Dallas, Texas • October 12, 2024
COVER
100 CHARLIE DYE (1906-1972)
Cutting Out Mexican Cows, 1962 oil on masonite, 30 x 40 inches (detail)
$80,000-$100,000
INSIDE COVER
145 JOSEPH HENRY SHARP (1859-1953)
Ditch Workers, Taos, N. Mex, 1931 oil on canvas, 20 x 24 inches (detail)
$90,000-$120,000
BACK COVER
97 FRANK MCCARTHY (1924-2002)
Chance of the Hunt oil on canvas, 30 x 40 inches (detail)
$50,000-$70,000
SCHEDULE OF EVENTS
All Lone Star Art Auction events will be held at the Renaissance Dallas, a Marriott Bonvoy Hotel, located at 2222 N. Stemmons Freeway in Dallas, Texas on Friday, October 11 and Saturday, October 12, 2024.
As is a Lone Star Art Auction Tradition, All Auction Events are Open and Complimentary to Auction Attendee Registrants.
FRIDAY, OCTOBER 11, 2024
10:00am-5:00pm CT, Auction Registration, Grand Foyer
10:00am-5:00pm CT, Auction Art Preview, Grand Ballroom 5:30-8:00pm CT, Lone Star Art Auction Patron’s Cocktail Reception and Dinner, Grand Ballroom
SATURDAY, OCTOBER 12, 2024
10:00am-12:00pm CT, Auction Registration, Grand Foyer 10:00am-12:00pm CT, Auction Art Preview and Breakfast, Grand Ballroom
12:00-5:00pm CT, Live Auction, Grand Ballroom 12:00-6:00pm CT, Auction Check-Out, Grand Foyer
SUNDAY, OCTOBER 13, 2024
9:00-11:00 am CT, Auction Check-Out, Grand Foyer
CONTACT
Phone: 469.608.7600
Address: Douglas Center Tower, 8333 Douglas Avenue, Suite 360, Dallas, Texas 75225
Email: info@lonestarartauction.com Website: lonestarartauction.com
Presented by Great American West and Phil Berkebile, Jr.
$80,000-$110,000
RESERVATIONs
Renaissance Dallas Hotel 2222 North Stemmons Freeway Dallas, Texas 75207
For hotel room reservations, go to HOTEL ACCOMODATIONS at lonestarartauction.com, or call 214.631.2222. Special discounted room rates are available to Lone Star Art Auction participants for Thursday, October 10 through Saturday, October 12, 2024. Rooms must be booked by Friday, September 20, to receive the special auction rate and are subject to availability.
BIDDING
The Lone Star Art Auction offers multiple ways for patrons to bid including attendee, telephone, absentee, and online bidding. Registration for all forms of auction bidding is available on the auction website at lonestarartauction.com
Telephone and Absentee registrations must be submitted by 5:00 pm CT on Friday, October 11, 2024. (20% buyer’s premium)
ONLINE BIDDING OPTIONS: lonestarartauction.com (20% buyer’s premium)
bidsquare.com (25% buyer’s premium)
liveauctioneers.com (25% buyer’s premium)
Auction results will be available for viewing on Wednesday, October 16, 2024 at lonestarartauction.com
auctioneer: Jason Brooks, Texas License No. 16216
1
THEODORE VAN SOELEN (1890-1964)
Spring Branding
lithograph on paper, 28/100 12.25 x 19.5 inches (image)
signed lower right: Van Soelen titled and numbered lower left
PROVENANCE
Private Collection, Lewisville, Texas
$1,500-$2,500
2
THEODORE VAN SOELEN (1890-1964)
Water Tank
lithograph on paper, 29/100 12.25 x 19.5 inches (image) signed lower right: Van Soelen titled and numbered lower left
PROVENANCE
Private Collection, Lewisville, Texas
$1,500-$2,500
EDWARD SHERRIFF CURTIS (1868-1952)
The Eagle-Catcher, 1908
photogravure on paper 7 x 5 inches (image)
5
EDWARD SHERRIFF CURTIS (1868-1952)
Iron Plume-Ogalala, 1907
photogravure on paper 7 x 5 inches (image)
LITERATURE
The North American Indian (1907-1930) v.04, The Apsaroke, or Crows. The Hidatsa ([Seattle] : E.S. Curtis; [Cambridge, Mass. : The University Press], 1909), facing page 136.
PROVENANCE
Private Collection, Frisco, Texas
$3,000-$5,000
4
EDWARD SHERRIFF CURTIS (1868-1952)
Piegan War-Bonnet and Coup-Stick, 1909
photogravure on paper 7 x 5 inches (image)
LITERATURE
The North American Indian (1907-1930) v.06, The Piegan. The Cheyenne. The Arapaho ([Seattle] : E.S. Curtis; [Cambridge, Mass. : The University Press], 1911), facing page 16.
PROVENANCE
Private Collection, Frisco, Texas
$1,500-$2,000
LITERATURE
The North American Indian (1907-1930) v.03, The Teton Sioux. The Yanktonai. The Assiniboin ([Seattle] : E.S. Curtis; [Cambridge, Mass. : The University Press], 1908), facing page 32.
PROVENANCE
Private Collection, Frisco, Texas
$1,500-$2,000
6
EDWARD SHERRIFF CURTIS (1868-1952)
Brule Warriors, 1907
photogravure on paper 5 x 7 inches (image)
LITERATURE
The North American Indian (1907-1930) v.03, The Teton Sioux. The Yanktonai. The Assiniboin ([Seattle] : E.S. Curtis; [Cambridge, Mass. : The University Press], 1908), facing page 36.
PROVENANCE
Private Collection, Frisco, Texas
$2,000-$3,000
7
THOMAS MORAN (1837-1926)
The Half Dome—View from Moran Point, Yosemite, 1887
etching on paper
11.625 x 8.25 inches (image) signed in plate lower left: T. Moran signed verso: Thos. Moran
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$1,000-$1,500
9
JOE BEELER (1931-2006)
Apache Warrior
watercolor on paper 14 x 10 inches (sight)
signed lower right: Joe Beeler
PROVENANCE
Private Collection, Denton, Texas
$1,000-$1,500
8
R. BROWNELL McGREW (1916-1994)
Portrait of a Navajo, 1959
charcoal on paper
18.25 x 14 inches (sight)
signed lower right: R. Brownell McGrew 1959
PROVENANCE
Private Collection, Denton, Texas
$1,000-$1,500
OLAF CARL WIEGHORST (1899-1988)
Head On
pen and watercolor on paper 10 x 8 inches (sight) signed lower left: O Wieghorst
PROVENANCE
Private Collection, Denton, Texas
$2,000-$3,000
11
MELVIN CHARLES WARREN (1920-1995)
Boquillas, Mexico Across the River from Big Bend, 1968
pencil and gouache on paper 11.5 x 17.25 inches (sight) signed lower right: Melvin C. Warren 1968 titled lower left
PROVENANCE
Private Collection, Fredericksburg, Texas
$2,000-$3,000
13
12
WAYNE BAIZE (b. 1943)
Mare and Foal pencil on paper 15 x 25.5 inches (sight) signed lower left: Wayne Baize
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
WAYNE BAIZE (b. 1943)
Mare and Seated Foal pencil on paper 19 x 15.5 inches (sight) signed lower left: Wayne Baize
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
WAYNE BAIZE (b. 1943)
The Winter Stage gouache on paper 11.75 x 22.5 inches (sight) signed lower right: Wayne Baize
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$1,500-$2,000 15
WAYNE BAIZE (b. 1943)
Bringing up the Hoodlum Wagon, 1990 oil on canvas 18 x 24 inches
signed lower right: Wayne Baize 1990
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$2,500-$3,500
16
JODIE BOREN (b. 1926)
A Place of Refuge, 1975
watercolor and gouache on paper 21 x 13.5 inches (sight)
signed lower left: Jodie Boren 75
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
17
BOREN (b. 1926)
Cowboy with Saddle and Rifle, 1971
watercolor on paper 19 x 12.5 inches (sight)
signed lower left: Jodie Boren 71
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
18
JAMES BOREN (1921-1990)
Beans for the Boys, 1966
oil on canvas 16 x 20 inches
signed lower left: James Boren 1966
PROVENANCE
Private Collection, Dallas, Texas
$2,500-$3,500
19
JAMES BOREN (1921-1990)
When it Pays to Pack a Rod, 1970
watercolor on paper 21 x 29 inches (sight) signed lower right: James Boren 1970 CA
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$2,500-$3,500
20
DAVE McGARY (1958-2013)
Bear Tracks, 1993
bronze, 74/75
28 x 22 x 12 inches
inscribed: Dave McGary 93 74/75 artist thumbprint
PROVENANCE
Private Collection, Dallas, Texas
$3,000-$5,000
21
DAVE McGARY (1958-2013)
Captured Thunder, 1982
bronze, 15/30
14.5 x 11.5 x 6 inches
inscribed: Dave McGary 1982 15/30 artist thumbprint
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$2,000-$3,000
22
CHUCK DE HAAN (b. 1933) Foggy Morning, 1981
oil on masonite
30 x 24 inches
signed lower left: Chuck De Haan ‘81
PROVENANCE
Private Collection, Houston, Texas
$3,000-$5,000
23
JOHN DeMOTT (b. 1954) Mountain Revelry, 1992
oil on canvas
36 x 48 inches
signed lower right: DeMott 1992
PROVENANCE
Private Collection, Coppell, Texas
$3,000-$5,000
24
GEORGE BOUTWELL (b. 1943)
Texas Blue Norther
gouache on paper
10 x 29 inches (sight)
signed lower left: G. Boutwell
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
25
HERB McKINLEY (1920-2013)
Gully Washer (Hill Country Wildflowers)
oil on canvas
30 x 40 inches
signed lower center: Herb McKinley
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$2,500-$3,500
26
27
RICHARD ZSCHAEBITZ (1860-1912)
Dusk at Mission de San Jose, San Antonio, 1905
oil on board
18 x 24 inches unsigned
PROVENANCE
Private Collection, Fredericksburg, Texas
$3,000-$5,000
oil on canvasboard
8 x 10 inches signed lower right: F. Darge
PROVENANCE
Private Collection, Dallas, Texas
$1,500-$2,500
29
ROBERT HARRISON (b. 1949)
West Texas Cowboy, 1985
oil on canvas
15 x 30 inches
signed lower left: Robert Harrison
PROVENANCE
Private Collection, Marble Falls, Texas
$1,000-$1,500
28
DUANE BRYERS (1911-2012)
Bringing Home the Runaways
oil on masonite
12 x 16 inches
signed lower left: Duane Bryers
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
30
STEVE ATKINSON (b. 1961)
Range Boss
oil on canvas
16 x 12 inches
signed lower right: Atkinson
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
31
NELSON BOREN (b. 1952)
Reclining Cowboy
watercolor on paper
16.5 x 40.5 inches (sight) signed lower left: Nelson Boren
PROVENANCE
Private Collection, Southlake, Texas
$2,000-$4,000
32
NELSON BOREN (b. 1952)
Young Cowboy
watercolor on paper
55 x 21 inches (sight) signed lower right: Nelson Boren
PROVENANCE
Private Collection, Southlake, Texas
$4,000-$6,000
33
WINOLD REISS (1886-1953)
Indian Chief, c. 1927
watercolor on paper 28.5 x 20.75 inches (sight) signed lower left center: Winold Reiss
Winold Reiss honed his skills in Munich before immigrating to the United States in 1913. In 1919, Reiss received a commission from the Great Northern Railroad to create portraits of the Blackfeet Confederacy, beginning a nearly thirty-year collaboration during which his depictions of Northwest Native Americans adorned numerous posters, menus, calendars, cards, and advertisements for the railway. Indian Chief was a special commission from Walter Hill, son of the Great Northern Railroad founder James J. Hill, and was presented as a gift to William P. Kenney, President of the Great Northern Railroad, for Christmas in 1927. Walter worked on the Western lines of the railroad for a time, but his real passion was for cowboy life, and he spent many years running a ranch in the Red River Valley.
PROVENANCE
Private Collection, Fredericksburg, Texas
$5,000-$7,000
34
FRITZ SCHOLDER (1937-2005)
Indian Face #3
acrylic on paper 22.25 x 17.5 inches (sight) signed lower right: Scholder
Fritz Scholder, a Native American artist and experienced lithographer, was born in 1937 in Breckenridge, Minnesota. Encouraged to paint in 1950 by Oscar Howe and Wayne Thiebaud, Scholder says “...it is my intention not only to set up graphically a new visual experience for the viewer, but also to make a statement in regard to the society and land in which we, the descendants of the American Indian, live…I try to capture not only the physical, but the inner and even spiritual.”
PROVENANCE
Private Collection, Denton, Texas
$4,000-$6,000
RAMON KELLEY (b. 1939)
Vestido de Oro (Dress of Gold), 1978
oil on canvas
16 x 12 inches
signed lower right: Ramon K.
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$3,000-$5,000
RAMON KELLEY (b. 1939)
Dos Bailadoras, 1978
oil on canvas
9 x 12 inches
signed lower left: Ramon K.
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$2,000-$4,000
38
RAMON KELLEY (b. 1939)
Taos White Blanket, 1985
oil on canvas
7 x 5 inches (sight)
signed upper left: Ramon K.
PROVENANCE
Private Collection, Austin, Texas
$1,000-$1,500
39
ERIC SLOANE (1905-1985)
Canyon Rainbow, 1984
oil on board
20 x 14 inches
signed lower left: Eric Sloane NA
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$2,000-$4,000
RAMON KELLEY (b. 1939)
El Indio Apache, 1979
oil on canvas
12 x 9 inches
signed lower left: Ramon K.
EXHIBITION
Southwestern University
Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$2,000-$4,000
40
GUSTAVE BAUMANN (1881-1971)
Summer Rain, 1926
color woodcut on paper, 28/125 8 x 9.5 inches (image)
signed and numbered lower right: Gustave (hand in heart chop mark) Baumann II 28 125 titled lower left
LITERATURE
Acton, Krause and Yuryseven, Gustave Baumann: Nearer to Art, Museum of New Mexico, Santa Fe, 1993, pl. 45, pg. 59.
PROVENANCE
Private Collection, Dallas, Texas
$8,000-$12,000
Gustave Baumann immigrated to Chicago from Germany at age ten in 1891. Baumann won the gold medal for printmaking at the 1915 Panama Pacific International Exposition and curated America’s first color woodcut exhibition in 1916. Enchanted by Santa Fe’s beauty during a 1918 visit, he settled there, collaborating with artists like John Sloan and Fremont Ellis. He was designated as an Honorary Fellow in the Fine Arts School of American Research in 1952 and remained influential in Santa Fe’s art scene until his death.
41
GUSTAVE BAUMANN (1881-1971)
Apple Blossoms, 1918
color woodcut on paper, 41/100 9.5 x 11 inches (image)
signed lower right: Gustave (swan chop mark) Baumann numbered lower center: no. 41/100 titled lower left
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
LITERATURE
Gala Chamberlain, In a Modern Rendering: The Color Woodcuts of Gustave Baumann, New York, Rizzoli Electa, 2019, pl. 45, pg. 194.
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$8,000-$12,000
42
Evening
oil on board
9 x 12 inches signed lower left: Reveau Bassett
PROVENANCE
Private Collection, Boulder, Colorado
43
$2,000-$4,000
On the Lake oil on board
8 x 10 inches signed lower left: Reveau Bassett
PROVENANCE
Private Collection, Boulder, Colorado
$1,000-$2,000
44
JAMES ROBINSON (1944-2015)
Longhorns
acrylic on canvas 9 x 12 inches
unsigned
includes a letter of authenticity from John Robinson, brother of the artist
PROVENANCE
John Robinson Collection, Austin, Texas
$1,500-$2,000
45
JAMES ROBINSON (1944-2015)
Clearing But Cold
acrylic on canvas
12 x 16 inches
unsigned
includes a letter of authenticity from John Robinson, brother of the artist
PROVENANCE
John Robinson Collection, Austin, Texas
$2,000-$3,000
46
Grazing, 2006
oil on canvas
40 x 30 inches
signed lower left: Elliott
Teresa Elliott, a native Texan, earned a BA in Fine Arts from the University of Kansas before becoming a prominent freelance illustrator in Dallas for 27 years. Transitioning to oil painting, she focused on figure, portraiture, and design, returning to her fine art roots in 2005. Based in West Texas near Big Bend National Park, Elliott’s work captures the essence of the Southwest, particularly known for her realistic portrayals of cattle and rural life. Her accolades include the Artist’s Choice Award at the 2008 Cowgirl Up! show and the People’s Choice Award at the 2009 Coors Western Art Exhibit, along with Best of Show at the 2009 Night of Artists at the Briscoe Western Art Museum in San Antonio, Texas.
PROVENANCE
Private Collection, Dallas, Texas
$8,000-$12,000
oil
20
signed
PROVENANCE
Private Collection, McKinney, Texas
$6,000-$8,000
48
WILLIAM SLAUGHTER (1923-2003)
Bluebonnet Landscape with Oak Trees, 1974
oil on canvas 12 x 16 inches signed lower right: W.A. Slaughter ‘74
PROVENANCE Private Collection, Duncanville, Texas
$3,000-$5,000
49
WILLIAM SLAUGHTER (1923-2003)
Bluebonnets with Blooming Cactus oil on canvas 16 x 20 inches signed lower left: W.A. Slaughter
PROVENANCE
Private Collection, Duncanville, Texas
$4,500-$7,500
50
(1872-1970)
Millhouse (Old Mill, Castroville)
oil on canvas
20 x 16 inches
signed lower right: Rolla Taylor
PROVENANCE
Private Collection, La Grange, Texas
$4,000-$6,000
51
(1872-1970)
San Antonio (Street to San Fernando Cathedral)
oil on canvas
20 x 14 inches
signed lower left: Rolla Taylor
PROVENANCE
Private Collection, La Grange, Texas
$4,000-$6,000
DONNA HOWELL-SICKLES (b. 1949)
Kick Up Your Heels, 2003
acrylic and charcoal on canvas
70 x 58 inches
signed lower right: Donna Howell-Sickles 03
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$7,000-$10,000
Born in Gainesville, Texas, Donna Howell-Sickles has always been close to nature and the land around her. In 1972 she earned her BFA at Texas Tech in Lubbock and embarked on a career in Western art. In the Western art genre, she has been exploring the layers beneath the cowgirl’s engaging exterior for more than 40 years. Howell-Sickles herself identifies with the self-reliant and hard-working spirit of the cowgirl. In 2007 she was inducted into the Cowgirl Hall of Fame by the National Cowgirl Museum and Hall of Fame in Fort Worth, Texas. Howell-Sickles’ work is a part of the art collections of the Booth Western Art Museum and the National Museum of Wildlife Art.
53
E.M. (BUCK) SCHIWETZ (1898-1984)
Remnants of Gay Hill, 1978
gouache, pastel and ink on paper 21.5 x 31.5 inches (sight)
signed lower right: EM Schiwetz 78 titled lower left
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$4,000-$6,000
24 x 48 inches
signed
PROVENANCE
Private Collection, Marble Falls, Texas
$3,000-$5,000
LAJOS MARKOS (1917-1993)
Frontier Communion
oil on canvas
36 x 40 inches
signed lower right: L. Markos
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$10,000-$15,000
A European, Lajos Markos was trained at the Royal Academy of Budapest. He came to the United States following World War II and quickly established himself in New York City as a major portrait artist, with many of his subjects being celebrities such as John Wayne and Pablo Casals. In the 1960s, he moved to Houston, Texas, where he expanded his interest to Western art. Examples of his work are in the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.
