301
Eanger Irving Couse 1866-1936
Taos Love Call Oil on board 34 x 46 inches
Signed lower right
Estimate: $300,000 - 500,000
163
Allan Houser 1914-1994
Shepherdess
Bronze, cast 7/25
7 inches overall height
Signed and dated 88
Estimate: $3,000 - 5,000
165
Fremont Ellis 1897-1985
Summer Crossing
Oil on board
12 x 16 inches
Signed lower right
Estimate: $4,000 - 6,000
164
Joseph Fleck 1892-1977
Taos Spring Oil on board
13 ½ x 13 ½ inches
Signed lower left
Estimate: $2,000 - 3,000
166
Edward Borein 1872-1945 Scratchin’ High Etching
7 ¾ x 4 ½ inches
Signed lower right
Estimate: $1,000 - 1,500
167
Frederic Remington 1861-1909
Arizona Cowboy
Lithograph
20 x 15 inches
Signed and dated 1901 lower right in plate
Copyright RH Russell 1901
Estimate: $3,000 - 5,000
Literature:
Remington: The Complete Prints, Crown Publishers, New York, 1990: p.71
168
Frederic Remington 1861-1909
Cavalry Officer
Lithograph
19 x 14 ¾ inches
Signed lower right
Copyright RH Russell 1901
Estimate: $3,000 - 5,000
Literature:
Remington: The Complete Prints, Crown Publishers, New York, 1990: p.70
11
Signed/NA
Estimate: $6,000 - 9,000
169
Fireside Dreams Oil on canvas
12 x 16 inches
Signed lower right
Estimate: $3,000 - 6,000
16 x 20 inches
Signed lower right
Estimate: $6,000 - 9,000
Provenance:
Santa Fe Art Auction, Santa Fe, NM
Gerald Peters Gallery, Santa Fe, NM
East Coast artist Sheldon Parsons was fully established and respected in New York enclaves as a portrait artist from 1895 into the second decade of the 20th century. In 1912, his beloved wife, photographer Caroline Reed Parsons died. Around the same time, Parsons was diagnosed with tuberculosis. Eager for a change of scenery and weather, the artist and his daughter drove west looking for a new home. When they landed in New Mexico and were immediately struck by the color and culture of the Southwest, Parsons knew he was home. He would later become the first director of the New Mexico Museum of Fine Art and his daughter would marry Victor Higgins.
172
Eric Sloane 1905-1985
Taos Church
Oil on masonite
20 x 19 inches
Signed/NA lower left
Estimate: $7,000 - 10,000
New York-based painter Eric Sloane was primarily known for his bucolic country scenes, including a great number of images of covered bridges all around the country, but the artist also spent large chunks of time in Taos, New Mexico, where he painted the clouds, the churches and the various pueblos. In his book Seventeen Dollars a Square Inch, Sloane tells author Forrest Fenn about his introduction to the town. “My first stay in Taos was the beginning of a love affair with the Southwest,” he says. “The mystique of the land left an indelible effect, and by the time I returned to Taos in 1931 as a professional painter, I felt immersed in the hypnotism of its enchantment.”
173
Taos Hollyhocks
Oil on canvas
30 x 36 inches
Signed/NAWA lower right
Estimate: $6,000 - 9,000
Navajo Shepherdess Oil on canvas
22 x 28 inches
Signed lower right
Estimate: $3,000 - 4,000
John
Miles From Home Oil on board
10 x 12 inches
Signed lower left; Signed, titled and dated 2020 verso
Estimate: $2,500 - 3,500
Crow Butte Country
Watercolor
13 x 29 inches
Signed/CA lower left and dated 91
Estimate: $3,000 - 5,000
Exhibited:
Cowboy Artists of America Museum, Kerrville, TX
Western Spirit: Scottsdale’s Museum of the West, Scottsdale, AZ
Provenance:
Altermann Galleries, Santa Fe, NM, 2005
Private collection
Mid 20th-century artists in Southern California wanted to be either fine artists or they wanted to work for Disney. David Halbach was in the latter camp. After going to the Chouinard Art Institute in Los Angeles, and then a stint in the Navy, Halbach went to work for Walt Disney, where he did animation on the 1955 animated feature Lady and the Tramp A dream fulfilled, the painter also worked in commercial art and advertising, as well as teaching, before moving to Arizona to work in Western art. His delicate, yet complexly arranged, watercolor images eventually caught the eye of the Cowboy Artists of America, which made him a member in 1985.
177
Olaf C. Seltzer 1877-1957
Indian and Horse Travois
Watercolor
2 ½ x 4 ½ inches
Signed lower left
Estimate: $1,500 - 2,500
178
Olaf C. Seltzer 1877-1957
Mare & Colt
Watercolor
3 ½ x 4 ½ inches
Signed lower right
Estimate: $2,000 - 3,000
179
Olaf C. Seltzer 1877-1957
Grazing Horse
Watercolor
2 ½ x 4 ½ inches
Signed lower left
Estimate: $1,000 - 2,000
180
Olaf C. Seltzer 1877-1957
Indian Brave
Watercolor
10 x 8 inches
Signed lower right
Estimate: $5,000 - 7,000
181 Bettina Steinke 1913-1999 Gathering for the Basket Dance Oil on canvas
20 x 26 inches
Signed and dated 81 lower right
Estimate: $3,500 - 5,000
Exhibited: Colorado Historical Society, Denver, CO
Provenance: Sotheby’s, New York, NY, 2021
Like so many artists raised on the East Coast who were lured to the West, Bettina Steinke took one look at the people, the sky and culture of the Southwest and knew she had found a new home. The artist was raised in New York City, where she found early acclaim painting portraits of all 108 members of the NBC orchestra. She also did portraits of John Wayne, Joel McCrea and other celebrities. In New Mexico, where she lived in Taos and later Santa Fe, Steinke worked with many younger artists, including Loren Entz and Martin Grelle, as they started their careers. By many accounts, Steinke is the only woman artist ever considered for membership of the Cowboy Artists of America. She painted hundreds of portraits, but was also known for her nudes and street scenes.
182 Edward S. Curtis 1868-1952
Set of two: Arikara Chief and Yellow Owl / Mandan
Photogravure on Dutch Van Gelder paper
15 ½ x 8 ¾ and 15 ¾ x 11 ¾ inches
Estimate: $4,500 - 6,500
183 Edward S. Curtis 1868-1952
Set of two: Eagle Child - Atsina and White Shield-Arikara
Photogravure on Dutch Van Gelder paper
15 ½ x 10 ¼ and 15 ¾ x 10 ¼ inches
Estimate: $4,500 - 6,500
184
Frederic Remington 1861-1909
Set of eight: A Bunch of Buckskins
Lithograph
18 x 14 inches each (sight)
Signed lower right
Copyright RH Russell 1901
Estimate: $10,000 - 15,000
Provenance:
Private collection, New Jersey
Literature:
Remington: The Complete Prints, Crown Publishers, New York, 1990: p. 68-71
Frederic Remington A Catalogue Raisonné, Peter H. Hassrick and Melissa J. Webster, University of Oklahoma Press, Norman, OK, 2016: p. 38, photograph of Irma Hotel lobby.
Remington & Russell, Brian W. Dippie, University of Texas Press Austin, TX, 1994: p. 45.
Frederic Remington A Catalogue Raisonné of Paintings, Watercolors and Drawings, Volume II, Peter H. Hassrick and Melissa J. Webster, Buffalo Bill Historical Center, Cody, WY, 1996: p. 728-729.
Widely considered to be Frederic Remington’s most successful print series, A Bunch of Buckskins, consisting of eight pastel images, was created in 1901 and published by frequent Remington collaborator R.H. Russell. The pastels from the portfolio were included in the artist’s first solo gallery exhibition in New York in December 1901. Remington was especially pleased with the popularity and reach of the portfolio. In 1908, he checked into the Irma Hotel in Cody, Wyoming, and was thrilled to see a full, framed set in the lobby.
185
Harry Jackson 1924-2011
Pony Express II
Bronze, PEII 44 P
14 ½ inches overall height
Signed and dated 1980
Estimate: $7,000 - 10,000
Literature: Harry Jackson, published by Harry N. Abrams Inc. 1981, pg. 234
Harry Jackson lived a colorful and occasionally troubled life that led him from stockyards, lumber companies, ranches and even the islands of Tarawa and Saipan during World War II. After first embracing abstract expressionism at the encouragement of friend Jackson Pollock, he headed to Wyoming to paint and sculpt the American West. For Pony Express II, the artist related: “There is a wonderful cowboy expression that you hear to this day—’packing the mail’…It certainly comes from the Pony Express rider, who rode between St. Joe, Missouri, and Sacramento, California, along the North Platte and the Sweetwater rivers and across South Pass, right through the heart of Wyoming, with outlaws and Indians trying to stop him from doing what he set out to do and no law to protect him. He wasn’t interested in wiping them out, he was just interested in defending himself and standing them off, doing his job of packing the mail.”
186
Harry Jackson 1924-2011
Two Champs II
Bronze, TCII 94
22 inches overall height
Signed and dated 1977
Estimate: $6,000 - 9,000
Literature: Harry Jackson, published by Harry N. Abrams Inc. 1981, pg. 262
187 John (Jack) Frost 1890-1937
Down the Ridge Oil on board
17 x 12 inches
Signed lower right
Estimate: $25,000 - 35,000
Provenance: La Mesa Patron
Son of Arthur Burdett Frost, John (Jack) Frost was one of the great California Impressionists of the 1920s and 1930s. He was born in Philadelphia but studied all over Europe, including at Paris’ Académie Julian as he traveled with his famous illustrator father. A terrible case of tuberculosis halted great portions of his early life, but it did lead him to drier climates in California, where he would paint the Sierra Nevadas, the beaches of Southern California and pastoral meadow scenes in idyllic foothills near his home in Pasadena. Tuberculosis would ultimately kill him at the young age of 47. Due to his marvelous rise and abbreviated career, Frost’s works are rare to the market.
188 James Reynolds 1926-2010
Then and Now Oil on board 24 x 36 inches
Signed/CA lower left
Estimate: $20,000 - 30,000
Few images in Western art are as iconic as a rain-soaked cowboy in a yellow slicker. And no artist was linked to that timeless imagery more than James Reynolds, the California-born painter who first worked in illustration and then in Hollywood before turning his attention to Western art. Then and Now has another Reynolds hallmark: delicate light conveyed in sumptuous brushstrokes. Whether it was a gloomy monsoon, fading sunlight raking across the desert floor, snow scenes in the high mountains or high noon at a cattle drive, Reynolds was a master at showing the brilliance of light.
189
Ernest Blumenschein 1874-1960
Church at Placita Gouache
11 ½ x 10 inches
Signed “B” lower left
Estimate: $8,000 - 12,000
190
Oscar Berninghaus 1874-1952
Winter Ranch
Watercolor 9 x 16 inches
Signed lower left
Estimate: $10,000 - 15,000
191 Maynard Dixon 1875-1946
Ramada Phoenix, Arizona - August 1900
Graphite on buff paper 10 3/8 x 7 5/8 inches
Insignia and “Phoenix, Ariz.” lower left
Estimate: $3,000 - 5,000
192
Edgar S. Paxson 1852-1919
Indian Warrior
Watercolor
12 x 9 inches
Signed lower right and dated 1902
Estimate: $8,000 - 12,000
Literature:
E.S. Paxon - Frontier Artist, published 1984, pg. 120
Exhibited:
Western Spirit: Scottsdale’s Museum of the West, Scottsdale, AZ
Provenance:
Sotheby’s, New York, NY, 1998
Coeur d’Alene Art Auction, Reno, NV, 2004 Private collection, Massachusetts
Edgar S. Paxson’s frequent use of watercolor, particularly in his head and full-body portraits of Native Americans, happened with a stroke of luck starting around 1900 “in response to the adequate natural light for painting in oil during winter in smoky Butte, [Montana],” writes William Edgar Paxson Jr., the artist’s great-grandson, in E.S. Paxson: Frontier Artist. “He found that by working in watercolor he could dash off complete images during brief periods of favorable light. He quickly became intrigued with these small studies and found that they were readily purchased by local buyers…” Today these portraits represent an important period of Native American portraits within Western art.
193
Edgar S. Paxson 1852-1919
Nag-a-Shaw
Watercolor 13 x 9 inches
Signed and dated 1901 lower right
Estimate: $6,000 - 9,000
194
Edgar S. Paxson 1852-1919
An Old War Horse
Watercolor 10 x 7 inches
Signed and dated 1904 lower right
Estimate: $6,000 - 9,000
195
Edgar S. Paxson 1852-1919
Brave And His Horse
Watercolor
13 x 9 ½ inches
Signed and dated 1901 lower right
Estimate: $10,000 - 15,000
196
Edgar S. Paxson 1852-1919
Ramrod Jones
Watercolor
19 x 13 inches
Signed and dated 1905 lower right;
Signed and dated 1905 verso; including sketch
Estimate: $6,000 - 9,000
197
Harvey Dunn 1884-1952
Esau In Search of a Home Oil on canvas 38 x 26 inches
Signed and dated 1910 lower right
Estimate: $28,000 - 38,000
Provenance: Private collection, Wyoming
Literature:
The Saturday Evening Post, “Esau in Search of a Home,” Emerson Hough, The Curtis Publishing Company, January 21, 1911: p. 3.
This painting originally appeared in the January 21, 1911, edition of the Saturday Evening Post, in an article titled “Esau in Search of a Home: The Ground We Stand On” by Western writer Emerson Hough. Within the context of the article, the image is titled When He Did Not Like a “Nester” He Either Killed Him or Kicked Him Out. The work is one of four illustrations by Dunn in the article, which largely focuses on land issues related to the expansion of the United States. Hough uses the biblical story of Jacob and Esau—a story of birthright and deception among brothers—as a literary device to emphasize America’s need to connect with the land, build homes and expand the country. “Poor old Esau! Poor old hairy-pawed, hardworking, square-stepping, decent old chap,” Hough writes. “He wants a home, even though that shall mean to certain bright minds—who perhaps have no home of their own—that he is to be technically known as a hick, a rube, a farmer or a countryman. Rather let us call him a man and a citizen—and that of the most essential sort.”
Like Esau, Dunn was born on a farm and was the hard-working son of homesteaders in the Dakota Territory. At just 17 years old, Dunn enrolled at the Art Institute of Chicago, where he would meet teacher Howard Pyle. In 1904, Pyle invited the younger artist to join him in Chadds Ford, Pennsylvania. The concentration of illustrators would come to be called the Brandywine School. Just two years later, Dunn had his own studio and was producing imagery for magazines and periodicals such as Century, Collier’s, Harper’s, Scribner’s and the Saturday Evening Post. When he was married in 1908, N.C. Wyeth was his best man. Dunn would eventually start his own school with painter Charles S. Chapman. One of his first students was Dean Cornwell, who said, “I was privileged to sit at Harvey Dunn’s feet…He taught art and illustration as one…as religion.”
