Jackson Hole Art Auction Catalog 2014

T R A I L S I D E G A L L E R I E S & G E R A L D P E T E R S G A L L E R Y P R E S E N T S

S A T U R D A Y , S E P T E M B E R 1 3 , 2 0 1 4

A N A U C T I O N O F P A S T A N D P R E S E N T

M A S T E R W O R K S O F T H E A M E R I C A N W E S T

P R E S E N T E D B Y T R A I L S I D E G A L L E R I E S & G E R A L D P E T E R S G A L L E R Y ©

J A C K S O N H O L E A R T A U C T I O N P A R T N E R S

Roxanne HofmannTrailside Galleries

trailsidegalleries.com(480) 945-7751

Gerald PetersGerald Peters Gallery

gpgallery.com(505) 954-5700

Maryvonne LesheTrailside Galleries

trailsidegalleries.com(307) 733-3186

J A C K S O N H O L E A R T A U C T I O N

Absentee and phone bidding arrangements must be made no later than 5pm MST on September 12, 2014

Telephone bidders are encouraged to leave absentee bids in case of technical failure.

Please direct all inquiries to (866) 549-9278Register online and view auction results at: www.jacksonholeartauction.com

O N L I N E B I D D I N G A V A I L A B L E T H R O U G H

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A U C T I O N

SATURDAY, SEPTEMBER 13th | 12:30pm MST

Center for the Arts265 South Cache, Jackson, Wyoming

A U C T I O N P R E V I E W S

FRIDAY, SEPTEMBER 12th | 10:00am – 7:00pm

SATURDAY, SEPTEMBER 13th | 9:00am – 12:00pm


S P E C I A L E V E N T S

BBQ LUNCHEON

SATURDAY, SEPTEMBER 13th | 11:00am






Saturday, September 13, 2014 | 12:30pm MST

Center for the Arts, 265 South Cache, Jackson, Wyoming 83001

Jackson Hole Art Auction, LLC

130 East Broadway, Jackson WY 83001 | Post Office Box 1568

Tel 866 JH WY ART (866 549-9278) | Fax 307.732.1600

www.jacksonholeartauction.com

© 2014 Jackson Hole Art Auction Limited Co.

Auction Coordinator: Jill Callahan

Auction Registrar: Madison Webb

Marketing & Communications Director: Kimberly Fletcher

Photography: Price Chambers, Cameron Gay, John Peelle

Catalog Design: Maryvonne Leshe

Graphic Design: Shane Mieske

Printing and Binding: O’Neil Printing, AZ

Auctioneer: Bruce Brock

F R O N T C O V E R

91 HOWARD TERPNING (1927- )

Major North and the Pawnee Battalion, oil on canvas, 36 x 58 inches, $800,000 – $1,200,000

F R O N T I S P I E C E

90 CARL RUNGIUS (1869-1959)

Moose, oil on canvas, 30 x 40 inches, $200,000 – $400,000

F O L L O W I N G P A G E

64 GERARD CURTIS DELANO (1890-1972)

Dust of the Desert, oil on canvas, 32 x 40 inches, $400,000 – $600,000

N E X T P A G E (CLOCKWISE FROM TOP LEFT)

138 BOB KUHN (1920-2007)

North Country, acrylic on board, 20 x 24 inches, $80,000 – $120,000

88 BOB KUHN (1920-2007)

Rocky Mountain High (bighorn sheep), acrylic on board, 18 1/4 x 18 3/4 inches, $60,000 – $80,000

104 BOB KUHN (1920-2007)

Resting Cat, 2007, acrylic on board, 22 x 42 inches, $250,000 – $300,000

B A C K C O V E R

73 CHARLES M. RUSSELL (1864-1926)

Buffalo Hunt, 1901, watercolor on paper, 8 3/4 x 17 inches (sight), $900,000 – $1,500,00

M A P O F D O W N T O W N J A C K S O N H O L E


Saturday, September 13, 2014 | 12:30pm MST

Center for the Arts, 265 South Cache, Jackson, Wyoming 83001



Tel 866 JH WY ART (866 549-9278) | Fax 307.732.1600



Auction Coordinator: Jill Callahan

Auction Registrar: Madison Webb

Marketing & Communications Director: Kimberly Fletcher

Photography: Price Chambers, Cameron Gay, John Peelle

Catalog Design: Maryvonne Leshe

Graphic Design: Shane Mieske

Printing and Binding: O’Neil Printing, AZ

Auctioneer: Bruce Brock

F R O N T C O V E R

91 HOWARD TERPNING (1927- )

Major North and the Pawnee Battalion, oil on canvas, 36 x 58 inches, $800,000 – $1,200,000

F R O N T I S P I E C E

90 CARL RUNGIUS (1869-1959)

Moose, oil on canvas, 30 x 40 inches, $200,000 – $400,000

F O L L O W I N G P A G E

64 GERARD CURTIS DELANO (1890-1972)

Dust of the Desert, oil on canvas, 32 x 40 inches, $400,000 – $600,000

N E X T P A G E (CLOCKWISE FROM TOP LEFT)

138 BOB KUHN (1920-2007)

North Country, acrylic on board, 20 x 24 inches, $80,000 – $120,000

88 BOB KUHN (1920-2007)

Rocky Mountain High (bighorn sheep), acrylic on board, 18 1/4 x 18 3/4 inches, $60,000 – $80,000

104 BOB KUHN (1920-2007)

Resting Cat, 2007, acrylic on board, 22 x 42 inches, $250,000 – $300,000

B A C K C O V E R

73 CHARLES M. RUSSELL (1864-1926)

Buffalo Hunt, 1901, watercolor on paper, 8 3/4 x 17 inches (sight), $900,000 – $1,500,00

T O P T I E R J U R I E D C O M P E T I T I O N

Top Tier artists, chosen by invitation, are a select group

of contemporary artists with exemplary auction records:

WILLIAM ACHEFF

JOHN BANOVICH

CARL BRENDERS

KEN CARLSON

JENNESS CORTEZ

MARTIN GRELLE

Z.S. LIANG

BONNIE MARRIS

MIAN SITU

TUCKER SMITH

MORGAN WEISTLING

A $10,000 cash prize will be awarded to the artist whose work

is of significant merit, as determined by a three person jury:

ADAM DUNCAN HARRIS, Ph.D

Petersen Curator of Art and Research

National Museum of Wildlife Art

PETER HASSRICK

Director Emeritus and Senior Scholar

Buffalo Bill Center of the West

JERRY SMITH, Ph.D

Curator of American and Western American Art

Phoenix Art Museum

The award will be announced September 13, 2014 prior to the

start of the auction, during which all Top Tier paintings will be sold.

– 8 –

1 CARL RUNGIUS (1869-1959)Near Long Lake, 1926

etching and drypoint7 7/8 x 10 7/8 inches signed lower right: C. Rungius

PROVENANCE:Tierney Fine Art (label verso)From a Montana Collection

LITERATURE:Donald E. Crouch, Carl Rungius: The Complete Prints Missoula, MT: Mountain Press Publishing, 1989, plate 17

$4,000 – $6,000

2 CARL RUNGIUS (1869-1959)Lord of the Canyon, 1925




$3,000 – $5,000

3 CARL RUNGIUS (1869-1959)The Stranger, 1926

etching and drypoint 7 7/8 x 10 7/8 inchessigned lower right: C. Rungius

PROVENANCE:Thomas Nygard Gallery (label verso)Tierney Fine Art (label verso)From a Montana Collection


$3,000 – $5,000

– 9 –

4 CARL RUNGIUS (1869-1959)Alaskan Wilderness, 1928




$4,000 – $6,000

5 CARL RUNGIUS (1869-1959)Cliff Dwellers, 1928




$4,000 – $6,000

– 10 –

6 OLAF WIEGHORST (1899-1988)Rider on Horse

watercolor, pen, and ink on paper11 x 9 inches (sight) signed lower left: O-Wieghorst (artist cipher)