In this remarkable large work by the Hungarian/American master, Markos depicts a prairie preacher with his wife playing a small traveling organ, singing a hymn and preparing to offer communion to immigrants making the long journey via wagon train out West to a new life in a new country.
24 x 30 inches
signed lower right: L. Markos
PROVENANCE
Private Collection, Frisco, Texas
$4,000-$6,000
oil on canvas
24 x 36 inches
signed lower right: L. Markos
PROVENANCE
Private Collection, Frisco, Texas
$5,000-$7,000
58
GIB SINGLETON (1936-2014)
I’m Your Huckleberry, 1991
bronze, 19/99
23 x 8 x 7 inches
inscribed: © Singleton 1991 19/99
PROVENANCE
Private Collection, Fort Worth, Texas
$6,000-$8,000
59
GIB SINGLETON (1936-2014)
Texas Longhorn, 2010
bronze, 15/45
11 x 24 x 12 inches
inscribed: © Singleton 2010 15/45
PROVENANCE
Private Collection, Santa Fe, New Mexico
$6,000-$8,000
60
BILL NEBEKER (b. 1942)
The Price of Freedom, 1986
bronze, 5/25
20.5 x 16 x 18 inches
inscribed: Bill Nebeker CA © 1986 5/25
PROVENANCE
Private Collection, McKinney, Texas
$4,000-$6,000
61
PAUL MOORE (b. 1957)
Offering to the Sun, 2012
bronze, 5/15
12.5 x 42 x 14.5 inches
inscribed: Moore CA ‘12 5/15
PROVENANCE
Private Collection, Dallas, Texas
$4,000-$6,000
“The Sun Dance is a…Blackfoot ceremony. It consists of four to five days of dancing, praying, fasting, and offerings. The dancers are pierced in the chest and fastened to pegs and rawhide thongs that are attached to a center pole and, in some cases, are pierced in the back and attached to buffalo skulls…This piece depicts the moment when the dancer, after many days of fasting and dancing, finally pulls the pegs and rawhide thong loose from his back and collapses. While sitting on the ground in total exhaustion, he continues to blow his eagle bone whistle and falls into the vision world...” – Paul Moore
Offering to the Sun won the prestigious Anne W. Marion Best of Show Award for all mediums at the 2013 Cowboy Artists of America Exhibition and Sale held at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.
HARRY ANDREW JACKSON (1924-2011)
Pony Express, II, 1980
bronze, PEII 12 P 12/50
13 x 15.875 x 9.25 inches
signed in paint: Harry Andrew Jackson
inscribed: Harry Jackson 1980/PEII 12P stamped: WFS Italia
PROVENANCE
Private Collection, Dallas, Texas
$8,000-$10,000
CHARLES MARION RUSSELL (1864-1926)
SIK-KO-KIY-O, 1970
bronze, 13/30
3.25 x 4.5 x 2.5 inches
inscribed: 13/30 © 1970
stamped: Avnet Shaw
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$4,000-$6,000
64
G. HARVEY (1933-2017)
Muchacho Con Gallo, 1986
bronze, 50/50
13.5 x 13 x 6 inches
inscribed: G. Harvey © 1986 50/50 Muchacho Con Gallo ©
PROVENANCE
Private Collection, Fredericksburg, Texas
$6,000-$8,000
65
G. HARVEY (1933-2017)
Working as One, 1984
bronze, studio copy/40 13 x 14 x 5 inches
inscribed: G. Harvey © 1984, Working as One, studio copy/40
PROVENANCE
Private Collection, Fredericksburg, Texas
$6,000-$8,000
G. HARVEY (1933-2017) Longhorn, 1970
bronze, 2/30
7.25 x 12.5 x 5.5 inches
inscribed: G. Harvey, 2-30, 1970
PROVENANCE
Private Collection, Dallas, Texas
$4,000-$6,000
67
PORFIRIO SALINAS (1910-1973)
Hill Country Autumn
oil on canvas 16 x 21 inches
signed lower left: P. Salinas
PROVENANCE
Private Collection, San Antonio, Texas
$8,000-$12,000
68
PORFIRIO SALINAS (1910-1973)
Early Fall, 1960
oil on canvas 16 x 20 inches
signed lower left: Porfirio Salinas 1960
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$8,000-$12,000
69
ROBERT WILLIAM WOOD (1889-1979)
Bluebonnet Time
oil on canvasboard
18 x 24 inches
signed lower left: Robert Wood
PROVENANCE
Private Collection, Houston, Texas
$10,000-$18,000
70
ROBERT WILLIAM WOOD (1889-1979)
Just Around the Riverbend (Grand Tetons)
oil on canvas
24 x 30 inches
signed lower left: Robt. Wood
PROVENANCE
Private Collection, Dallas, Texas
$6,000-$10,000
72
OTIS
DOZIER (1904-1987)
Chimayo Hills (New Mexico), 1952
oil on board
24 x 36 inches
signed lower right: Otis Dozier ‘52
Otis Dozier is noted as a member of a group of Texas regionalist artists known as the “Dallas Nine”.
A nearly identical, though larger, 1952 painting of the Chimayo Hills, was exhibited in 1956 at the Dallas Museum of Fine Arts. As noted in the exhibition catalogue, “[Dozier] has revisited the areas to the West of his home—the Big Bend, and the arid lands of the Indians in New Mexico and Arizona…this sampling of Dozier’s work presents the complicated evolution of a contemporary artist’s solid accomplishment.”
– Dallas Museum of Fine Arts. Otis Dozier, pamphlet, 1956; Dallas, Texas.
71
DAWSON
DAWSON-WATSON (1864-1939)
Hill Country Road with Cactus, 1935
oil on canvas
21 x 16 inches
signed lower right: Dawson-Watson 35
Born in London, Dawson Dawson-Watson came to the United States in 1893. Dawson-Watson taught at the St. Louis School of Fine Arts before settling permanently in San Antonio, Texas in 1926. The following year, he won first prize at the Davis Wildflower Competition with Glory of the Morning, depicting a blooming cactus. Hill Country Road with Cactus is a stellar example of what collectors of Dawson-Watson’s works are looking for: an iconic view of a late-spring landscape in the Texas Hill Country, complete with cacti blooming with red and yellow flowers. Dawson-Watson declared, “…its centuries of blooming in the Texas sun has transferred some of the sunshine to the golden cactus flower. For character and color, it is the most interesting flower you have.”
PROVENANCE
Private Collection, Fredericksburg, Texas
$12,000-$15,000
PROVENANCE
Private Collection, Fredericksburg, Texas
$12,000-$15,000
PORFIRIO SALINAS (1910-1973)
Autumn Landscape, 1956
oil on canvas
25 x 30 inches
signed lower left: Porfirio Salinas 1956
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$20,000
JAMES ROBINSON (1944-2015)
Cowboys Riverside, 2014
acrylic on canvas
24 x 36 inches
signed lower right: Robinson 2014
PROVENANCE
John Robinson Collection, Austin, Texas
$9,000-$12,000
James Robinson, a native of the Lone Star State, chose Texas’s rugged landscape as his primary subject matter. An intimate knowledge of Texas and the many facets of the western landscape are obvious when one views a painting created by the artist. Born in Houston in 1944, Robinson always knew he would be an artist. He was committed to his education and earned a BFA. He studied both commercial and fine art as a freelance designer and illustrator, polishing his painting skills on the side.
Robinson was influenced by such artists as Frank Tenney Johnson, James Reynolds, Howard Terpning, John Singer Sargent and Joaquin Sorolla. He sought to evoke these qualities in his own work and establish his own niche in Western art by unique combinations of light, color and action. Robinson won numerous awards including Artist’s Choice in 2010 and Best Group in 2007 from the Briscoe Museum’s Night of Artists show in San Antonio, Texas. Another honor was the Olaf Wieghorst Award for the best painting at the 2007 Mountain Oyster Show in Tucson, Arizona.
WILLIAM SLAUGHTER (1923-2003)
Bluebonnet Landscape with Windmill, 1973
oil on canvas
24 x 36 inches
signed lower right: W.A. Slaughter ‘73
William Slaughter was born in San Antonio, Texas. His first call was to the ministry and after serving in the Air Force during WWII, he was ordained as a Lutheran pastor. This calling took him first to Lubbock, Texas, Mexico, and finally to Dallas. Slaughter began painting and exhibiting at local art shows after moving to Dallas. Slaughter first belonged to and exhibited with the Artists and Craftsmen’s Association of Dallas. In 1968, he was awarded first prize in landscape painting. In 1973, he was awarded first prize in still-life painting. Mostly self-taught, Slaughter is still known for his Texas bluebonnet landscapes, which capture the peaceful nature of spring in the Hill Country.
PROVENANCE
Private Collection, Duncanville, Texas
$9,000-$12,000
WILLIAM SLAUGHTER (1923-2003)
Slaughter’s Blues, 1974
oil on canvas 24 x 36 inches signed lower left: W.A. Slaughter ‘74
This painting is accompanied by a letter signed by William Slaughter’s son Reid Slaughter, stating: “This 24 x 36 bluebonnet painting Slaughter’s Blues was part of the estate of my father, William A. Slaughter. It was one of his personal paintings and was displayed for many years in his home. It has never been sold before, and I hope you enjoy it as much as my parents did.”
– Reid Slaughter, 3/8/2010
PROVENANCE
The Estate of William Slaughter
Private Collection, Fort Worth, Texas
$9,000-$12,000
PORFIRIO SALINAS (1910-1973)
Bull Creek
oil on canvas
20 x 24 inches
signed lower left: Porfirio Salinas
PROVENANCE
Private Collection, Austin, Texas
$10,000-$15,000
From the years of the Great Depression through President Lyndon B. Johnson’s administration of the 1960s, Porfirio Salinas remained one of the Lone Star State’s most popular artists. Today, his works remain sought-after with Texas collectors and those who love Hill Country landscapes. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon B. Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longestserving Speaker of the House of Representatives, and Texas Governor John Connelly.
“The pride I always feel in telling friends around the world about our great Texas artists was excelled only by my delight in receiving from you another wonderful masterpiece,” Johnson once wrote to Salinas, according to the painter’s obituaries in the San Antonio Evening News and the San Antonio Express
PORFIRIO SALINAS (1910-1973)
oil on canvas
28 x 36 inches
signed lower left: Porfirio Salinas
PROVENANCE
Private Collection, Snyder, Texas
$35,000-$45,000
79
PORFIRIO SALINAS (1910-1973)
Texas Hill Country
oil on canvas
18 x 40 inches
signed lower right: P. Salinas
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$25,000-$35,000
80
MARK HAWORTH (b. 1952)
Western Chisos, 2005
oil on canvas
18 x 24 inches
signed lower right: Haworth 05
PROVENANCE
Private Collection, Dallas, Texas
$3,000-$5,000
ROBERT WILLIAM WOOD (1889-1979)
Bluebonnet Landscape, 1943 oil on canvas 20 x 30 inches signed lower right: Robert Wood 1943
PROVENANCE
Private Collection, Fredericksburg, Texas
$25,000-$35,000
Early Texas artist Robert William Wood is best known for his Texas landscape paintings of bluebonnets in bloom. In 1923, Wood relocated from England to San Antonio where he studied with renowned painter Jose Arpa and mastered capturing the majesty of the Texas Hill Country.
Bluebonnet Landscape stands out not only for its size, but its Impressionistic treatment of the Texas landscape, similar in style to works by Texas Impressionist Julian Onderdonk. Wood’s work inhabits the pre-war period of Texas art, and was influenced by Julian Onderdonk, Jose Arpa and the early Texas Impressionists. Wood was influential in training artists of the next generation, including Porfirio Salinas, who Wood trained to paint bluebonnets, which Salinas did to great success and acclaim in the post-war years.
PROVENANCE
Private Collection, Cincinnati, Ohio
$20,000-$30,000
83
WILLIAM SLAUGHTER (1923-2003)
Bluebonnet Landscape with Barn and Longhorns, 1995 oil on canvas
32 x 50 inches
signed lower left: W.A. Slaughter 95
PROVENANCE
Private Collection, Dallas, Texas
$25,000-$35,000
LOUISA McELWAIN (1953-2013)
Riverbend, Autumn Afternoon, c. 2007
oil on canvas
30 x 30 inches
signed lower right: McElwain
PROVENANCE
Private Collection, Victor, Idaho
$10,000-$15,000
Louisa McElwain was a plein-air Impressionist painter whose favorite subjects were her native New Mexico sky and landscape. Dramatic use of textured impasto is a signature feature of her work.
In her own words, McElwain stated: “During the process of painting large canvases outdoors, the interaction with Nature introduces insects, particles of plants and soil into the paint. To acknowledge the simultaneous levels of reality that surround me, I sometimes deliberately introduce elements into the paint like bits of broken bottle, bone, fur, or charred wood. Anything stuck to the motif, the images, the illusions, the beauty of landscape, I never want to forget that what I am looking at is paint on canvas.”
85
BIRGER SANDZEN (1871-1954)
Willows, McPherson County, Kansas, c. 1920 oil on canvas 24 x 32 inches
signed lower right: Birger Sandzen
EXHIBITION
The Swedish Club of Chicago, Swedish-American Artists Ninth Art Exhibition, March-April 1920 National Academy of Design, New York, American Painters of Swedish Descent, May 1920 Stockholm, Sweden, American Painters of Swedish Descent, May-June 1920
LITERATURE
American Painters of Swedish Descent, exhibit catalog, New York and Sweden, 1920, no. 79.
PROVENANCE
Private Collection, Dallas, Texas
$60,000-$80,000
Birger Sandzen pursued his artistic education exclusively in Europe. He graduated from the College of Skara in Sweden in 1890 and continued his studies at the University of Lund. In 1894, Sandzen immigrated to Kansas, where he joined Bethany College as a professor of aesthetics and painting. He held this position until 1945, thereafter serving as professor emeritus. Around 1916, Sandzen began painting in the Colorado Springs area, and from 1923 to 1924, he taught at Broadmoor. He also shared his expertise at institutions such as Denver and Utah State College. Sandzen frequently visited Santa Fe and Taos, New Mexico starting in 1918. His involvement with the Taos Society of Artists in 1922 brought him to New York City, where he exhibited along-side prominent painters from New Mexico. Willows, McPherson County, Kansas reminds us why Birger Sandzen is often referred to as the “American Van Gogh;” featuring a vibrant color palette and deep impasto strokes, the artist brought a new eye to landscape painting in the American Midwest.
Willows, McPherson County, Kansas is recorded in the Sandzen card catalogue as #2620 at the Birger Sandzen Memorial Gallery in Lindsborg, Kansas.
86
GRANT SPEED (1930-2011)
During the Chilly Hours of the Dawn, 1975
bronze, 15/30
18 x 38 x 10 inches
inscribed: UG Speed © 1975 CA 15-30
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$9,000-$12,000
87
HARRY ANDREW JACKSON (1924-2011)
Pony Express, 1967
bronze, 9
18.5 x 21 x 14 inches
inscribed: Harry Jackson 1967 9
LITERATURE
Frank Getlein, Harry Jackson, Monograph—Catalogue, Kennedy Galleries, New York, 1969, pg. 6.
PROVENANCE
Private Collection, Dallas, Texas
$12,000-$18,000
G. HARVEY (1933-2017)
Panhandle Parley, 1972
oil on canvas
24 x 30 inches
signed lower right: G Harvey 1972
PROVENANCE
Private Collection, San Antonio, Texas
$40,000-$60,000
Gerald Harvey Jones, known as G. Harvey, drew early inspiration from his upbringing in the Texas Hill Country, where stories of ranch life and frontier days fueled his artistic passion. His paintings, renowned for capturing the essence of American landscapes and the spirit of its people, reflect a blend of firsthand experiences and imaginative storytelling.
After graduating from North Texas State University and teaching in Austin, G. Harvey dedicated himself to painting full-time. His breakthrough came in 1965 when he won the New Masters Award at the American Artist Professional League Grand National Exhibition in New York. This marked the beginning of his prolific career, characterized by numerous sell-out shows and prestigious exhibitions.
Notable among his achievements are one-man shows at Washington, D.C.’s National Archives, Treasury Department, and Smithsonian Institution, where his depictions of American history and landmarks garnered widespread acclaim. His work has also been featured prominently at the Gilcrease Museum and on the cover of the Smithsonian Institution’s anniversary book.
G. HARVEY (1933-2017)
Indian Maiden (New Land), 1980 oil on canvasboard 12 x 9 inches signed lower left: G. Harvey
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
90
G. HARVEY (1933-2017)
The Spirit of the West, 1979 bronze, 8/30
22 x 14 x 6 inches inscribed: ‘The Spirit of the West’ G. Harvey © 1979 8/30
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$8,000-$10,000
91
G. HARVEY (1933-2017)
The New Stallion, 1977 oil on canvas
20 x 36 inches
signed lower right: G. Harvey 1977
PROVENANCE
Private Collection, Frisco, Texas
$40,000-$60,000
MELVIN CHARLES WARREN (1920-1995)
Cowboys of the Sangre de Cristo, 1978
oil on canvas
36 x 60 inches
signed lower right: Melvin C. Warren CA 1978
Melvin Charles Warren was asked to join the prestigious Cowboy Artists of America in 1968 and during his membership tenure he garnered numerous awards as both a painter and sculptor. He specialized in depicting scenes of the heroic West and gained his perspective from his early experiences of ranch life. Considered by many as one the best Western artists of the late 20th century, his avid collectors included former Texas Governor John Connally and President Lyndon B. Johnson who hung several of the artist’s paintings in the White House.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$60,000-$80,000
This painting by the artist demonstrates his ability to capture the everyday life of working cowboys in their various environments which in this case is on a ranch near the Sangre de Cristo Mountains of Colorado in the dead of winter. Very large Melvin Warren paintings like this one are especially rare and highly sought-after by Western art collectors.
“Each painting I do means much to me because I am dedicated to my work, and I honestly love painting, but I only paint what appeals to me,” said Warren. “One of the highlights of my personal and professional life was my friendship with President Lyndon Johnson. During his term in office, Lucille and I were privileged to spend several days with the President in Washington, D.C. He purchased several of my paintings, and they hang at his Texas home, the LBJ ranch, and at the White House.”
MELVIN CHARLES WARREN (1920-1995)
Cowboys of the Sangre de Cristo, 1978
oil on canvas
36 x 60 inches
signed lower right: Melvin C. Warren CA 1978
Melvin Charles Warren was asked to join the prestigious Cowboy Artists of America in 1968 and during his membership tenure he garnered numerous awards as both a painter and sculptor. He specialized in depicting scenes of the heroic West and gained his perspective from his early experiences of ranch life. Considered by many as one the best Western artists of the late 20th century, his avid collectors included former Texas Governor John Connally and President Lyndon B. Johnson who hung several of the artist’s paintings in the White House.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$60,000-$80,000
This painting by the artist demonstrates his ability to capture the everyday life of working cowboys in their various environments which in this case is on a ranch near the Sangre de Cristo Mountains of Colorado in the dead of winter. Very large Melvin Warren paintings like this one are especially rare and highly sought-after by Western art collectors.
MELVIN CHARLES WARREN (1920-1995)
Cowboys of the Sangre de Cristo, 1978
oil on canvas
36 x 60 inches
signed lower right: Melvin C. Warren CA 1978
Melvin Charles Warren was asked to join the prestigious Cowboy Artists of America in 1968 and during his membership tenure he garnered numerous awards as both a painter and sculptor. He specialized in depicting scenes of the heroic West and gained his perspective from his early experiences of ranch life. Considered by many as one the best Western artists of the late 20th century, his avid collectors included former Texas Governor John Connally and President Lyndon B. Johnson who hung several of the artist’s paintings in the White House.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$60,000-$80,000
This painting by the artist demonstrates his ability to capture the everyday life of working cowboys in their various environments which in this case is on a ranch near the Sangre de Cristo Mountains of Colorado in the dead of winter. Very large Melvin Warren paintings like this one are especially rare and highly sought-after by Western art collectors.