Signed and dated 2005 lower right
Estimate: $45,000 - 65,000
Literature:
The Narrative Art of Robert Griffing Volume II The Journey Continues, published by Paramount Press, Inc. 2007, pg. 44
16
20 inches
Signed and dated 2003 lower left
Estimate: $15,000 - 25,000
Literature:
The Narrative Art of Robert Griffing Volume II The Journey Continues, published by Paramount Press, Inc. 2007, pg. 124
18
20 inches
Signed and dated 2018 lower right
Estimate: $15,000 - 25,000
28 x 48 inches
Signed lower left
Estimate: $15,000 - 20,000
26 x 28 inches
Signed lower left
Estimate: $8,000 - 12,000
36 x 48 inches
Signed lower right;
Signed, titled and dated 2011 verso
Estimate: $50,000 - 65,000
24 x 32 inches
Signed lower right;
Signed, titled and dated 2017 verso
Estimate: $14,000 - 18,000
Signed/CA lower left
Estimate: $16,000 - 24,000
Where the West Commences
Oil on board
34 x 48 inches
Signed lower left
Estimate: $20,000 - 30,000
inches overall height
Signed/CA
Estimate: $20,000 - 30,000
208
Olaf Wieghorst 1899-1988
Holding Their Own Oil on canvas
28 x 38 inches
Signed lower left
Estimate: $25,000 - 35,000
No subject intrigued Olaf Wieghorst more than the horse. “I’ve been observing horses for so many years that I guess I’ve begun to think like one,” he says in his book Olaf Wieghorst. “That’s what I mean when I say that the horse has been my greatest teacher. Horses have been my companions under nearly all possible conditions. I have frozen with them at night in sub-zero weather; ridden across the desert in some of the hottest days on record; starved with them and hunted water with them longer than I care to remember. I have nailed shoes onto hundreds of them; been kicked, bitten, squeezed, bucked off, stepped on by them, and fallen from them, but in spite of all the hurt and broken bones, I have no regrets. Any measure of success that I now enjoy, I owe to them. Horses have been my life!”
209
Olaf Wieghorst 1899-1988
Moonlit Camp Oil on canvas
24 x 30 inches
Signed lower left
Estimate: $30,000 - 40,000
210
Olaf Wieghorst 1899-1988
Late Stage Oil on canvas
24 x 30 inches
Signed lower right; Signed and titled verso
Estimate: $30,000 - 40,000
211
Earle Heikka 1910-1941
Overland Stagecoach
Bronze, cast 4/10
17" overall height, 51" wide
Signed and dated 1932
Estimate: $10,000 - 15,000
Earle Heikka represents one of the great “what ifs” of Western art. The Montana-born sculptor, who lived in Great Falls at a time when Charles M. Russell was alive, was on track to become a respected and sought-after artist only to be derailed by the Great Depression. His own personal depression and slow sales eventually led the young artist to commit suicide in 1941. He was only 31 years old. Today, his work is rare and highly desirable by Western art collectors. It’s a measure of success that Heikka was never able to see during his lifetime.
212
Frank McCarthy 1924-2002
The Hostiles
Oil on board
24 x 36 inches
Signed/CA and dated 76’ lower right; Signed and titled verso
Estimate: $28,000 - 38,000
Provenance:
Coeur d’Alene Art Auction, Reno, NV, 2002
Private collection, Montana Private collection, Texas
Literature:
The Art of Frank McCarthy, Elmer Kelton, Greenwich Workshop Inc., Trumbull, CT, 1992: p. 122.
One of the great action painters, Frank McCarthy had many unique aspects to his work: his vibrant and dynamic color, the delicate detail in his grass and rocks in foreground and background, and his attention to anatomy, both horse and human. All of these traits are on view in The Hostiles, created in 1976, the year after McCarthy, the former illustrator and movie poster artist, had been voted into the Cowboy Artists of America. “Some Western artists document, some do scenery, animals and portraits of Indians. I paint to achieve visual impact—trying to redesign, if you will, the beauty and character of God’s creation in the West: the mountains, streams, lakes, deserts, and most all, the rock,” McCarthy wrote in 1973. “I put into this setting the characters that roamed it: mountain men, free traders, cavalry, cowboys and Indians, as well as the vehicles that crossed it such as the wagon trains and the stagecoaches. My paintings are based on truth and their settings in reality, but the events are not specific. I guess the illustrator in me likes to leave the story to the beholders and never end a situation in a painting, always leaving another hill to climb and stream across.”
Signed/CA
Estimate: $8,000 - 12,000
Signed/CA
Estimate: $20,000 - 30,000
Signed/CA lower right;
and
Estimate: $20,000 - 30,000
12 x 11 inches
Signed/CA lower right
Estimate: $18,000 - 24,000
18 x 30 inches
Signed lower right
Estimate: $20,000 - 30,000
Signed/CA,
Estimate: $5,000 - 8,000
219
G. Harvey 1933-2017
Wishing for Spring
Oil on canvas
12 x 9 inches
Signed lower right; Signed, titled and dated 1995 verso
Estimate: $12,000 - 18,000
220
G. Harvey 1933-2017
The Spirit of Texas II
Bronze, cast 12/25
79 inches overall height
Signed and dated 2006
Estimate: $35,000 - 55,000
Breaking Cabin Fever
Oil on canvas
30 x 50 inches
Signed lower right; Signed and titled verso
Estimate: $100,000 - 150,000
221 G. Harvey 1933-201730 x 50 inches
Signed lower right;
Signed and titled verso
Estimate: $100,000 - 150,000
Like many artists of his generation, G. Harvey saw romance in the hard work that came with the West. He liked the grit and determination that his figures represented. They worked tirelessly and earned everything they had. Those qualities can be seen in works like Breaking Cabin Fever, as its four riders leave their warm cabin behind to tend to the day’s demands amid the snow and ice.
“The cowboy’s life has changed little on many ranches across our western states,” Randy Best writes in G. Harvey: The Golden Era — The American Dream. “Far from town, horses have not yielded to pickups and four-wheelers. Horseback is still the preferred way to ride fence and round up strays. Each year G. Harvey revisits the Spade Ranch, where tradition and the old ways have preserved this 160,000-acre spread for 100 years. Along the Colorado River, this red-rock country with its buttes and mesas, shimmers through mesquite and cactus on long summer days and blows with a penetrating cold in winter…G. Harvey has often eaten biscuits, sausage and scrambled eggs with the ranch hands before sun-up and watched shafts of yellow light filter through dust raised by thousands of hooves rushing through the narrow opening of a corral. He has admired the skill of these men teaming with their horses to separate cattle for cutting, doctoring and branding. These modern cowboys are part of a tradition and way of life. They confront the same weather, stubborn cattle, ranch jobs, loneliness and fears as their great-grandfathers. G. Harvey thinks of them as living legends standing proud against the enticements of modern comforts. He has listened endlessly to the stories of cowboys breaking ice on water troughs before dawn and of digging new ponds to catch the shower of reluctant clouds, always mindful and protective of the year’s profit grazing beside their mothers.”
222
G. Harvey 1933-2017
KCGR Black Gold Oil on canvas
16 x 12 inches
Signed lower left; Signed and titled verso
Estimate: $45,000 - 60,000
This painting, sometimes shown using the shortened title Black Gold, was part of a long-running series by the artist about the oil fields of Texas and Oklahoma. “Men who gambled their futures on a string of drill pipe in quest of oil wrote one of the most exciting chapters of the Golden Era,” writes Randy Best in G. Harvey: The Golden Era — The American Dream. “They shattered the rural tranquility of sleepy communities across Oklahoma and Texas as boomtowns sprang to life with crowded, muddy streets and blaring saloons. In these early oil men, G. Harvey finds a spirit of adventure, a willingness to take risks, and to confront the odds and challenge fate. He believes these character traits are uniquely American—both the cowboys on horseback and entrepreneurs toiling in the oil field shared this spirit.”
223
G. Harvey 1933-2017 Snowflakes
Oil on canvas
24 x 36 inches
Signed lower left; Signed and titled verso
Estimate: $75,000 - 100,000
G. Harvey’s paintings have many recognizable characteristics that are popular among collectors: the way the horses ride straight at the viewer, the quiet resolve of the figures as they embark on their journey or return home at the conclusion of one, the settings of Texas Hill Country or a bustling city in the era before automobiles, and the beautiful quality of the light that can be seen in every brushstroke. But his work also goes deeper.
“The essence of G. Harvey’s style conveys the emotion he feels for his subject matter and the inextricable link of its history with his own,” writes Randy Best in G. Harvey: The Golden Era — The American Dream. “The play of broken color allows the viewer to become actively involved in interpretation. The art is impressionistic in that it provides us images of trees, hills, cities and rivers, but we can also feel the invisible cold, howling wind, stifling heat, sadness, joy and longing. Warmly lit windows beckon as we shudder from the mist and chill that penetrate a lonely rider. Through his art, G. Harvey heightens our senses and powers of observation. Inexplicably, we are able to see a sunset beyond the corner of his canvas, the glow of which has illuminated the panes in a storefront and rough sideboards on a wagon. We gain an impression of times just beyond the periphery of our memory, but close enough that his illumination warms our fancy.”
225 William Acheff b. 1947
700 Years
Oil on canvas
16 x 26 inches
Signed lower right
Estimate: $6,000 - 8,000
224
William Acheff b. 1947
Apache Thunder
Oil on canvas
36 x 24 inches
Signed lower right;
Signed, titled and dated 2017/18 verso
Estimate: $20,000 - 40,000
Signed and dated 1997 lower right;
Signed, titled and dated 1997 verso
Estimate: $35,000 - 45,000
Literature:
Patrons Without Peer, The McCloy Collection, by Tom Davis, published by Collectors Covey 2009; p. 43
227
Tim Cox b. 1957
Dusty Trails and Cow Tails
Oil on board
30 x 40 inches
Signed and dated 02 lower left
Estimate: $30,000 - 50,000
228
Bill Owen 1942-2013
Jughead
Oil on canvas
24 x 18 inches
Signed and dated 2008 lower right; Signed/CA, titled and dated 2008 verso
Estimate: $14,000 - 18,000
Provenance: Private collection, Arizona
229
Bill
Laying a Heel Trap
Oil on canvas
20 x 30 inches
Signed/CA and dated 1973 lower right;
Signed/CA and dated 1973 verso
Estimate: $15,000 - 20,000
Provenance: Private collection, Arizona
Laying a Heel Trap was created in 1973, the year Bill Owen was voted into the Cowboy Artists of America, a group he would serve in and lead for four decades. The Arizona-based artist was celebrated not only for his paintings but also his sculpture work—founders Joe Beeler, George Phippen and Johnny Hampton were also artists who worked in paint and clay. Owen’s sculpture career would end in 1989 after a rodeo accident made him blind in one eye. Donning an eyepatch after his accident, Owen didn’t miss a beat and continued painting to great acclaim. The title of the painting refers to a type of throw used in roping cattle—many riders use a heel trap, or a sweeping scoop maneuver to rope the rear legs of a cow.
230
Charlie Dye 1906-1972
Driftin' Music Oil on canvas
24 x 30 inches
Signed lower left
Estimate: $25,000 - 35,000
Accompanied by: pencil study
Provenance: Private collection, Texas
Exhibited: San Diego Museum of Art, Balboa Park, San Diego, CA
Raised around ranches, Charlie Dye was a cowboy before he was an artist. But when art called to him, he answered by studying in Chicago and working as an illustrator in New York City. He did interior images and covers for Argosy, Outdoor Life, American Weekly, Family Weekly, Saturday Evening Post and many others before he packed up and headed west to paint cowboys. In Sedona, he met Joe Beeler and the rest, including the formation of the Cowboy Artists of America, is history. Driftin’ Music, created during a peak period in 1963, is listed as painting number 116 of 257 in the artist’s journals, some of which are reproduced in the book Charlie Dye: One helluva western painter
Cautious Crossing
20 x 27 inches
Signed lower right
Estimate: $20,000 - 30,000
232
Charlie Dye 1906-1972
Morning in Cow Camp
Oil on board
30 x 48 inches
Signed/CA lower right
Estimate: $50,000 - 75,000
Accompanied by: pencil study
Provenance: Private collection, Texas
This exceptional Charlie Dye painting, showing one of his classic cowboy camp scenes, has been shown as both Morning in Cow Camp and A Morning on Round-up, though neither title appears in the 1981 book on the artist, Charlie Dye: One helluva western painter, which includes a full account of all his major paintings taken directly from his studio journals. Of the 257 listed works in the book, only eight measure 30 by 48 inches, which was the largest size Dye ever painted. Of the eight, several are in private collections and have never been published or exhibited. One title that seems to fit this scene is the 1966 painting The Roundup Map, which would align with the story in the picture as cowboys scribble a makeshift map in the dirt before starting their day. Regardless of the title, this Dye painting features a full scene with many of the artist’s favorite subjects: rugged cowboys, cattle horses rigged up and ready for a ride and the camp cook in the background finishing up breakfast.
Dye’s works have shades of Charles M. Russell, which makes sense given his own history with the famous artist: he saw some of Russell’s work in a magazine while recuperating in the hospital after a horse fell on him. He would go on to work as a cowboy, but Russell’s vision of the West never left his mind. Later, as an illustrator in New York City, Dye’s work took a noticeable deviation—they were more Norman Rockwell than Charlie Russell. A later trip west, though, reminded him of his roots and he began to once again gravitate to all things cowboy. In the summer of 1965, he was in the Oak Creek Tavern in Sedona, Arizona, with Joe Beeler, Johnny Hampton and George Phippen as they began to lay out the foundation of the Cowboy Artists of America.
“Charlie Dye painted Western and cowboy art and he painted it damn well,” writes Paul Weaver in One helluva western painter. “His experience may have paralleled that of some other Western artists—his boyhood of cowboying in the West, his early career as an illustrator in the East—but some special mix in his genes and environment produced one of the most individual, cantankerous, honest, give-’em-hell painters of his time. This was a real tell-it-as-he-saw-it guy. He had the respect of his peers in the art world, the gallery people who represented him, collectors, his roping buddies in the sheriff’s posse, golf pals and just about everybody else he came in contact with on a person-to-person basis.”
233
Joe Beeler 1931-2006
Too Close For Comfort
Oil on board
22 x 40 inches
Signed/CA lower right; Signed letter from the artist, dated 1976 verso
Estimate: $30,000 - 40,000
Exhibited:
Phippen Museum, Prescott, AZ American Collector’s Art Auction
Gilcrease Musum, Tulsa, OK
Literature:
Joe Beeler: Life of a Cowboy Artist, Don Hedgpeth, Diamond Tail Press, Vail, CO, 2004: p. 154. Cowboy Artist - The Joe Beeler Story, published by Northland Press 1979, pg. 114
Joe Beeler frequently painted cowboys, and he also repeatedly painted Native American scenes, but many of his best works are when the two worlds overlapped, as is the case in Too Close for Comfort, which shows a horse and rider hiding behind a desert bush as Indian riders march past. “Joe’s creative muse rides a horse called reality,” Don Hedgpeth writes in Joe Beeler: Life of a Cowboy Artist. “The substance and strength of his art is based on blood and birthright. He is heir to the timeless tales and traditions of two groups of proud people. [Joe] says, ‘I can’t remember the first time I drew an Indian or a cowboy on a sheet of tablet paper, but it was along about the same time I was trying to decide whether Santa Claus’s reindeer could really fly, or if they had to walk every step of the way.”
234
Joe Beeler 1931-2006
Quiet Passage
Bronze, cast FP/30
14 inches overall height
Signed/CA
Estimate: $8,000 - 12,000
Literature:
Joe Beeler/CA Paintings and Scuptures of The American West, published by Northland Press 1979, pg. 44
36 inches overall height
Signed/CA and dated 2008
Estimate: $65,000 - 85,000
Pride
44 x 24 inches
Signed lower left;
Signed, titled and dated 2016 verso
Estimate: $30,000 - 40,000
Crazy Horse
Bronze, cast 5/20
28 inches overall height
Signed/CA, titled and dated 2020
Estimate: $15,000 - 20,000
Meat Seekers
Oil on linen 44 x 58 inches
Signed lower right; Signed, titled and dated 2023 verso
Estimate: $150,000 - 200,000
238 Martin Grelle b. 1954
at the Teewinot
44
58 inches
Signed lower right;
Signed, titled and dated 2023 verso
Estimate: $150,000 - 200,000
One of my favorite places in the American west is the area near the incredible mountains of the Teton range, which were called the Teewinot by the Shoshone people who inhabited the area for centuries. The name means “many pinnacles”. Many Native American peoples would come to this bountiful valley during the summer months to hunt buffalo and other game, including the Shoshone, Blackfeet, Gros Ventre, and Apsaalooke (Crow). I have chosen to depict Apsaalooke warriors for the painting, as they come into a low-lying area with a group of buffalo moving and grazing in the distance. It would have been an incredible scene to see at that moment in time, as it still is today, where the buffalo still roam through this beautiful valley.