PROVENANCE:Legacy Gallery, Jackson, WY (label verso)Private Collection, High Point, NC

$4,000 – $6,000

7 NICHOLAS EGGENHOFER (1897-1985)San Marcos Farry Office and Bar

dry brush and ink on paper11 x 19 inches (sight) signed lower left: EGGENHOFER

PROVENANCE:From a Wyoming Collection

$3,000 – $5,000

8 NICHOLAS EGGENHOFER (1897-1985)Untitled

watercolor and pencil on paper15 x 23 1/2 inches (sight) signed lower right: EGGENHOFER

PROVENANCE:Private Collection, Spokane, WA

$4,000 – $6,000

– 11 –

9 FRANK MCCARTHY (1924-2002)Top Hand

oil on canvas panel16 x 12 inches signed lower right: McCarthy - © 71

PROVENANCE:Husberg Fine Arts Gallery, Sedona, AZPrivate Collection, Franktown, CO

$7,000 – $9,000

10 KENNETH RILEY (1919- )The Scouts

oil on board11 1/2 x 9 1/2 inches signed lower right: Kenneth Riley

PROVENANCE:Trailside Galleries, Jackson, WY (label verso)Private Collection, Twin Bridges, MT

$7,000 – $10,000

– 12 –

11 MICHAEL COLEMAN (1946- )Yellowstone Geyser

gouache on paper7 x 15 1/4 inches (sight) signed lower right: MICHAEL COLEMAN – ©

PROVENANCE:Private Collection, Phoenix, AZ

$2,500 – $4,500

12 KYLE SIMS (1980- )On the Up and Up

oil on canvas18 x 14 inches signed lower right: Ksims verso: titled, signed, dated

PROVENANCE:Private Collection, Ho-Ho-Kus, NJ

$3,000 – $5,000

13 JOHN PAUL STRAIN (1955- )Grizzly Bears in Camp

gouache on illustration board21 x 27 inches (sight) signed lower right: JOHN PAUL STRAIN © verso: titled and signed

PROVENANCE:Private Collection, McLean, VA

$4,000 – $6,000

– 13 –

14 ROBERT W. WOOD (1889-1979)Cascade Canyon

oil on canvas24 x 36 inches signed lower left: -Robert Wood-

PROVENANCE:Private Collection, St. Louis Park, MN

$12,000 – $18,000

15 SHERRY SALARI SANDER (1941- )A Mother Bear

bronze, 5/3519 x 12 x 12 inches inscribed on back: S. Sander © 11 5/35

PROVENANCE:The Artist

$3,000 – $5,000

16 DANIEL SMITH (1954- )A Time to Feast

acrylic on board24 x 20 inches signed lower right: Smith © 13


$5,000 – $8,000

– 14 –

17 LUKE FRAZIER (1970- )Mountain Melody

oil on board24 x 35 3/4 inches signed lower left: (artist cipher) ©

PROVENANCE:From a Texas Collection

$8,000 – $12,000

18 SCOTT CHRISTENSEN (1962- )Autumn Runoff

oil on canvas40 x 40 inches signed lower center: CHRISTENSEN ©

PROVENANCE:Trailside Galleries, Jackson, WY (label verso)Private Collection, Overland Park, KS

$18,000 – $24,000

– 15 –

19 JOHN MOYERS (1958- )El Caballo Negro

oil on canvas24 1/4 x 20 1/4 inches signed lower left: - JOHN MOYERS - CA verso: titled, signed, dated

PROVENANCE:Private Collection, Scottsdale, AZ

$7,000 – $10,000

20 JOHN MOYERS (1958- )Horses of the Revolution

oil on board36 x 24 inches signed lower left: JOHN MOYERS © CA 06

PROVENANCE:Private Collection, Tucson, AZ

$10,000 – $20,000

– 16 –

21 NANCY GLAZIER (1947- )Montana Skies

oil on canvas20 x 38 inches signed lower right: N. Glazier

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Greenwich, CT

$15,000 – $25,000

22 STEVE BURGESS (1960- )Chilling Out, 2014

oil on board24 x 36 inches signed lower right: Steve Burgess ©verso: titled

“Winter is a time of hardship for all animals and the Mountain Lion is always on the alert for a meal. This painting shows a Mountain Lion in an ice encrusted lair, the winter has been harsh but the snow buttercups are heralding warmer times ahead and an easier time for all who live in the Rockies.” – Steve Burgess

$10,000 – $20,000

– 17 –

23 MICHAEL COLEMAN (1946- )Mountain Kingdom

oil on board34 x 60 inches signed lower right: Michael Coleman ©

PROVENANCE:Trailside Galleries, Scottsdale, AZ (label verso)Private Collection, Racine, WI

$25,000 – $45,000

– 18 –

24 JARED SANDERS (1970- )Under the Cedars

oil on canvas42 x 70 inches signed lower right: Sanders

PROVENANCE:Private Collection, Jackson, WY

$10,000 – $15,000

25 JARED SANDERS (1970- )White House

oil on board11 3/4 x 11 3/4 inches signed lower right: Sanders verso: titled, signed, dated


$800 – $1,200

26 JARED SANDERS (1970- )Center Creek Farm

oil on board12 x 18 inches signed lower right: Sanders verso: titled, signed, dated


$1,200 – $1,800

27 JARED SANDERS (1970- )Backside

oil on board12 x 16 inches signed lower right: Sanders verso: titled, signed, dated


$1,000 – $1,500

– 19 –

28 ROBERT BATEMAN (1930- )Great Blue Heron

oil on board16 x 12 inches signed lower right: © Robert Bateman 1979.

PROVENANCE:Beckett Gallery, Canada (label verso)J.N. Bartfield Galleries, New York, NY (label verso)Private Collection, Ho-Ho-Kus, NJ

$8,000 – $12,000

29 ROBERT BATEMAN (1930- )Woodland Drummer: Ruffed Grouse

oil on masonite11 1/2 x 23 1/2 inches signed lower right: © Robert Bateman -1980-

PROVENANCE:Beckett Fine Art Ltd, Canada (label verso)Private Collection, Ho-Ho-Kus, NJ

$10,000 – $20,000

– 20 –

30 ROBERT PETERS (1960- )October Rust

oil on canvas24 x 38 inches signed lower left: BOB PETERS

PROVENANCE:Private Collection, Troutdale, OR

$10,000 – $20,000

31 BILL ANTON (1957- )Sierra Night

oil on board30 x 36 inches signed lower left: Bill Anton ©

PROVENANCE:Trailside Galleries, Jackson, WY (label verso)Private Collection, Fresno, CA

$15,000 – $25,000

– 21 –

32 RICHARD D. THOMAS (1939- )Spring Run

oil on canvas30 x 48 inches signed lower right: RICHARD D. THOMAS verso: titled and signed

PROVENANCE:Trailside Galleries, Scottsdale, AZ (label verso)Private Collection, Scottsdale, AZ

$15,000 – $25,000

33 JIM NORTON (1953- )Weaning Time

oil on canvas24 x 32 inches signed lower left: Jim C. Norton © verso: titled and signed

PROVENANCE:Private Collection, Orlando, FL

$9,000 – $12,000

– 22 –

34 BILL ANTON (1957- )Canyon Springs Wrangler

oil on board20 x 30 inches signed lower left: Bill Anton verso: titled, signed, dated

PROVENANCE:Private Collection, Minnetonka, MN

$10,000 – $15,000

35 FRED FELLOWS (1934- )Wild Horses

bronze 7/1530 x 96 x 10 1/2 inches inscribed back center: Fellows 98 CA on plaque: Wild Horses CFS inscribed on back end: 7/15

Pursuing his talent for illustration, Fellows studied at the Art Center School in Los Angeles. He worked as a commercial artist for years, before eventually becoming the art director for Northrop Aircraft. Despite this success, he longed for the freedom to paint what he loved and live a life in the west. Following this dream, Fellows moved to Big Fork, Montana, in 1964 where he turned fulltime to creating art.