“Each painting I do means much to me because I am dedicated to my work, and I honestly love painting, but I only paint what appeals to me,” said Warren. “One of the highlights of my personal and professional life was my friendship with President Lyndon Johnson. During his term in office, Lucille and I were privileged to spend several days with the President in Washington, D.C. He purchased several of my paintings, and they hang at his Texas home, the LBJ ranch, and at the White House.”
TOM LOVELL (1909-1997)
Chiricahua Scouts, 1886, 1990
oil on canvas
14 x 18 inches
signed lower left: Tom Lovell, NAWA 1990
PROVENANCE
Private Collection, Houston, Texas
$40,000-$50,000
Tom Lovell, a renowned illustrator in New York City turned painter of Western themes, was celebrated for his meticulous attention to detail, completing only a few major oil paintings annually. Born in New York City and educated in Nutley, New Jersey, Lovell graduated as valedictorian, foreshadowing his later focus on the American West. After earning a BFA from Syracuse University in 1931, he enjoyed a distinguished 39-year career as a freelance illustrator for magazines such as Colliers and National Geographic. In 1975, Lovell relocated to Santa Fe, New Mexico, joining the Cowboy Artists of America and focusing on historical Western subjects. His achievements include being the first artist to twice win the Prix de West from the National Academy of Western Art, induction into the Society of Illustrators Hall of Fame in 1974 and receiving lifetime achievement awards from the National Academy of Western Art and the National Cowboy Hall of Fame in 1992.
“Chiricahua Scouts, 1886. The U.S. Cavalry, sometimes numbering 5,000 troops, tried unsuccessfully to capture Geronimo. Finally, with the aid of Chiricahua scouts this was accomplished. As a disgraceful climax, these very scouts were rounded up with other Apache hostiles and sent to Florida as prisoners of war. They were separated from their families, contrary to promises made by Gen. Miles. Here we see two Chiricahua scouts pausing for a drink of water. They carry Springfield .45-70 rifles, McClellan saddles and other U.S. gear that were truly ‘army surplus’ in 1886.”
– Tom Lovell
94
TOM LOVELL (1909-1997)
The New Trade Gun, 1986 oil on canvas 26 x 22 inches signed lower left: Tom Lovell, NAWA 1986
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$50,000-$70,000
“The New Trade Gun: Guns were an important trade item. Ownership in some cases meant the deciding factor in holding territory or survival. This Cheyenne is admiring his new flintlock of Belgian make. It has a 30" barrel, which through misuse will eventually be shortened, but it is sturdy and will have a long life.” – Tom Lovell
HOWARD
TERPNING (b. 1927)
Trail in the Bitterroots, 1985
oil on canvas
40 x 48 inches
signed lower right: Terpning 1985 CA
Howard Terpning is a classically trained illustrator and painter and is universally considered the most important American Western artist living today. His representational paintings of the American West and the Plains Indians are not realism in minute detail for its own sake, without regard to the context of light and the subject’s character. His palette is typically restrained to ensure that narrative is the first impression imparted upon the viewer.
“This scene shows part of the old Lolo Trail used by the Nez Perce Indians when they left their home country in Idaho in
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$400,000-$600,000
1877 and crossed over the Bitterroot range into the Bitterroot valley heading East in their attempt to reach Canada. The trail was extremely rough and dangerous and yet hundreds of people managed to cross the mountains, including old people and children, with all their horses and goods. It was an amazing accomplishment. I could paint this portion of the trail with some authority since I spent two days riding the trail on horseback in the summer of 1985. It was this adventure that inspired me to do the painting.” – Howard Terpning
Howard Terpning, often referred to as the Storyteller of the Native American people, has concentrated his award-filled career on painting pictures about the Great Plains tribes. His paintings not only tell a story, but they also pull the viewer into the emotional life of the individuals portrayed.
“I want to show them as people who were not always at battle, but as people who raised children, made love, cooked meals, and hunted. Theirs was a life on the move, always looking for fresh grass, for buffalo. Today, we tend to romanticize it, but in reality, it was a hard life,” said Terpning.
HOWARD
TERPNING (b. 1927)
Trail in the Bitterroots, 1985
oil on canvas
40 x 48 inches
signed lower right: Terpning 1985 CA
Howard Terpning is a classically trained illustrator and painter and is universally considered the most important American Western artist living today. His representational paintings of the American West and the Plains Indians are not realism in minute detail for its own sake, without regard to the context of light and the subject’s character. His palette is typically restrained to ensure that narrative is the first impression imparted upon the viewer.
“This scene shows part of the old Lolo Trail used by the Nez Perce Indians when they left their home country in Idaho in
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$400,000-$600,000
1877 and crossed over the Bitterroot range into the Bitterroot valley heading East in their attempt to reach Canada. The trail was extremely rough and dangerous and yet hundreds of people managed to cross the mountains, including old people and children, with all their horses and goods. It was an amazing accomplishment. I could paint this portion of the trail with some authority since I spent two days riding the trail on horseback in the summer of 1985. It was this adventure that inspired me to do the painting.” – Howard Terpning
HOWARD
TERPNING (b. 1927)
Trail in the Bitterroots, 1985
oil on canvas
40 x 48 inches
signed lower right: Terpning 1985 CA
Howard Terpning is a classically trained illustrator and painter and is universally considered the most important American Western artist living today. His representational paintings of the American West and the Plains Indians are not realism in minute detail for its own sake, without regard to the context of light and the subject’s character. His palette is typically restrained to ensure that narrative is the first impression imparted upon the viewer.
“This scene shows part of the old Lolo Trail used by the Nez Perce Indians when they left their home country in Idaho in
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$400,000-$600,000
1877 and crossed over the Bitterroot range into the Bitterroot valley heading East in their attempt to reach Canada. The trail was extremely rough and dangerous and yet hundreds of people managed to cross the mountains, including old people and children, with all their horses and goods. It was an amazing accomplishment. I could paint this portion of the trail with some authority since I spent two days riding the trail on horseback in the summer of 1985. It was this adventure that inspired me to do the painting.” – Howard Terpning
Howard Terpning, often referred to as the Storyteller of the Native American people, has concentrated his award-filled career on painting pictures about the Great Plains tribes. His paintings not only tell a story, but they also pull the viewer into the emotional life of the individuals portrayed.
“I want to show them as people who were not always at battle, but as people who raised children, made love, cooked meals, and hunted. Theirs was a life on the move, always looking for fresh grass, for buffalo. Today, we tend to romanticize it, but in reality, it was a hard life,” said Terpning.
HOWARD TERPNING (b. 1927)
Nobility, 1980
mixed media on paper 20.75 x 17.75 inches (sight) signed lower left: Terpning 1980 CA
In addition to painting masterful works in oil, Howard Terpning is also revered for his works in mixed media as well his drawings. This portrait of a noble Plains Indian chief demonstrates the artist’s unsurpassed ability and skill to capture in fine detail the essence and expression of this powerful man.
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$60,000-$80,000
97
FRANK McCARTHY (1924-2002)
Chance of the Hunt
oil on canvas
30 x 40 inches
signed lower left: McCarthy CA
PROVENANCE
Private Collection, Frisco, Texas
$50,000-$70,000
Renowned for his dynamic portrayals of Plains Indians in motion, Frank McCarthy, a prominent Western artist and illustrator, spent a significant portion of his career in New York City before settling in Arizona later in life. Born in New York City, McCarthy honed his craft at the Pratt Institute and the Art Students League, focusing on commercial art. Many of McCarthy’s notable works were expansive Western paintings, establishing him as a top-selling artist. In 1973, McCarthy held his inaugural exhibition of twenty-three
canvases at the Husburg Gallery in Scottsdale, Arizona, selling out in just twenty minutes. This success prompted him to fully commit to fine art, prompting a relocation from New York to Arizona. Recognizing his contributions, he was elected a member of the Cowboy Artists of America in 1975.
Additionally, McCarthy was inducted into the Illustrators Hall of Fame in 1997. He was also a member of the Northwest Rendezvous Group and exhibited at prestigious venues such as the National Cowboy Hall of Fame, the Western Heritage Center, and had a retrospective at the Gilcrease Museum in Tulsa, Oklahoma.
A recurring theme in McCarthy’s art was high-speed action, particularly depicting stampeding buffalo. Chance of the Hunt exemplifies the subject, capturing the dynamic action of the scene; McCarthy’s buffalo hunts are some of the artist’s most coveted works.
98
FRANK McCARTHY (1924-2002)
The Pursuit, 1980
oil on canvas 24 x 30 inches signed lower right: McCarthy CA 1980
“Many Indians, such as the Apache, preferred to fight on foot. Many could run incredible distances. Any Tara-humara or Seneca who could not run a hundred miles was an object of contempt.”
– Louis L’Amour, 1982, writing on The Pursuit, 1982 Louis L’Amour Calendar with Paintings by Renowned Western Artist Frank C. McCarthy
LITERATURE
1982 Louis L’Amour Calendar with Paintings by Renowned Western Artist Frank C. McCarthy
PROVENANCE
From the Collection of Burt Reynolds Private Collection, Amarillo, Texas
$15,000-$25,000
99
FRANK McCARTHY (1924-2002)
The Man Hunters, 1973 oil on board 24 x 18 inches signed lower right: McCarthy 73
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$15,000-$25,000
100
CHARLIE DYE (1906-1972)
Cutting Out Mexican Cows, 1962
oil on masonite
30 x 40 inches signed lower right: Charlie Dye (CD Branding Iron)
LITERATURE
Paul Weaver, Charlie Dye: One Helluva Western Painter, Petersen Prints, Los Angeles, 1981, no. 100, pg. 134.
PROVENANCE
Private Collection, Dallas, Texas
$80,000-$100,000
Charlie Dye, born in Canon City, Colorado, found his calling as a Western genre painter after a formative encounter with Charles Russell’s work while recovering from a horse-related injury. Starting as a cowboy across Colorado, Arizona, and California, he later studied at the Art Institute of Chicago and the American Academy. Moving to New York City in 1936, he became a successful illustrator for magazines such as Saturday Evening Post and Outdoor Life. Dye’s passion for Western art led him to establish a studio in Denver. On June 23, 1965, he, and fellow artists Joe Beeler, John Hampton along with George Phippen, organized the Cowboy Artists of America. Phippen was its first and Charlie Dye the second president. The group is devoted to the painting and sculpture tradition of Charles Russell and Frederic Remington and began with artists who not only depicted cowboys but were working cowboys themselves. He eventually settled in Sedona, Arizona, acclaimed for his evocative oil paintings of Western life.
In his 1962 masterwork Cutting out Mexican Cows, the artist’s dedication to authenticity is apparent, as the cattle are branded with old Texas brands dating to the mid-nineteenth century, including the “half-circle A,” a brand registered to Sam Houston’s family in San Saba County. Sam Houston was an American general and statesman who served as the first and third president of the Republic of Texas. He also represented Texas in the U.S. Senate and served as the state’s seventh governor.
101
OLAF CARL WIEGHORST (1899-1988)
Sundown, 1958
oil on canvas
20 x 24 inches
signed lower left: O Wieghorst
Olaf Carl Wieghorst, born in Denmark, began his artistic journey as an acrobat in Copenhagen’s Tivoli Theater. Fascinated by horses from a young age, he moved to the United States, initially joining the US Cavalry at the Mexican border. He learned rodeo skills and developed his painting style, inspired by the American West. Wieghorst worked on ranches in Arizona before settling in New York City, where he joined the police force and continued painting. He later relocated to El Cajon, California, where he created the majority of his acclaimed horse portraits, including famous steeds like Roy Rogers’ Trigger and Gene Autry’s Champion.
PROVENANCE
Private Collection, Naples, Florida
$20,000-$30,000
102
OLAF CARL WIEGHORST (1899-1988)
Indian Scout, 1958
oil on board
14 x 12 inches
signed lower left: O Wieghorst
PROVENANCE
Private Collection, Bentonville, Arkansas
$8,000-$10,000
GORDON SNIDOW (b. 1936)
Daylight at the Diamond A, 1976 oil on board
27 x 40 inches
signed lower right: G. Snidow 1976 CA
Gordon Snidow, a realist painter known for creating contemporary cowboy scenes in opaque watercolor, was born in Paris, Missouri in 1936 and now resides in Ruidoso, New Mexico. He credits early influences from art shows since second grade and formal training at the Famous Artists School and Art Center School in Los Angeles. After selling his first Western painting in Tulsa, he pursued commercial art in Albuquerque before joining the Cowboy Artists of America in 1965. By 1971, Snidow dedicated himself full-time to painting, reflecting a philosophical approach akin to Rembrandt’s focus on portraying the people of his era. His accolades include seven gold and seven silver medals at CAA shows, along with multiple Popular Choice and Best of Show awards.
In this impressive work by the artist, he displays the working cowboys of the famous Diamond A Ranch. The Diamond A is a 500 square mile gem nestled in the boot heel of New Mexico. Snidow spent quite a bit of time there observing the relationship between cowboys, their horses, and the Hereford cattle in their charge.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$20,000-$30,000
GORDON SNIDOW (b. 1936)
I’m Not Tired, I’m Just Resting My Eyes, 1987
gouache on paper
18.25 x 24.5 inches (sight)
signed lower right: G. Snidow 1987 CA
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$8,000-$12,000
DONALD TEAGUE (1897-1991)
Los No Invitados
watercolor on paper
19.5 x 29.5 inches (sight)
signed lower right: Donald Teague NA
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$15,000-$25,000
Donald Teague, a renowned Western illustrator and painter of the Old West, honed his skills at the Art Students League. After serving in WWI and studying under Norman Wilkinson in London, he began illustrating for The Saturday Evening Post and Collier’s under the pseudonym Edwin Dawes. Settling in California in 1938, Teague focused exclusively on Western themes after Collier’s closure. His meticulous process involved initial sketches, studio models, and photostats for composition. Teague’s work also adorned calendars with “Masterpieces of the Old West,” showcasing his enduring impact on Western art.
W.H.D. KOERNER (1878-1938)
Summer Hand
oil on canvas
26 x 36 inches
signed lower right: W.H.D. Koerner
W.H.D. Koerner, celebrated as a prolific illustrator of the American West, immigrated from Germany to Iowa in 1880. After honing his skills as a newspaper illustrator in Chicago, he studied at the Chicago Art Institute and the Art Students League in New York. A major step in Koerner’s career occurred when he was accepted for formal instruction by Howard Pyle, the famed illustrator who had also taught N.C. Wyeth.
In 1919, Koerner settled in Interlaken, New Jersey, and embarked on extensive travels across the Western United States, capturing the essence of cowboy life and Native American culture. His illustrations graced works by authors such as Zane Grey and Hal G. Evarts, solidifying his fame during the peak of his career in the 1920s.
PROVENANCE
Private Collection, La Grange, Texas
$15,000-$20,000
RAY SWANSON (1937-2004)
Branding at Cottonwood, 1979
oil on canvas
24 x 36 inches
signed lower right: Ray Swanson 79
Ray Swanson, a self-taught realist painter renowned for his portraits of Navajo and Hopi Indians, was born in Alcester, South Dakota in 1937. Settling in Arizona from 1972, first in Prescott and then Carefree, Swanson found his artistic muse in the Navajo people. Raised on a farm and initially trained in aeronautical engineering, Swanson’s passion for painting blossomed after inheriting his grandfather’s paint box. Transitioning to full-time artistry in Prescott, he immersed himself in Native American and cowboy culture, capturing the Southwest’s luminous landscapes. Swanson’s work gained recognition in publications including Artists of the Rockies and Southwest Art, affirming his place in the regional art scene.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$8,000-$12,000
108
BOB SCRIVER (1914-1999)
Heading for a Wreck, 1968
bronze, 3 17 x 36 x 27 inches
inscribed: © Bob Scriver, 1968 -3-, “Heading for a Wreck”, Bighorn Foundry
This very large and impressive work by the artist is considered by most Western art collectors as one of the top three bronzes from his Rodeo Series. In describing this piece, Scriver said, “Sculpting this action, I decided to picture the hazer as well as the dogger because the hazer is most certainly an essential part of the bulldogging sequence. Getting the story told was of prime importance here. However, there were many opportunities for good sculptural design. Proper arrangement of the elements was of great importance to the authenticity of the piece. It was not my purpose in these sculptures about rodeo to depict the cowboy as a man who always makes the perfect ride or the perfect catch, but rather as a man, who, although he knows his business, can and does make errors. This is so evident here where the dogger’s timing is just a little off and the steer and he are going to go head over heels.”
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$15,000-$25,000
109
BOB SCRIVER (1914-1999)
Pay Window, 1968
bronze, 7 26 x 24 x 14 inches
inscribed: Bob Scriver, “Pay Window” 1968 -7-, Powell Foundry
PROVENANCE
Private Collection, San Antonio, Texas
$12,000-$18,000
“This piece is one of the more successful sculptures in the Rodeo Series. When striving for accuracy and an authentic portrayal of this event, I have shown both the horse and the rider making a highscoring effort. Hence the title ‘Pay Window’. Bill Linderman is the prototype used for the cowboy.” – Bob Scriver.
MELVIN CHARLES WARREN (1920-1995)
Desert Hide-Out, 1989
oil on canvas
24 x 36 inches
signed lower right: Mel Warren CA 1989
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$20,000-$30,000
MELVIN CHARLES WARREN (1920-1995)
Head ‘Em Up, 1981
bronze, 3/15
19 x 49.5 x 18.5 inches inscribed: © Mel Warren CA 1981 3/15
Head ‘Em Up is undoubtably the rarest and most important bronze sculpture ever produced by Melvin Warren. In it, two cowboys are depicted pushing four Texas Longhorns and a calf towards an unknown destination. Warren’s ability to capture the day-in, day-out action of cowboys and their horses working cattle has garnered the admiration of esteemed Western art collectors across the country including former president Lyndon B. Johnson. It is our belief and on good authority that only three of these bronzes were cast, making it a once in a lifetime acquisition opportunity for the avid Melvin Warren collector.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$25,000-$35,000
112
HARRY ANDREW JACKSON (1924-2011)
Pony Express, 1967
bronze, unique 18.5 x 21 x 14 inches inscribed: Harry Jackson 1967 For Marilyn & Jim From Harry
Harry Andrew Jackson, born in Chicago, discovered his passion for horses and drawing early on. Running away to Wyoming at fourteen, he worked as a ranch hand and received encouragement from painter Ed Grigware. After serving in the Marines during WWII, Jackson studied under Rufino Tamayo and Hans Hoffman in New York City. His career evolved from Abstract Expressionism to Realism, with exhibitions in Italy highlighting his Western themes. Renowned for his sculptures, he established a foundry in Italy and authored “Lost Wax Bronze Casting” in 1972.
“…modeled in wax, cast in bronze, painted in careful, loving detail, Harry Jackson’s Pony Express is technically in a tradition as old as art, the painted sculpture of the Greeks, the Romans, and the Middle Ages.” – Frank Getlein
LITERATURE
Frank Getlein, Harry Jackson, Monograph—Catalogue, Kennedy Galleries, New York, 1969. Cover, pg. 4 and 5.
Harry Jackson: Forty Years of His Work 1941-81, Wyoming Foundry Studios, Cody, 1981. pg. 49.