- Martin Grelle
40 x 30 inches
Signed/CA and dated 2006 lower right;
Signed/CA, titled and dated 2006 verso
Estimate: $60,000 - 90,000
20 x 20 inches
Signed/CA and dated 2019 lower right;
Signed/CA, titled and dated 2019 verso
Estimate: $25,000 - 35,000
Estimate: $35,000 - 45,000
27 x 46 inches
Signed lower left
Estimate: $45,000 - 65,000
Stagecoach roads were rough, treacherous and full of surprises. To capture such a moment, I created these two sketches showing the dangers passengers might have faced. The old coach gun, with its scuffs and bruises, would have been relied on to protect the valuable cargo from the outlaws, while the rest of the items help tell the story of the unpredictable journey across the American frontier. – Kyle Polzin
244 Eric Bowman b. 1960
Summer Is Passed Oil on board
20 x 24 inches
Signed lower right;
Signed and titled verso
Estimate: $7,000 - 11,000
243
Ed Mell b. 1942
Ascending Thunder Cloud Oil on linen
20 x 20 inches
Signed lower left
Estimate: $15,000 - 20,000
It’s A New Life Oil on canvas
30 x 50 inches
Signed lower right;
Signed, titled and dated 2014 verso
Estimate: $60,000 - 90,000
247 Ed
b. 1942 Cloud Force Oil on linen 20 x 20 inches
Signed lower left;
Signed, titled and dated 2017 verso
Estimate: $15,000 - 20,000
246 Ed Mell b.
Desert Royalty Oil on linen 36 x 40 inches
Signed lower left
Estimate: $25,000 - 35,000
22 inches
Signed lower right; Signed, titled and dated 2022 verso
Estimate: $14,000 - 18,000
x 24 inches
Signed lower right; Signed, titled and dated 2022 verso
Estimate: $20,000 - 30,000
Vermillion
12 x 24 inches
Signed lower left; Signed, titled and dated 2014 verso
Estimate: $4,000 - 6,000
January’s
26 x 28 inches
Signed lower left; Signed and dated 2017 verso
Estimate: $25,000 - 35,000
252
Logan Maxwell Hagege b. 1980
Places Never Seen
Oil on linen
36 x 36 inches
Signed upper right;
Signed, titled and dated 2021 verso
Estimate: $50,000 - 75,000
24
Signed lower right; Signed, titled and dated 2013 verso
Estimate: $6,000 - 9,000
30 x 24 inches
Signed lower left; Signed, titled and dated 2022/2023 verso
Estimate: $15,000 - 20,000
Titled with the Woody Guthrie song, “This Land is Your Land” in mind, I found the sunlight on the desert sand had a somewhat sparkling effect, recalling the verse in the song, “I roamed and rambled and followed my footsteps to the sparkling sands of her diamond deserts. All around me a voice was sounding, this land was made for you and me.” – Glenn Dean
256
G. Russell Case b. 1966
Autumn Salute
Oil on board
30 x 40 inches
Signed lower right;
Signed, titled and dated 2021 verso
Estimate: $10,000 - 15,000
255
G. Russell Case b. 1966
The Book Cliffs
Oil on board
16 x 20 inches
Signed lower right;
Signed, titled and dated 2012 verso
Estimate: $4,000 - 6,000
24 x 16 inches
Signed lower right;
Signed, titled and dated 2017 verso
Estimate: $15,000 - 25,000
29
inches
Signed lower left;
Signed, titled and dated 2016 verso
Estimate: $25,000 - 35,000
259 Phil Epp b. 1946 Distant View Oil
board 40 x 30 inches
Signed/CA lower left; Signed/CA and titled verso
Estimate: $8,000 - 11,000
30 inches
Signed lower right; Signed, titled and dated 2023 verso
Estimate: $15,000 - 20,000
35 x 30 inches
Signed lower right
Estimate: $28,000 - 34,000
My inspiration for the subject of this painting is a result of a friendship that I have with a Native American model, Victor, with whom I have worked for a very long time. From my many visits with Victor over the years, I gained a better understanding and appreciation for how his ancestors worked/hunted in order to provide for their families. And with that first-hand knowledge, I have portrayed a skilled hunter - in his mountain environment - who is out on his daily hunt for the food that will be needed to sustain his family. –
Z.S. Liang
Remnants
Oil on linen
36 x 48 inches
Signed lower right;
Signed and dated 2023 verso
Estimate: $24,000 - 34,000
A group of Crow warriors come upon the “remnants” of a failed homestead in the shadow of the Bighorn Mountains. The beauty of this backlit scene can’t hide the fact that trying to surviving in the wilderness of the American frontier was often a losing proposition. – C. Michael Dudash
Pasheepaho,
Bronze, cast 9/35
34 ½ inches overall height
Signed/CA, titled and dated 2008
Estimate: $15,000 - 25,000
Pachtuwa-Chta,
Bronze, cast 11/35
32 inches overall height
Signed, titled and dated 2010
Estimate: $15,000 - 25,000
Wunnestow,
Bronze, cast 26/35
33 ½ inches overall height
Signed, titled and dated 2010
Estimate: $15,000 - 25,000
Pitatapiu,
Bronze, cast 25/35
40 inches overall height
Signed, titled and dated 2007
Estimate: $15,000 - 25,000
Pariskaroopa,
Bronze, cast 9/35
34 inches overall height
Signed/CA, titled and dated 2005
Estimate: $15,000 - 25,000
Hisoosanchees,
Bronze, cast 10/35
32 inches overall height
Signed/CA, titled and dated 2008
Estimate: $15,000 - 25,000
269
Don Oelze b. 1965
Hot Pursuit
Oil on canvas
48 x 42 inches
Signed lower left
Estimate: $20,000 - 30,000
For several years now I have been fascinated with the rich history of the desert southwest and especially the era know as the "Apache Wars" period. This time of high drama took place between various bands of the Apache people verses the US government and lasted for several decades. The Army was tasked with the almost impossible mission of tracking down and subduing Indians who were deemed to be hostile and were an impediment to the settling of the vast territory know as Apacheria.
My painting depicts a single moment in this long conflict . A cavalry column has somehow tracked down and surprised three warriors who are attempting to make a speedy and dusty escape into a rugged landscape where once outta sight, they may never be discovered again. – Don Oelze
270
Jerry Jordan b. 1944
Today, I Was Planning on Planning Tomorrow
Oil on canvas 30 x 36 inches
Signed lower right, “Taos”
Titled and dated 2022 verso
Estimate: $28,000 - 38,000
I am fortunate to have native friends from Taos Pueblo, Taos, NM. I have often asked them to pose for photo shoots for me both in the Pueblo and around Taos in the magnificent landscape of New Mexico. When asking my friends to participate in my latest photo shoot for new painting material, did they have plans already or were they available on a certain day, their reply was with such calm and an embrace of life….
“Today, I was planning on planning tomorrow.” And that became the title of this painting. – Jerry Jordan
Conversation
Acrylic on canvas
3 ½ x 3 ½ inches
Signed/CA lower right
Estimate: $4,000 - 6,000
A
Acrylic on board
6 x 4 ½ inches
Signed lower right
Estimate: $5,000 - 7,000
Oil
15 x 24 inches
Signed lower right
Estimate: $15,000 - 25,000
Provenance:
Texas Art Gallery, Dallas, TX
Premier Art Auction, Jackson, WY, 2005
Scottsdale Art Auction, Scottsdale, AZ, 2009
As an illustrator, Kenneth Riley’s early work focused on storytelling in dramatic, even cinematic, images of soldiers, police detectives, factory workers and politicians. By the time Riley, who had trained under Harvey Dunn and Thomas Hart Benton, moved from the East Coast to Arizona—first to Tombstone in 1971, and then to Tucson in 1973—his work had developed a modern style as abstract forms and sharp lines emerged within his Western narratives. Those abstracted shapes he was so fond of can be seen in Apache Scouts as rock formations, bone-dry creek beds and dramatic ridgelines.
274
Howard Terpning b. 1927
Buffalo Runners
Mixed Media
29 x 46 inches
Signed/CA and dated 1983 lower left; Titled and signed verso
Estimate: $125,000 - 175,000
Accompanied by: Miscellaneous papers related to the painting
274
Howard Terpning b. 1927
Buffalo Runners (detail)
Mixed Media
29 x 46 inches
Signed/CA and dated 1983 lower left; Titled and signed verso
Estimate: $125,000 - 175,000
Accompanied by: Miscellaneous papers related to the painting
Exhibited:
Phippen Museum, A Collector’s Dream: The Walter E. Kessler Collection, 1999 Cowboy Artists of America, Phoenix Art Museum, Silver Medal Award, 1983
Every Howard Terpning painting begins with a strong drawing, which is then transferred to his canvases to wait for paint. As a former illustrator, his drawings are key to everything that follows, which is what makes mixed-media works such as Buffalo Runners so special—the drawing is right there in plain sight. This work was created for the 1983 Cowboy Artists of America show. It would win the silver award in the drawing category, while his work Medicine Man of the Cheyenne would win gold in the painting category the same night.
“Howard understands the basics of design and color along with the mastery of drawing. At the same time, he readily admits to the honored method used by all artists over the centuries, trial and error. He meets each painting on its own terms rather than rely on a formula…Each part of a painting has its own integrity. Nothing is done by memory or guesswork but rather he always goes to the source,” writes Harley Brown in Howard Terpning: Tribute to the Plains People. “This uniqueness is driven home through the intent study of any of Howard’s paintings. You will see a fierce involvement with his subject; unique attention within each painting that is not repeated in any other of his works. Each painting is a brand-new experience for both Howard and the observer. Howard thinks of himself as a storyteller and in that role he can make the viewer feel the range of emotions from ironic humor, to tense conflict, to heartbreaking loss and defeat. Often the action in the scene hangs in the balance. What does the sound of the distant bugle mean? Is the gesture of the hand raised in peace telling a true or deceitful story? What will sustain the People after the last buffalo is gone? We are fully sharing the story through the gestures and expressions of the characters. From his earliest days, Howard never had a problem knowing when a painting was finished. Without doubt or hesitation there’s an ultimate, final slash of the brush. Howard sits back on his studio chair, exhilarated, then leans forward one more time for... the signature.”
275 Jeremy Winborg b. 1979
I Am The Storm Oil on board 36 x 36 inches
Signed lower right Signed and dated 2023
Estimate: $18,000 - 24,000
Last year I was driving through the desert during monsoon season and it was amazing to drive into these heavy sheets of rain. Just as quickly as they started, they’d be over as we continued toward our destination. Human nature can be like the weather, sometimes a human can bring a bright, sunny day with blue skies. Sometimes we can bring a ravaging monsoon. I like to think the woman portrayed in my painting is calm and hard-working, keeping a steady watch over her family and way of life. But, if one were to mess with her or her family or her way of life, she could become that ferocious storm.
Art for me has always been a family affair. I grew up painting beside my dad, helping him with his modeling sessions and going to art shows together. Now, my kids paint beside me, come with me to most of my art shows and help me with my modeling sessions. In this particular case, I had two of my teenage daughters stand on barstools above my model. They sprinkled warm water from above so I was able to study the way the droplets of water fell across her face and arms. My model was such a trooper during this shoot. She was so patient and said “anything for the art!”.
I’m excited for this oil painting. Painting the rain was such a fun artistic exploration and painting people larger than life is always a thrill. – Jeremy Winborg
Daydream
Oil on board
20 x 40 inches
Signed lower left;
Signed, titled and dated 2023 verso
Estimate: $4,000 - 6,000
29 inches overall height
Signed/CA and dated 2001
Estimate: $4,000 - 6,000
18
24 inches
Signed lower right
Estimate: $15,000 - 20,000
16 x 28 inches
Signed lower left
Estimate: $8,000 - 12,000
30 x 34 inches
Signed lower right
Estimate: $35,000 - 45,000
Literature: Art of the West, September/October 2016, illustrated on pg. 36
24 x 30 inches
Signed and dated 2015 lower right
Estimate: $25,000 - 35,000
Set
Pencil
5 x 6 inches, 7 ½ x 7 ½ inches
Signed and dated 2016 lower left; Signed and dated 2016 lower right
Estimate: $2,000 - 3,000
Signed lower right
Estimate: $50,000 - 75,000
284
Henry Balink 1882-1963
A Taos Indian Oil on linen
24 x 20 inches
Signed lower right
Estimate: $15,000 - 20,000
285
Frank McCarthy 1924-2002
Horse Raid Oil on board
24 x 36 inches
Signed/CA and dated 1980 lower right
Estimate: $25,000 - 35,000
Provenance:
Husberg Fine Arts Gallery, Sedona, AZ
Scottsdale Art Auction, Scottsdale, AZ, 2017
286
John Clymer 1907-1989
Wood Smoke Tales
Oil on canvas 30 x 40 inches
Signed/CA and dated 76 lower right;
Signed, titled, described and dated May 5, 76 verso
Estimate: $250,000 - 450,000
Accompanied by: “The West of John Clymer” book, illustrated pg. 21
286
John
Clymer 1907-1989
Wood Smoke Tales (detail)
Oil on canvas
30 x 40 inches
Signed/CA and dated 76 lower right;
Signed, titled, described and dated May 5, 76 verso
Estimate: $250,000 - 450,000
Accompanied by: “The West of John Clymer” book, illustrated pg. 21
Literature:
The West of John Clymer, Walt Reed, National Cowboy Hall of Fame & Western Heritage Center, Oklahoma City, OK, 1991: p. 21.
With a John Clymer painting, it’s all in the details. His works are meant to be explored with the eye. A piece like Wood Smoke Tales is a perfect example of this phenomenon. It rewards those who poke around the composition, admiring the tiny pieces of history that the artist hides within the fully realized story. And there are many details in Wood Smoke Tales: the smiling figure making willow hoops for beaver pelts, the skewers with chunks of meat smoking over a roaring fire, the serious expression on two dogs huddled at the edge of the painting, a light dusting of snow on a pile of firewood, and the way the figure furthest from the fire is bundled against the cold while those closest to the flames have shed their blankets.
The painting is a companion piece to one of Clymer’s most famous works, Alouette, which shows a similar campfire scene with trappers dancing jovially around a meticulously designed fur camp. Both paintings seem to show the same figures: grizzled hunters enjoying a break from their adventures in the wilderness. Some of the smiles look familiar but so does a dog, knife sheaths, powder horns and even a wood-handled hatchet that has a prominent place in both paintings. It’s not a stretch to imagine the two paintings show the same camp several months apart.