Just five years later, Fellows received an invitation to join the Cowboy Artists of America, and his career took off. Incredibly, Fellows has won gold and silver medals in all media: painting, sculpture, watercolor and drawing. He resides in Sonoita, Arizona, where he paints, sculpts, rides, and raises Quarter Horses.

PROVENANCE:The ArtistTrailside Galleries, Scottsdale, AZPrivate Collection, Jackson, WY Center for the Arts, Jackson, WY

Proceeds from the sale of this lot to benefit the Center for the Arts

$25,000 – $45,000

– 23 –

36 FRED FELLOWS (1934- )Match Race

oil on canvas30 x 46 inches signed lower right: fellows CA


EXHIBITED: Cowboy Artists of America Exhibition and Sale, Phoenix Art Museum, Phoenix, AZ, 2010

$20,000 – $30,000

37 JAMES BOREN (1921-1990)January Morn

watercolor on paper27 1/2 x 39 1/2 inches (sight) signed lower left: JAMES BOREN CA © 1986

PROVENANCE:The ArtistCommission for Congressman Marvin LeathPrivate Collection, Waco, TX

$8,000 – $12,000

– 24 –

38 KENNETH RILEY (1919- )Crow Regalia

oil on masonite12 x 16 inches signed lower right: Kenneth Riley © verso: dated

PROVENANCE:The Artist, gifted toPrivate Collection, Rockport, MA

$25,000 – $45,000

– 25 –

39 MARTIN GRELLE (1954- )Winter Trader

oil on canvas30 x 48 inches signed lower right: (cross) Martin Grelle CA *95 © verso: titled and signed

PROVENANCE:Overland Gallery, Scottsdale, AZ (label verso)Private Collection, Lake Forest, IL

$80,000 – $120,000

– 26 –

40 ROBERT DUNCAN (1952- )The Trackers, 2014

oil on linen40 x 54 inches signed lower right: R Duncan © ‘14verso: titled, signed, dated

“This painting depicts two hunters following the fresh trail of several elk along a canyon stream. With The Trackers I wanted to do two things. One was to try to capture the beauty of light on snow on an early spring day. The other was to imagine others passing this way in an earlier time when everything depended on their interaction with nature and their surroundings. We know their lives were hard, especially in winter when food was more difficult to come by, but with their reliance on nature, they also had a deep appreciation of the beauty of their world.” – Robert Duncan

$30,000 – $40,000

– 27 –

41 CLARK KELLEY PRICE (1945- )The Provider

oil on canvas30 x 24 inchessigned lower right: clark kelley price © (artist cipher) 14 CA

PROVENANCE: From a Wyoming Collection

$9,000 – $12,000

42 JOE BEELER (1931-2006)Chief Goes to Washington

bronze 20/3520 x 13 x 16 inches inscribed left side: JOE BEELER CA stamped on back left corner: 20/35


$15,000 – $25,000

– 28 –

43 KEN CARLSON (1937- )Wash of Autumn

oil on board24 x 36 inches signed lower left: CARLSON


$25,000 – $35,000

– 29 –

44 CLYDE ASPEVIG (1951- )Into the High Country

oil on illustration board20 x 30 inches signed lower left: C. ASPEVIG verso: titled and signed

PROVENANCE:Legacy Gallery, Jackson, WY (label verso)Private Collection, Nashville, TN

$18,000 – $24,000

45 CLYDE ASPEVIG (1951- )Wind River Mountains, WY

oil on canvas mounted on board12 x 16 inches signed lower right: C. Aspevig verso: titled and signed

PROVENANCE:Gerald Peters Gallery, Santa Fe, NM (label verso)Private Collection, Tucson, AZ

$5,000 – $8,000

– 30 –

46 BOB KUHN (1920-2007)Grizzly

acrylic on board7 3/4 x 10 1/4 inches signed lower right: KUHN


$20,000 – $30,000

47 KEN CARLSON (1937- )Cow Moose

oil on board12 x 18 inches signed lower right: CARLSON

PROVENANCE:Private Collection, Anchorage, AK

$8,000 – $12,000

– 31 –

48 KEN CARLSON (1937- )Bull Moose


PROVENANCE:Private Collection, Anchorage, AK

$8,000 – $12,000

49 KEN CARLSON (1937- )Inland Grizzly



$7,000 – $10,000

– 32 –

50 BRENT COTTON (1972- )Looking Back, 2014

oil on board32 x 40 inches signed lower left: cottonverso: titled, signed, dated

“This scene near my home is where I go often to fish and find inspiration. With this piece I wanted to capture the warm saturated light of early evening and a solitary doe at peace in her environment.” – Brent Cotton

$12,000 – $15,000

51 LANFORD MONROE (1950-2000)Canyon De Chelly #1

oil on board24 x 35 3/4 inches signed lower right: Lanford Monroe © ‘86verso: titled, signed, dated

PROVENANCE:Sportsman’s Edge, New York, NYDr. Patricia L. Hutinger Trust

$15,000 – $25,000

– 33 –

52 KYLE SIMS (1980 - )The Element of Surprise, 2014

oil on canvas26 x 42 inches signed lower left: Ksims verso: titled and signed

“When one thinks of the feline, one is usually reminded of their ability to remain unseen. This is a remarkable trait for cougars, considering how bright orange they can appear in sunlight and, also, how large they can be. But most go their lives without seeing one in the wild. I have only seen one, with that experience being up in northwestern Montana. As is always the case, it saw me well before I even came onto the scene. It’s ears were flattened and all that I could see was it’s head. I’ll never forget those eyes and the goosebumps that followed.” – Kyle Sims

$12,000 – $16,000

53 JOHN DEMOTT (1954- )Autumn Splendor

oil on board14 x 18 inches signed lower right: DEMOTT 2011 © verso: signed and dated

PROVENANCE:Trailside Galleries, Jackson, WY (label verso)From a Wyoming Collection

$6,000 – $9,000

– 34 –

54 GORDON SNIDOW (1936- )Autumn Paint

oil on board21 x 19 1/4 inches signed lower left: g Snidow 1996 © verso: signed


$20,000 – $30,000

55 ROBERT LOUGHEED (1910-1982)Packing in Truchas Country

watercolor and gouache on paper12 x 24 inches signed lower left: ROBERT LOUGHEED (artist cipher) © verso: titled, signed, dated


$8,000 – $12,000

56 WILLIAM MATTHEWS (1949- )Untitled

watercolor and gouache on paper52 1/4 x 38 3/4 inches signed lower right: Willy M

PROVENANCE:From a Colorado Collection

$10,000 – $20,000

– 35 –

57 G. HARVEY (1933- )When Cowboys Dream

oil on canvas40 x 30 inches signed lower right: G. Harvey – © verso: titled, signed, dated

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Saddle Ridge, NJ

$75,000 – $100,000

– 36 –

58 OLAF CARL SELTZER (1877-1957)Indian with Shield

watercolor on paper10 3/4 x 6 3/4 inches (sight) signed mid lower left: O.C. SELTZER.