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
113
HARRY ANDREW JACKSON (1924-2011)
Dog Soldier, 1983/1985
bronze, DS2P 2/20 25 x 26 x 16.5 inches signed: H. Jackson 1985 inscribed: Harry Jackson 1983/DS2P stamped: WFS Italia artist thumbprint
PROVENANCE
Private Collection, Dallas, Texas
$8,000-$12,000
ALEXANDER PHIMISTER PROCTOR (1860-1950)
Stalking Panther, 1891-1892
bronze
10 x 38 x 6.5 inches
inscribed: A Phimister Proctor 1891-1892, Copyright stamped: JNO Williams Inc/Bronze Foundry NY
Alexander Phimister Proctor, born in Ontario, Canada, gained renown as a sculptor specializing in life-size wild animals, particularly those of the American West. Alongside pen and ink drawings and small oil paintings, he sculpted historical subjects. Proctor’s early masterpiece, Stalking Panther, melded childhood observations in Colorado with studies from New York’s Central Park Zoo and anatomical dissections. Exhibited at the Chicago World’s Columbian Exposition in 1893, it later was featured at the Society of American Artists in New York. Refining the piece in Paris, Proctor meticulously crafted its second version using a shaved cat for anatomical accuracy, capturing both the physicality and predatory essence of the panther in bronze. His work continues to shape the genre of Western bronze sculpture, prominently displayed at significant exhibitions including The American West in Bronze, 1850-1925 at the Metropolitan Museum of Art. Within the exhibition was a cast of Proctor’s Stalking Panther.
PROVENANCE
Private Collection, Dallas, Texas
$35,000-$45,000
Pinto Martin, 1932
oil on canvas
24.75 x 23.25 inches
artist’s monogram lower left
PROVENANCE
Private Collection, La Grange, Texas
$20,000-$30,000
Gerard Curtis Delano, a Massachusetts native, found his artistic calling in the rugged landscapes of Colorado and Arizona, where he depicted Native Americans in their natural surroundings. After studying at the Art Students League in New York and working as a ranch hand in Colorado, he built a log cabin studio in the Rocky Mountains. Returning briefly to New York for commissions and further art studies, he struggled financially during the Depression. In 1933, he returned to Colorado permanently. Inspired by the Navajo during a pivotal trip to Arizona in 1943, Delano dedicated himself to portraying their proud culture with deep respect and admiration throughout his career.
Though Storms Encompass Me, 2022 oil on canvas
30 x 30 inches signed upper left: Bowman
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$25,000
Eric Bowman, born in Pasadena and raised in Orange County, California, showed early artistic talent throughout school. Starting with jobs such as silk screen printing and surfboard airbrushing, he forged a successful career as a commercial illustrator before transitioning to fine art.
Bowman’s paintings have been featured in national and regional exhibitions across the U.S., including prominent museums such as the National Cowboy & Western Heritage Museum, the Autry Museum, and the Gilcrease Museum. His works are cherished in collections worldwide, from the U.S. to Europe, Asia, and beyond. His art has been highlighted in leading art publications globally, and he holds memberships in prestigious art organizations. Bowman resides in the Pacific Northwest with his family.
117
ED MELL (1942-2024)
Jack Knife
bronze, 4/35
14.25 x 12.25 x 4.5 inches
inscribed: Ed Mell 4/35
Arizona native Ed Mell initially trained as an illustrator and commercial artist at the Art Center College of Design in Los Angeles. Returning to Arizona in 1970, Mell and his brother launched a Phoenix-based illustration studio while he pursued fine art painting. Known for his minimalist approach initially, Mell evolved to emphasize planes and vibrant colors inspired by nature. Mell noted, “I strive to capture nature’s impact authentically, pushing beyond mere representation to evoke its true essence.” Jack Knife is Ed Mell’s most iconic sculptural work; a monumental version stands over eight feet high on Scottsdale, Arizona’s Main Street; it was modeled after Scottsdale’s official city seal, a rider astride a bucking horse.
PROVENANCE
Private Collection, Dallas, Texas
$12,000-$15,000
118
ED MELL (1942-2024)
Diggin’ In, 1985
bronze, 19/28
10 x 15 x 3.5 inches
inscribed: Ed Mell 19/28
LITERATURE
Donald J. Hagerty, Maynard Dixon – Ed Mell, Images of the Southwest: Past and Present, Dewey Galleries, Santa Fe, July 5-24, 1985, pg. 20, 21.
PROVENANCE
Private Collection, Austin, Texas
$10,000-$15,000
119
ED MELL (1942-2024)
Cactus Flower
oil on canvas
24 x 18 inches
signed lower left: Ed Mell inscribed on frame: Ed Mell
PROVENANCE
Private Collection, Fredericksburg, Texas
$25,000-$30,000
120
ED MELL (1942-2024) Jack Knife
bronze, 21/50
20.75 x 17.5 x 7 inches
inscribed: Ed Mell 21/50
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
ANDY WARHOL (1927-1987)
Teddy Roosevelt (FS II.386), 1986
screenprint on Lenox Museum Board, 70/250 36 x 36 inches
signed lower right: Andy Warhol 70/250 chop mark lower left stamped verso: © ANDY WARHOL 1986 PUBLISHER: GAULTNEY-KLINEMAN ART INC NEW YORK
PROVENANCE
Private Collection, Dallas, Texas
$70,000-$90,000
Teddy Roosevelt is a highly desired screenprint from Warhol’s Cowboys and Indians Portfolio, a 10-part series of “Old American West” figures and objects completed in 1986. In the series, Warhol captures common notions of the Wild West as they exist in the American imagination. The artist used a famous 1898 image of Roosevelt in a Rough Rider uniform for the basis of the work. The Rough Riders fought against Spanish control of Cuba and eventually settled a deal with Spain to forfeit their American soil. It was three years later when Roosevelt became the 26th U.S. President. Roosevelt’s appearance communicates the impact of pop culture on shaping an identity. In Teddy Roosevelt, Warhol prints the young Roosevelt in dark black ink. Roosevelt’s outfit dominates the image, not the man himself. His attire in sky blue and indigo, laced with yellow and red etchings. His round glasses, eyes, nose, mustache, and mouth are all sketched in a muted red and pink that are barely visible against the skin. Warhol includes specific details from the original image such as the embroidered U.S.V. initials (United States Volunteers) and the two crossing keys that give away Roosevelt’s position as Rough Rider.
ANDY WARHOL (1927-1987)
Bald Eagle (FS II.296), 1983
screenprint on Lenox Museum Board, AP 8/30 38 x 38 inches
signed lower left: Andy Warhol AP 8/30
chop mark lower right stamped verso: © ANDY WARHOL 1983
PUBLISHER: RONALD FELDMAN
FINE ARTS, INC NEW YORK
PROVENANCE
Private Collection, Dallas, Texas
$175,000-$225,000
Bald Eagle is the most sought-after screenprint from Warhol’s Endangered Species Portfolio completed in 1983. Like other pieces in the 10-part series, it features an animal then considered to be endangered or under imminent threat of extinction by habitat destruction, overuse of commercial or sporting purposes, or other manmade or natural causes. What sets this piece apart, however, is Warhol’s selection and portraiture of the bald eagle, America’s national bird. Through the depiction of U.S. mass goods and celebrities, Warhol established himself as a quintessentially American artist. In Bald Eagle, rather than showing its whole form, Warhol crops the bald eagle very closely, focusing on its head with some slight chest. Behind the head is a plausibly colored sky. Its gradient of dark blue transitioning to a lighter tint suggests a time approaching sunset. The eagle itself faces the viewer’s left, like how it looks on the Great Seal of the United States; on the seal, this is the side in which the eagle clutches an olive branch. The original colors of the bird’s head are left intact, albeit highly contrasted, and an outline of hand-drawn red and yellow lines delineate an eye, majestic plumage, and a prominent and proud beak. These features vividly stand out, the viewer’s eye being drawn to them by Warhol’s ingenious framing. He essentially splits the piece into thirds, letting the black of the chest and blue of the sky act as simple but effective stages for the centerpiece eagle’s head.
JOHANN BERTHELSEN
Brooklyn Bridge, New York oil on canvasboard 16 x 12 inches
(1883-1972)
signed lower right: Johann Berthelsen
Born in Copenhagen, Johann Berthelsen’s parents moved in artistic and professional circles. He later began a friendship with the painter, Wayman Adams. In 1920, seeking to advance their careers, Berthelsen and Adams moved to New York, where both achieved rapid success.
Berthelsen is most known for his poetic painterly renditions of New York City. His special interest was the early winter months…he was particularly fascinated with the subtle range of colors and the softening of hard contours effected by falling snow. This painting is significant due to its subject matter, a favorite of the artist, depicting the Brooklyn Bridge Tower and James Slip Gospel Mission, the brown and green buildings also known by Berthelsen as the “Old Sailor’s Home”.
PROVENANCE
Private Collection, Fredericksburg, Texas
$3,000-$5,000
124
GUY CARLETON WIGGINS (1883-1962)
Hansom Cab at the Plaza, Winter, 1950
oil on canvasboard 12 x 16 inches
signed lower left: Guy Wiggins
PROVENANCE
Private Collection, Dallas, Texas
$10,000-$15,000
GUY CARLETON WIGGINS (1883-1962)
The Stock Exchange, c. 1950
oil on canvasboard
12 x 16 inches signed lower right: Guy Wiggins N.A.
Guy Carleton Wiggins, born in Brooklyn, was the son of a renowned landscape painter, under whom he received his initial training. He pursued further education at the Brooklyn Polytechnic Institute and the National Academy of Design in New York. At just twenty years old, he became the youngest American artist to have a piece admitted into the permanent collection of the Metropolitan Museum of Art. In the 1920s, he began spending summers in Old Lyme, Connecticut, joining the ranks of the established American Impressionists. Here, he drew inspiration from artists like Childe Hassam. In 1937, he relocated his studio to Essex, Connecticut, where he established an art school and continued teaching.
PROVENANCE
Private Collection, Fredericksburg, Texas
$20,000-$30,000
126
GUY CARLETON WIGGINS (1883-1962)
At the Library, New York
oil on canvasboard 12 x 16 inches signed lower right: Guy Wiggins
Best known for his New York winter city scenes, Wiggins collectors look for the iconic signature of his work: the inclusion of cheerfully waving flags. One unique feature of this painting, At the Library, New York, is that it not only includes American flags, but the orange, white, and blue New York City flag as well.
PROVENANCE
Private Collection, Fredericksburg, Texas
$25,000-$35,000
127
DAWSON DAWSON-WATSON (1864-1939)
Blue Bonnets, 1937
oil on canvas
22.25 x 30 inches
signed lower right: Dawson-Watson 37
PROVENANCE
Private Collection, La Grange, Texas
$20,000-$30,000
128
JULIAN ONDERDONK (1882-1922)
Autumn Woods, 1909
oil on board
6 x 9 inches
signed lower left: Julian Onderdonk
PROVENANCE
Private Collection, Dallas, Texas
LITERATURE
This work will be included in the Julian Onderdonk catalogue raisonne addendum database being compiled by Harry A. Halff.
$12,000-$15,000
129
JULIAN ONDERDONK (1882-1922)
Road Through the Woods, 1909
oil on board
9 x 12 inches
signed lower right: Julian Onderdonk
130
JULIAN ONDERDONK (1882-1922)
The Afterglow, 1908
oil on board
6 x 9 inches
signed lower left: Julian Onderdonk
PROVENANCE
Private Collection, Dallas, Texas
LITERATURE
This work will be included in the Julian Onderdonk catalogue raisonne addendum database being compiled by Harry A. Halff.
$15,000-$20,000
PROVENANCE
Private Collection, Fredericksburg, Texas
LITERATURE
This work will be included in the Julian Onderdonk catalogue raisonne addendum database being compiled by Harry A. Halff.
$12,000-$17,000
JULIAN ONDERDONK (1882-1922)
Sunset on Wular Lake, c. 1914
oil on canvas
32 x 49 inches
signed lower right: Julian Onderdonk after Maj E. Molyneaux (sic)
Julian Onderdonk was a native of San Antonio and son of important Texas artist, Robert Jenkins Onderdonk. In 1901, at the age of nineteen, he moved to New York City and attended the Art Students League. He then studied plein-air painting with William Merritt Chase at his summer school in Shinnecock, New York. He returned to Texas in 1909 and continued to enjoy considerable success during his lifetime. He became best known for his paintings of bluebonnets, but he also loved to depict the Texas Hill Country in all its incarnations. He suffered an early death at the age of 40.
Sunset on Wular Lake is a copy of a watercolor originally painted by Major Edward Molyneux. Molyneux (1866–1913) was a British painter. During his years in the Himalayan Valley of Kashmir, Molyneux painted Sunset on Wular Lake along with many scenes of the capital city of Srinagar and other areas which inspired him. The paintings were published in a book titled “Kashmir” (1909), accompanied by descriptions of the Valley by Sir Francis Younghusband.
This monumental work is a truly unique commission created by the artist for prominent Texas patrons, JH and Alice Kirkpatrick. Kirkpatrick graduated from the University of Texas Law School and served in the 22nd session of the state legislature in 1890-1891. Kirkpatrick was later involved in real estate in the San Antonio area. He and his wife, Alice, with their only son Oran, traveled around the world for four years at the turn of the century.
PROVENANCE
Private Collection, New Braunfels, Texas
LITERATURE
Harry A. Halff, “Complete Catalogue of the Works of Julian Onderdonk”, 2016, published as “Copy after Major E. Molyneaux, c. 1914”, cat. no. 743, pg. 207.
$150,000-$200,000
The Kirkpatricks had a friendship with Julian Onderdonk’s father, Robert, along with other prominent artists in San Antonio. Robert spent time with JH and Alice at Grand Lake, Colorado at a home they owned there. Pompeo Coppini, the renowned sculptor, was another friend of the Kirkpatricks, and he sculpted busts of several of the Kirkpatrick family members.
The group of men that included JH Kirkpatrick, Robert Onderdonk, Pompeo Coppini, and others would meet at the Original Mexican Restaurant along the river in downtown San Antonio and named themselves the “Chili Thirteen”. It could be the friendship that JH had with Julian Onderdonk’s father that provided an opportunity for the Kirkpatricks to commission this work from Julian Onderdonk.
The Kirkpatricks had traveled to areas throughout India during their trip around the world, and after returning to Texas, Kirkpatrick delivered sixty-eight lectures on his travels. It is likely that he and his wife had been to Kashmir and had seen works of Major Molyneaux either in person, or in a copy of his illustrated book “Kashmir”, which included a depiction of the painting Sunset on Wular Lake. This passion for exotic travel explains the Onderdonk commission of a scene from India, instead of his typical Texas landscape.
Famed for his Texas bluebonnet landscapes, San Antonio native Julian Onderdonk may be the most well-known artist Texas has ever produced. As a pupil of William Merritt Chase, he was among Chase’s most impressive students at the Shinnecock Summer School in Long Island where he absorbed Chase’s aesthetic of nature. “Sunset on Wular Lake” is an incredible testament to the artist’s mastery of American impressionism, especially his beautiful depiction of light and its changing qualities.
JULIAN ONDERDONK (1882-1922)
Sunset on Wular Lake, c. 1914
oil on canvas
32 x 49 inches
signed lower right: Julian Onderdonk after Maj E. Molyneaux (sic)
Julian Onderdonk was a native of San Antonio and son of important Texas artist, Robert Jenkins Onderdonk. In 1901, at the age of nineteen, he moved to New York City and attended the Art Students League. He then studied plein-air painting with William Merritt Chase at his summer school in Shinnecock, New York. He returned to Texas in 1909 and continued to enjoy considerable success during his lifetime. He became best known for his paintings of bluebonnets, but he also loved to depict the Texas Hill Country in all its incarnations. He suffered an early death at the age of 40.
Sunset on Wular Lake is a copy of a watercolor originally painted by Major Edward Molyneux. Molyneux (1866–1913) was a British painter. During his years in the Himalayan Valley of Kashmir, Molyneux painted Sunset on Wular Lake along with many scenes of the capital city of Srinagar and other areas which inspired him. The paintings were published in a book titled “Kashmir” (1909), accompanied by descriptions of the Valley by Sir Francis Younghusband.
This monumental work is a truly unique commission created by the artist for prominent Texas patrons, JH and Alice Kirkpatrick. Kirkpatrick graduated from the University of Texas Law School and served in the 22nd session of the state legislature in 1890-1891. Kirkpatrick was later involved in real estate in the San Antonio area. He and his wife, Alice, with their only son Oran, traveled around the world for four years at the turn of the century.
PROVENANCE
Private Collection, New Braunfels, Texas
LITERATURE
Harry A. Halff, “Complete Catalogue of the Works of Julian Onderdonk”, 2016, published as “Copy after Major E. Molyneaux, c. 1914”, cat. no. 743, pg. 207.
$150,000-$200,000
The Kirkpatricks had a friendship with Julian Onderdonk’s father, Robert, along with other prominent artists in San Antonio. Robert spent time with JH and Alice at Grand Lake, Colorado at a home they owned there. Pompeo Coppini, the renowned sculptor, was another friend of the Kirkpatricks, and he sculpted busts of several of the Kirkpatrick family members.
The group of men that included JH Kirkpatrick, Robert Onderdonk, Pompeo Coppini, and others would meet at the Original Mexican Restaurant along the river in downtown San Antonio and named themselves the “Chili Thirteen”. It could be the friendship that JH had with Julian Onderdonk’s father that provided an opportunity for the Kirkpatricks to commission this work from Julian Onderdonk.
The Kirkpatricks had traveled to areas throughout India during their trip around the world, and after returning to Texas, Kirkpatrick delivered sixty-eight lectures on his travels. It is likely that he and his wife had been to Kashmir and had seen works of Major Molyneaux either in person, or in a copy of his illustrated book “Kashmir”, which included a depiction of the painting Sunset on Wular Lake. This passion for exotic travel explains the Onderdonk commission of a scene from India, instead of his typical Texas landscape.
JULIAN ONDERDONK (1882-1922)
Sunset on Wular Lake, c. 1914
oil on canvas
32 x 49 inches
signed lower right: Julian Onderdonk after Maj E. Molyneaux (sic)
Julian Onderdonk was a native of San Antonio and son of important Texas artist, Robert Jenkins Onderdonk. In 1901, at the age of nineteen, he moved to New York City and attended the Art Students League. He then studied plein-air painting with William Merritt Chase at his summer school in Shinnecock, New York. He returned to Texas in 1909 and continued to enjoy considerable success during his lifetime. He became best known for his paintings of bluebonnets, but he also loved to depict the Texas Hill Country in all its incarnations. He suffered an early death at the age of 40.
Sunset on Wular Lake is a copy of a watercolor originally painted by Major Edward Molyneux. Molyneux (1866–1913) was a British painter. During his years in the Himalayan Valley of Kashmir, Molyneux painted Sunset on Wular Lake along with many scenes of the capital city of Srinagar and other areas which inspired him. The paintings were published in a book titled “Kashmir” (1909), accompanied by descriptions of the Valley by Sir Francis Younghusband.
This monumental work is a truly unique commission created by the artist for prominent Texas patrons, JH and Alice Kirkpatrick. Kirkpatrick graduated from the University of Texas Law School and served in the 22nd session of the state legislature in 1890-1891. Kirkpatrick was later involved in real estate in the San Antonio area. He and his wife, Alice, with their only son Oran, traveled around the world for four years at the turn of the century.
PROVENANCE
Private Collection, New Braunfels, Texas
LITERATURE
Harry A. Halff, “Complete Catalogue of the Works of Julian Onderdonk”, 2016, published as “Copy after Major E. Molyneaux, c. 1914”, cat. no. 743, pg. 207.