Both Alouette, from 1974, and Wood Smoke Tales, from 1976, were featured in The West of John Clymer, the 1991 exhibition that opened at what was then the National Cowboy Hall of Fame in Oklahoma City. The catalog for the exhibition praises the artist, but also lays significant credit at the feet of John’s wife, Doris, who helped her husband research the history he was painting. He often credited her for some of the finer details that ended up in his paintings. “During the summers, the Clymers enthusiastically explored the country, looking particularly for the haunts of mountain men, hunters, trappers and migrating settlers. Among their explorations were the Bozeman Trail, the route of Lewis and Clark from Missouri to the Pacific, the old Chisholm Trail from Texas to Abilene, Kansas, and the route of the Nez Perce flight toward Canada. Each of these trips resulted in paintings, visualizing events written or told, but not pictured before. Clymer’s paintings and drawings, therefore, are in the tradition of Karl Bodmer, Alfred Jacob Miller and George Caleb Bingham, artists who also recorded the events of the frontier…” writes Walt Reed in the 1991 exhibition’s catalog. “John’s own life was ideal preparation for the visualization and authentic recreation of the Old West. To the end, he devoted himself diligently to fill in the missing paragraphs in the chapters of history that we can now read with more clarity and understanding of our forebears in these paintings he created in the Teton Village studio.”
287
Olaf Wieghorst 1899-1988
Remuda at Dawn Oil on canvas 24 x 30 inches
Signed lower left
Estimate: $30,000 - 40,000
Provenance:
Phippen Museum, Prescott, AZ
Altermann & Morris Galleries, Dallas, TX Desert Caballeros Western Museum, Wickenburg, AZ
Literature:
Olaf Wieghorst, William Reed, Northland Press, Flagstaff, AZ, 1969: p. 11.
If they ever make a movie about Olaf Wieghorst, it will have to be toned down and softened or else the audience will find it too unbelievable. And yet, it all happened. The artist came from a Danish circus family and at a young age he made a break for it by crossing the Atlantic Ocean as a sailor on a steamer only to jump ship in America. He rode in the 5th U.S. Cavalry against Pancho Villa, was a cowboy for a spell and then was a mounted police officer with the New York Police Department. He was friends with John Wayne, and even made cameos in El Dorado and McLintock! On top of it all, he was a top-notch rider and could also paint and draw a horse in almost any pose without any visual reference.
“A leathered face bears testimony to years of hard work in the wind and sun,” writes William Reed in Olaf Wieghorst. “Huge hands, gnarled and scarred by many a rope and branding iron, look strangely out of place holding an artist’s brush or working the clay of a sculptor. His rough simplicity is deceptive, however; the homespun shirtsleeves of his life can hardly conceal the sinew of his talent.”
288
Olaf C. Seltzer 1877-1957
Surprised Oil on canvas
12 x 17 ½ inches
Signed lower left
Estimate: $25,000 - 35,000
289
Olaf C. Seltzer 1877-1957
Crow Scouting Party
Oil on canvas
20 x 30 inches
Signed and dated 1912 lower right
Estimate: $50,000 - 75,000
As the story goes, on March 19, 1897, 19-year-old Olaf C. Seltzer strutted through the Silver Dollar Saloon in Great Falls, Montana, to meet a man he had been idolizing—Charles M. Russell. It was Russell’s 33rd birthday, but he was not too preoccupied to compliment the younger artist and some of his work that was hanging around Great Falls at the time. The two painters maintained a strong friendship for the rest of Russell’s life. On reflection after his friend and mentor’s passing in 1926, Seltzer said, “From that time on for 24 years…we enjoyed a continuous friendship and close associations…That raw March day in 1897 when we first met was no doubt a turning point in my life…By reason of that meeting and the subsequent association, my future was to a great extent molded.”
Much discussion has taken place over the course of the last century about the similarity of Seltzer’s work to that of Russell’s, but the two artists were friendly with each other and Russell’s reaction to Seltzer’s painting style was one of encouragement for the younger artist and flattery that another painter would admire his work so dearly. Today, collectors of their works marvel not at their similarities, but their differences. Each had his own painting style, subjects and ways of composing a scene. Although their works are linked by their friendship, both are collected on their own merit. “He once said, ‘If there is anything of lasting value in my art, it will survive. If not, it will perish,’” writes Larry Len Peterson in his book The American West Reimagined. “He would be happy to know that him and his art—2,500 oil and watercolor paintings— were not forgotten.”
290
John Quincy Adams Ward 1830 - 1910
The Indian Hunter, 1860 Bronze
16 inches overall height
Signed and dated 1860
Estimate: $50,000 - 75,000
The Indian Hunter was one of the standout pieces in the Metropolitan Museum of Art’s influential 2013 exhibition The American West in Bronze, 1850-1925. New Yorkers were already familiar with the piece—a monument of the hunter and his dog has been in Central Park since 1869—but many were first introduced to the work of John Quincy Adams Ward during the exhibition. The piece, created in 1860, is one of 15 known casts of the sculpture. Other casts are in collections at the Met and the Denver Art Museum.
“Although the sculpture recalls sources from the antique—notably the Louvre’s marble Borghese Gladiator (3rd-1st century B.C.), a reduced plaster cast of which Ward had in his studio—to contemporary viewers, the face of Ward’s hunter was ‘subdued to no fancied requirement of the classic ideal.’ The critic for the New York Times called the hunter a ‘wild varmint of the wood…himself an animal fierce and instinctive as the dog by his side.’ The statuette’s extraordinary surface treatment in the trailing fur robe and the dog’s curly ruff visually links man and beast,” writes Carol Clark in the exhibition’s catalog. Clark also notes that early praise for the work is what eventually led to the monument in Central Park.
Once the decision was made for the monument, Ward got to work on a plaster cast, which was on display in a Broadway store until enough patrons could be found to have it cast in bronze. When it finally did get placed near present-day 65th Street, it was the first work by an American sculptor to be installed in Central Park. “John Quincy Adams Ward’s Indian Hunter established him as a sculpture of American subjects whose combination of realism and vigorous outdoors masculinity in bronze stood in opposition to the marble female nudes of his peers in Italy, who worked in a neoclassical style Ward feared drew ‘a sculptor’s manhood out of him,’” wrote Karen O. Janovy in 2005. “Indeed, The Indian Hunter helped Ward’s reputation survive the changes introduced to sculpture after the Civil War by French naturalism. As Augustus Saint-Gaudens, the American leader of that school said, ‘His work and career, his virility and sincerity, have been a great incentive to me, from the day when he exhibited his Indian Hunter in an art store on the east side of Broadway.”
291
Frank Tenney Johnson 1874-1939
The Canyon Trail Oil on canvas 16 x 12 inches
Signed lower left
Estimate: $45,000 - 65,000
While many artists have painted nocturnes within Western art history, two major names are often considered the masters of the scenes: Frederic Remington and Frank Tenney Johnson. Melissa J. Webster, in her book Frank Tenney Johnson and the American West, points out that the two artists had different levels of experience with the subject: “Johnson earned much of his reputation as a fine artist from his nocturnes. Unlike Remington, who painted his finest nocturnes in the last four years of his life, Johnson earnestly painted moonlight, dusk and twilight scenes for at least 35 years,” she writes. “As early as 1904 he was noting the effect moonlight has on colors. From Colorado he wrote his wife, ‘[O]n one evening in the cool mountain air as we rode I watched the daylight fade and the moon come up to glow brighter until we cast strong shadows, and I had another fine opportunity to study the different colors change under the moonlight.’”
Johnson was well aware of the emerging tonalist movement, which was casting haze and mist onto paintings that would render scenes dark and flat. Webster continues: “He talks of a veil, as did some of the tonalists, but his veil is one of beauty and is not meant to obscure, as was the tonalist’s goal. In 1931 he said of his night scenes, ‘I like to think of moonlight as nature’s indirect lighting. In the far West, where the air is clear, you can see all the essential structure of the rocks by moonlight, and a good deal of color detail in the foreground.’ …Johnson’s moonlight creates an atmosphere of quiet and elusiveness while it continues to expose color, not completely neutralize it. As an admirer wrote to him, ‘[Your] moonlights seem to me to possess the impalpable elusive mystery that moonlight has.’ Like Remington before him, Johnson was not a tonalist but profited from their experiments in low-keyed colors.”
292 Maynard Dixon 1875-1946
Bucker
Watercolor
12 x 11 inches
Signed lower left
Estimate: $15,000 - 25,000
293
Lon Megargee 1883-1960
The Navajo
Gouache
20 x 14 inches
Signed and dated 1917 lower left
Estimate: $16,000 - 24,000
294
Moving Some Cattle
Oil on board
18 x 20 inches
Signed lower right; Signed and titled verso
Estimate: $25,000 - 45,000
Provenance:
Best of the West Auctions, Colorado Springs, CO, 2002
Altermann Galleries, Santa Fe, NM, 2005 Private collection, California
Like his great paintings of Canyon de Chelly in Northern Arizona, Gerard Curtis Delano’s Moving Some Cattle is less interested in the figures and more fascinated by their scale within the vastness of the West. Although he studied with artists such as N.C. Wyeth, Harvey Dunn, Frank Vincent DuMond and others, Delano emerged from his art education with his own distinct style that revealed his attraction to the modernism that could be found in sandstone cliffs, cowboys riding through empty valleys and Native Americans of the Southwest.
Southwest Riders
Watercolor
14 x 20 ½ inches
Signed lower left
Estimate: $14,000 - 18,000
296
Melvin Warren 1920-1995
The Goat Ropers Oil on canvas
24 x 36 inches
Signed/CA and dated 1983 lower left
Estimate: $15,000 - 20,000
Accompanied by: Miscellaneous papers related to the painting
Provenance:
Phippen Museum, A Collector’s Dream: The Walter E. Kessler Collection, Prescott, AZ, 1999
Desert Caballeros Western Museum, Wickenburg, AZ Old Pueblo Museum
297
John Clymer 1907-1989
Winter Evening Oil on board
10 x 20 inches
Signed and dated 77 lower right;
Signed, titled and dated 4/20/77 verso
Estimate: $30,000 - 40,000
298 John Clymer 1907-1989
Welcoming the Trade Boat Oil on canvas 30 x 60 inches
Signed and dated 1978 lower right;
Signed and titled verso
Estimate: $300,000 - 500,000
Accompanied by: “The West of John Clymer” book, illustrated on pg. 51
298 John Clymer 1907-1989
Welcoming the Trade Boat (detail)
Oil on canvas
30 x 60 inches
Signed and dated 1978 lower right; Signed and titled verso
Estimate: $300,000 - 500,000
Accompanied by: “The West of John Clymer” book, illustrated on pg. 51
Exhibited:
National Cowboy Hall of Fame, Oklahoma City, OK, 1991 National Museum of Wildlife Art, Jackson Hole, WY Autry Museum of the American West, Los Angeles, CA
Literature:
The West of John Clymer, Walt Reed, National Cowboy Hall of Fame & Western Heritage Center, Oklahoma City, OK, 1991: p. 51.
The mythmaking of John Clymer and his storied career began almost immediately after the artist died in 1989. By 1991, a major exhibition would launch at what was then the National Cowboy Hall of Fame in Oklahoma City, then traveling to the National Museum of Wildlife Art and the Autry Museum of the American West. The West of John Clymer was not only a celebration of the artist’s life and career, but a deep examination of why his work was charged with such power and authenticity, and why it resonated with so many viewers. Welcoming the Trade Boat—along with another work in this sale, Wood Smoke Tales—was part of the exhibition, one filled with many masterworks from the great illustrator and artist.
“Painted in a representational style, with painstaking attention to detail and historical accuracy, Clymer’s historical works possess a depth and finish that distinguish them from his earlier magazine illustrations. Even so, the artist remained true to many of the precepts taught by the incomparable Harvey Dunn and handed down from the dean of illustrators, Howard Pyle. These men and others imbued Clymer with the belief that, no matter the subject, quality art reflected both imagination and emotion. It is precisely these qualities that lend universality to canvases often linked to specific times, places and people,” wrote B. Byron Price, then the executive director of the museum, in the exhibition’s catalog. “…As Americans we are drawn to John Clymer’s work because it inspires us, because it confirms our tribal saga. Full of truth as well as fact, his paintings ought also to give us pause for more than sentimental reflection. After all, there are still new worlds to explore and majestic landscapes to save. Ordinary people can still act heroically and respond to adversity with dignity. Historic injustices can still be set right. John Clymer’s legacy is more than paint on canvas. It is the common ground that unites us all as human beings.”
299
Charles Russell 1864-1926
The Last Of The Buffalo 1899 Pen and Ink
16 x 22 ½ inches
Signed lower left
Estimate: $50,000 - 75,000
Provenance: Bonhams, Los Angeles, CA, 1992 Private collection, Illinois
This pen and ink drawing by Charles M. Russell shares its name with Albert Bierstadt’s great masterpiece, which shows a single rider locked in a terrifying duel with his charging prey. Though there is no evidence that suggests Russell was directly inspired by Bierstadt’s work, this drawing seems to address a similar theme but from a dramatically different perspective.
“Both [Frederic Remington and Russell] were indebted to the American landscape master from Düsseldorf, Albert Bierstadt, for initially developing the symbolism of nature’s demise through the buffalo-hunt image,” writes Peter Hassrick in Charles M. Russell. “In 1889 he had produced a huge salon piece, Last of the Buffalo, for exhibition at the Paris Exposition that year. It was the final expression of a theme Bierstadt had conceived in the early 1860s—a lament about the passing of the West, the demise of the buffalo, and the press of civilization. Yet in all its epic grandeur, Last of the Buffalo was a deceit. He had, in his own words, ‘endeavored to show the buffalo in all his aspects and depict the cruel slaughter of a noble animal now almost extinct.’ But the truth was not that the Indian had decimated the herds— and died in the process, as symbolized by the dead horse and Indian in the foreground—but rather that the hide hunters, cattle ranchers, and railroads had done the job. Bierstadt’s dramatic allegory was deceptive and rueful. However, the message may have been a strong one for Russell. Perhaps it helped explain away some of the paradox of his own partial involvement in the diminution of the last great herds.”
300
Frederic Remington 1861-1909
I Was Geet Up Un Was Looking at de Leetle Man Gouache and ink wash on paper
21 ½ x 29 inches
Signed lower left
Estimate: $70,000 - 100,000
Provenance:
The Artist, gifted to Marion and Lewis Evans, Bronxville, NY, as a wedding gift, circa 1900 Private collection, Illinois, by descent
Private collection, Illinois
Literature:
Harper’s Monthly, “Sun-Down Leflare’s Money,” Harper & Brothers, New York, NY, July 1898: p. 197.
Frederic Remington A Catalogue Raisonné Volume II, Peter H. Hassrick and Melissa J. Webster, University of Washington Press: p. 669
In 1899, Frederic Remington published Sun-Down Leflare, a book-length story featuring a colorful Western character with a unique way of speaking in broken, half-grunted English. Sun-Down Leflare had actually existed prior to the book as a character in several Western articles written and illustrated by Remington and all published by Harper’s Monthly in 1897 and 1898. One of those articles, “Sun-Down Leflare’s Money,” appeared in the July 1898 Harper’s and it includes the illustration I Was Geet Up Un Was Looking at de Leetle Man. The entire article is essentially a monologue by Sun-Down as he relates a story around a campfire, which is depicted in the illustration.
Though he was known as a painter and sculptor, Remington was praised throughout his career for his writing, which he partook in from his earliest days as an artist all the way to his final years.