PROVENANCE:From a Montana Collection

$10,000 – $15,000

59 OLAF CARL SELTZER (1877-1957)Medicine Man

watercolor and pencil on paper12 x 9 1/4 inches (sight) signed lower left: O.C. SELTZER

PROVENANCE:Grand Central Gallerie, New York, NY (label verso)Altermann Art Gallery, Dallas, TX (label verso)From a Montana Collection

EXHIBITED: C.M. Russell Museum, Great Falls, MT, December 1974

$16,000 – $24,000

– 37 –

60 WILLIAM GOLLINGS (1878-1932)Set of Six Portraits

watercolor on paper6 x 4 inches each (sight) each signed lower left: Gollings (artist cipher) no. 2 signed lower right: Wolf Chief Cheyenne From Life

PROVENANCE:Private Collection, TXPrivate Collection, Scottsdale, AZ

$15,000 – $25,000

61 CYRUS EDWIN DALLIN (1861-1944)Medicine Man

bronze 4/1831 x 28 1/2 x 7 3/4 inchesinscribed on base: CE Dallin, 1899, 4/18 with foundry mark

PROVENANCE:Museum of Fine Arts, Boston, MA (cast from archive)Brand Galleries, LTD, Los Angeles, CAPrivate Collection, AZ

$10,000 – $15,000

62 WILLIAM GOLLINGS (1878-1932)Untitled

gouache on board20 x 16 inches signed lower right: Gollings (artist cipher) 1914

Gollings as early as 1908 was creating work for the calendar companies and was always looking for different concepts in his presentations. This painting offered reflects his work done commercially in 1914. Not entirely convinced about the commercial art market, the artist continued with his doubts well throughout his career.

Even after creating the design for the 1931 Sheridan, WY Rodeo poster could he have even imagined the reaction by the public to his work. For the 1931 poster was put out in a printing of 10,000 and soon sent all over the country. Sadly in the spring of 1932, the career of this fine artist was short lived. – Gary L. Temple

PROVENANCE:Private Collection, New York, NY

$8,000 – $12,000

– 38 –

63 FRANK TENNEY JOHNSON (1874-1939)The Short Cut

oil on canvas34 x 24 inches signed lower left: Frank Tenney Johnson verso: titled

Frank Tenney Johnson was born in 1874 in Big Grove, Iowa, near the old Overland Trail. While the trail had ceased to be the main thoroughfare it once was, the tales of explorers, covered wagons, and Indian parties filled Johnson’s mind with ideas from childhood. After his mother passed away, Johnson’s father sold the family farm and moved them to Milwaukee in 1888.

After attending high school in Milwaukee for one year, Johnson dropped out, determined to pursue his artistic endeavors fulltime. Johnson scrounged up what little money he had and enrolled in art classes taught by the water colorist F.W. Heine. After a short apprenticeship with Heine, Johnson began studying with Richard Lorenz, a member of the Society of Western Painters. While continuing his studies, Johnson got a job with a local engraving firm and began to make a small living from his work with commercial entities throughout the city. Johnson saved his money to travel to the Indian country in South Dakota whenever he could, to study and sketch from life.

With the death of his aunt in 1895, Johnson inherited enough money to travel to New York to further his studies. He joined the Art Students league and studied under John Henry Twachtman. Johnson’s money ran out after five months, and he returned to Milwaukee. In 1986 he met and married his life-long love Vinnie Reeve and in 1902 they moved back to New York. Johnson then began his studies at the New York School of Art with Robert Henri and William Merrit Chase. Looking for illustrative work in the city, Johnson had the opportunity to create advertisements for Winchester rifles, at which he excelled. Furthermore, he met the editor of Field & Stream, who in 1904 paid for Johnson to take a rail tour of the west.

This trip proved to be the most pivotal moment in Johnson’s career. From the Colorado cowboys to the Cheyenne rodeo and back down to Navajo country in New Mexico, Johnson sketched his way across the west. The visual repertoire that he built on that trip served to establish him as an authority on the west, and his illustrative career took off upon his return to New York.

In the 1920’s Johnson moved to Alhambra, California where he sought to focus on his oil paintings rather than his illustrations. Johnson’s studio became a meeting place for leading western artists like Edward Borein and Charles M. Russell. In 1931 Johnson built a cabin and studio on the Shoshone River in Wyoming, near the east gate of Yellowstone Park, where he spent his summers.

PROVENANCE:Jim Fowler’s Period Gallery, Nashville, TN (label verso)Trailside Galleries, Jackson, WY (label verso)Private Collection, Bartlesville, OK

$125,000 – $175,000

– 39 –

– 40 –

64 GERARD CURTIS DELANO (1890-1972)Dust of the Desert

oil on canvas32 x 40 inches signed lower left: © Delano

Gerard Curtis Delano was born in Massachusetts in 1890 to an established American family. As a young boy Delano showed talent for drawing cowboys, Indians, horses, and storybook adventures, but his family was not enthusiastic about his ambitions for a career in the arts. Regardless of his family’s expectations, he began his art studies in New Bedford, MA, and by 1910 was studying at the Art Students League in New York under George Bridgman. Delano also studied with Dean Cornwell, Harvey Dunn, and N. C. Wyeth at the Grand Central School of Art.

In 1919, shortly after his release from service in the U.S. Navy, Delano had a chance to “go west,” and took a job at a ranch in Colorado. It was after his return to New York City in 1923 for further study at the Art Students League that he sold his first western cover to Ace-High Magazine. This led to work with other publications, and soon he was firmly launched as a cover artist and illustrator for Ace-High, Western Story, Adventure, Cowboy Stories, Ranch Romances, Colliers, and others. Despite his initial success, his career as a commercial artist began to falter with the advent of the Great Depression. While Delano may have lost all of his money, he ultimately considered this to be “the finest thing that ever happened to me.” Leaving the big city and the sad state of his finances behind, he returned west to his homesteader’s cabin in Colorado in 1933, and began to consider his talent in a different light.

Delano continued to work as a commercial artist, but by 1940 he had decided to stake his future on producing paintings rather than illustrations. Delano visited Arizona and the Navajo Reservation in the fall of 1943, and was enraptured by the majestic beauty of the landscape and its native people. In the Navajo, he found a proud and noble people that he wanted to convey on canvas; the Navajo people and their unique environment became the dominant theme in Delano’s art, and the inspiration for many of his best-known images.

“The Navajo people are a proud and beautiful race of great dignity. It is my idea to show them as I know them. There are few poorer people anywhere, yet it would be difficult to find a happier lot, and I wonder if there is not a lesson in this for all of us.” – Gerard Curtis Delano, Richard G. Bowman,Walking With Beauty: The Art and Life of Gerard Curtis Delano, Denver, CO: University Press of Colorado, 1990, p. 62.

PROVENANCE:Private Collection, WY

LITERATURE: Richard G. Bowman,Walking With Beauty: The Art and Life of Gerard Curtis Delano, Denver, CO: University Press of Colorado, 1990, illus. p.70.

$400,000 – $600,000

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65 WILLIAM DE LA MONTAGNE CARY (1840-1922)Indian Scouts Overlooking River

oil on canvas9 1/4 x 22 inches signed lower right: W de la M Cary

PROVENANCE:Private Collection, Mill Valley, CA

$15,000 – $25,000

66 THOMAS HILL (1829-1908)Untitled

oil on canvas28 x 22 inches signed lower left: T. Hill

PROVENANCE:Private Collection, Spokane, WA

$15,000 – $25,000

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67 JOSEPH HENRY SHARP (1859-1953)Edge of the Bighorns

oil on canvas15 x 21 3/4 inches signed lower right: J.H. SHARP.

PROVENANCE:Private Collection, Portland, OR

$30,000 – $50,000

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68 E. MARTIN HENNINGS (1886-1956)An Indian Song, ca. 1925

oil on board14 3/4 x 14 3/4 inches signed lower right: E.M.Hennings

Born in 1886, in Pennsgrove, New Jersey, E. Martin Hennings moved to Chicago with his family a few years later. After growing up in the city, Hennings developed an interest in art and attended the Art Institute of Chicago, where he graduated with multiple awards, recognitions, and scholarships—his career off to a promising start.

After a few years of working as a commercial artist, Hennings entered the Prix de Rome, coming in second. With a renewed determination to pursue a career as a fine artist, Hennings traveled to Germany where he studied at the Royal Academy in Munich. While there, he joined the American Artists Club where he met future co-members of the Taos Society of Artists Walter Ufer and Victor Higgins. The onset of World War I cut Hennings’ stay in Germany short, and he returned to Chicago. In 1917 prominent art collector Carter H. Harrison took notice of Hennings’ work and offered to sponsor him on a trip to Taos, in exchange for a few paintings.