$150,000-$200,000
The Kirkpatricks had a friendship with Julian Onderdonk’s father, Robert, along with other prominent artists in San Antonio. Robert spent time with JH and Alice at Grand Lake, Colorado at a home they owned there. Pompeo Coppini, the renowned sculptor, was another friend of the Kirkpatricks, and he sculpted busts of several of the Kirkpatrick family members.
The group of men that included JH Kirkpatrick, Robert Onderdonk, Pompeo Coppini, and others would meet at the Original Mexican Restaurant along the river in downtown San Antonio and named themselves the “Chili Thirteen”. It could be the friendship that JH had with Julian Onderdonk’s father that provided an opportunity for the Kirkpatricks to commission this work from Julian Onderdonk.
The Kirkpatricks had traveled to areas throughout India during their trip around the world, and after returning to Texas, Kirkpatrick delivered sixty-eight lectures on his travels. It is likely that he and his wife had been to Kashmir and had seen works of Major Molyneaux either in person, or in a copy of his illustrated book “Kashmir”, which included a depiction of the painting Sunset on Wular Lake. This passion for exotic travel explains the Onderdonk commission of a scene from India, instead of his typical Texas landscape.
Famed for his Texas bluebonnet landscapes, San Antonio native Julian Onderdonk may be the most well-known artist Texas has ever produced. As a pupil of William Merritt Chase, he was among Chase’s most impressive students at the Shinnecock Summer School in Long Island where he absorbed Chase’s aesthetic of nature. “Sunset on Wular Lake” is an incredible testament to the artist’s mastery of American impressionism, especially his beautiful depiction of light and its changing qualities.
132
NORMAN ROCKWELL (1894-1978)
The Marriage Counselor – Study oil on cellophane laid over photograph 8.75 x 10.75 inches (sight) signed lower right: Norman Rockwell
PROVENANCE
Private Collection, Dallas, Texas
$10,000-$20,000
Norman Rockwell, celebrated as America’s foremost illustrator, captivated audiences with his heartfelt portrayals of everyday life and humor. Studying at Chase Art School, National Academy of Design, and the Art Students League, Rockwell’s career soared when he became art director at Boys’ Life. With meticulous preparation, from initial sketches to full-sized drawings, he created over 322 iconic Saturday Evening Post covers. Innovatively incorporating photography later in life, Rockwell’s legacy spans photomontages of contemporary subjects, leaving an indelible mark on American art until his death in 1978.
133
PAUL STRISIK (1918-1998)
Gloucester
oil on board
12 x 16 inches
signed lower left: P. Strisik
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$2,000-$3,000
HENRY WARD RANGER (1858-1915)
Approaching Storm, 1893
oil on board
18 x 25.5 inches
signed lower left: H W Ranger 93 artist’s monogram stamped lower left
Born in Syracuse, New York, Henry Ward Ranger attended Syracuse University before travelling to Europe where he became a self-taught artist. Aside from being one of the leading tonalist painters, a practice that dismissed French Impressionism by featuring subtle gradations of a limited range of color, Ranger was considered the “Dean of American landscape painting.” His career as an artist erupted during the 1890’s when he went to Old Lyme, Connecticut, where he was instrumental in establishing the Old Lyme Art Colony.
PROVENANCE
Private Collection, Boulder, Colorado
$6,000-$10,000
135
ROBERT WILLIAM WOOD (1889-1979)
Mission San Jose
oil on canvas
20 x 24 inches
signed lower right: Robt. Wood
PROVENANCE
Private Collection, La Grange, Texas
$8,000-$12,000
136
Texas Bluebonnets
oil on canvasboard
24 x 36 inches
signed lower right: Robert Wood
PROVENANCE
Private Collection, La Grange, Texas
$25,000-$35,000
137
PORFIRIO SALINAS (1910-1973)
Hill Country Springtime with Bluebonnets
oil on canvas
30 x 40 inches
signed lower left: Porfirio Salinas
PROVENANCE
Private Collection, Fredericksburg, Texas
$60,000-$80,000
PORFIRIO SALINAS (1910-1973)
oil on canvas
28 x 36 inches
signed lower left: Porfirio Salinas
PROVENANCE
Private Collection, Dallas, Texas
$35,000-$45,000
29.5 x 35.5 inches
signed lower right: Porfirio Salinas
PROVENANCE
Private Collection, La Grange, Texas
$45,000-$60,000
140
DAWSON DAWSON-WATSON (1864-1939)
Blooming Prickly Pear, 1937
oil on canvas
25 x 30 inches signed lower right: Dawson-Watson 37
PROVENANCE
Private Collection, La Grange, Texas
$25,000-$35,000
141
DAVID BATES (b. 1952)
Rosco, 1986-1987
bronze with polychrome, unique 25.5 x 10.5 x 8 inches inscribed: Bates 6/6
David Bates, a Dallas native, is celebrated as one of Texas’ foremost artists. He earned his BFA from Southern Methodist University in 1975, followed by an MFA in 1978 after completing the Whitney Independent Study Program. Bates quickly gained recognition through group exhibitions at prestigious venues like the Corcoran Gallery of Art, the Metropolitan Museum of Art, and the Contemporary Arts Museum, Houston. His career highlights include being featured in the 1987 Whitney Biennial and the significant 2014 retrospective of his career co-organized by the Nasher Sculpture Center and the Modern Art Museum of Fort Worth. Known for his bold paintings on canvas and panel, Bates also excels in sculpture. His art, characterized by strong forms and dark outlines, explores the boundaries of medium and draws inspiration from American Regionalism and modernists like Henri Matisse. This fanciful sculpture by Bates, Rosco, was created in California and Bates’ former West Coast gallery, Berggruen, sold the entire edition of 6. Each piece in the edition were painted uniquely, making this piece truly one-of-a-kind.
PROVENANCE
Private Collection, Fredericksburg, Texas
$30,000-$50,000
142
DAVID BATES (b. 1952)
Cannas Still Life, 1994
oil on aluminum, double sided 51 x 29.25 x 23.5 inches
signed middle left: Bates
LITERATURE
Justin Spring, David Bates, Modern Art Museum of Fort Worth 2008, pl. 407, pg. 127.
PROVENANCE
Private Collection, Dallas, Texas
$125,000-$175,000
Bates began working with sculpture in 1992 at the Walla Walla Foundry in Washington, where he continued to focus on the theme of still-life, finding inspiration in depicting the same subject in two forms of media. Sculptural still-life is a rare genre of art in America, and Bates combined the two masterfully in this work Cannas Still Life. A rare example of larger-scale sculpture by Bates, this unique aluminum piece features a composition fully in-the-round, with two distinct scenes on each side. Not only is it a three-dimensional example of a floral still life, but it also showcases the depiction of two-dimensional framed paintings on the wall. This self-referential “painting within a sculpture” speaks to the wit and humor frequently present in Bates’ work. The inclusion of canna lilies and coastal landscapes prove that Bates’ connection to the Texas Gulf Coast was never far from mind, even as he worked at foundries on the West Coast.
143
JOSE ARPA (1858-1952)
The Balanced Rock, Grand Canyon, 1926
oil on canvas
14 x 17 inches
signed lower right: Jose Arpa
EXHIBITION
Oakland Art Gallery, Oakland, California, Fourth Annual Exhibition of Paintings, 1926
Harry Halff Fine Art, San Antonio, Texas, Jose Arpa: Painting in the Americas, 2010
Panhandle Plains Historical Museum, Canyon Texas, Jose Arpa: Spanish Painter in Texas, 2016
San Angelo Museum of Fine Arts, San Angelo, Texas, 2016-2017
Art Museum of Southeast Texas, Beaumont, Texas, 2017
The Witte Museum, San Antonio, Texas, 2017
LITERATURE
Jose Arpa: Spanish Painter in Texas 2016, exhibition catalogue, pg. 49.
PROVENANCE
Private Collection, La Grange, Texas
$30,000-$40,000
Spanish artist Jose Arpa y Perea, acclaimed as “The Colorist Painter,” infused vibrant hues into his depictions of figures and landscapes, particularly in Texas, where he revitalized San Antonio painting with sunlit local scenes. Trained under Eduardo Cano de la Pena in Seville, he won the Prix de Rome three years running. He traveled to San Antonio in 1899, and exhibited at the San Antonio International Fair in 1900. Afterwards, he divided his time between Mexico, Spain, and San Antonio until 1923, when he founded his own painting school in San Antonio.
144
JOSE VIVES-ATSARA (1919-2004)
San Jose Mission, San Antonio, Texas, 1962
oil on canvasboard
30 x 24 inches
signed lower right: Vives Atsara
PROVENANCE
Private Collection, Dallas, Texas
$18,000-$22,000
Jose Vives-Atsara, a native of Spain, fell in love with his new home of San Antonio, Texas, and strived to honor her natural and manmade beauty. Vives-Atsara’s Mission paintings are particularly evocative of the connection between Spain and Texas, which the artist showcases in the dynamic composition of this painting of Mission San Jose. The artist’s Mission paintings are highly desirable for collectors, and this example truly stands out in the large scale of the Mission compared to its surrounding landscape as well as the vertical composition, which is not often seen in the artist’s work.
JOSEPH HENRY SHARP (1859-1953)
Ditch Workers, Taos, N. Mex (Taos Siesta), 1931
oil on canvas
20 x 24 inches
signed lower left: J H Sharp
PROVENANCE
Private Collection, Dallas, Texas
$90,000-$120,000
Joseph Henry Sharp, hailed as the “father of the Taos Art Colony,” gained renown for his vivid Indian figure paintings and colorful landscapes. Born in Bridgeport, Ohio, his early education was affected by hearing loss, yet he pursued art at the McMicken School of Design in Cincinnati. Sharp’s European travels in 1881 marked the start of a pattern: he alternated between studying abroad and exploring the American West, including New Mexico and the Columbia River basin. Settling in Taos in 1912, he co-founded the Taos Society of Artists, focusing on the vanishing Indian culture. Sharp’s art, blending ethnographic detail with artistic flair, remains a testament to his enduring legacy.
“This is a depiction of the “arroyo”, or sand wash that was one of the main thoroughfares from Taos Pueblo to the town of Taos. This location is directly behind art patroness and cultural influencer, Mabel Dodge Luhan’s house, and not more than a half mile from Sharp’s home and studio. Sharp’s title Ditch Workers is perhaps a reference to the pace of life at the Pueblo in stark comparison to the Anglo drive of commercial progress, and/or perhaps it is a reference to the limited options available to many folks during the Great Depression. Long shadows of morning light give depth to the sage, chamisa and Taos Pueblo people with Taos Mountain in the distance rising to meet the passing clouds. Sharp’s masterful brushworks record a scene of everyday life in Taos, now lost to us save for his canvas.”
– Davison Koenig, Executive Director/Curator the Couse-Sharp Historic Site, Taos, New Mexico
146
LEON SHULMAN GASPARD (1882-1964)
Fall Foliage – Reflections in the River, Russia
oil on board
9.5 x 8.75 inches
unsigned estate stamp verso
Leon Shulman Gaspard’s artistic journey, spanning continents and decades, reflects his unique individuality and strong character. Born in Vitebsk, Russia, he was immersed in the colorful cultures of Asia through his father’s fur trades, a theme he would explore in his paintings for years to come. Gaspard’s formal art education took him from Vitebsk to Odessa, Moscow, and finally Paris, where he studied under Adolphe Bouguereau. World War I interrupted his flourishing Parisian career, leading him to New York. In 1919, seeking a healthier climate, he settled in Taos, New Mexico. His vibrant paintings, blending Impressionist colors with modern interpretive styles, celebrate diverse cultures and remain a legacy of his global artistic vision.
EXHIBITION
Santa Fe East Galleries, An Exhibition of Paintings by American Impressionist Painters, July 9–Aug. 25, 1982
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$8,000-$12,000
147
LEON SHULMAN GASPARD (1882-1964)
Russian City Scene
oil and ink on canvas
8.75 x 9 inches
signed lower left: Leon S. Gaspard
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$8,000-$12,000
148
LEON SHULMAN GASPARD (1882-1964)
Russian Winter Scene / Russian Winter Landscape
oil on board
8.75 x 9.25 inches
signed lower right: Leon S. Gaspard
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$8,000-$12,000
149
LEON SHULMAN GASPARD (1882-1964)
The Blue Shawl, 1914
oil on board
6.5 x 4 inches
signed lower right: Leon Gaspard, Russia, 1914
PROVENANCE
Private Collection, Houston, Texas
$12,000-$18,000
150
FREMONT ELLIS (1897-1985)
Last Shades of Autumn
oil on canvas
24 x 20 inches
signed lower left: Fremont Ellis
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$15,000-$20,000
Fremont Ellis, a versatile and unconventional figure in New Mexico’s art scene for over six decades, had a diverse upbringing as the son of a traveling dentist, carnival performer, and theater operator. Raised in Montana amid mining towns, Ellis lacked formal education but discovered a passion for art during a transformative visit to New York’s Metropolitan Museum of Art as a child. He began painting by copying masterpieces there and continued in Montana. After a stint in optometry in El Paso, Texas, he settled in Santa Fe, New Mexico, marrying and pursuing photography. His photographic skills later influenced his art, marking a significant chapter in his creative journey.
FREMONT ELLIS (1897-1985)
Romantic Landscape with Procession, 1979
oil on canvas
27 x 33 inches
signed lower left: Fremont Ellis
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$20,000-$30,000
This impressive work by the artist perfectly exemplifies his Impressionistic style used to portray the everyday life of the native tribes in their home landscapes of the Southwest. Not only is this painting large, in it, Ellis has used a multitude of colors both bright and subdued picturing in perfect harmony a large number of individuals in a procession, the destination church in the background, and the mountainous landscape capped off with a rainbow in the distance. A better example of the artist’s work would be hard to find.
152
EDOUARD LEON CORTES (1882-1969)
Theatre du Vaudeville
oil on canvas
13 x 18 inches
signed lower left: Edouard Cortes
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
Edouard Leon Cortes, born into a family of artisans in Paris in 1882, was destined for a life of artistry. Immersed in an environment steeped in creativity, Cortes demonstrated exceptional talent from a young age, declaring, “I was born from and for painting.” He honed his skills under his father’s guidance and debuted at the Societe des Artistes Francais exhibition in 1899 at just sixteen. Becoming a member of the French Artists’ Society, Cortes devoted himself to capturing the essence of Paris in his celebrated cityscapes. Awarded the Silver Medal at the Salon des Artistes Francais in 1915, he continued to receive accolades throughout his career, executing variations of his primary theme: the beauty of Paris. Cortes commented that he wished to stop history in 1939 before the Second World War. His paintings by then were in demand all over the world. Cortes achieved special success in the United States and Canada, where he had first exhibited in 1945.
Celebrated as the “Parisian Poet of Painting,” Cortes was a master at capturing the vibrant energy and romantic beauty of the City of Lights. This canvas of the Boulevard des Capucines at dusk is illuminated by the warm yellow and orange blaze of lanterns and candlelight. Cortes renders the greys and browns of the buildings and overcast sky with remarkable atmospheric effect. Alive with the bustle of pedestrians and carriages near the Theatre du Vaudeville, a theater in the famed neighborhood, the street scene epitomizes the luminous and romantic Parisian setting.
Self-Portrait
oil on canvas
14.75 x 11.5 inches stamped lower right: N. Fechin
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
LITERATURE
Harold McCracken, Nicolai Fechin, The Hammer Galleries, Inc., The Ram Press, New York, 1961, listed as from the collection of Eya Fechin Branham, pl. 206.
PROVENANCE
Eya Fechin Branham, daughter of the artist
Private Collection, Hye, Texas and Pecos, New Mexico
$125,000-$175,000
Nicolai Ivanovich Fechin, born in Kazan, Russia, was renowned for his portraits. Raised in the Volga forest amidst Tartar tribes, Fechin overcame a near-fatal illness at four. At thirteen, he earned a scholarship to the Art School of Kazan, later studying under Ilya Repin at the Imperial Academy of Art in St. Petersburg. Fechin’s palette-knife technique gained acclaim in Europe and America, and after fleeing the Bolshevik Revolution, he settled in Taos, New Mexico in 1927, capturing the essence of Southwestern life through vivid portraits. It was in Taos where Nicolai designed and built his masterpiece of a homestead, with beautiful carved details reminiscent of Russia yet perfectly blended with the native pueblo architecture of New Mexico. The home still stands as a museum today, donated by his daughter Eya Fechin Branham in 1981.
This painting, a self-portrait once owned by Fechin’s daughter Eya, provides an intimate view of Nicolai Fechin and is listed in Harold McCracken’s 1961 catalogue of the artist’s works. A smaller version of this self-portrait hangs in the Taos Art Museum at Fechin House.
155
CLARK HULINGS (1922-2011)
The Washerwoman, 2006 oil on canvas
16 x 20 inches
signed lower left: Hulings 2006
PROVENANCE
Private Collection, Dallas, Texas
$20,000-$30,000
154
RICHARD SCHMID
(1934-2021)
Yellow Rose (of Texas), 1999 oil on canvas 8 x 12 inches signed lower left: Schmid 1999
Richard Schmid, born in Chicago, was inspired by his grandfather, sculptor Julian Oates. He started art training at twelve with the Famous Artists Course, focusing on landscape, figure drawing, and anatomy. At eighteen, Schmid studied classical techniques under William H. Mosby at the American Academy of Art. After military service, he moved to New York, then to Connecticut in 1961 to raise his family. Later, he returned to Chicago, joined and led the Palette and Chisel Academy, and eventually settled in Colorado. Schmid is also a celebrated author of painting books and an influential art educator.
PROVENANCE
Private Collection, Houston, Texas
$25,000-$35,000
Clark Hulings, celebrated for his serene compositions, embodies the essence of American painting. Raised in Spain, Hulings’ childhood there profoundly influenced his choice of subjects—rural landscapes, markets, and everyday scenes across Europe, Egypt, Morocco, Mexico, and the American Southwest. Trained under Sigismund Ivanowski and George Bridgmond at the Art Students League, New York, he honed his skills in still-life and portraiture. After a fruitful career in illustration, Hulings settled in Santa Fe, New Mexico. Recognized with the Prix de West in 1973 and multiple medals from the National Academy of Western Art, in 1976 he was given a one-person show at the National Cowboy Hall of Fame and was presented with the Hall’s Trustees’ Gold Medal for his distinguished contribution to art in the U.S.
CLARK HULINGS (1922-2011)
The Fruit Seller, 1971 oil on canvas 18 x 27 inches signed lower left: Hulings 1971
In this masterful work by the artist, most likely set in Spain, the artist depicts two similarly aged individuals who have almost surely known each other most, if not all their lives, conducting their business. From the back of his donkey cart, the fruit seller is shown providing her with the desired produce as she carefully counts out the exact amount of coin required for the exchange. Hulings’ figurative expertise is almost unmatched as well as his ability to capture lighting and texture. This is truly a magnificent example of the artist’s best work with all the elements desired in a Hulings.
PROVENANCE
Private Collection, Dallas, Texas
$35,000-$45,000
157
JOHN COLEMAN (b. 1949)
Crazy Horse 1876, 2020
bronze, 15/20
23 x 18 x 13 inches
inscribed: “Crazy Horse” 1876 John Coleman CA © 2020 15/20
John Coleman, a native of Southern California, is renowned for his evocative sculptures of Southwest Indian figures. Elected to the prestigious Cowboy Artists of America in 2001, he later served as its President in 2009. His contributions to CAA exhibitions have garnered numerous accolades, including the 2009 Kieckhefer Award for Best of Show and Artists’ Choice. Coleman’s art often features Indian mythology, reflecting his deep respect for Western heritage. A member of the National Sculpture Society, he has exhibited widely, including the celebrated Prix de West at the National Cowboy and Western Heritage Museum. In 2010, the Gilcrease Museum honored Coleman with a retrospective of his career.