Eanger Irving Couse 1866-1936
Taos Love Call
Provenance:
Fenn Galleries, Santa Fe, NM Private collection, Texas
Literature:
E. Irving Couse 1866-1936, published 1976, depicted as "Flute Sernade - A Campbell print, pg. 103
Although Eanger Irving Couse wasn’t the first of the six Taos Founders to arrive in Taos, New Mexico—that honor went to Joseph Henry Sharp in 1893—it was Couse whose presence was so ubiquitous then, and even today, as his home and studio are still destinations for artists and art enthusiasts in the Southwest. Couse might have also been the most romantic of the six, particularly when it came to the Taos Pueblo and its people—romantic in the sense that he presented idealized views of the pueblo, but also literal romance, that of young love. Both are themes of his painting Taos Love Call. The painting’s main compositional element is a diamondshaped view through cottonwood trees on either side of a stream. In the diamond is the Taos Pueblo, lit by moonlight and glowing ethereally. On the edges of the diamond are a man and a woman, their courtship on clear display within nature’s private sanctuary. Couse was no stranger to these paintings of innocence and tender love. Other examples include The Love Call from 1908, again showing a young flute player calling to a girl amid a stand of aspens, and 1909’s The Lovers, showing a couple walking amid the pueblo with expressions of affection. These works, including Taos Love Call, are examples of Couse’s humanistic approach to his subject.
“Couse…interested above all in the human form—an academic concern in itself—worked in a style firmly grounded in 19th-century precedents. Quiet, conservative, introspective, totally immersed in his own work—his personal style developed through a natural coalescence of temperament and training. He transferred the principles of nobility and beauty found in classical art to the American subject that he felt was most ideally suited for such treatment, the American Indian,” writes his granddaughter, Virginia Couse Leavitt, in Eanger Irving Couse: The Life and Times of An American Artist, 1866-1936. “The concept of ‘natural’ man and the ethnic costuming of the Indian lent themselves appropriately to the tradition of the classical nude, allowing Couse to take full advantage of the handsome, athletic physique of the Taos men…although his Indians appear idealized, they are in reality accurate portrayals of his models, a fact verified by his photographs. The motifs he painted, however, although true to the Indian spirit, were more conceptual than ethnographic, often bearing titles—such as The Evening Meal, Repose, The Lesson and The Source—tied to 19th-century themes. In American Indians, he visualized universal qualities of humanity and spirituality with which he could empathize. Although the resultant images were romantic, they were rescued from sentimentality by the classical restraint of his style.”
Oil
34 x 46 inches
Signed lower right
Estimate: $300,000 - 500,000
Accompanied by: Original leggings and belt from the studio of Eanger Irving Couse, used by the artist for this painting.
Provenance:
Fenn Galleries, Santa Fe, NM
Private collection, Texas
Eanger
Seated Indian Contemplating Oil on canvas
12 x 16 inches
Signed lower left
Estimate: $15,000 - 25,000
Pueblo
Oil on board
9 ¾ x 7 inches
Signed lower right
Estimate: $12,000 - 18,000
304
Adobe Village
Oil on canvas mounted to board 10 x 13 ¾ inches
Signed and dated 13 lower right
Estimate: $40,000 - 60,000
Provenance:
David Dike Fine Art, Dallas, TX Private collection
In 1898, Ernest L. Blumenschein and Bert Geer Phillips were stuck in the mountains of Northern New Mexico with a broken wagon wheel, which led to their own personal origin stories in Taos. The story is so good it sometimes overshadows a more important one: Joseph Henry Sharp traveled through Taos five years earlier and it was that journey that was the catalyst for much of the Taos Society of Artists. Sharp was traveling with painter John Hauser, who had accompanied him to the San Juan Pueblo for the San Geronimo ceremonies. At the conclusion of those events, they made the long journey to Taos, setting the stage for the TSA, the Taos Art Colony and an important period of art in the Southwest.
Oscar Berninghaus 1874-1952
The Hunters, Taos
Provenance:
J.N. Bartfield Art Galleries, New York, NY, 1991
Private collection, California, 1992
J.N. Bartfield Art Galleries, New York, 2011
Private collection, Colorado, 2012
Many of Oscar E. Berninghaus’ greatest paintings can be isolated down to two themes: the harvest and the hunt. The artist, whose first experience in Taos in 1899 was colored by the resilience and industriousness of the Taos people, would come to see his subjects as abundant providers, as opposed to static images of long-ago warriors. He saw their hard work and oneness with the land as their greatest strengths. That is reflected in several important pieces, including Ceremony of the Rabbit Hunt, The Rabbit Hunter, Too Old for the Rabbit Hunt and here with The Hunters, Taos, showing a Native American figure calmly posing within a stand of aspen trees, their bruised and cracking trunks creating a natural tapestry that initiates a quiet tension within the scene. Key details in the painting—the light-colored bow, the faded blanket wrapped around the figure, the unique way the quiver is wrapped around the man’s upper torso and arms—visually link the work to A Hunter of Taos Pueblo, the 1926 painting that won Berninghaus the Altman Prize at the National Academy of Design. Both works also appear to use the model Santiago Bernal, a frequent subject for the painter.
Many of the hunts in Taos were tied to ceremonies in the pueblo. “By the 1920s and 1930s the Indians hunted deer, turkey, bear and antelope, but the search for wild game was no longer the romantic adventure of days gone by. The ‘hunt’ was still celebrated, however, in the deer and buffalo dances and other colorful rituals,” writes Gordon Sanders in Oscar E. Berninghaus: Taos, New Mexico—Master Painter of American Indians and the Frontier West. “These dances are actually Indian prayers from the days when Indians and animals spoke the same language…days long ago when the deer told the Indian how to perform the ceremony to gain power over him so that he might take the deer’s flesh for food and his skin for clothing. For many years the Indians would allow no outsiders to view their dances for fear the strangers would destroy the effectiveness of the ceremony. In the 1920s, with government programs and other sources for their food supply now available, they began to welcome others to witness their colorful dances. The Indians have preserved their hunting skills in the rabbit hunts, which usually take place on the day preceding major ceremonials. These hunts were favorite subjects for Berninghaus, and he has left us a wealth of canvases depicting this Indian custom.”
The artist himself commented on the hunters in Taos in an undated letter to an Arizona art dealer: “From my studio window I have a view of some 30 miles across sagebrush, foothills, with the horizon lined with distant mountain ranges. Every now and then I see clouds of dust blown skyward by whirlwinds—this is a common sight these warm and dry days. Looking out now, I see one and it comes nearer and nearer. It is not caused by the wind, but as it approaches I see that it is a band of horsemen, a hunting party of Indians out on the ceremonial rabbit hunt—a hunt which takes place the day before each fiesta dance day. These rabbits are hunted with the aid of bows and arrows, clubs and dogs—no firearms are used, such is their reverence for the days when their forefathers had only such means of procuring their daily food. The band comes on, full speed past my studio, gives a cheerful yell— all mounted on their ponies, some white, some pintos, some buckskins, helping to make the sight colorful, picturesque and animated.”
Although some hunting scenes are filled with more action, it’s the lack of action and movement that gives The Hunters, Taos it’s unmistakable power as the figure stands, seemingly lost in thought amid the beauty of Taos’ forests.
305
The Hunters, Taos
Oil on canvas
35 x 40 inches
Signed, “Taos” lower left
Estimate: $750,000 - 1,250,000
Oscar Berninghaus 1874-1952306
E. Martin Hennings 1886-1956
Mountain Aspens Taos
Oil on canvas
30 x 30 inches
Signed lower right
Estimate: $75,000 - 125,000
Provenance:
Cobbs Auctioneer, Peterborough, NH, 2003 Gerald Peters Gallery, Santa Fe, NM Bozeman Trail Gallery, Sheridan, WY
One of the most loved and respected members of the Taos Society of Artists, E. Martin Hennings, was also one of its youngest members. He joined the group in 1917. Two years later it disbanded. His time was short in the group, but he had made his mark, even as he stayed in Taos, New Mexico, to continue painting its people and beauty. Born in New Jersey and raised in Chicago, Hennings was studying art in Europe during the prelude to World War I. Fleeing the continent via Holland, he returned to the United States, where he worked briefly in Kansas, Massachusetts and his home city of Chicago. In 1917, he was approached by wealthy collector Carter Harrison Jr., who offered an intriguing opportunity that was also offered to Walter Ufer: go to Taos for a year to paint and Harrison would guarantee support and purchase of the artwork produced.
“In 1919,” Hennings wrote, “I took stock of myself and realized my salvation was to free myself of any commercial thought and for at least three years to paint exclusively for my own development. With the idea of finding myself, I returned to Taos and worked there for five consecutive years. It was during the third year that three of my paintings took prizes. Of course they brought recognition. My standpoint is that art is either good or bad and its school has not a great deal to do with it. In every picture I expect the fundamentals to be observed and these I term: draftsmanship, design, form, rhythm, color. Art must of necessity be the artist’s own reaction to nature and his personal style is governed by his own temperament, rather than by a style molded through the intellect.”
307
E. Martin Hennings 1886-1956
Bow Hunter
Oil on canvas
14 x 14 inches
Signed lower right
Estimate: $60,000 - 90,000
Provenance: The Mark Chapman Estate, Cat Spring, TX
E. Martin Hennings painted many subjects throughout his 50-year career, but two of the artist’s long-running design motifs were aspen and cottonwood trees, which he painted into exquisite works from all around Northern New Mexico. A huge portion of his paintings, including numerous major masterpieces, show Native American subjects riding through labyrinths of white trunks, their autumn canopies filling the scene with golden light. In Bow Hunter, the subject is amid thick vegetation calmly pulling a bowstring back. He seems trapped behind bars of organic matter, but his expression is calm and sure, which seems to indicate that he’s locked onto a target and is just seconds away from a certain kill.
“Landscape plays so important a part of my work, and subjects of sage, mountain and sky. Nothing thrills me more, when in the fall, the aspen and cottonwoods are in color and with the sunlight playing across them—all the poetry and drama, all the moods and changes of nature are there to inspire one to greater accomplishment from year to year,” Hennings wrote in his notes. “In figure subjects I think I find my greatest inspiration—subjects which you have grown to know from experience and subjects which the imagination brings forth…A painting is a great adventure—thinking over a subject, making all sorts of pencil sketches, designing, comparing, organizing, planning its color, the lighting, until you are sure it has everything you want for a strong and effective painting—then you go to work on your canvas, with your models, and this will call for all the ability and craftsmanship which the years of work have given you, plus all the special effort you are capable of in order to have a consummative and significant piece of art realized.”
308
Leon Gaspard 1882-1964
Winter in Siberia
Oil on board
6 ¼ x 9 ½ inches
Signed lower left
Estimate: $30,000 - 50,000
309
Leon Gaspard 1882-1964
A Russian Peasant Woman Oil on canvas mounted to board
10 ½ x 8 ½ inches
Signed lower right
Estimate: $30,000 - 50,000
These two pieces by Leon Gaspard are beautiful examples of some of the painter’s Russian work prior to his discovery of the American Southwest. In A Russian Peasant Woman, Gaspard shows the subtlety of color, composition and pose that makes his paintings so cherished by museums and collectors. “Despite the melancholy of his characters, his depiction remains joyful with its movements and poses,” according to a French newspaper, as quoted in Leon Gaspard: The Call of Distant Places. “You must reflect on it to discover the spontaneity of the imagery, perfect depictions containing emotions, which in the end oppress us, all the way to a state of anguish.”
In Winter in Siberia, this subject reflects an early period of inspiration that was first initiated during a trip to the steppes of Siberia with his father, a fur trader. Gaspard was only a boy at the time, but the experience inspired later travel to the icy coldness of northern Russia in 1899. “Gaspard felt the need to get away from the regimented life and tedium of the classroom and the city,” writes Forrest Fenn in Leon Gaspard: The Call of Distant Places. “At 17 he struck out alone for Siberia on a summer painting trip. He was sturdy, bright and confident—and, because he had already traveled extensively with his father, he had no fear of distant places. Leon paid a man 25 kopeks (about 12 cents) to allow him to ride in a horse-drawn wagon along with the man’s wife and daughter, as well as another couple. His painting materials were packed in among their supplies of axle grease, bolts of cloth and food.”
310
Eanger Irving Couse 1866-1936
Indian Boy and Brave Looking at a Blanket
Oil on canvas
50 x 59 inches
Signed lower left
Estimate: $400,000 - 600,000
310
Eanger Irving Couse 1866-1936
Indian Boy and Brave Looking at a Blanket
Oil on canvas
50 x 59 inches
Signed lower left
Estimate: $400,000 - 600,000
Provenance:
Sotheby’s, New York, NY, 2003
Legacy Gallery, Jackson, WY
Private collection, California
Eanger Irving Couse was known for a variety of work, including his lovely outdoor paintings showing idyllic nature scenes with Native American figures, and his iconic portraits, such as Elkfoot of the Taos Tribe, but some of his most timeless pieces are interior scenes of subjects carefully admiring objects and artifacts. A marvelous example of this work is Indian Boy and Brave Looking at a Blanket a large painting showing two Taos models, their hair wrapped and dangling down both sides of their shoulders, as they peer down at a colorful weaving. The older subject—almost certainly Jerry Mirabel, a regular Couse model—cuts an imposing form with his strong arm at a right angle toward the blanket and one leg propped up against his body. Part still life, part portrait, Indian Boy and Brave Looking at a Blanket represents the kind of imagery the Taos Founders had to travel 2,000 miles to find.
Ernest L. Blumenschein wrote indignantly about the subjects available to other artists prior to the formation of the Taos Art Colony. “We were ennuied with the hackneyed subject matter of thousands of painters; windmills in a Dutch landscape; Brittany peasants with sabots; …lady in négligée reclining on a sumptuous divan; lady gazing in mirror; lady powdering her nose, etc., etc. We felt the need for a stimulating subject.” Judging by his response, it’s easy to see why artists flocked to Taos. It wasn’t just any subjects they were discovering. It was great American subjects.
While all the members of the Taos Society of Artists aligned themselves with this attitude, it was Couse who defined the look, the emotion and the humanity to this new school of art. “No one ever tried to paint the Indian in Couse’s way before. No one has ever taken him quite so seriously from a purely artistic standpoint,” the New York Sun wrote at the time. Couse’s granddaughter, Virginia Couse Leavitt, the author of Eanger Irving Couse: The Life and Times of An American Artist, 1866-1936, expands further: “Unlike George Catlin and Karl Bodmer, who more than a halfcentury earlier had made ethnographic records of Indians, or more recent artists like Frederic Remington and Charles Schreyvogel, whose paintings were illustrations of historic or imagined events, Couse approached his canvas foremost as a work of art in which formal considerations were primary. These were the formal considerations he had been taught as an academic painter: good drawing, classical composition, fidelity to nature-areas in which he excelled and ideals to which he remained faithful throughout his career.”
She continues: “Couse had much in common with those other academic painters of his day, whose well-modeled figures in carefully constructed interiors usually depicted women engaged in quiet domestic moments surrounded by the artifacts of their culture. His choice of the American Indian as subject, however, reflected his conviction that Indians were the one uniquely American subject available to this country’s figure painters. It was a belief shared by an ever-increasing number of artists, who turned away from the refined subjects of the eastern establishment to produce paintings of the indigenous peoples and rugged landscapes of the West.”
311 Joseph Henry Sharp 1859-1953
Houses Where the Penitentes Live Oil on canvas 20 x 30 inches
Signed lower right
Estimate: $100,000 - 150,000
Known for painting the Taos Pueblo and its people, as well as the people of the Crow Agency in Montana, Joseph Henry Sharp had taken a slight detour by 1915 when he turned his attention to Hispanic subjects of Northern New Mexico. One subject that emerged by 1920 was the Penitente associations, known for their elaborate and secretive ceremonies, some of which included processions and rituals involving self-flagellation as members would lash their bare backs. During his first trip to Taos in 1893, Sharp had remarked how the Catholic-linked Penitente associations were “a subject for a lifetime” that he vowed to “devote years to.” There was a slight delay to that vow, but by the 1920s and 1930s Sharp had painted several works about the Penitentes of New Mexico, including major pieces such as The Old Santos Mender (Old Penitente) from 1925 and, nine years later, The Passing of the Penitente which shows the lashing ceremony. Sharp staged The Passing of the Penitente in his Luna Chapel studio, which he said had been linked to Penitente practices. Peter Hassrick, in his book The Life & Art of Joseph Henry Sharp, connects Sharp’s interest in the subject to artist Carl von Marr, a Munich teacher that created the 1889 painting The Flagellation, which shows another group of worshipers lashing their backs. Sharp was studying under Marr at the time and later suggested The Flagellation be shown at an 1899 exhibition. It’s within reason to assume Sharp was thinking of the Marr work when he was in Taos painting similar subjects.