New Mexico proved to be a strong muse for Hennings, the light, landscape, and Pueblo Indians all inspiring him to new heights. In 1921 Hennings moved permanently to Taos, where he became a member of the Taos Society of Artists in 1924. Hennings split his time between Taos, Chicago and Houston for the reminder of his career. Prior to his death in 1956, Hennings completed a commission from the Santa Fe Railway for a series of paintings for the Navajo Reservation.

PROVENANCE:O’Meara Gallery, Santa Fe, NMCollection of Mrs. Grant Wilkins (acquired from the above in 1980){Gerald Peters Gallery, Santa Fe, NM}Private Collection, Houston, TX

$100,000 – $150,000

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69 FRANK TENNEY JOHNSON (1874-1939)Surprise Meeting

oil on canvas27 x 17 inches signed lower left: Frank Tenney Johnson


$80,000 – $120,000

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70 JOSEPH HENRY SHARP (1859-1953)Montana

oil on board6 x 8 1/4 inches signed lower left: J.H.SHARP. verso: titled, initialed

PROVENANCE:Altermann Galleries, Santa Fe, NM (label verso)Western Masters Gallery, Kemp, TXFrom a Texas Collection

$10,000 – $20,000

71 WILLIAM HERBERT DUNTON (1878-1936)Holdup in the Canyon

oil on board29 1/2 x 19 1/2 inches signed lower left: W. Herbert Dunton ‘07 lower left: To my friends Mike & Joe McCallister from Buck Dunton

PROVENANCE:O’Meara Gallery, Santa Fe, NM (label verso)Private Collection, Bartlesville, OK

$15,000 – $20,000

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72 JOSEPH HENRY SHARP (1859-1953)Untitled, ca. 1905

oil on canvas12 x 18 inches signed lower left: JH SHARP

Born in Bridgeport, Ohio, in 1859, Sharp moved to Cincinnati at the age of thirteen, where he went to work in a nail factory in order to earn enough money to take art classes. After ten years of training in the Cincinnati area, Sharp left for Europe in 1881, studying in Antwerp, Belgium, for a year. After his return to the United States, he made his first of many journeys West, visiting New Mexico, Arizona, California, and Wyoming, where he sketched several of the local Indian tribes. In 1886 Sharp returned to Europe, where he studied at the Royal Academy in Munich, with Frank Duveneck in Italy, and at the Académie Julian in Paris. Sharp returned to Cincinnati in 1892 and worked as an instructor at the Cincinnati Art Academy. He made his second trip West in 1893, during which he visited Taos, New Mexico, for the first time. Thrilled with the mountain landscape and fascinated by the Indian culture, Sharp communicated his fondness of Taos to his younger colleagues Ernest Blumenschein and Bert Greer Phillips, whom he met upon his later return to the Académie Julian in 1893.

Having secured considerable academic credentials, Sharp returned again to Cincinnati in 1896, where he taught for several years before establishing residency in Crow Agency, Montana, in 1902. Living on the Crow Agency, Sharp developed a deep respect for the Indians’ inherent connection to their surroundings, ancestral history, and customs. Inspired by his genuine affection and regard for the Indians, Sharp spent the next several years recording the appearance and traditions of several of the Plains tribes, including the Crow, Sioux, Dakota, and Nez-Percé. His heartfelt depictions of Indian subjects as the proud, rightful inhabitants of their diminishing lands were popular with Eastern collectors and museums, including the Smithsonian Institution.

In 1910 Sharp moved permanently to Taos, where in 1915 he helped to found the Taos Society of Artists. He continued to travel the west throughout the remainder of his career, and built a studio in Pasadena, California, where he died in 1953.

PROVENANCE:Private Collection, OH

$80,000 – $120,000

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73 CHARLES M. RUSSELL (1864-1926)Buffalo Hunt, 1901

watercolor on paper8 3/4 x 17 inches (sight) initialed and dated lower left: CMR (cipher) 1901

Buffalo Hunt is recorded in the C.M. Russell catalogue raisonné as reference number C.R.P.C.500.

Born into an affluent St. Louis family in 1864, Charles M. Russell railed against convention from a young age. Shirking the comforts of home, as a teenager he left his family in Missouri to pursue a western life in Montana. Russell found work on a ranch as a sheepherder before eventually graduating to a wrangler and a cowboy. From the back of a horse he quickly fell in love with the West and sought to capture it on paper or mold in wax.

In 1888 one of Russell’s sketches appeared in Harper’s Weekly, the first national exposure for this self-taught cowboy artist. That winter, Russell lived with the Blood Indians in Canada, gaining first-hand knowledge of their way of life. In the following years, his career as an artist took off and his work steadily grew in popularity. Lacking the business where-with-all to make any real money, Russell frequently gave his pieces away to friends and to pay his debts, doing the occasional saloon commission along the way. All of that changed when he married Nancy Cooper in 1896. Nancy possessed the business savvy to match Russell’s artistic talent, and together they made a formidable pair. Russell had a home and studio in Great Falls, Montana, where he worked until his death in 1926, spending his winters in Pasadena, California.

There are a number of consistent themes that Russell returned to throughout his career, both on canvas and in bronze. Among the most common subjects in Russell’s work is the buffalo hunt. A major source of food and clothing, the buffalo was prized as the Indian’s greatest resource, the most hunted and also the most venerated prey. In these works, Russell pays homage to a cultural approach far different than the indiscriminate and casual recreational slaughter of the buffalo practiced by white hunters.

Throughout his career, Russell’s depiction of the buffalo took many forms, from rapid pencil sketches to carefully thought-out oil paintings. For Russell, as for many other western artists, the extinction of the buffalo in the late nineteenth century came to symbolize the poignant passing of the Old West and a treasured way of life. In much the same way that many of his compositions show compassion for the difficulties of the American Indian, Buffalo Hunt is indicative of the artist’s sympathy for these animals that once dominated the Plains.

Perhaps Peter Hassrick best described Russell’s commiseration with the plight of this animal:

In any event, once the herds vanished, they, like the pre-reservation Indian, claimed a warm place in Russell’s heart. In his day he garnered the reputation as the best painter of the buffalo. His quiet, reserved portrayals . . . proved his skill as an animal painter while revealing the reverence he felt for these monarchs of the prairie. With such sympathy for and pride in these beasts, it is little wonder that the artist chose the buffalo skull as part of his monogram. (Hassrick, p. 58)

PROVENANCE:William F Tannhauser, (1874-1946), Montana /Milwaukee, WI John and Gertrude Tannhauser Schreibart, Milwaukee, WI (by bequest, 1946)James D. and Helen Horn Sammarco, Milwaukee, WI (purchased 1954) Ailene Horn Beady, Brookfield WI, (by bequest 1983){Fenn Galleries, Santa Fe, NM 1983}Private Collection, FL

LITERATURE:B. Byron Price, editor and Anne Morand, Charles M. Russell: A Catalogue Raisonné, Volume 1, Norman, Oklahoma: University of Oklahoma Press, 2007

RELATED LITERATURE: Frederic G. Renner, Charles M. Russell: Paintings, Drawings, and Sculpture in the Amon G. Carter Collection, Fort Worth, Texas: The Amon Carter Museum of Western Art, 1966Peter H. Hassrick, Charles M. Russell, New York, NY: Harry N. Abrams, Inc., 1989John Taliaferro, Charles M. Russell: The Life and Legends of America’s Cowboy Artist Canada: Little, Brown & Co. (Canada) Ltd., 1996Larry Len Peterson, Charles M. Russell, Legacy: Printed and Published Works of Montana’s Cowboy Artist, Helena, Montana: Falcon Publishers, Inc. in cooperation with the Charles M. Russell Museum, Great Falls, Montana, 1999