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
158
JOHN COLEMAN (b. 1949)
Mato-Tope 1833, 2021
bronze, 13/20
31 x 14 x 11 inches
inscribed: “Mato-Tope” 1833 John Coleman CA c 2021 13/20
Mato-Tope was a Mandan chief who also happened to be an artist. On paper, Mato-Tope himself recorded images from some of his battles. His portrait was painted by both Karl Bodmer and George Catlin who are said to have influenced Mato-Tope’s artistic style.
“My sculpture of Mato-Tope is after a Karl Bodmer watercolor from about 1834. He stood proudly for Bodmer, adorned in his finest clothing with accoutrements that related to past victories of war…this battle was one that Mato-Tope painted for Bodmer.” – John Coleman
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
Mission Peddler, 1977
oil on canvas
30 x 24 inches
signed lower right: G. Harvey 1977
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$50,000-$75,000
This beautiful painting by G. Harvey depicts a Mexican peddler leaving an old Spanish Mission with a load of goods carefully packed on donkeys heading for his next destination and hopefully his next sale. The artist had a fondness for Mexico and the Mexican people, and they were often portrayed in his paintings. This particularly good example with the main character under the shade of his sombrero displays not only the man’s trade, but also the beautiful surroundings in full sunlight including the mission and its stone walls as well as the yucca and prickly pear cactus to the right, both in full bloom. This painting was purchased by the current owner, Dr. Robert Bass of Dallas, Texas, in the early 1980’s from the private collection of Clint Murchison, Jr, also of Dallas, Texas.
160
G. HARVEY (1933-2017)
Foothills of the Tetons oil on canvas
16 x 12 inches
signed lower right: G. Harvey
PROVENANCE
Private Collection, Idaho Falls, Idaho
$30,000-$40,000
“When I painted pure landscapes years ago, I tended to show them during bright daylight conditions. Over the years, I’ve come to enjoy the moodier times of the day, particularly twilight, those brief minutes when the afterglow of sunset reflects off mountains or in the mists giving a scene an almost ethereal mystery. The effect of twilight on the landscape is particularly striking in Jackson Hole, Wyoming, where I set scenes of riders with the Grand Teton Mountains behind them. But the light in Jackson changes so quickly and dramatically that recording twilight effects invariably necessitates relying on your memory, you can’t just sketch it quick enough and no camera lens captures the delicate shimmer of pink that bounces off snow and clouds. I’ve got a lot of respect for the early mountain men and cowboys who trailblazed through the Jackson Hole area during the 19th century when no roads or maps provided them direction.” - G. Harvey
G. HARVEY (1933-2017)
Reflecting On Times Past, (Palo Duro Canyon), 1972
oil on canvas
30 x 40 inches
signed lower right: G. Harvey 1972
Palo Duro Canyon is a canyon system of the Caprock Escarpment located in the West Texas Panhandle. It is the second largest canyon in the nation lagging only behind the Grand Canyon. Its place in Texas history is well documented as a home to massive herds of bison, a refuge for the Comanche tribe as well as an important landmark for the cattle drives of Oliver Loving and Charlie Goodnight. In this impressive, large painting by G. Harvey, the artist depicts two contemporary cowboys on horseback perched at the canyon rim looking, talking, and as the artist intimated in the painting’s title, reflecting on times past.
PROVENANCE
Private Collection, Frisco, Texas
$60,000-$90,000
162
G. HARVEY (1933-2017)
A Breed Apart, 1981
bronze, 6/40
17 x 20 x 10 inches
inscribed: ‘A Breed Apart’ 6/40 G. Harvey © 1981
The foundation of the cattle industry in Texas was built on the longhorn, a tough, lean breed of cattle that descended from Spanish forebearers. Prior to the 1840s, Mexican vaqueros used to herd longhorns that bred wild on the savannah grasses of South Texas. Then, Texas empire-builders began to gather the free roamers into cattle drives, and the era of the cattle kingdom was born. Moving north across the Rio Grande and into Texas, Colorado and Wyoming, men like Oliver Loving and Charlie Goodnight forged trails that would ultimately bring beef-on-the-hoof to the tables of the industrial North.
PROVENANCE
Private Collection, San Antonio, Texas
$10,000-$15,000
163
G. HARVEY (1933-2017)
Green Broke, 1983
bronze, 19/30
24 x 15 x 9 inches
inscribed: G. Harvey © 1983, ‘Green Broke’ 19/30
PROVENANCE
Private Collection, Fredericksburg, Texas
$12,000-$15,000
164
G. HARVEY (1933-2017)
Leaving the City Lights (Denton, Texas), 1979
oil on canvas
24 x 36 inches
signed lower left: G. Harvey 1979
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$80,000-$110,000
This impressive painting by the Fredericksburg, Texas, artist was acquired by Dr. Robert Bass of Dallas, Texas, at an auction held at the home of Clint Murchison Jr. (1923-1987). Clinton Williams Murchison, Jr. was a prominent American businessman and founder of the Dallas Cowboys football team. According to Dr. Bass, he attended an event at Mr. Murchison’s Dallas home in the early 1980’s where Murchison and Dallas Western art dealer Bill Burford auctioned 10 G. Harvey paintings from Murchison’s private collection. The scene in this painting shows cowboys in the downtown square of Denton, Texas, at the end of a cold, wintery day with snow falling all around. Besides being drawn to the artist’s Western painting style with his signature lighting and moody environment, Dr. Bass was especially attracted to the two buildings depicted in the background. The one on the left is the Denton County National Bank with its impressive lighted clock hanging on the corner, and to the right is the First State Bank where Dr. Bass’s father was once the president.
TOM RYAN (1922-2011)
The Big Gather (Four Sixes) oil on board 24 x 48 inches signed lower right: Tom Ryan
George Humphreys, Four Sixes Ranch foreman, was a legend, as he had cowboyed a lifetime on the Sixes. Before his teenage years, he experienced seeing Quannah Parker, the great Comanche chief, at the lead of a long trailing of his tribe in colorful regalia coming into the headquarters of the Four Sixes. They had trailed down to King County, Texas from the reservation in Oklahoma. Quannah and Burk Burnett, owner of the Sixes, were good friends. This was a celebration of that friendship. There were many beeves on spits in the Indian encampment.
“The year is 1968. George had informed me that there was going to be a big gathering of cattle in the Pitchfork Flats area on the 6666 Ranch. This would be the last opportunity to participate in a large gathering of cattle to be worked in the old ways.
To do a painting in the scope of The Big Gather would take weeks of work, therefore I was as thorough as possible, giving my utmost attention to every activity that transpired. There were 78 cowboys scattered around the chuck wagon in the lamp light of the early morning breakfast. While the cowboys were eating, the wrangler was gathering the remuda from the two-section horse pasture. We heard the horses coming in, then the lively voice of the wagon boss broke off the chattering amongst the cowboys: “Horses, cowboys, horses.” Coming out from under the tent cover over the wagon area, I felt a slight chill in the morning air. We were still in partial daylight.
EXHIBITION
National Cowboy and Western Heritage Museum, The Brotherhood of Man: Tom Ryan and the Cowboys of the 6666 Ranch, October 13-December 31, 2001
LITERATURE
Susan Hallsten McGarry, Tom Ryan and the Cowboys of the 6666 Ranch, National Cowboy and Western Heritage Museum, 2001, pg. 9.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$150,000-$200,000
Within minutes, the remuda was in a rope corral where the cowboys stretched their ropes from one cowboy to the next in a surround of the remuda. Cowboys called out the names of their horses, and top hands went into the remuda roping the horses called for. The first cowboys to get horseback were those who had to lope to holding pens where the cattle had been rounded up the day before. These had to be trailed to the gathering area.
As I rode over to Pitchfork Flats, I was beginning to feel the excitement of The Big Gather. The first bunches of cattle had come in from the closer holding pens. Cowboys had surrounded and were holding these cattle as another drive was coming off the mesa in the distance. Yet another bunch was coming in from the opposite direction and other drives would be coming in shortly. The working of over twenty-five hundred head of cattle would be commencing within the hour. Witnessing top cutting horses and cowboys do their chores in a herd of this immense proportion is a rare sight to behold. The bawling of cattle in a herd this size is profound. The wrangler had moved the remuda closer to the cutting grounds so that any change of horses would be convenient.
The early morning haze had prevailed but a short while: the sun was now occasionally breaking through the continual stream of passing clouds. The cook had moved the wagon in for the noon meal; later he would set up camp a short distance away.” – Tom Ryan
“The year is 1968. George Humphreys had informed me that there was going to be a big gathering of cattle in the Pitchfork Flats area on the 6666 Ranch. He said this would be the last opportunity to participate in a large gathering of cattle to be worked in the old ways.” – Tom Ryan.
TOM RYAN (1922-2011)
The Big Gather (Four Sixes) oil on board 24 x 48 inches signed lower right: Tom Ryan
George Humphreys, Four Sixes Ranch foreman, was a legend, as he had cowboyed a lifetime on the Sixes. Before his teenage years, he experienced seeing Quannah Parker, the great Comanche chief, at the lead of a long trailing of his tribe in colorful regalia coming into the headquarters of the Four Sixes. They had trailed down to King County, Texas from the reservation in Oklahoma. Quannah and Burk Burnett, owner of the Sixes, were good friends. This was a celebration of that friendship. There were many beeves on spits in the Indian encampment.
“The year is 1968. George had informed me that there was going to be a big gathering of cattle in the Pitchfork Flats area on the 6666 Ranch. This would be the last opportunity to participate in a large gathering of cattle to be worked in the old ways.
To do a painting in the scope of The Big Gather would take weeks of work, therefore I was as thorough as possible, giving my utmost attention to every activity that transpired. There were 78 cowboys scattered around the chuck wagon in the lamp light of the early morning breakfast. While the cowboys were eating, the wrangler was gathering the remuda from the two-section horse pasture. We heard the horses coming in, then the lively voice of the wagon boss broke off the chattering amongst the cowboys: “Horses, cowboys, horses.” Coming out from under the tent cover over the wagon area, I felt a slight chill in the morning air. We were still in partial daylight.
EXHIBITION
National Cowboy and Western Heritage Museum, The Brotherhood of Man: Tom Ryan and the Cowboys of the 6666 Ranch, October 13-December 31, 2001
LITERATURE
Susan Hallsten McGarry, Tom Ryan and the Cowboys of the 6666 Ranch, National Cowboy and Western Heritage Museum, 2001, pg. 9.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$150,000-$200,000
Within minutes, the remuda was in a rope corral where the cowboys stretched their ropes from one cowboy to the next in a surround of the remuda. Cowboys called out the names of their horses, and top hands went into the remuda roping the horses called for. The first cowboys to get horseback were those who had to lope to holding pens where the cattle had been rounded up the day before. These had to be trailed to the gathering area.
As I rode over to Pitchfork Flats, I was beginning to feel the excitement of The Big Gather. The first bunches of cattle had come in from the closer holding pens. Cowboys had surrounded and were holding these cattle as another drive was coming off the mesa in the distance. Yet another bunch was coming in from the opposite direction and other drives would be coming in shortly. The working of over twenty-five hundred head of cattle would be commencing within the hour. Witnessing top cutting horses and cowboys do their chores in a herd of this immense proportion is a rare sight to behold. The bawling of cattle in a herd this size is profound. The wrangler had moved the remuda closer to the cutting grounds so that any change of horses would be convenient.
The early morning haze had prevailed but a short while: the sun was now occasionally breaking through the continual stream of passing clouds. The cook had moved the wagon in for the noon meal; later he would set up camp a short distance away.” – Tom Ryan
TOM RYAN (1922-2011)
The Big Gather (Four Sixes) oil on board 24 x 48 inches signed lower right: Tom Ryan
George Humphreys, Four Sixes Ranch foreman, was a legend, as he had cowboyed a lifetime on the Sixes. Before his teenage years, he experienced seeing Quannah Parker, the great Comanche chief, at the lead of a long trailing of his tribe in colorful regalia coming into the headquarters of the Four Sixes. They had trailed down to King County, Texas from the reservation in Oklahoma. Quannah and Burk Burnett, owner of the Sixes, were good friends. This was a celebration of that friendship. There were many beeves on spits in the Indian encampment.
“The year is 1968. George had informed me that there was going to be a big gathering of cattle in the Pitchfork Flats area on the 6666 Ranch. This would be the last opportunity to participate in a large gathering of cattle to be worked in the old ways.
To do a painting in the scope of The Big Gather would take weeks of work, therefore I was as thorough as possible, giving my utmost attention to every activity that transpired. There were 78 cowboys scattered around the chuck wagon in the lamp light of the early morning breakfast. While the cowboys were eating, the wrangler was gathering the remuda from the two-section horse pasture. We heard the horses coming in, then the lively voice of the wagon boss broke off the chattering amongst the cowboys: “Horses, cowboys, horses.” Coming out from under the tent cover over the wagon area, I felt a slight chill in the morning air. We were still in partial daylight.
EXHIBITION
National Cowboy and Western Heritage Museum, The Brotherhood of Man: Tom Ryan and the Cowboys of the 6666 Ranch, October 13-December 31, 2001
LITERATURE
Susan Hallsten McGarry, Tom Ryan and the Cowboys of the 6666 Ranch, National Cowboy and Western Heritage Museum, 2001, pg. 9.
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$150,000-$200,000
Within minutes, the remuda was in a rope corral where the cowboys stretched their ropes from one cowboy to the next in a surround of the remuda. Cowboys called out the names of their horses, and top hands went into the remuda roping the horses called for. The first cowboys to get horseback were those who had to lope to holding pens where the cattle had been rounded up the day before. These had to be trailed to the gathering area.
As I rode over to Pitchfork Flats, I was beginning to feel the excitement of The Big Gather. The first bunches of cattle had come in from the closer holding pens. Cowboys had surrounded and were holding these cattle as another drive was coming off the mesa in the distance. Yet another bunch was coming in from the opposite direction and other drives would be coming in shortly. The working of over twenty-five hundred head of cattle would be commencing within the hour. Witnessing top cutting horses and cowboys do their chores in a herd of this immense proportion is a rare sight to behold. The bawling of cattle in a herd this size is profound. The wrangler had moved the remuda closer to the cutting grounds so that any change of horses would be convenient.
The early morning haze had prevailed but a short while: the sun was now occasionally breaking through the continual stream of passing clouds. The cook had moved the wagon in for the noon meal; later he would set up camp a short distance away.” – Tom Ryan
“The year is 1968. George Humphreys had informed me that there was going to be a big gathering of cattle in the Pitchfork Flats area on the 6666 Ranch. He said this would be the last opportunity to participate in a large gathering of cattle to be worked in the old ways.” – Tom Ryan.
166
TOM RYAN (1922-2011)
April Cowboy (Four Sixes), 1985
oil on canvas
16 x 24 inches
signed lower right: Tom Ryan 1985 CA
Tom Ryan dedicated his life to depicting the contemporary cowboy scene. He branched off from the typical historical episodes and scenes of the Old West depicted by Remington, Russell, Leigh, and Schreyvogel, to concentrate on the lives and struggles of today’s ranchers. Although Ryan knew his way around a horse and cattle, he once said, “I’m not a cowboy. I’m a spectator watching cowboys. That’s where I get my ideas from, watching them work.” According to American Quarter Horse Hall of Fame member and Texas ranching authority Jim Jennings, the cowboy Ryan featured in April Cowboy is Hoss Morris who took care of the mares on the Four Sixes at the time Ryan was painting.
PROVENANCE
Private Collection, Claude, Texas
$25,000-$35,000
TOM RYAN (1922-2011)
Riding Point (Four Sixes)
lot is accompanied by an artist-signed sketch of Riding Point
pastel on board on paper
38 x 21 inches signed lower right: Tom Ryan
Riding Point is a fine example of a large-scale pastel work by Tom Ryan, the likes of which are rarely seen at auction. What makes this piece more special is that it is being offered alongside the artist’s original preliminary sketch.
Arguably the biggest influence on Tom Ryan’s body of work was his time spent on the famed Four Sixes ranch in Texas. Starting with Ryan’s first visit in 1963, this was a turning point that fueled Ryan’s decision to focus on the contemporary, rather than historical, West. According to American Quarter Horse Hall of Fame member and Texas ranching authority Jim Jennings, the rider Ryan featured in Riding Point is Four Sixes cowboy Tommy Sursa.
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$50,000-$70,000
168
WILLIAM GOLLINGS (1878-1932)
Bunch Quitter, 1905
oil on canvas
10 x 15 inches
signed lower right: Gollings 05
William “Bill” Gollings, born in Pierce City, Idaho, immersed himself in art from a young age, inspired by Frederic Remington’s illustrations. Moving to Chicago at the age of twelve, he absorbed ranch life while working various jobs, including on railroad engines and with cattle outfits. Self-taught initially, he earned a scholarship to the Chicago Academy of Fine Arts, mastering oil, watercolor, and etching techniques learned from Hans Kleiber. Gollings gained acclaim for his faithful depictions of Western scenes, later establishing a studio in Sheridan, Wyoming.
PROVENANCE
Private Collection, La Grange, Texas
$35,000-$55,000
169
MARTIN GRELLE (b. 1954)
Trinkets
oil on canvas
30 x 48 inches
signed lower right: Martin Grelle
Martin Grelle, born and raised in Clifton, Texas, found his artistic passion in capturing the beauty of his hometown’s landscapes and people. Influenced by local life and mentored by one of the Cowboy Artists of America, James Boren, Grelle began painting as a teenager, expanding from depictions of Scandinavian settlers to broader Western themes. Joining the Cowboy Artists of America in 1995, he explores diverse landscapes across the U.S. and Europe, drawn particularly to mountains for their grandeur. Using primarily oils with a focus on color and texture, Grelle evokes dramatic light and shadow in his work, increasingly delving into historical narratives to tell visual stories.
Commenting on Trinkets, Grelle notes that, “It was done for a show at Overland Gallery, and I believe it was either late 1980’s or early 1990’s. I do remember that it was a significant painting for me…one of my first attempts at painting more Northern plains oriented Native American subjects, rather than the Taos, Acoma, and other Southwestern oriented subjects I had previously done.”
PROVENANCE
Private Collection, Dallas, Texas
$90,000-$120,000
Sixes Born and Raised, 2012 oil on linen
28 x 28 inches
signed lower right: Martin Grelle CA 2012
PROVENANCE
Private Collection, Fredericksburg, Texas
$30,000-$40,000
Grelle states that Sixes Born and Raised “…was done from a Cowboy Artists of America Trail Ride on the Dixon Creek, part of the Four Sixes ranch in 2012, as we headed out to gather cattle early one morning. The main cowboy is, I believe, Justin Bruton – one of two brothers and their dad, who all worked on the Sixes.”
FRANK TENNEY JOHNSON (1874-1939)
Down the Canyon Floor, 1938 oil on canvas 30 x 24 inches signed lower left: F. Tenney Johnson NA 1938
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$125,000-$175,000
Frank Tenney Johnson was born in Big Grove, Iowa, and explored the Missouri River’s banks as a child near Council Bluffs, influenced by artist Richard Lorenz to pursue art professionally. After studying under Robert Henri in New York, Johnson settled on a Colorado ranch, illustrating for magazines and authors like Zane Grey. In 1920, he joined Clyde Forsythe in California, sharing a studio in Alhambra where he painted Western themes—cowboys, Indians, and settlers. Known for his “Johnson Moonlight Technique,” he co-founded the Biltmore Art Gallery in Los Angeles and participated in the Rancho Visitadores group. Johnson’s evocative paintings earned global recognition before his untimely death in Pasadena.