Houses Where the Penitentes Live features neither procession nor lashing, but rather a lovely landscape showing a bend in a stream as it turns through a small valley filled with a colorful arrangement of plant life. Three riders can be seen, as can a distant cluster of homes atop a hill. Only a small cross and its well-defined shadow indicate the religious nature of the painting’s setting or subjects.
312
Oscar Berninghaus 1874-1952
Home Seekers in Indian Country Oil on canvas
25 x 30 inches
Signed lower right
Estimate: $100,000 - 150,000
Provenance:
Eleanor Burkhart Galleries, Peoria, IL
Private collection, St. Louis, MO
Acquired from the above, ca. 1940s
By descent to his son.
The phrase “home seekers” is an interesting one that pops up here and there among Oscar E. Berninghaus’ notes and letters. In a 1950 letter he uses the phrase to describe some of the people he laid eyes upon in Taos, New Mexico, in the summer of 1899. His trip to Taos was mostly by train and it was the train crew who noticed his interest in art. They suggested he ride on top of the train’s freight car so he could see better, though they required him to be strapped to the brakeman’s iron guardrail that ran across the top of the car. “As we stopped and passed Servilleta, a station now gone, the brakeman pointed out a certain mountain lying toward the east; this he called Taos Mountain, and told me of a little Mexican village of the same name and the Indian Pueblo lying at the foot of it. That it was one of the oldest towns in the United States (he knew) and gave me some of its history, describing it all so vividly that I started on a twenty-five mile wagon trek over what was comparatively a goat trail,” Berninghaus writes in the 1950 letter, which is quoted from in Oscar E. Berninghaus: Taos, New Mexico—Master Painter of American Indians and the Frontier West. “The trip took 10 hours, and the wild expanse of mountain and desert, the curious coyotes and pronged-horned antelopes that trotted along behind the coach or stood close-by while the conveyance passed, delighted me as did the little adobe town and the massive piles of the pueblo. I found it all as the brakeman had described it and more so, a barren plaza with hitching rail around it, covered wagons of home seekers, cow and Indian ponies hitched to it. A few merchants and too many saloons made up the business section; there were comparatively few Anglos, some of these had mining interests, some were health seekers, and some perhaps fugitives from justice, as Taos might well be a good hide-out place at the time…I stayed here but a week, became infected with the Taos germ and promised myself a longer stay the following year.”
The irony of the description, even 51 years later, is that Berninghaus was describing himself as he gazed upon Taos— the home seeker had found his home.
12 x 16 inches
Signed lower left
Estimate: $15,000 - 25,000
Buffalo Hunt study
Pencil drawing
17 x 11 ½ inches
Signed lower right
Estimate: $12,000 - 18,000
315
William R. Leigh 1866-1955
Parting Pals
Oil on canvas
30 x 25 inches
Signed lower right
Estimate: $125,000 - 175,000
Provenance:
Addison Rowe Gallery, Santa Fe, NM
Mongerson Gallery, Chicago, IL
Paul Beitler, CA, 1975
Private collection, Texas
William R. Leigh is a singular force in Western art who has few, if any, artists worthy of comparison. His work is so uniquely his own that it often defies category, from his exaggerated movements and the poses of his horses and figures, to his impressionistic paint quality that makes every square inch of a painting active and alive. Another aspect that sets his work apart is his action, which can be seen in Parting Pals, as a rider disappears from view atop a bucking horse. The painting hides the rider’s face, and thus his shame, as the flailing beast bests him in a moment frozen in defeat.
Aspens Oil on canvas 25 x 30 inches
Signed lower right; Titled verso
Estimate: $50,000 - 75,000
317
Edgar Payne 1883-1947
Riders in Canyon de Chelly
Oil on canvas
25 x 30 inches
Signed lower right
Estimate: $200,000 - 300,000
Provenance: Private collection, California
Edgar Payne was right at home within the red-rock walls of Canyon de Chelly in Northern Arizona. Not only did he paint the canyon from every conceivable ground-level angle, he seemingly had examples of the light from every minute of daylight, from sunrise to sundown. Color and form are certainly themes within these works, but scale is also key.
“[Canyon de Chelly]…is immense in its rendition of nature’s architectonic grandeur,” writes Peter Hassrick in Edgar Payne: The Scenic Journey. “The canyon, the historical stronghold of the Navajo people, is presented as a colossal fortress on the one hand and as a glowing spiritual sanctuary on the other. The Navajo people, dwarfed on the canyon floor by the overarching monoliths of red sandstone, add both scale and quietude to the scene. The…blue sky suggests that there is in this domain only limited accommodation for a celestial presence.”
Big Sur Coast Oil on canvas
20 x 24 inches
Signed and dated 1921 lower left
Estimate: $25,000 - 35,000
Near Santa Barbara Oil on board
14 x 18 inches
Signed lower right
Estimate: $12,000 - 18,000
He’s often celebrated for his images of the Sierra Nevada Mountains and Navajo riders in desert canyons, but some of Edgar Payne’s most fascinating work focused on the trees and dense vegetation of Southern California, from cypress trees on coastal cliffs to sycamores in fall colors and towering eucalyptus trees with their dense, weeping branches. These subjects proved to be early building blocks for the artist, who was discovering the power of impressionism on the landscape, particularly as it related to California in the early 20th century.
320
Edgar Payne 1883-1947
Sierra Packer
Oil on canvas
25 x 30 inches
Signed lower right
Estimate: $150,000 - 250,000
Provenance: The artist Private collection
Edgar Payne started painting in a professional capacity—houses, signs, stage sets and other projects—as a teenager of 14 years old. He trained in Chicago for a brief period of time, before learning of Laguna Beach, California, and setting his sights west, all the way to the Pacific Coast. It was there in that still-evolving paradise that he honed his skills as a fine artist. After traveling to Europe in the 1920s, Payne returned to America and quickly became one of the leading impressionist painters. In addition to his European subjects, such as the Matterhorn or boats in French harbors, Payne also painted the Sierra Nevada Mountains, rolling hills throughout Southern California and, starting in 1916 after an assignment by the Santa Fe Railroad, the American Southwest.
In Sierra Packer, a staggering example from Payne’s Sierra Nevada adventures, the artist uses color, composition, scale and light to make the mountains into a towering monolith above his subject. “Responding to the light, Payne worked with pure, saturated hues,” Scott A. Shields writes in Edgar Payne: The Scenic Journey. “Fred Hogue, chief editorial writer for the Los Angeles Times, called Payne a ‘poet who sings in colors.’ With the brilliant turquoise of the ocean, hills gold in summer and acid green in winter, and colorful rock formations in the Sierra, Payne was presented with opportunity at every turn. Like the French Impressionists, he avoided black, creating neutral shades by combining complementary colors even for the darkest shadows. For him, California’s topography held more brilliance than did landscape abroad. ‘The rocks of the Alps are granite, of a uniform gray,’ [Payne] explained. ‘In the Sierras one finds mineral ledges everywhere. There is a diversity of color. There are reds and greens not to be found anywhere in Europe. One finds here the mountains of Switzerland under the skies of Italy.’”
321
Howard Terpning b. 1927
The Next Generation Oil on canvas
32 x 26 inches
Signed/CA and dated 2003 lower left; Signed and titled verso
Estimate: $175,000 - 225,000
Provenance:
Owings Gallery, Santa Fe, NM Private collection, Texas
While attempting to explain what makes Howard Terpning’s works so special, artists, collectors and curators will run through a variety of answers: his ability as a storyteller, his confident compositions, his nuanced sense for detail or his ability to capture emotions in faces, a skill he learned way back in his illustration days. All of these answers are correct, and yet Harley Brown, the artist’s friend and colleague, proposes an alternative: “What draws people to his works is difficult to explain in words. Even a casual pass through [his work] will entice the viewer to take a closer look. Pick any painting. Look at it in a general, easy manner. Slowly inspect a few of the details: the finishing touches of a feather, the careful brushwork around an eye, maybe the longer strokes of a fold in a hide. Now glance over to the apparently casual brushwork in the background or a grassy area. You will see a similarity of technique in both cases. One is more articulate, the other has a slight abandon, yet the work is no doubt from the same creator. Each area of the painting is completed with utmost conscious (and subconscious) care. If you’re an artist (or a careful observer of art) it is fascinating to focus in on these details, which bring together all of the important elements of aesthetics. This is a painter who steadily honed his personal approach to the point where it flows from him naturally. Each daub and whisk of the brush is a deeply personal moment of expression, like an evening reminiscing with his wife Marlies or leaning over to make a grandchild laugh.”
The Coup Stick Oil on board
19 x 14 inches
Signed/CA dated 1993 lower left;
Signed and dated verso also letter and Christmas cards from artist
Estimate: $50,000 - 75,000
Provenance: Private collection, Arizona
Robert McCall 1919-2010 Space Flight
Provenance:
Private collection, Texas
Literature:
Arizona Highways, September 1983: cover. Our World in Space, Robert McCall and Isaac Asimov, New York Graphic Society, Greenwich, CT, 1974: cover.
In 1974, painter Robert McCall and science fiction writer Isaac Asimov worked together on Our World in Space, a book that was both speculative of human achievement in the cosmos—grand cities in the stars, colonies on distant planets, travel to other solar systems—and a fond acknowledgment of the triumph that mankind had already accomplished. The forward was written by Buzz Aldrin, the second man to walk on the moon. McCall’s painting Space Flight graces the cover, which is printed on a reflective foil-like dustjacket that looks more like a NASA operating manual than an art book. “Mr. McCall eagerly translated his youthful enthusiasm for drawing knights in shining armor on spirited steeds into paintings of intrepid astronauts in gleaming space vehicles, both real and imagined,” his New York Times obituary reads. “When NASA in 1962 hit on the idea of enlisting artists to promote its mission, Mr. McCall was one of the first three chosen. He went on to create hundreds of vivid paintings, from representations of gleaming spaceships to futuristic dream cities where shopping centers float in space. His most famous image may be the gargantuan mural, showing events from the creation of the universe to men walking on the moon, on the south lobby wall of the National Air and Space Museum on the National Mall in Washington. More than 10 million people a year pass it.”
McCall, who grew up in Ohio looking through telescopes and staring into the sky, also created NASA mission patches, illustrated science fiction magazine articles, designed postage stamps and created the movie poster for 2001: A Space Odyssey.
Accompanied by: Our World in Space book by Isaac Asimov, New York Graphic Society, Ltd., Freenwich, CT, 1974, illustrated on cover; Arizona Highways, September issue 1983, illustrated on cover
Signed lower left;
Estimate: $60,000 - 90,000
Accompanied by: Our World in Space book by Isaac Asimov, New York Graphic Society, Ltd., Freenwich, CT, 1974, illustrated on cover; Arizona Highways, September issue 1983, illustrated on cover
Norman Rockwell 1894-1978 Oh Yeah
Provenance:
Heritage Auctions, Dallas, TX, 2014
Private collection, Texas
Literature:
Four Seasons, Brown & Bigelow Co., 1951: calendar.
Norman Rockwell: A Definitive Catalogue, Vol. I, L.N. Moffatt, Norman Rockwell Museum, Stockbridge, MA, 1986: p. 310-11, no. A128a, completed painting illustrated.
Norman Rockwell: Artist and Illustrator, Thomas S. Buechner, Harry N. Abrams, New York, NY, 1970: Image 448.
Beginning in 1947, Norman Rockwell illustrated annual editions of Four Seasons, a popular series of calendars for the Brown & Bigelow company. The calendars featured four images, with three months of the year below each of the pictures. Rockwell had been creating artwork for an annual Boy Scouts of America calendar since 1925, so the calendar concept was not a stretch for the artist. After its introduction, the Four Seasons series was a huge hit and it continued for 17 years. For the 1951 calendar, Rockwell discovered his subjects during a chance trip two years earlier. “In the winter of 1949, Norman Rockwell and his family temporarily resided in Southern California, where he taught courses at the Los Angeles County Art Institute,” writes Stephanie Plunkett, deputy director and chief curator at the Norman Rockwell Museum. “He discovered the models for this series nearby, roughhousing in a schoolyard football game. For a modest sum, the boys consented to bring their basketball, baseball, golf, and football equipment over to the Institute, where they enthusiastically posed for Rockwell and his photographer.”
Oh Yeah, which Plunkett says is likely an oil study for the final calendar, originally appeared above January, February and March in the printed calendar for the Minnesota-based company. Other images included the same four boys in different scenes, all with less-than-stellar results as they struggled at the various sports. The front page of the calendar contained a message from the artist: “In every city, village or crossroads…wherever Americans congregate to live, to think, to learn, to worship—there you’ll find the spirit of competition. Just such friendly rivalry and fair-play has made America great. It is this spirit that manifests itself in the spontaneous athletic contests engaged in by youth of our land. In this, the fourth edition of the Four Seasons Calendar, I’ve tried to capture some of that spirit…the eager, hard-playing youngsters in the winter’s first game of basketball—the all-important ‘choosing up sides’ in the spring sandlot game—the never-counted wicked slices that characterized a summer golf match—the skinned knees and sore muscles in that trick football play that didn’t click. To me, these active, energetic kids of ours, playing these sports they love so much, take a vital part in our American heritage of freedom and individual initiative. They’re our investment in our country—in our future!”
Rockwell had a long career, and each decade was unique, but a very strong case can be made that the 1950s was his best decade with a vast stretch of smashing images, a number of them for the Saturday Evening Post, the beloved publication for which he had an astonishing 323 covers. Works from the decade, many of which require no description for fans of the artist, include Trumpet Practice, Shuffleton’s Barbershop, Losing the Game (Cheerleaders), The Shiner (The Young Lady with the Shiner), Walking to Church, Breaking Home Ties and The Rookie. 1951 was an especially strong year with works such as Two Plumbers, in which two overall-clad workers sample a customer’s perfume; Saying Grace, the artist’s great masterpiece of a grandmother and her grandson praying in a bustling restaurant, a work that sold at auction for $46 million in 2013; and also Oh Yeah and its accompanying sports images.