$900,000 – $1,500,00

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– 52 –

74 JOHN CLYMER (1907-1989)Buffalo Chase

oil on board10 x 20 inches signed lower left: John Clymer verso: titled

Widely recognized for recording western history and wildlife in his art, John Ford Clymer was born in Ellensburg, Washington in 1907. Clymer developed an interest in art from a very early age. Following high school, he moved to Vancouver, British Columbia, where he worked as an illustrator and attended art school. In 1930, Clymer attended the Wilmington Academy in Delaware, where he encountered and found inspiration from the illustrator and western artist, N.C. Wyeth. In 1932, Clymer married his childhood sweetheart Doris and moved to Westport, Connecticut to join the artist gathering there. During World War II, Clymer and illustrator Tom Lovell joined the Marines. Stationed in Washington State, they spent their time painting war illustrations. After the war Clymer decided to create historical paintings. In order to accurately depict the West in his work, Clymer researched and traveled throughout the region. In 1966, Clymer and his wife settled down in the quiet western town of Jackson Hole, Wyoming, to better pursue Clymer’s interest in painting local western people and regional wildlife. Clymer received many honors, including the National Academy of Western Art’s Prix de West Award and the National Museum of Wildlife Art’s Rungius Medal. His hometown of Ellensburg, Washington established the Clymer Museum. Clymer’s family generously donated the contents of his studio to the National Museum of Wildlife Art in Jackson Hole, Wyoming.

PROVENANCE:Private Collection, Sedona, AZ

$75,000 – $125,000

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– 54 –

Eligible For Top Tier Award

75 WILLIAM ACHEFF (1947- )From the Plains and the Pueblos, 2014

oil on canvas18 x 24 inches signed lower right: Acheff 2014

“We always associate bead work with Native Americans and after having lived in the Southwest, for so long, I associate pottery with the pueblos of New Mexico and Arizona. Both are favorites for me to paint. In this painting, I decided to separate them using the two shelves. In an ongoing effort to explore different ways of representing still life objects I have found that I can create an extra level of ‘illusion of depth’ by using this shelf concept. I think it is the best idea I have come up with in the last 30 years.” – William Acheff

$30,000 – $40,000

– 55 –

76 CLYDE ASPEVIG (1951- )High Country Lakes

oil on canvas40 x 32 inches signed lower left: C. ASPEVIG

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Jackson, WY

$30,000 – $50,000

– 56 –

77 JENNESS CORTEZ (1944- )Native Voices, 2014

acrylic on mahogany panel30 x 40 inches signed lower right: CORTEZ © 2014 verso: titled

“My paintings are meant to start a three way ‘conversation’ that includes the viewer, the subject matter and the artist. To be of value these conversations must have significant meaning that is clearly communicated. In Native Voices, I am offering–for the viewer’s contemplation–the integrity, diversity and power that I see in American Indian art and tradition. In choosing the compositional elements depicted here, I have intended to present compelling examples of Native Peoples’ intuitive participation in a creative, ordered, beautiful and self-sustaining universe.” – Jenness Cortez

Homage to:Charles M. Russell (1864-1926)“The Medicine Man [No. 2]” Amon Carter Museum, Fort Worth, TXFrederic Remington (1861-1909)“Scouts at Evening” Private collectionIrving R. Bacon (1875-1962)“The Conquest of the Prairie” Buffalo Bill Center for the West Eanger Irving Couse (1866-1936)“Indian Potter” Bowers Museum, Santa Ana, CAWhite Horse (1847-1892)“White Horse Going to War” Joslyn Art Museum, Omaha, NEGeorge Catlin (1796-1872)“Wash-Ka-Mon-Ya (Fast Dancer)” Smithsonian Museum, Washington, DCJefferson Peace Medal, “Indianized”, National Museum of American IndianSouthern Cheyenne Beaded hide figure of horse and warrior, Private collectionWestern Apache basket c. 1890, Private collectionHopi Kachina doll, dancing Shalako Mana, (c. 1870-1890), Private collectionKiowa Beaded Strike-a-Light bag, former property of Comanche Chief Quanah Parker, Private collectionOsage prayer feather, early 20th century, Gilcrease Museum, Tulsa, OK

Photos:Sitting Bull’s Family, D. F. Barry 1890Gall, D. F. Barry 1881, National ArchivesChief Joseph, Frank A. RinehartGeronimo, Ben Wittick, US Department of Defense (Autograph September, 1904)White Horse, W. S. Soule 1868Sitting Bull, William R. Cross, National Museum of the American IndianRed Cloud, Charles Milton Bell, 1880, South Dakota State Historical SocietyBlack Elk, photographer unknownHopi Snake Dancer, Edward S. Curtis, Private collectionAnsonia clock c. 1890Tonto pitcher, c. 1350-1450, The University of Arizona

$100,000 – $130,000


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– 58 –

78 DAN MIEDUCH (1947- )Way of the Plains People

oil on board24 x 36 inches signed lower left: (artist cipher) DAN MIEDUCH 2008

PROVENANCE:Trailside Galleries, Jackson, WYFrom a Colorado Collection

$15,000 – $25,000

79 JOE BEELER (1931-2006)Sundance Chief

bronze 14/4519 x 10 1/2 x 1/2 inches inscribed back: JOE BEELER CA stamped back: 14/45 with foundry stamp


$8,000 – $12,000

80 JIM NORTON (1953- )Bringing Out the Trophy

oil on canvas17 3/4 x 24 inches signed lower left: Jim C. Norton CA ©

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Carmel Valley, CA

$8,000 – $12,000

– 59 –

81 DAVID MANN (1948- )Call to the Little Bighorn

oil on canvas24 x 36 inches signed lower right: -DAVID MANN-


$12,000 – $18,000

82 DAVID MANN (1948- )Conjuring Buffalo

oil on canvas40 x 30 inches signed lower right: D. Mann


$15,000 – $20,000

– 60 –

83 JIM NORTON (1953- )Prayers to the Buffalo

oil on linen24 x 36 inches signed lower left: Jim C. Norton CA verso: titled, signed, dated


EXHIBITED: Masters of the American West, Autry National Center, Los Angeles, CA, 2013

$25,000 – $35,000

84 DAVID MANN (1948- )Making Medicine

oil on canvas24 x 30 inches signed lower right: -DAVID MANN-


$10,000 – $15,000

– 61 –

85 WILLIAM ACHEFF (1947- )Ancestors

oil on canvas 32 x 22 inches signed lower right: © WM Acheff 1996 verso: titled, signed, dated

PROVENANCE:Altermann Galleries, Santa Fe, NMFrom a Texas Collection

$40,000 – $50,000

– 62 –

86 MARTIN GRELLE (1954- )Fires Burned Out

oil on linen48 x 36 inches signed lower right: (cross) MARTIN GRELLE CA © 2004


EXHIBITED: Cowboy Artists of America Show and Sale, Phoenix Art Museum, Phoenix, AZ, 2004

$60,000 – $90,000

– 63 –

87 Z.S. LIANG (1953- )Riding Hard to Reclaim their Lands, 1868 (2014)

oil on canvas40 x 58 inches signed lower right: Z.S. Liang

“Fort Reno was constructed in 1865 on the hunting lands of the Lakota and Cheyenne to protect travelers on the Bozeman trail. In 1868 the treaty of Fort Laramie ended Red Clouds war and essentially ceded much of the old hunting grounds back to the Lakota tribe. When the word reached the encampment of the Cheyenne and the Lakota warriors, they set out to reclaim their lands. The fort was burned to the ground, which was attributed to this group of warriors.” – Z.S. Liang

$60,000 – $90,000


– 64 –

88 BOB KUHN (1920-2007)Rocky Mountain High (bighorn sheep)

acrylic on board18 1/4 x 18 3/4 inches signed lower right: KUHN verso: titled, signed, dated

PROVENANCE:Collection of Robert & Curtice McCloy, Norman, OK

LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 126.