As a painter of the world of Native Americans and cowboys from the northern Wyoming Rockies to the exotic canyons and cliffs of New Mexico and Arizona, Johnson found inspiration in the far West past and present. His career straddled the late 19th century and early 20th centuries, a fertile time in American art. In his day, Johnson was considered the foremost painter of the West, recognized for picking up where Frederic Remington and Charles Russell had left off. In Down the Canyon Floor, the artist displays twilight deep within an inner canyon recess, casting a greenish-blue light on the scene. Although the tonal range is limited, one can still discern a variety of hues including the pale green and tan sandy soil as well as the sepia tones of the boulders and canyon walls, mixed in with greens, blues, and touches of red. Johnson’s mastery of capturing light, mood, and expression are all fully captured in this exceptional painting.
172
JAMES ELWOOD REYNOLDS (1926-2010)
Early Start, 1986
oil on canvas
20 x 30 inches
signed lower left: James Reynolds 1986
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$15,000-$25,000
James Elwood Reynolds, born near California’s Sierra Mountains, immersed himself in the wilds as a child, shaping his artistic vision. Inspired by a Frank Tenney Johnson calendar, he pursued art after World War II service, initially in commercial art and later in Hollywood studios. Despite his professional success, Reynolds kept a private passion for painting unspoiled landscapes, eventually settling near Sedona, Arizona, in 1967. There, among the red rocks and azure skies, he found artistic freedom. Joining the Cowboy Artists of America in 1968, Reynolds gained acclaim for his evocative landscapes, capturing untamed beauty that continues to define his celebrated career spanning over 30 years.
KYLE POLZIN (b. 1974)
Birds of Paradise
oil on canvas 38 x 18 inches signed lower left: Polzin
Born in Cuero, Texas, Kyle Polzin grew up in Victoria, where he developed his artistic skills under the guidance of his artist father and craftsmen grandfathers. He honed his craft while exploring the Texas coast and countryside near Cuero. After graduating from Victoria High School, Polzin pursued formal art training at Victoria College, focusing on oil painting under Larry Shook. His career took off after intensive sessions with master painter Dalhart Windberg in 1996, sparking recognition from organizations including Ducks Unlimited. Polzin continues to draw inspiration from his upbringing and natural surroundings, reflecting them in his acclaimed fine art, which features a hyper-realistic style.
For the last 10 years, Polzin has been on the top of the list as one of the most coveted American still-life painters working today. His mastery of the trompe l’oeil style does indeed “deceive the eye” creating the illusion of a real object or scene so that what the viewer sees truly appears to be a three-dimensional image all be it in a two-dimensional format. Polzin’s floral paintings are especially desired, and Birds of Paradise is a wonderful example of the Texas artist’s work.
PROVENANCE
Private Collection, Dallas, Texas
$35,000-$50,000
174
KYLE POLZIN (b. 1974)
Weathered Iron (Puttin’ up the Lariat) oil on canvas 13 x 19 inches signed lower left: Polzin
Kyle Polzin has made a name for himself painting incredible still-life paintings featuring a variety of subjects such as cut flowers in water-filled vases, late 19th century wine and whiskey bottles, sporting items such as old Winchester and Colt firearms, hickory fly fishing rods, reels, fishing creels and more. What has really put him at the top of his game are his paintings with objects from the American West. These objects include Native American headdresses and shields, as well as the tack and gear used by working American cowboys. Weathered Iron is a wonderful example of the later with its display of buckskin gloves, lariat, quirt, and well patinaed branding iron. These essential tools of the trade for the cattle industry of the West are captured perfectly by the artist and make this painting extra special.
PROVENANCE
Private Collection, Dallas, Texas
$25,000-$35,000
175
TUCKER SMITH (b. 1940)
Bugling in the Meadow, 1999
oil on canvas
20 x 24 inches
signed lower right: Tucker Smith 99
Tucker Smith, born in St. Paul, Minnesota, resides near Helena, Montana, painting realist scenes in oil and watercolor. Inspired by the landscapes of Wyoming where he grew up, he transitioned from a career in computer programming to art, emphasizing mood over narrative. His work, influenced by Western realism, captures timeless subjects such as wildlife and landscapes, reflecting his surroundings with subtlety and avoiding sentimentality. A founding member of the Northwest Rendezvous Group, Smith’s art has been featured in publications such as Art West and Rocky Mountain Magazine, showcasing his commitment to portraying the authentic essence of the West.
PROVENANCE
Private Collection, Dallas, Texas
$40,000-$50,000
176
KEN CARLSON (b. 1937)
Fall Challenge
oil on board 15 x 22 inches
signed lower right: Carlson
Inspired by his upbringing in a small Minnesota river town, Carlson’s early encounters with nature fueled his artistic journey. He combined his love for animals with art, traveling extensively to places such as Alaska and the Canadian Rockies for firsthand observations. His work is praised for transcending genre boundaries.
PROVENANCE
Private Collection, Houston, Texas
$12,000-$18,000
177
BOB KUHN (1920-2007)
Winter Chase, 1995
bronze, 12/20 11 x 24 x 6 inches
inscribed: Kuhn 12/20
LITERATURE
Adam Duncan Harris (ed), Bob Kuhn, Drawing on Instinct (Norman, OK: University of Oklahoma Press in Cooperation with The National Museum of Wildlife Art, 2012), pl. 49, pg. 232.
PROVENANCE
Private Collection, Dallas, Texas
$15,000-$25,000
Bob Kuhn, born in Buffalo, New York, developed a passion for animals early on. After attending the Pratt Institute in Brooklyn in 1937, Kuhn served in World War II, finding his artistic voice while illustrating for sporting publications. Kuhn’s meticulous research and bold style made him a sought-after wildlife illustrator. Transitioning to fine art in 1970, he specialized in acrylic paintings capturing the essence and movement of wild animals in their natural habitats. Kuhn only made four bronze sculptures, in collaboration with his longtime friend George Northup. The fox was a special subject matter to the artist, who was inspired by the wildlife around his own home. Kuhn’s foxes are still some of his most coveted works.
178
JOHN JAMES LaFOREST AUDUBON (1785-1851)
Dusky Duck, Anas Obscura. Gm. 1. Male 2. Female; from the Havell edition “Birds of America”, 1836
hand-colored engraving with aquatint on paper
22 x 31.25 inches (sight)
inscribed in plate lower left: Drawn from nature by J. J. Audubon FRS FLS. inscribed lower right: Engraved, Printed & Coloured by R. Havell, 1836 inscribed upper left: No. 61 inscribed upper right: Plate CCCII (302)
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$5,000-$8,000
179
JOHN JAMES LaFOREST AUDUBON (1785-1851)
Great Northern Loon, Colymbus Glacialis, L, Adult 1, Young in Winter 2.; from the Havell edition “Birds of America”, 1836
hand-colored engraving with aquatint on paper
24.75 x 35.75 inches (sight) inscribed in plate lower left: Drawn from nature by J. J. Audubon FRS FLS. inscribed lower right: Engraved, Printed & Coloured by R. Havell, 1836 inscribed upper left: No. 62 inscribed upper right: Plate CCCVI (306)
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$5,000-$8,000
180
MICHAEL SCHRECK (b. 1950)
Kudu, 1983
oil on board
18 x 24 inches
signed lower right: Michael Schreck 1983
PROVENANCE
Private Collection, Waynesville, North Carolina
$1,500-$2,000
181
JIM HUTT (20th century)
English Setter
oil on canvas
20 x 24 inches
signed lower left: Jim Hutt
PROVENANCE
Private Collection, Castle Hayne, North Carolina
$1,000-$1,500
182
REVEAU MOTT BASSETT (1897-1981)
Geese at Little Sandy, 1955 oil on canvas 25 x 30.25 inches signed lower right: Reveau Bassett ‘55
Born in Dallas, Texas, Reveau Bassett began his arts education sketching alongside Frank Reaugh from age twelve and later studied under notable mentors including Charles Courtney Curran, William Robinson Leigh, and Joseph Pennell. He further honed his craft at the Art Students League of New York and Grand Central Art Galleries under George Pearce Ennis. Bassett’s paintings, often featuring migratory birds, spanned Texas and New Mexico and were exhibited at prestigious venues including the National Academy of Design. Notably, he contributed to Eugene Savage’s Texas history mural at the 1936 Centennial Exposition and later became the Director of the Panhandle-Plains Historical Museum. He passed away in Dallas after a lifelong commitment to art and education.
PROVENANCE
Private Collection, San Antonio, Texas
$15,000-$25,000
183
REVEAU MOTT BASSETT (1897-1981)
Setting In, Little Sandy, 1953 oil on canvas 24 x 30 inches signed lower left: Reveau Bassett ‘53
PROVENANCE
Private Collection, Houston, Texas
$15,000-$25,000
184
CLARK BRONSON (b. 1939)
Gobbler’s Roost, 1974
bronze, 39/75
15 x 13 x 11 inches
inscribed: Clark Bronson © 1974 stamped: NSS, NAWA, SAA 39/75
PROVENANCE
Dr. Robert Bass Collection, Dallas, Texas
$1,000-$2,000
185
ORELAND JOE, SR. (b. 1958) Sunrise Ritual, 1989
carved limestone
25 x 13 x 7 inches
inscribed: O.C. Joe © 89
PROVENANCE
Private Collection, Denton, Texas
$1,000-$1,500
JENNIE HADDAD (1906-1996)
Untitled (Abstract)
oil on canvas
53.75 x 41.75 inches
signed verso: Jennie Haddad
PROVENANCE
Private Collection, Fredericksburg, Texas
$8,000-$12,000
Jennie Haddad began her formal art training with Otis Dozier at the Dallas Museum of Fine Arts, though it was her time in New York City and Provincetown under the tutelage of Hans Hoffman that profoundly impacted her style. Haddad was one of twelve artists chosen to study with the Abstract Expressionist in 1956, and in the artist’s words, “I clicked with Hans Hoffman and that turned out to be one of the best things that could have happened to me.” He encouraged her to take inspiration from nature and to loosen her style, as reflected in this painting, where the flat planes of receding and advancing colors establish negative and positive space. Haddad kept in touch with Hoffman until his death and continued her studies at the Arts Students League in Woodstock, New York. She exhibited across the country, and received the Houston Museum Award in 1957, upon which the critic Clement Greenberg noted, “Jennie Haddad has what I’d call ‘painting culture’ in her very bones; she has it by instinct. She was born to paint.”
187
JENNIE HADDAD (1906-1996)
Untitled (Abstract #282)
watercolor and acrylic on paper
41.5 x 29.5 inches
unsigned estate stamp verso
PROVENANCE
Private Collection, Fredericksburg, Texas
$4,000-$6,000
188
JENNIE HADDAD (1906-1996)
Untitled (Abstract #275)
watercolor and acrylic on paper
26 x 40.5 inches
signed lower right: Jennie Haddad
PROVENANCE
Private Collection, Fredericksburg, Texas
$2,000-$4,000
189
FRANCOIS KOCH (b. 1944) Office Meeting, 2014
oil on linen 24 x 36 inches signed lower right: Francois Koch 14
PROVENANCE Private Collection, Georgetown, Texas
$5,000-$7,000
190
FRANCOIS KOCH (b. 1944) Good Company oil on linen 16 x 24 inches signed lower right: Francois Koch
PROVENANCE Private Collection, Georgetown, Texas
$2,000-$4,000
191
FREMONT ELLIS (1897-1985)
Rio Grande - Colorado
oil on canvasboard 11 x 14 inches
signed lower right: Fremont Ellis
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$5,000-$7,000
192
FREMONT ELLIS (1897-1985)
February on Posoaque Creek, 1979
oil on canvasboard 11 x 14 inches
signed lower left: Fremont Ellis
EXHIBITION
Southwestern University Special Collection, Georgetown, Texas, 1983
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$4,000-$6,000
193
FREMONT ELLIS (1897-1985)
Desert Landscape
oil on canvasboard 18 x 24 inches
signed lower left: Fremont Ellis
PROVENANCE
Private Collection, Willimantic, Connecticut
$2,500-$4,500
194
WILLIAM ACHEFF (b. 1947)
Potter and Pots, 2019
oil on canvas on panel 7 x 9 inches
signed lower right: Acheff
PROVENANCE
Private Collection, Houston, Texas
$6,000-$9,000
195
WILLIAM ACHEFF (b. 1947)
Acoma, San Ildefonso, Taos
oil on canvas
10 x 22 inches
signed lower right: Wm. Acheff
PROVENANCE
Private Collection, Amarillo, Texas
$4,000-$6,000
196
JOHN FRANKLIN (1925-2010)
Flower Seller
oil on canvasboard 16 x 12 inches
signed lower right: John Franklin
PROVENANCE
Jerry N. Worthy Collection, Big Spring, Texas
$1,000-$1,500
197
CYRUS AFSARY (b. 1940/41)
Warrior
oil on canvas
30 x 24 inches
signed lower left: Cyrus Afsary, NAWA
PROVENANCE
Private Collection, Dallas, Texas
$10,000-$15,000
198
CYRUS AFSARY (b. 1940/41)
The Mission, 1980
oil on canvas
36 x 48 inches
signed lower left: Cyrus Afsary 1980
PROVENANCE
Private Collection, Dallas, Texas
$4,000-$6,000
199
DAN BODELSON (b. 1949)
Hillside and Otero (Santa Fe), 1984
oil on canvas paper
7 x 10 inches
signed lower right: Bodelson
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$1,000-$1,500
201
200
DAN BODELSON (b. 1949)
Bahamas, 1984
oil on canvas paper 8 x 10 inches
signed lower left: Bodelson
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$1,000-$1,500
SUZANNE BAKER (b. 1939)
Shadow of Mt. Tom oil on canvas
28 x 28 inches
signed lower right: S. Baker
PROVENANCE
Private Collection, Austin, Texas
$1,500-$2,500
203
202
LANNY GRANT (b. 1953)
Cathedral Group, 2003
oil on board
20 x 30 inches
signed lower left: Lanny Grant
PROVENANCE
Private Collection, Victor, Idaho
$1,500-$2,000
ROBERT PEERMAN (20th century)
Grand Canyon
oil on canvas
14 x 11 inches
signed lower left: R. Peerman
PROVENANCE
Private Collection, Hye, Texas and Pecos, New Mexico
$1,000-$1,500
205 ANDERSEN KEE (b. 1959)
Two Indians, 1990
oil on canvas
32 x 42 inches
signed lower right: Andersen Kee 90
PROVENANCE
Private Collection, Frisco, Texas
$1,000-$1,500
204
PAT McALLISTER (20th century)
When Crow Meets Sioux, 1986 oil on canvas
26 x 48 inches signed lower right: McAllister 1986
PROVENANCE
Private Collection, Frisco, Texas
$1,000-$1,500
RICHARD AXTELL (1929-1997)
Land of the Thunder God, 1990
watercolor on paper
18.75 x 13.25 inches (sight)
signed lower right: Richard Axtell 90
PROVENANCE
Jere W. Thompson, Sr. Collection, Dallas, Texas
$1,000-$1,500
INDEX
ACHEFF, WILLIAM
Acoma, San Ildefonso, Taos, 195
Potter and Pots, 194
AFSARY, CYRUS
The Mission, 198 Warrior, 197
ARPA, JOSE
The Balanced Rock, Grand Canyon, 143
ATKINSON, STEVE
Range Boss, 30
AUDUBON, JOHN JAMES LAFOREST
Dusky Duck, Anas Obscura, 178
Great Northern Loon, Colymbus Glacialis, 179
AXTELL, RICHARD
Land of the Thunder God, 206
BAIZE, WAYNE
Bringing up the Hoodlum Wagon, 15
Mare and Foal, 12
Mare and Seated Foal, 13
The Winter Stage, 14
BAKER, SUZANNE
Shadow of Mt. Tom, 201
BASSETT, REVEAU MOTT
Evening, 42
Geese at Little Sandy, 182
On the Lake, 43
Setting In, Little Sandy, 183
BATES, DAVID
Cannas Still Life, 142 Rosco, 141
BAUMANN, GUSTAVE
Apple Blossoms, 41 Summer Rain, 40
BEELER, JOE
Apache Warrior, 9
BERTHELSEN, JOHANN
Brooklyn Bridge, New York, 123
BODELSON, DAN Bahamas, 200 Hillside and Otero, 199
BOREN, JAMES
Beans for the Boys, 18 When it Pays to Pack a Rod, 19
BOREN, JODIE
A Place of Refuge, 16
Cowboy with Saddle and Rifle, 17
BOREN, NELSON
Reclining Cowboy, 31 Young Cowboy, 32
BOUTWELL, GEORGE
Texas Blue Norther, 24
BOWMAN, ERIC
Though Storms Encompass Me, 116
BRONSON, CLARK
Gobbler’s Roost, 184
BRYERS, DUANE
Bringing Home the Runaways, 28
CARLSON, KEN
Fall Challenge, 176
COLEMAN, JOHN
Crazy Horse 1876, 157
Mato-Tope 1833, 158
CORTES, EDOUARD LEON Theatre du Vaudeville, 152
CURTIS, EDWARD SHERRIFF
Brule Warriors, 6
Iron Plume-Ogalala, 5 Piegan War-Bonnet and Coup-Stick, 4 The Eagle-Catcher, 3
DARGE, FRED West Texas Cowboy, 26
DAWSON-WATSON, DAWSON
Blooming Prickly Pear, 140 Blue Bonnets, 127 Hill Country Road with Cactus, 71
DE HAAN, CHUCK
Foggy Morning, 22
DELANO, GERARD CURTIS Pinto Martin, 115
DEMOTT, JOHN Mountain Revelry, 23
DOZIER, OTIS
Chimayo Hills, 72
DYE, CHARLIE
Cutting Out Mexican Cows, 100
ELLIOTT, TERESA Grazing, 46
ELLIS, FREMONT
Desert Landscape, 193 February on Posoaque Creek, 192 Last Shades of Autumn, 150 Rio Grande – Colorado, 191 Romantic Landscape with Procession, 151
FECHIN, NICOLAI IVANOVICH Self-Portrait, 153
FRANKLIN, JOHN Flower Seller, 196
GASPARD, LEON SHULMAN
Fall Foliage – Reflections in the River, Russia, 146
Russian City Scene, 147
Russian Winter Scene / Russian Winter Landscape, 148
The Blue Shawl, 149
GOLLINGS, WILLIAM Bunch Quitter, 168
GRANT, LANNY
Cathedral Group, 202
GRELLE, MARTIN
Sixes Born and Raised, 170 Trinkets, 169
HADDAD, JENNIE
Untitled (Abstract), 186
Untitled (Abstract #275), 188
Untitled (Abstract #282), 187
HARRISON, ROBERT
Hill Country in Bloom, 54 West Texas Cowboy, 29
HARVEY, G.
A Breed Apart, 162
Foothills of the Tetons, 160 Green Broke, 163 Indian Maiden, 89
Leaving the City Lights, 164
Longhorn, 66
Mission Peddler, 159
Muchacho Con Gallo, 64
Panhandle Parley, 88
Reflecting On Times Past, 161
The New Stallion, 91
The Spirit of the West, 90 Working as One, 65
HAWORTH, MARK
Western Chisos, 80
HOWELL-SICKLES, DONNA
Kick Up Your Heels, 52
HULINGS, CLARK
The Fruit Seller, 156
The Washerwoman, 155
HUTT, JIM
English Setter, 181
JACKSON, HARRY ANDREW Dog Soldier, 113 Pony Express, 87 Pony Express, 112 Pony Express, II, 62
JOE, SR., ORELAND Sunrise Ritual, 185
JOHNSON, FRANK TENNEY Down the Canyon Floor, 171
KEE, ANDERSEN
Two Indians, 205
KELLEY, RAMON
Dos Bailadoras, 36 El Indio Apache, 37
Taos White Blanket, 38 Vestido de Oro, 35
KOCH, FRANCOIS
Good Company, 190 Office Meeting, 189
KOERNER, W.H.D.