Oh Yeah
Oil
9 x 7 inches
Signed lower right
Estimate: $100,000 - 150,000
325
Carl
Out of the Canyon Etching 9 x 11 inches
Signed lower right
Estimate: $4,500 - 6,500
Literature: Carl Rungius: The Complete Prints, A Catalog
Raisonne, published by Mountain Press Publlishing Company 1989, pg. 167
Bull Bison
Oil on canvas 12 x 16 inches
Signed and dated 08 lower left
Estimate: $8,000 - 12,000
326
The Family Etching 9 x 11 inches
Signed lower right
Estimate: $4,500 - 6,500
Literature: Carl Rungius: The Complete Prints, A Catalog Raisonne, published by Mountain Press Publlishing Company 1989, pg. 165
328
Bonnie Marris b. 1951 Big Griz Oil on canvas
24 x 48 inches
Signed lower right
Estimate: $18,000 - 24,000
329
Push Comes to Shove
Bronze, cast 8/25
17 inches overall height
Signed Estimate: $12,000 - 18,000
330
Jim Norton b. 1953
Elk in the High Country
Oil on canvas
24 x 30 inches
Signed/CA lower left
Estimate: $12,000 - 16,000
331
Tim Shinabarger b. 1966
Anticipation
Bronze, cast 13/30 30 inches overall height
Signed and dated 09
Estimate: $6,000 - 9,000
Signed lower left
Estimate: $30,000 - 40,000
Signed lower right
Estimate: $7,000 - 10,000
Oil on board
24 x 36 inches
Signed lower right;
Signed, titled and dated 2016 verso
Estimate: $12,000 - 18,000
Oil on board
24 x 36 inches
Signed lower left
Estimate: $8,000 - 12,000
336
Bob Kuhn 1920-2007
After the Short Rains
Acrylic on board
20 x 48 inches
Signed lower right;
Signed and dated 1993 verso
Estimate: $125,000 - 175,000
After the Short Rains (detail)
Acrylic on board
20 x 48 inches
Signed lower right;
Signed and dated 1993 verso
Estimate: $125,000 - 175,000
Literature:
Wild Harvest: The Animal Art of Bob Kuhn, published by Sporting Classics & Wildlife Art Magazine, 1997: p. 74-75.
Although strongly associated with North American wildlife, Bob Kuhn was an avid painter of African subjects. In his book Wild Harvest, Kuhn describes After the Short Rains: “When my wife and I drove up to this group, they were dozing or grooming in the cool shade, and at peace with the world. The new green of their carpet meant the presence of grasseaters on which they feed, and each member of this small pride had a full belly. Lions within Africa’s game reserves are generally good tempered, so we sat quietly inside the vehicle, almost within the family confines, recording every shift of position, change of expression, everything. It was nothing like watching the thrill of a stalk, but fascinating nonetheless.”
Mixed Media
11 x 15 inches
Signed lower left
Estimate: $30,000 - 50,000
Provenance: Jackson Hole Art Auction, Jackson Hole, WY, 2014
In one of his many adventures to Africa, painter Wilhelm Kuhnert was given the nickname of Lion. And while lions are his most prolific subject, tigers are a close second. The German-born artist studied at the Royal Academy of Arts in Berlin, where he discovered he had a fondness for wildlife. Travels to far-off places to paint exotic creatures soon followed. His first trips to Africa occurred in 1891. The artist was estimated to have painted more than 5,500 works, though many were lost or destroyed in World War II. Today fewer than 1,000 works are known to exist.
Oil on canvas
16 x 26 ½ inches
Signed lower left
Estimate: $8,000 - 12,000
339
A. Phimister Proctor 1860-1950
Stalking Panther
Bronze, cast 9
9 ½ inches overall height
Roman Bronze Works N.Y. 1904
Rich dark brown patina
Estimate: $15,000 - 25,000
Few museum exhibitions have been more important to the genre of Western bronze than The American West in Bronze, 1850-1925, which opened in 2013 at the Metropolitan Museum of Art in New York City. Within the exhibition was a cast of Alexander Phimister Proctor’s Stalking Panther. “Stalking Panther highlights the relation of Proctor’s art to his principal selfidentity as a sportsman-adventurer, which he cultivated from a young age,” Thayer Tolles writes in the exhibition’s catalog. “He began the statuette in New York, basing it on observations of panthers made during an 1887 trip to Colorado and at the Central Park Menagerie, as well as on dissection studies. After displaying the sculpture at the World’s Columbian Exposition, he took the plaster model to Paris, where he refined it using a shaved cat for reference. For its freeze-frame motion, Proctor applied his method of ‘getting a picture of a whole action’: ‘I found I could get an action picture by closing my eyes, opening them for a split second, and then shutting them again.’”
340
Simon Combes 1940-2004
Beware the Intruder Oil on canvas
20 x 30 inches
Signed and dated May 89’ lower right
Estimate: $30,000 - 40,000
19 x 26 inches
Signed lower left
Estimate: $15,000 - 25,000
16 x 20 inches
Signed and dated 2011 lower right
Estimate: $12,000 - 18,000
24
48 inches
Signed lower right
Estimate: $10,000 - 15,000
24
36 inches
Signed/CA lower right; Signed/CA verso
Estimate: $14,000 - 18,000
345
Paul Calle 1928-2010
Mountain Monarch Graphite
38 x 29 inches
Signed and dated 1976 lower right; Signed verso
Estimate: $15,000 - 25,000
Provenance: Private collection, Massachusetts
Exhibition:
Paul Calle's Life of Exploration - From the Mountains to the Moon, Scottsdale Museum of the West 2022
346 Fred Fellows b. 1934
The Trapper Bronze, cast 1/35 23 inches high
Signed
Estimate: $2,000 - 3,000
347
Paul Calle 1928-2010
One with the Land Oil on board
33 x 43 inches
Signed and dated 1981 lower left
Estimate: $45,000 - 60,000
Provenance: Private collection, Massachusetts
Exhibition: Paul Calle's Life of Exploration - From the Mountains to the Moon, Scottsdale Museum of the West 2022
Signed
Estimate: $8,000 - 12,000
14 x 9 inches
Signed lower right; Signed verso
Estimate: $2,000 - 3,000
20
Signed lower left
Estimate: $10,000 - 15,000
Following in the footsteps of Ogden M. Pleissner and Arthur Burdett Frost, Robert Abbett is widely considered one of the great painters of sporting scenes, particularly images of fishing, hunting and bird dogs. Born in Indiana, Abbett was prolific as an illustrator in New York City in the 1950s. He moved to Connecticut in the 1970s and began to explore his easel work, including his popular and highly collected sporting scenes. This painting originated near his Connecticut home on the Aspetuck River, known for its abundant fishing opportunities.
20 x 16 inches
Signed upper left; Signed, titled and dated 97 verso
Estimate: $2,000 - 3,000
Acrylic on board
3 ¼ x 6 inches
Signed lower left
Estimate: $3,000 - 5,000
Acrylic on board
3 x 4 ½ inches
Signed lower right
Estimate: $3,000 - 5,000
Acrylic on board
3 ½ x 5 ¾ inches
Signed lower right
Estimate: $3,500 - 5,500
Acrylic on board
6 x 5 inches
Signed/CA lower left
Estimate: $4,000 - 6,000
Close Encounter
Acrylic on board
4 x 6 inches
Signed lower right
Estimate: $4,000 - 6,000
First
Acrylic on canvas
3 x 5 inches
Signed lower right
Estimate: $1,500 - 2,000
Southwest Jar and Pitcher
Oil on canvas
12 x 24 inches
Signed lower right
Estimate: $5,000 - 7,000
Twilight Meeting
Oil on canvas
16 x 12 inches
Signed and dated 2006 lower right; Signed, titled and dated 2006 verso
Estimate: $8,000 - 12,000
9
27 x 21 inches
Signed and dated 81 lower right; Signed, titled and dated 1981 verso
Estimate: $15,000 - 25,000
Signed and dated 2002 lower right
Estimate: $20,000 - 30,000
362
Richard Schmid 1934-2021
Lily Joy
Oil on board
10 x 19 inches
Signed and dated 2006 lower right;
Signed, titled and dated 2006 verso
Estimate: $25,000 - 35,000
363
Richard Schmid 1934-2021
Spring Lake Farm House (The Atchison House)
Gouache 20 x 27 inches
Signed lower left
Estimate: $14,000 - 18,000
Literature:
The Landscapes - Richard Schmid, published by Store Prairie Press 2009, pg. 62
364
Richard Schmid 1934-2021
Nancy Painting the Blue Cottage Oil on canvas
12 x 20 inches
Signed lower right; Titled and dated 1992 lower left
Estimate: $25,000 - 35,000
Literature:
The Landscapes - Richard Schmid, published by Store Prairie Press 2009, pg. 202 Patrons Without Peer, The McCloy Collection, by Tom Davis, published by Collectors Covey 2009; p. 160
One of the most revered artists within contemporary American realism, Richard Schmid originally started studying art from a correspondence course while he was selling his art on the streets of Chicago. As he grew as a painter, briefly under the teaching of William H. Mosby, Schmid moved around the country, painting magnificent landscapes, still lifes and figures wherever he went. As his success soared, the artist embraced his position as a teacher, a role fully synthesized in his book Alla Prima: Everything I Know About Painting, a book found in countless artist studios around the world. By the time Schmid died in 2021, he had more than 75 major one-man shows—including shows at the Smithsonian Institution, Pennsylvania Academy of Fine Arts, Art Institute of Chicago, National Academy of Design, the Gilcrease Museum and countless others—as well as top honors from virtually every art organization in the country.
366
Daniel Keys b. 1985 White Roses Oil on board
8 x 10 inches
Signed and dated 12 lower right
Estimate: $2,000 - 3,000
365
Daniel Keys b. 1985 Flowers and Onions Oil on board 24 x 20 inches
Signed lower right
Estimate: $5,000 - 8,000
367
Brilliant Soliloquy of Winter Oil on canvas
48 x 48 inches
Signed lower right;
Titled verso
Estimate: $30,000 - 40,000
368
Donald Teague 1897-1991
Wash Day Spain
Watercolor
20 x 30 inches
Signed lower left N.A.
Estimate: $5,000 - 7,000
Provenance: Texas Art Gallery, Dallas, TX
Often considered a complicated and unforgiving medium, watercolor has continuously challenged American artists for centuries, from Thomas Moran and Charles M. Russell to John Singer Sargent and Andrew Wyeth. Recognized as one of the country’s most accomplished watercolorists, Donald Teague started as an illustrator with publications such as the Saturday Evening Post, McCall’s and Collier’s, among others. Teague relocated from New York City to California in 1938, and then fully committed to Western subject matter in 1958. The classically taught painter—who studied at the Art Students League under George Bridgman, Dean Cornwell and Frank DuMond—Teague joined the Cowboy Artists of America in 1969 and was a member throughout the rest of his career.
369
Dean Mitchell b. 1957
KC, Quality Hill
Watercolor
22 x 29 inches
Signed lower right;
Signed and titled verso
Estimate: $8,000 - 12,000
370
Clark Hulings 1922-2011
Shady Side Shopping
Oil on canvas
12 x 18 inches
Signed and dated 1970 lower right
Estimate: $10,000 - 15,000
Provenance:
Period Gallery West, Scottsdale, AZ
371
Clark Hulings 1922-2011
Mostar Bridge
Oil on canvas
20 x 30 inches
Signed lower right
Estimate: $40,000 - 50,000
Provenance:
Hilton Head Art Auction, Hilton Head, SC, 2013 Private collection, 2013
Western collectors have claimed Clark Hulings as their own, but the artist also worked quite regularly in Europe, as represented by these two works, Mostar Bridge and Shady Side Shopping, which likely originated from his travels in Spain. The subject of a donkey is one that comes up repeatedly in his work. “If it is nostalgia that induces me to paint markets and donkeys and Spanish landscapes, things which were part of my distant childhood, perhaps it is also nostalgia that moves me to search out rustic places with bygone lifestyles,” Clark Hulings wrote in A Gallery of Paintings by Clark Hulings. “…But my rustic world is shrinking. The open-air markets are giving way to supermarkets. No more wooden stalls sheltered by colorful canvas awnings—no more donkey ‘parking lots’—no more donkeys!”
In Mostar Bridge, Hulings paints a stone bridge also known as Stari Most, located in Bosnia and Herzegovina, formerly Yugoslavia. The pedestrian bridge, originally built by the Ottoman Empire in the 16th century, was destroyed by shelling in 1933 during the Croat-Bosniak War and later a new bridge was built on the same site. A proper reconstruction of the bridge was completed in 2004. The bridge is recognized as a UNESCO World Heritage Site.
13
Signed lower right
Estimate: $15,000 - 25,000
Signed
Estimate: $10,000 - 15,000
374
Thomas Moran 1837-1926
Woman in the Woods Oil on canvas
24 x 12 inches
Signed and dated 1903 lower right
Estimate: $30,000 - 50,000
Provenance:
Private collection, New York, ca. 1925
By descent to current ownerThomas Moran is one of the most respected of American landscape painters, and yet he was not shy about painting figures. A great number of his works—including many of his famous paintings of the Venetian Harbor and Green River, Wyoming—are dotted with small figures meant to bring life to his scenes and reinforce the vastness of the land and the water. Woman in the Woods, with its larger-than-normal figure in the middle of a vertical composition, is quite rare in both subject and composition. The work was executed in 1903, which was a busy travel year for the artist: he began the year in East Hampton, New York, but would eventually travel to Albuquerque, New Mexico; Mexico City and Cuernavaca, Mexico; and finally returning to East Hampton by the summer.
375
Conrad Schwiering 1916-1986
Mount Moran
Oil on board
36 x 48 inches
Signed lower left; Signed verso
Estimate: $30,000 - 40,000
Provenance:
Private collection, Arizona
Coeur d’Alene Art Auction, Reno, NV, 2005
There are 56 named peaks in Grand Teton National Park and Mount Moran is the fifth highest, rising 12,605 feet amid a gallery of snow-capped peaks in western Wyoming. The park was named after painter Thomas Moran, who was a member of the 1871 Hayden Geological Survey that explored northwest Wyoming and eventually led to the formation of the National Park System. Conrad Schwiering created this image of the famous peak in 1974, 102 years after it was named. The artist, born at the foot of the Rocky Mountains in Colorado, later settled in Wyoming, where he would paint many of the peaks, especially Mount Moran, which he could see from his studio window. The artist famously tried to paint outdoors daily, regardless of weather or condition, a practice he said helped hone his understanding of light, composition and subject. During his career, he was honored with many one-man shows, including an important exhibition at the Gilcrease Museum in 1985. The following year, the artist passed away doing what he loved, planning a painting on the beach at Point Lobos State Park in California. After his death, the bulk of his archives and studio were donated to the Nicolaysen Art Museum in Casper, Wyoming.
Rocks and Glaciers
Oil on board
14 x 16 inches
Signed lower right; Signed, titled, described and dated 1925 verso
Estimate: $20,000 - 30,000
Provenance:
Santa Fe Art Auction, Santa Fe, NM, 2010
Scottsdale Art Auction, Scottsdale, AZ, 2015
Birger Sandzén traveled the world: he was born in Sweden, studied art with Anders Zorn in Stockholm and George Seurat in Paris, traveled around Europe taking in the natural splendor and then made a long journey to visit Colorado in the United States. He finally set down roots in Lindsborg, Kansas, after reading a book about Swedish immigrants who had settled in the Sunflower State. The painter, who became a teacher at Bethany College, was known for his impressionist landscapes with sumptuous color and textured paint quality—he was dubbed the “American Van Gogh.”