$60,000 – $80,000

– 65 –

89 BOB KUHN (1920-2007)Red Fox on Patrol

acrylic on board14 3/4 x 24 inches signed lower left: KUHN 2001 verso: titled and signed

PROVENANCE:The ArtistPrivate Collection, Woodbury, CT

$60,000 – $80,000

– 66 –

90 CARL RUNGIUS (1869-1959)Moose

oil on canvas30 x 40 inches signed lower right: C. Rungius

Despite being one of the most famous painters of North American wildlife, Carl Rungius was born in Rixdorf near Berlin, Germany, in 1869. Rungius developed an early interest in studying and hunting wild animals, due in large part to the influence of his father and grandfather, both amateur naturalists and taxidermists. At a young age Rungius also showed a talent for drawing, and pursued his formal artistic training in Berlin at the Berlin Art School, the Academy of Fine Arts and the School of Applied Arts. Following his education, Rungius began his career as a romantic painter in Germany.

As fortune would have it, in 1894 Rungius’s uncle invited him to travel to Maine for a hunting trip. It was then that Rungius’s passion for hunting big game and painting truly came together, as he found his inspiration for both in the wildlife of North America. Enchanted, Rungius spent a summer hunting in Wyoming before moving permanently to New York in 1897.

Rungius’s studio in New York allowed him easy access to the art scene of New York City as well as the wilderness of the Northeast and the Canadian Rockies. In 1904 Rungius traveled the Yukon with Charles Sheldon, and in 1910 he traveled to Banff, Alberta for the first time. In Banff Rungius found the ideal location for painting and hunting, particularly with the prevalence of the bighorn sheep in the region. Rungius built a studio there in 1921, nicknamed ‘The Paintbox,” and visited annually until his death in 1959.

PROVENANCE:The Petersen CollectionPrivate Collection, UT

$200,000 – $400,000

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91 HOWARD TERPNING (1927- )Major North and the Pawnee Battalion

oil on canvas36 x 58 inches signed lower right: Terpning © 1989 CA verso: titled, signed, dated

“Major Frank North and his brother Captain Luther North were both great scouts and plainsmen during the 1860s and 70s. On numerous occasions they were asked by the military to form companys or battalions of young Pawnee men to be used as scouts for the Army. The North brothers gained their trust and respect by never lying to them and ultimately Major North was called the ‘Pawnee Leader’ by the tribe. The Pawnee scouts performed their duties faithfully and were remarkable scouts for the Cavalry. The scouts were also used as guards to protect the workmen who were preparing road beds and laying track for the Union Pacific Railroad. The scene that I have depicted shows the interesting mix of military and Native clothing and equipment that the Pawnee adopted.” – Howard Terpning

PROVENANCE:The Artist Cowboy Artists of America Sale, Phoenix Art Museum, Phoenix, AZ, October 1989Western American Prints, Chandler, AZ

EXHIBITED:Tucson Seven Ride Again, Tucson Museum of Art, Tucson, AZ, February 19-May 15, 2005Howard Terpning-Tribute to the Plains People, The Autry National Center, Los Angeles, CA, May 12-July 1, 2012

LITERATURE: Don Hedgpeth, Spirit of the Plains People: Howard Terpning, Greenwich Workshop, Shelton, CT, 2001, illus. p. 40-41.

$800,000 – $1,200,000

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92 JOHN CLYMER (1907-1989)Grizzly Country

oil on gesso panel20 x 30 inches signed lower left: John Clymer verso: titled

PROVENANCE:The Hogan Family CollectionFrom a Wyoming Collection

$50,000 – $75,000

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93 TUCKER SMITH (1940- )Perspective, 2014

oil on canvas24 x 28 inches signed lower left: Tucker Smith 14

“The location of this painting is from the top of Lost Eagle Peak in Wyoming’s Wind River Mountains. The elevation is about 12,000’. The view is looking down into the Green River Canyon. When I did a study for this painting a mountain sheep came up right past me.” – Tucker Smith

$50,000 – $70,000


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94 LANFORD MONROE (1950-2000)Late in Season

oil on board24 x 36 inches signed lower right: LANFORD MONROE verso: titled and signed


$15,000 – $25,000

95 LUKE FRAZIER (1970- )Looking for a Fight

oil on board14 x 18 inches signed lower right: -.l frazier- verso: titled, signed, dated


$3,000 – $5,000

96 TIM SHINABARGER (1966- )An Apple a Day

bronze 31/3517 x 12 x 14 inches inscribed left side: © 2011 Shinabarger verso: titled and signed (plaque)


$3,000 – $5,000

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97 BOB KUHN (1920-2007)Night Sounds (mule deer)

acrylic on board13 3/4 x 17 1/2 inches signed lower right: KUHN verso: signed and dated

PROVENANCE:Collection of Robert & Curtice McCloy, Norman, OK

LITERATURE: Tom Davis, Patrons Without Peer, Collector’s Covey, Dallas, TX, 2009, illus. p. 104.

$40,000 – $60,000

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98 CARL BRENDERS (1937- )Rough and Tumble, 2014

watercolor and gouache on illustration board38 1/2 x 28 3/4 inches signed lower right: © Brenders ‘14

“Don’t we all enjoy seeing our children play? When I watch young animals doing the same as our kids, I am amazed at the similarity with young humans. How many animal mothers miss prey because of their playing offspring? Their uncontrolled movements, crazy jumps and tumbles are always a joy to watch.

Naturalists say that these games are exercises for hunting techniques. This is certainly the case for big cat kittens. I like to think that they do it for fun only.

Bears are more than just predators, they also eat grass and a lot of berries, easier to spot in the wild than playing youngsters. When an artist is also an experienced outdoors person, imagining such a scene becomes easy when using photographic references taken in zoos or game parks. Without these, it would be impossible to create such a detailed painting as this one. ” – Carl Brenders

$35,000 – $45,000


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99 KEN CARLSON (1937- )Band of Bighorn, 2014


“After the rut is finished, bighorn rams revert to small groups, usually composed of males of similar age. Seeing a band of mature rams is a dramatic and compelling sight. These beautiful wild sheep embody the mystery and magic of their rugged wilderness domain.” – Ken Carlson

$35,000 – $45,000


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100 BOB KUHN (1920-2007)Black Maned Lion Resting

conte crayon and charcoal on paper14 1/2 x 19 inches (sight)signed and titled lower left: BLACK MANED LION RESTING __ BOB KUHN

PROVENANCE:Private Collection, FL

$3,000 – $5,000

101 SHERRY SALARI SANDER (1941- )African Courtship

bronze 11/3517 1/2 x 15 x 12 inches inscribed back left side: SSANDER 85 © stamped: 11/35

PROVENANCE:Private Collection, Paradise Valley, AZ

$3,000 – $5,000

102 BOB KUHN (1920-2007)Bengal Tiger

conte crayon on paper8 x 8 inches signed center left: K


A letter of authenticity from Casey Kuhn will accompany this lot.

$1,500 – $2,500

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103 BOB KUHN (1920-2007)Leopard

mixed media on paperboard21 1/2 x 25 3/4 inches signed middle right: Kuhn ‘70

PROVENANCE:Private Collection, Laramie, WYPrivate Collection, Jackson, WY

$40,000 – $60,000

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104 BOB KUHN (1920-2007)Resting Cat, 2007

acrylic on board22 x 42 inches signed lower left: KUHN

Born in Buffalo, New York, Bob Kuhn received his artistic training at the Pratt Institute in Brooklyn, where he studied design, anatomy, and life-drawing. For the next thirty years, Kuhn made his living as one of the most popular wildlife illustrators in America, before turning to easel painting fulltime in 1970. Kuhn traveled around the world to obtain inspiration, with many of his wildlife expeditions lasting up to eight weeks. He made countless trips to Africa, six trips to Alaska, and numerous journeys into Canada and the American West.