Summer Hand, 106
KUHN, BOB
Winter Chase, 177
LOVELL, TOM
Chiricahua Scouts, 93
The New Trade Gun, 94
MARKOS, LAJOS
Frontier Communion, 55 Old Jake, 57
The Blacksmith Apprentice, 56
MCALLISTER, PAT
When Crow Meets Sioux, 204
MCCARTHY, FRANK
Chance of the Hunt, 97
The Man Hunters, 99
The Pursuit, 98
MCELWAIN, LOUISA
Riverbend, Autumn Afternoon, 84
MCGARY, DAVE
Bear Tracks, 20
Captured Thunder, 21
MCGREW, R. BROWNELL
Portrait of a Navajo, 8
MCKINLEY, HERB
Gully Washer, 25
MELL, ED
Cactus Flower, 119
Diggin’ In, 118
Jack Knife, 117 Jack Knife, 120
MOORE, PAUL
Offering to the Sun, 61
MORAN, THOMAS
The Half Dome–View from Moran Point, Yosemite, 7
NEBEKER, BILL
The Price of Freedom, 60
ONDERDONK, JULIAN Autumn Woods, 128 Road Through the Woods, 129 Sunset on Wular Lake, 131
The Afterglow, 130
PEERMAN, ROBERT Grand Canyon, 203
POLZIN, KYLE
Birds of Paradise, 173
Weathered Iron, 174
PROCTOR, ALEXANDER PHIMISTER
Stalking Panther, 114
PUMMILL, ROBERT
The Stray Man, 47
RANGER, HENRY WARD
Approaching Storm, 134
REISS, WINOLD
Indian Chief, 33
REYNOLDS, JAMES ELWOOD
Early Start, 172
ROBINSON, JAMES
Clearing But Cold, 45
Cowboys Riverside, 74 Longhorns, 44
ROCKWELL, NORMAN
The Marriage Counselor–Study, 132
RUSSELL, CHARLES MARION
SIK-KO-KIY-O, 63
RYAN, TOM
April Cowboy, 166
Riding Point and Riding Point Sketch, 167
The Big Gather, 165
SALINAS, PORFIRIO
Autumn Landscape, 73
Blue Bonnets and Oak, 139
Bull Creek, 77
Early Fall, 68
Hill Country Autumn, 67
Hill Country River, 78
Hill Country Springtime with Bluebonnets, 137
Hill Country Wildflowers, 138
Texas Hill Country, 79
SANDZEN, BIRGER
Willows, McPherson County, Kansas, 85
SCHIWETZ, E.M. (BUCK)
Remnants of Gay Hill, 53
SCHMID, RICHARD
Yellow Rose (of Texas), 154
SCHOLDER, FRITZ
Indian Face #3, 34
SCHRECK, MICHAEL Kudu, 180
SCRIVER, BOB
Heading for a Wreck, 108 Pay Window, 109
SHARP, JOSEPH HENRY
Ditch Workers, Taos, N. Mex., 145
SINGLETON, GIB
I’m Your Huckleberry, 58
Texas Longhorn, 59
SLAUGHTER, WILLIAM
Bluebonnet Landscape with Barn and Longhorns, 83
Bluebonnet Landscape with Oak Trees, 48
Bluebonnet Landscape with Windmill, 75
Bluebonnets with Blooming Cactus, 49 Slaughter’s Blues, 76
SLOANE, ERIC
Canyon Rainbow, 39
SMITH, TUCKER
Bugling in the Meadow, 175
SNIDOW, GORDON
Daylight at the Diamond A, 103
I’m Not Tired, I’m Just Resting My Eyes, 104
SPEED, GRANT
During the Chilly Hours of the Dawn, 86
STRISIK, PAUL Gloucester, 133
SWANSON, RAY
Branding at Cottonwood, 107
TAYLOR, ROLLA Millhouse, 50 San Antonio, 51
TEAGUE, DONALD Los No Invitados, 105
TERPNING, HOWARD Nobility, 96 Trail in the Bitterroots, 95
VAN SOELEN, THEODORE Spring Branding, 1 Water Tank, 2
VIVES-ATSARA, JOSE
San Jose Mission, San Antonio, Texas, 144
WARHOL, ANDY Bald Eagle, 122 Teddy Roosevelt, 121
WARREN, MELVIN CHARLES
Boquillas, Mexico Across the River from Big Bend, 11 Cowboys of the Sangre de Cristo, 92 Desert Hide-Out, 110 Head ‘Em Up, 111
WIEGHORST, OLAF CARL Head On, 10 Indian Scout, 102 Sundown, 101
WIGGINS, GUY CARLETON
At the Library, New York, 126
Hansom Cab at the Plaza, Winter, 124
The Stock Exchange, 125
WOOD, ROBERT WILLIAM
Bluebonnet Landscape, 81
Bluebonnet Time, 69
In the Shadow of the Oaks, 82
Just Around the Riverbend, 70
Mission San Jose, 135
Texas Bluebonnets, 136
ZSCHAEBITZ, RICHARD
Dusk at Mission de San Jose, San Antonio, 27
Auctioneer and Auction:
This Auction is presented by Lone Star Art Auction, a d/b/a/ of Great American West, LLC (“Auctioneer”). The Auction is conducted under these Terms and Conditions and applicable state and local law. Announcements and corrections from the podium and those made through the Terms and Conditions appearing on the Internet at lonestarartauction.com supersede those in the printed catalog. Auctioneer Jason Brooks, State of Texas License Number 16216, will preside over the Auction.
Buyer’s Premium:
All bids are subject to a Buyer’s Premium which is in addition to the placed successful bid otherwise defined as the Hammer Price. Following is the Buyer’s Premium Schedule for the Auction: 20% for Live In-Person Bidding, Telephone Bidding, and Absentee or Proxy Bidding. 20% for Online Bidding on the Auction website at lonestarartauction.com. 25% for Online Bidding on Bidsquare and LiveAuctioneers.
Bidders:
1. Any person participating or registering for the Auction agrees to be bound by and accepts these Terms and Conditions (“Bidder(s)”).
2. All Bidders must meet Auctioneer’s qualifications to bid. Any Bidder who is not a client in good standing of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude any person from the auction.
3. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid.
Credit:
In order to place bids, Bidders who have not established credit with the Auctioneer must either furnish satisfactory credit information (including two collectibles-related business references) or supply valid credit card information along with a social security number, well in advance of the Auction. Bidders should preregister at least two business days before the start of the Auction (exclusive of holidays or weekends) to allow adequate time to contact references. Credit will be granted at the discretion of Auctioneer. Additionally, Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide their social security number or the last four digits thereof so a credit check may be performed prior to Auctioneer’s acceptance of a bid. Check writing privileges and immediate delivery of merchandise may also be determined by pre-approval of credit based on a combination of criteria: Auctioneer history, related industry references, bank verification, a credit bureau report and/or a personal guarantee for a corporate or partnership entity in advance of the auction venue.
Bidding Options:
1. Presentment of Bids: Non-Internet bids (including but not limited to podium, phone, and mail bids) are treated similar to floor bids in that they must be on-increment or at a half increment (called a cut bid). Any podium, phone, or mail bids that do not conform to a full or half increment will be rounded up to the nearest full or half increment and this revised amount will be considered your high bid.
2. Auctioneer’s Execution of Certain Bids. Auctioneer cannot be responsible for your errors in bidding, so carefully check that every bid is entered correctly. When identical mail bids are submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business at least two business days before the Auction start. Auctioneer is not responsible for executing mail bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is Auctioneer responsible for proper execution of
bids submitted by telephone, mail, e-mail, Internet, or in person once the Auction begins. Bids placed electronically via the Internet may not be withdrawn until your written request is received and acknowledged by Auctioneer. Such requests must state the reason and may constitute grounds for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction unless prearranged.
3. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest amount you may bid on a particular lot. Bids greater than one increment over the current bid can be any whole dollar amount. It is possible under several circumstances for winning bids to be between increments, sometimes only $1 above the previous increment. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted.
The following chart governs current bidding increments.
Current Bid Increment:
Under $2,000 $100
$2,000 – $5,000 $250
$5,000 – $10,000 $500
$10,000 – $20,000 $1,000
$20,000 – $50,000 $2,500
$50,000 – $100,000 $5,000
Over $100,000 $10,000
4. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at half of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue to participate only at full increments. If the Auctioneer solicits bids other than the expected increment, these bids will not be considered Cut Bids.
Conducting the Auction:
1. The highest qualified Bidder recognized by the Auctioneer shall be the Buyer. In the event of a tie bid, the earliest bid received or recognized wins. In the event of any dispute between any Bidders at an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a competing bid may have been higher. Auctioneer reserves the right after the hammer falls to accept bids and reopen bidding for bids placed through the Internet or otherwise.
2. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, in its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent or irresponsible person, a person under the age of eighteen, or is not supported by satisfactory credit, collectibles references, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any person apparently appearing on the OFAC list is not eligible to bid.
3. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, or very nominal advances. If a lot bearing estimates fails to open for 40–60% of the low estimate, the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.
4. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50%-60% of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold.
5. All items are to be purchased per lot as numerically indicated and no lots will be broken. Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction.
6. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a warranty, disputed ownership, auctioneer’s
clerical error or omission in exercising bids and reserves, or for any other reason and in Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premiums) and any other damages or expenses pertaining to the lot.
7. Auctioneer occasionally experiences Internet and/or Server service outages, and Auctioneer periodically schedules system downtime for maintenance and other purposes, during which Bidders cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact the Auctioneer at (469) 608-7600.
8. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction and may bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any such bids at any time prior to the hammer based upon data made known to the Auctioneer or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors.
9. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.
Payment:
1. All sales are strictly in United States dollars and accepted methods of payment include personal checks, commercial checks, and bank wire, and are subject to all reporting requirements. Authorized MasterCard, Visa and Discover credit card payments are accepted but are limited to a maximum total of $10,000.00 U.S. dollars for the auction. These credit cards are also accepted with the convenience fee charge of 3.0% added to the total purchase amount (hammer price plus Buyer’s premium). All deliveries are subject to good funds; funds being received in Auctioneer’s account before delivery of the Purchases; and all payments are subject to a clearing period. Auctioneer reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten business day hold, and thirty days when drawn on an international bank. Clients with prearranged credit status may receive immediate credit for payments via eCheck, personal, or corporate checks. All others will be subject to a hold of five (5) days, or more, for the funds to clear prior to releasing merchandise.
2. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Invoices will be emailed to all successful online bidders by October 15, 2024. Auctioneer reserves the right to void an invoice if payment in full is not received within seven (7) days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premiums) on the lot and any other damages pertaining to the lot or Auctioneer, at its option, may charge a twenty (20%) restock fee on the amount of the purchase and offset the restock fee against any monies paid to the Auctioneer or against any of the purchaser’s properties held by the Auctioneer.
3. Lots delivered to you, or your representative, are subject to all applicable state and local taxes, unless appropriate permits are on file with Auctioneer. Bidder agrees to pay Auctioneer the actual amount of tax due in the event that sales tax is not properly collected due to 1) an expired, inaccurate, or inappropriate tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other reason. The appropriate form or certificate must be on file at and verified by Auctioneer five (5) days prior to Auction, or tax must be paid; only if such form or certificate is received by Auctioneer within four (4) days after the Auction can a refund of tax paid be made.
4. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck and your
financial institution denies this transfer from your bank account, or the payment cannot be completed using the selected funding source, you agree to complete payment using another acceptable form of payment.
5. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice not paid when due will bear a three percent (3%) late fee on the invoice amount. If the Auctioneer refers any invoice to an attorney for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer.
6. In the event a successful Bidder fails to pay any amounts due, Auctioneer reserves the right to sell the lot(s) securing the invoice to any under-bidders in the Auction that the lot(s) appeared, or at subsequent private or public sale, or re-list the lot(s) in a future auction conducted by Auctioneer. A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 20% seller’s commission, if consigned to an auction conducted by Auctioneer). The defaulting Bidder is liable to pay any difference between his total original invoice for the lot(s), plus any applicable interest, and the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less the 20% seller’s commission, if sold at an Auctioneer’s auction.
7. Auctioneer reserves the right to require payment in full in good funds before delivery of the merchandise.
8. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any Auction invoice or any other amounts due the Auctioneer or affiliates from the buyer. With respect to these lien rights, Auctioneer shall have all the rights of a secured creditor under Article 9 of the Texas Uniform Commercial Code, including but not limited to the right of sale (including a 20% seller’s commission, if consigned to an auction conducted by Auctioneer). In addition, with respect to payment of the Auction invoice(s), the buyer waives all rights of offset he might otherwise have against the Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.
9. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the buyer to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.
Delivery, Shipping and Handling Charges:
1. Buyer is liable for shipping, handling, registration, and renewal fees, if any. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees are received or credit extended, except when thirdparty shipment occurs. Buyer agrees that Service and Handling charges related to shipping items which are not prepaid, may be charged to the credit card on file with Auctioneer.
2. Successful international Bidders shall provide written shipping instructions, including specified customs declarations, to the Auctioneer for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price together with its buyer’s premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.
3. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk of loss during shipment will be borne by the Auctioneer until the shipping carrier’s confirmation of delivery to the address of record in Auctioneer’s file (carrier’s confirmation is conclusive to prove delivery to Bidder; if the client
has a Signature release on file with the carrier, the package is considered delivered without Signature) or delivery by the Auctioneer to Bidder’s selected third-party shipper. On all foreign shipments, any risk of loss during shipment will be borne by the Bidder following Auctioneer’s delivery to the Bidder’s designated common carrier or third-party shipper.
4. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to arrange pick-up and shipping through third parties as to such items Auctioneer shall have no liability. Failure to pick-up or arrange shipping in a timely fashion (within ten days) shall subject Lots to storage and moving charges, including a $100 administration fee plus $10 daily storage for larger items and $5.00 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, including a 20% Seller’s Commission.
5. Auctioneer shall not be liable for any loss caused by or resulting from: a. Seizure or destruction under quarantine or Customs regulation, or confiscation by order of any Government or public authority, or risks of contraband or illegal transportation of trade, or b. Breakage of statuary, marble, and similar fragile articles.
6. Any request for shipping verification for undelivered packages must be made within 30 days of shipment by Auctioneer.
Cataloging, Warranties and Disclaimers:
1. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items or second opine contained in this Auction is for the sole purpose of identifying the items for those Bidders who do not have the opportunity to view the lots prior to bidding, and no description of items has been made part of the basis of the bargain or has created any express warranty that the goods would conform to any description made by Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. NOTE: Auctioneer may have express written warranties and you are referred to those specific terms and conditions.
2. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any purposes. All images, descriptions, sales data, and archival records are the exclusive property of Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any other uses deemed appropriate.
3. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any benefit of these Terms and Conditions and any rights, if any, established hereunder are personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion and does not constitute a warranty or representation. No employee of Auctioneer may alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null and void.
4. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basis for any claim for return or reduction in purchase price.
Release:
In consideration of participation in the Auction and the placing of a bid, Bidder expressly releases Auctioneer, its officers, directors and employees, its affiliates, and its outside experts that provide second opines, from any and all claims, cause of action, chose of action, whether at law or equity or any arbitration or mediation rights existing under the rules of any professional society or affiliation based upon the assigned description, or a derivative theory, breach of warranty express or implied, representation or other matter set forth within these Terms and Conditions or otherwise. In the event of a claim, Bidder agrees that
such rights and privileges conferred therein are strictly construed as specifically declared herein, e.g., authenticity, typographical error, etc. and are the exclusive remedy. Bidder, by non-compliance to these express terms of a granted remedy, shall waive any claim against Auctioneer.
Dispute Resolution and Arbitration Provision:
1. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and Conditions, and specifically agrees to the dispute resolution provided herein. Consumer disputes shall be resolved through court litigation which has an exclusive Dallas, Texas venue clause and jury waiver. Non-consumer dispute shall be determined in binding arbitration which arbitration replaces the right to go to court, including the right to a jury trial.
2. Auctioneer in no event shall be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction of any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title, or other transfer or condition issue is claimed, in such cases the sole remedy shall be limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.
3. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation.
4. Exclusive Dispute Resolution Process: All claims, disputes, or controversies in connection with, relating to and /or arising out of your Participation in the Auction or purchase of any lot, any interpretation of the Terms and Conditions or any amendments thereto, any description of any lot or condition report, any damage to any lot, any alleged verbal modification of any term of sale or condition report or description and/or any purported settlement whether asserted in contract, tort, under Federal or State statute or regulation or any claim made by you of a lot or your Participation in the auction involving the auction or a specific lot involving a warranty or representation of a consignor or other person or entity including Auctioneer { which claim you consent to be made a party} (collectively, “Claim”) shall be exclusively heard by, and the claimant (or respondent as the case may be) and Auctioneer each consent to the Claim being presented in a confidential binding arbitration before a single arbitrator administrated by and conducted under the rules of, the American Arbitration Association. The locale for all such arbitrations shall be Dallas, Texas. The arbitrator’s award may be enforced in any court of competent jurisdiction. If a Claim involves a consumer, exclusive subject matter jurisdiction for the Claim is in the State District Courts of Dallas County, Texas, and the consumer consents to subject matter and in persona jurisdiction; further CONSUMER EXPRESSLY WAIVES ANY RIGHT TO TRIAL BY JURY. A consumer may elect arbitration as specified above. Any claim involving the purchase or sale of numismatic or related items may be submitted through binding PNG arbitration. Any Claim must be brought within two (2) years of the alleged breach, default or misrepresentation or the Claim is waived. Exemplary or punitive damages are not permitted and are waived. A Claim is not subject to class certification. Nothing herein shall be construed to extend the time of return or conditions and restrictions for return. This Agreement and any Claim shall be determined and construed under Texas law. The prevailing party (a party that is awarded substantial and material relief on its damage claim based on damages sought vs. awarded or the successful defense of a Claim based on damages sought vs. awarded) may be awarded its reasonable attorneys’ fees and costs.
5. No claims of any kind can be considered after the settlements have been made with the consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without involvement or responsibility of the Auctioneer.
6. In consideration of their participation in or application for the Auction, a person or entity (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment thereof, shall be arbitrated pursuant to the arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall be exclusively in the Courts of the State of Texas, in Dallas County, Texas, and if necessary, the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction participant also expressly submits himself to the personal jurisdiction of the State of Texas.
7. These Terms and Conditions provide specific remedies for occurrences in the auction and delivery process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot.
Miscellaneous:
1. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a
subsequent sale of a previously consigned item occurs in violation of this provision, Auctioneer reserves the right to charge Bidder the applicable Buyer’s Premium and consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.
2. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by Auctioneer in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. Auctioneer may from time-to-time contact Bidder concerning sale, purchase, and auction opportunities available through Auctioneer and its affiliates and subsidiaries.
3. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions.
4. Nothing herein shall be construed to waive the general Terms and Conditions by these additional rules and shall be construed to give force and effect to the rules in their entirety.
Store Notice:
Notice as to an Auction in Texas. In compliance with TDLR rule 67.100(c) (1), notice is hereby provided that this auction is covered by a Recovery Fund administered by the Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711 (512) 463-6599. Any complaints may be directed to the same address.
Owner: Phil Berkebile, Jr.
Auction Consignment Director: Katy Alexander
Auction Coordinator & Registrar: Lindsey Lutz
Catalogue Design: WinshipPhillips
Photography: Roy Richardson
Auctioneer: Jason Brooks, TX License No. 16216