Bronze, cast 28/35
10 inches overall height, 30 inches wide
Signed and dated 2000
Estimate: $6,000 - 9,000
378
Mark Boedges b. 1973
Burning Off
Oil on canvas
36 x 48 inches
Signed lower left; Signed, titled and dated verso
Estimate: $20,000 - 28,000
There is often a duality to our existence; it is at once filled with art and poetry but also a severe and unforgiving utility. Working boats such as this one perfectly embody this duality. Beautiful lines and a glistening spider web of rigging speak to our artistic impulses and a yearning for the open ocean. But at the same time these boats are broken, repaired, loaded down with, and surrounded by, the decidedly unromantic equipment of making a living from the sea. – Mark Boedges
379
John Stobart 1929-2020
San Francisco in 1849 (Vicar of Bray) Unloading in Yerba Buena Cove
Oil on canvas
30 x 50 inches
Signed and dated 1975 lower right
Estimate: $45,000 - 65,000
Accompanied by: “Stobart - The Rediscovery of America’s Maritime Heritage” book, illustrated on pg. 201
379
San Francisco in 1849 (Vicar of Bray) Unloading in Yerba Buena Cove (detail)
Oil on canvas
30 x 50 inches
Signed and dated 1975 lower right
Estimate: $45,000 - 65,000
Accompanied by: “Stobart - The Rediscovery of America’s Maritime Heritage” book, illustrated on pg. 201
Provenance:
Kennedy Galleries Inc., New York
Private collection, Texas
This detailed and entrancing marine scene shows the Vicar of the Bray, a magnificent double-masted sailing ship anchored in the Yerba Buena Cove, which is today the eastern, Oakland-facing side of San Francisco. The ship was launched in 1841 and built by Robert Hardy in the English shipbuilding port of Whitehaven. The scene looks lively, but there was likely an ominous mood aboard the Vicar—it became a “ghost ship” as soon as it hit port in San Francisco, the result of most of the crew deserting to look for their fortunes during the 1849 California Gold Rush. The ship’s commander, Captain C.B. Duggan, had to wait in port to find replacement sailors.
The artist of the work, John Stobart, is considered to be one of the finest contemporary marine painters in the world. He took an interest in boats and the ocean in the 1950s after traveling by ship from London to South Africa. He later relocated from England to Canada, where he earned a living painting boats on the St. Lawrence River. By the 1960s he turned all his attention to historic ships, and he hasn’t looked back. “At first glance, it may seem ironic that it took an English-born marine artist to bring the story of 19thcentury American ports to life, but, like many recent arrivals, John Stobart embraced his new home with enthusiasm and a drive to make his own contribution to its culture,” writes J. Russell Jinishian in Bound for Blue Water: Contemporary American Marine Art. “His passion has helped preserve a portrait of maritime America that was in danger of being lost.”
380
Montague Dawson 1890-1973 Clearing Skies, The Sobraon Oil on canvas
24 x 36 inches
Signed lower left
Estimate: $35,000 - 50,000
Provenance:
DuMouchelles Auction House, Detroit, MI, 2015
Montague Dawson, one of the most accomplished and recognized maritime and ship painters in the world, likely created this work no later than 1946. The English painter—entirely self-taught, though he did join the Royal Navy, itself a school for aspiring marine artists—based this work on the passenger ship Sobraon, built in 1866 in Scotland by Alexander Hall & Co. The ship would make annual journeys back and forth between England and Australia. It made its last transit to Australia in 1890, the year the artist was born. It was eventually sold to Australia, which used it as a training ship under the name HMAS Tingira, before it was broken up in 1941.
Montague Dawson 1890-1973
The British Ambassador Mid Ocean Under Full Sail Oil on canvas
24 x 36 inches
Signed lower left
Estimate: $35,000 - 50,000
382
Sydney Laurence
Mt. McKinley
Oil on canvas
20 x 16 inches
Signed lower right
Estimate: $15,000 - 25,000
Provenance:
The artist, ca. 1921
Private collection, Alaska
By descent in the family to the grandchildren
Susan & Richard Combs
Private collection, Montana
Scottsdale Art Auction, Scottsdale, AZ, 2016
Sometime after 1900, Brooklyn-born painter Sydney Laurence decided, seemingly without provocation of any kind and under mysterious circumstances, to abandon his wife and two children in England, where he had been studying art. By 1903, another mysterious set of circumstances led him to Alaska, where he became a miner and continued to paint. His mining gig showed little signs of success, but his painting soared, particularly his work of Mt. McKinley, which he painted in hundreds of works. Many of the paintings showed the mountain covered in thin clouds at its base and often included objects in the foreground—trees, food caches in wood towers, totem poles and fire lookouts—that helped frame the epic size and scale of the 20,300-foot mountain. He also painted other images around Alaska, though none as great in quality or quantity as Mt. McKinley.
18 x 24 inches
Signed lower right
Estimate: $15,000 - 25,000
384
John Falter 1910-1982
Ceremony of the Snake Oil on canvas
28 x 40 inches
Signed and dated 75 lower right
Estimate: $20,000 - 40,000
Provenance:
Husburg Fine Arts Gallery, Sedona, AZ Private collection, Texas
In the 1970s, after the death of many of the great illustrated magazines he was employed by, John Falter turned his attention to a personal passion, the American West. Not only did he paint six major works for the commissioned series From Sea to Shining Sea for the American Bicentennial, but he also created works like 1975’s Ceremony of the Snake, showing the sacred Hopi Snake Dance, in which dancers circle a plaza with snakes in their mouths. Much of the ceremony is so sacred that outsiders are not permitted to view it, but in the past the public has been allowed to witness portions of it. Theodore Roosevelt saw it performed in 1913. Today, it is largely forbidden for outsiders to attend.
385
John Falter 1910-1982
The Bluffs Have Eyes
Oil on canvas
26 x 40 inches
Signed and dated 79 bottom center
Estimate: $25,000 - 45,000
Provenance: National Academy of Western Art Private collection, Texas
Certainly inspired by the flatboat paintings of George Caleb Bingham, John Falter’s The Bluffs Have Eyes offers an alternative, slightly more realistic posing of river life. Where Bingham offered grand, almost musical depictions of his “jolly flatboatmen,” Falter’s rendition is less romantic, but grittier and more livedin—perhaps a more authentic representation of a difficult and dangerous profession. Of particular note in the work is the level of detail: two cats, the raised platform that contains the cooking fire, the uniquely dressed figures, a constellation in the night sky and the ripples of jumping fish in the river twilight. A viewer would not require much imagination to hear the soft strums of the banjo music or the gentle lapping of the water against the flat hull of the boat.
Born and raised in Nebraska, Falter scored an early victory as an artist after creating a comic strip that was picked up by Nebraska’s Fall City Journal. Its success eventually led him to Kansas and then New York, where he would study art and begin to explore a career in illustration. Pulp magazines led to more generalinterest magazines, which led to commissions from a variety of name-brand products. He truly began to shine in September 1943 when his portrait of Benjamin Franklin graced the cover of the Saturday Evening Post. He would go on to create 185 covers for the famous publication: nearly half that of Norman Rockwell and J.C. Leyendecker, but more than double that of John Clymer. During the 1970s and 1980s, Falter would leave the East Coast to explore Western art. In 1978 he was invited to participate in the National Academy of Western Art (NAWA) annual show, the prelude event to the Prix de West at the National Cowboy & Western Heritage Museum. The Bluffs Have Eyes was included in the 1979 NAWA show.
386
John Falter 1910-1982
Centennial Fourth of July
Oil on canvas
24 x 36 inches
Signed and dated 75 lower right; Signed and dated 1975 verso
Estimate: $20,000 - 40,000
Literature:
The Connoisseur, January 1976, Hearst Corporation, New York, NY.
Norman Rockwell is often considered the titan of American storytelling and nostalgia, but John Falter was right there at his heels telling similar stories about average Americans making their way through the daily calamity of life. And where Rockwell would go tighter, on just one or several characters, Falter would go wider and grander with whole scenes offering bits of storytelling—drama, humor, tragedy, romance and so much more—unfolding at numerous points in his scenes. A perfect example of this is Centennial Fourth of July. The year after it was made, it was included in the art magazine The Connoisseur with this text: “John Falter, one of America’s most gifted illustrators, shows his love for his country in this happy version of an early Western Fourth of July celebration.”
387
J. Christopher Smith 1891-1943
Hopi Indians Long Hair Dance Oil on canvas
30 x 40 inches
Signed lower left; Signed and titled verso
Estimate: $6,000 - 9,000
Provenance:
Zaplin Gallery, Santa Fe, NM
William A. Karges Fine Art, Carmel, CA
John Christopher Smith was born in Ireland, but only spent the first 12 years of his life there before making the pilgrimage to America with his family. He served in World War I, and after returning to the United States began to study art under Robert Henri, the Ashcan artist known for his great portraits. Smith was also close with painter Franz Bischoff. The two would travel through the West painting the land and its diverse residents. Smith was especially moved by the Pueblo People of New Mexico and Arizona. His work is quite varied: California landscapes, scenes of Los Angeles rail workers, farmers and homesteaders, coastal and marine paintings, florals and, to the delight of Western collectors, many beautiful images of Native American subjects under clear desert skies.
On the Ascent Oil on canvas
24 x 36 inches
Signed lower right
Estimate: $20,000 - 30,000
Stories of the Wild West were not just isolated to the United States as they often soared over the Atlantic Ocean to excite youngsters in Europe. Herman Hansen was one of those children who had read stories about adventure, exploration, horses and buffalo on the great frontier. After studying first in his home country of Germany, Hansen went to London and then took a boat to New York City in 1877. He found the country still rebuilding after the Civil War, but also expanding westward. He studied in Chicago before taking up residence in San Francisco, where he painted some of the most dramatic and thrilling horse paintings in Western art. In 1906 he survived the San Francisco earthquake but his studio was destroyed. He later lived across the bay in Alameda. His son, Armin Hansen, followed him into the art world; he became a prominent marine painter who also spent a great deal of time painting rodeos.
Two Bits a Load Watercolor
12 x 16 inches
Signed lower right; Titled verso
Estimate: $5,000 - 8,000
390
Porfirio Salinas 1910-1973
Bluebonnets Near New Braunfels
Oil on canvas
25 x 30 inches
Signed lower right
Estimate: $20,000 - 30,000
Porfirio Salinas was born in Texas, raised in Texas and he died in Texas. He is one of the Lone Star State’s most collected and respected artists, and he is one of the great painters of Texas’ bluebonnets, Hill Country, old Spanishstyle missions and cattle scenes. This work, which has those classic bluebonnets so sought after by collectors, shows a landscape near New Braunfels, northeast of San Antonio. Salinas, whose mother was from Mexico, grew up in a bilingual neighborhood in San Antonio. It was there that Salinas would meet and work for painter Robert Wood, who would help the younger artist launch his career. One unconfirmed story that swirls around their business arrangement is that Wood could not stomach to paint any more bluebonnets, so he paid Salinas $5 per painting to add bluebonnets to landscape scenes.
391
Andre Gisson 1921-2003
The Carousel
Oil on canvas
20 x 24 inches
Signed lower right
Estimate: $2,500 - 3,500
392
Ray Swanson 1937-2004
Evening Roundup
Oil on canvas
30 x 40 inches
Signed and dated 73 lower right
Estimate: $6,000 - 9,000
393
Warren Rollins 1861-1962
Plains Burial
Oil on canvas
24 x 36 inches
Signed lower right
Estimate: $5,000 - 7,000
Nevada-born painter Warren Rollins has been eclipsed by more famous artists who worked in Santa Fe, New Mexico, but he quietly helped pave the way for many artists who had great success in Santa Fe and the broader Southwest. Not only did he have the first formal art show in Santa Fe in 1906 at the Palace of the Governors, and was the first president of the Santa Fe Art Club, but he was also known as the Dean of the Santa Fe Art Colony. He was friends with Gerald Cassidy, Sheldon Parsons and Eanger Irving Couse, and he once painted a portrait of Calamity Jane that was later lost in a saloon fire. He lived to be 100 years old.
395
Edgar S. Paxson 1852-1919
Flathead Portrait
Watercolor 10 ½ x 7 inches
Signed and dated 1902 lower left
Estimate: $6,000 - 9,000
394
Edgar S. Paxson 1852-1919
Apache
Watercolor
12 x 8 ½
Signed and dated 1905 lower right; Signed and titled verso
Estimate: $10,000 - 15,000
396
Edgar S. Paxson 1852-1919
Reservation Hat
Watercolor 9 x 6 ½ inches
Signed and dated lower right
Estimate: $5,000 - 7,000
397
Carl Kauba 1865-1922
Set of Two: War Chiefs
Bronze
Height: 21 inches each
One signed
Estimate: $5,000 - 8,000
Born in Vienna, Austria, Carl Kauba was an early sculptor who was fascinated with the American West. Taught under teachers Karl Waschmann and Stefan Schwartz, Kauba was active around Europe for much of his career. His pieces, possibly inspired by the writing of German author Karl May, who told fictionalized accounts of the Old West, were likely imported into the United States from 1895 to 1912. Casts were made at the Roman Bronze Works, the same foundry that Frederic Remington was using around the same time. There is an ongoing question of whether or not Kauba ever actually visited America. Whether his sculptures were modeled in Austria or America, Kauba is recognized for his early use of polychrome bronze and his use of texture to convey detail in his figures.
398 Fritz White 1930-2010
Out of the Mystic Past
Bronze, cast 7/15
28 inches overall height, 56 inches wide
Signed/CA
Estimate: $6,000 - 8,000
Not only is Out of the Mystic Past one of Fritz White’s most recognizable works, it also represents a milestone for the Museum of Western Art after a monument-sized version became the first outdoor sculpture installed at the museum in Kerrville, Texas. The Ohio artist didn’t always work in bronze; his first sculpture was carved in stone. Prior to that he had been in the Marines, played semi-professional football and worked desk jobs. Sculpture unlocked his creativity and he never turned back. Today numerous pieces can be seen around Loveland, Colorado, where the artist lived about half his life. It was in Loveland, in 1984, where White helped create the popular Sculpture in the Park event.
Searching the Wind
Bronze, AP #21
19 inches overall height
Signed and dated 1987
Estimate: $4,000 - 8,000
The Winnowers
Bronze, cast 7/14
26 inches overall height
Signed and dated 93’
Estimate: $8,000 - 12,000
16 x 20 inches
Signed lower right
Estimate: $8,000 - 12,000
34 x 34 inches
Estimate: $5,000 - 7,000
Oil on board
30 x 45 inches
Signed lower left;
Titled verso
Estimate: $8,000 - 12,000
404 Olaf C. Seltzer 1877-1957
Fishing Cougar
Gouache
15 x 11 ½ inches
Signed and dated 1904 lower right
Estimate: $3,000 - 5,000
405 Olaf C. Seltzer 1877-1957
Mountain Lake Oil on canvas
20 x 30 inches
Signed and dated 1913 lower right
Estimate: $6,000 - 9,000
406 Gary Lee Price b. 1955
They Climb High Who Lifts as They Go
Bronze wall sculpture, cast 15/30
33 inches high
Signed
Estimate: $2,000 - 3,000
407 George Lundeen b. 1948
Old Crows
Bronze, cast 4/21
14 inches overall height, 26 inches wide
Signed and dated 1983
Estimate: $3,000 - 5,000
7 ½ x 11 ½ inches
Signed lower right; Titled and dated 1995 verso
Estimate: $2,000 - 3,000
24 x 36 inches
Signed lower left
Estimate: $6,000 - 9,000
A
20 x 30 inches
Signed and dated 76 lower right
Estimate: $2,000 - 4,000
19 x 28 inches
Signed lower right
Estimate: $8,000 - 12,000
22 x 12 inches
Signed lower right
Estimate: $2,000 - 3,000
18 x 16 inches
Signed lower left
Estimate: $4,000 - 6,000
30 x 24 inches
Signed lower left
Estimate: $4,000 - 6,000
Narrow Escape
Bronze, cast 17/42
36 ½ inches overall height
Signed and dated 1976, NAWA SAA NSS; Peregrine Falcon Sculpted Life-Size in diving pursuit of Mourning Doves
Estimate: $2,000 - 4,000
18 x 30 inches
Signed and dated 74 lower right
Estimate: $3,000 - 5,000
Oil
30 x 46 inches
Signed and dated 05 lower right
Estimate: $6,000 - 9,000
Oil on canvas
24 x 36 inches
Signed and dated 83 lower right
Estimate: $4,000 - 6,000