Originally inspired by African wildlife, Kuhn turned to the mammals of North America for subject matter in later years. Kuhn worked primarily in acrylic and strove to capture the particular movements and personalities of the wild animals he painted.

“Bob Kuhn’s animals are strong, vital, self-assured, at that razor-sharp pitch of perfection that allows them to survive in the wild. Always, they are in peak physical condition: alert, well-muscled, glossy-coated, supple-skinned. They are the cream of the race, the lords and ladies” (Tom Davis, The Art of Bob Kuhn, Briar Patch Press, Camden, SC, 1989, p.125-126)

PROVENANCE:From a Private Collection

EXHIBITED: Prix de West, National Cowboy and Western Heritage Museum, Oklahoma City, OK, 2007

AWARDS:Major General and Mrs. Don Pittman Wildlife Award (for Exceptional Artistic Merit for a Wildlife Painting or Sculpture), Prix de West, National Cowboy and Western Heritage Museum, Oklahoma City, OK, 2007

$250,000 – $300,000

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105 RICHARD SCHMID (1934- )Yellow Roses

oil on canvas20 x 30 inches signed lower right: Schmid 1997

Richard Schmid was born in Chicago, Illinois, in 1934. Schmid began drawing at an early age, and when he was twelve he enrolled in formal artistic training and began studying landscape painting. At eighteen, Schmid studied under William H. Mosby at the American Academy of Art in Chicago. Mosby redirected Schmid from his early interest in illustration and introduced him to an in-depth study of the old masters. As a result of his time with Mosby, Schmid began painting “alla prima,” in which the artist completes a painting in one session.

Throughout his long artistic career, Schmid has seen representational art fall in and out of fashion, and despite changing artistic trends he has seen decades of wonderful success. While Schmid does not consider himself to be an Impressionist painter, he does use impressionism in his work frequently. Reminiscent of the Golden Age painters, Schmid applies these classic techniques to the modern era, reinventing and applying them in new and exciting ways. Known for his portraits, landscapes, and still lifes—some of Schmid’s highest grossing works at auction are his floral paintings. In reference to some of his florals, Schmid says that most flowers “beg to be painted, because they lend themselves so readily to simple, bold brushwork and palette knife application.” The perfect muse for his style, Schmid truly excels at capturing the vibrancy of flowers in his works, without overcomplicating them.

Schmid’s work resides in several significant permanent collections, including The Smithsonian, and he has been honored with numerous awards like the John Singer Sargent Medal for Lifetime Achievement and the American Watercolor Gold Medal. Schmid is also a devoted educator, and has published several widely distributed books.

PROVENANCE:Trailside Galleries, Scottsdale, AZFrom a Private Collection

$75,000 – $100,000

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106 RICHARD SCHMID (1934- )Ruth in the Studio

oil on canvas30 x 24 inches signed lower right: Schmid verso: titled, signed, dated, numbered #18047

PROVENANCE:Private Collection, Marietta, GA

$30,000 – $50,000

PHOTOGRAPH COURTESY OF WEST WIND FINE ART

– 83 –

107 MIAN SITU (1953- )New Marketplace, Yunnan, China, 2014

oil on canvas40 x 50 inches signed lower left: Mian Situ

“Within Cangyuan, Yunnan Province in China, the local government has constructed a modern building to be used by the people for their festivities and weekly marketplace. The Wa people, a minority tribe in Southwest China are traditional and in their appreciation for the old ways have returned to the fundamental presentation of their goods which they have brought to market. Sitting among themselves, negotiating and discussing their life experiences.” – Mian Situ

$50,000 – $60,000


– 84 –

108 RICHARD SCHMID (1934- )Self-Portrait with Doll (Nancy)

oil on canvas20 x 16 inches signed lower right: Schmid 2010 verso: titled, signed, numbered: #2961

PROVENANCE:Private Collection, Naples, FL

$15,000 – $25,000

109 RICHARD SCHMID (1934- )Sandra at the Window

oil on canvas15 1/2 x 7 1/2 inches signed lower left: Schmid


$8,000 – $12,000

110 RICHARD SCHMID (1934- )Pastoral

oil on canvas9 3/4 x 15 1/2 inches (sight) signed lower right: Schmid verso: signed

PROVENANCE:From a Private Collection

$4,000 – $6,000

– 85 –

111 RICHARD SCHMID (1934- )Madeline’s Kitchen

oil on board11 1/4 x 15 1/4 inches signed lower right: Schmid verso: titled, signed, dated, numbered #2249


$10,000 – $15,000

112 CLYDE ASPEVIG (1951- )Central Park, NY

oil on board9 x 12 inches signed lower left: C. ASPEVIG verso: titled


$1,500 – $2,500

113 RICHARD SCHMID (1934- )Portrait of a Young Girl

oil on board11 x 7 inches signed lower right: Schmid


$5,000 – $7,000

– 86 –

114 G. HARVEY (1933- )Evening Walk

gouache on paper3 3/4 x 4 3/4 inches (sight) signed lower left: G. Harvey – verso: titled, signed, dated

PROVENANCE:Private Collection, Arlington, VA

$2,000 – $3,000

115 RICHARD SCHMID (1934- )The Chair

oil on canvas13 x 9 inches signed lower right: Schmid verso: titled and signed

PROVENANCE:Private Collection, Oklahoma City, OK

$7,000 – $10,000

116 G. HARVEY (1933- )Museum Carriage, Washington

oil on board11 x 6 inches signed lower left: G. Harvey (artist cipher)verso: titled, signed, dated

PROVENANCE:Trailside Galleries, Jackson, WY (label verso)Private Collection, Arlington, VA

$8,000 – $12,000

– 87 –

117 G. HARVEY (1933- )Memories of London

oil on canvas30 1/4 x 18 1/4 inches signed lower left: G. Harvey (artist cipher) verso: titled, signed, dated

PROVENANCE:Private Collection, Colorado Springs, CO

$25,000 – $45,000

– 88 –

118 BRUCE LAWES (1962- )Pickett’s Charge, When Boys Became Men, 2014

oil on linen25 x 36 inches signed lower right: B.K. Lawes

Pickett’s Charge, When Boys Became Men has brought to life a perspective of this seminal moment in the American Civil War that has never been depicted before. As through the eyes of a participant or observer of the actual final major act of the 1863 Gettysburg battle, the climax of Pickett’s Charge is here portrayed with the accurately historical fact that so many of the soldiers were quite young – some as young as 15 or 16. They signed up as boys, but those lucky enough to survive a battle left the field as men. But for nearly all the soldiers, regardless of their age, the Civil War became the most important, the most dangerous, and the most memorable experience of their lives.

Bruce Lawes’ painting pulls us back in time to that hot, humid, stifling summer day on July 3, 1863 when the twin waves of North and South crashed upon each other along a slight ridge south of Gettysburg, Pennsylvania. No one who was able to walk away from it did so without being forever changed. Boys became men, and a bloody war continued, but there at Gettysburg a nation turned onto a painful road toward healing. – J. David Petruzzi

$15,000 – $25,000

119 JENNESS CORTEZ (1944- )Norman Rockwell - Freedom of Speech

acrylic on board15 x 20 inches signed lower right: CORTEZ © 2007 verso: titled

PROVENANCE:Private Collection, Alpharetta, GA

$20,000 – $30,000

– 89 –

120 CARL BRENDERS (1937- )Memories of Tchaikovsky

watercolor and gouache on illustration board26 5/8 x 40 1/8 inches signed lower right: © Brenders 97

PROVENANCE:From a Virginia Collection

EXHIBITED: Birds in Art, Leigh Yawkey Woodson Museum, Wausau, WI, 1997

$35,000 – $45,000

– 90 –

121 JOHN FALTER (1910-1982)Sundown

oil on linen30 x 40 inches signed lower right: John Falter © ‘76

PROVENANCE:Private Collection, Alpharetta, GA

$15,000 – $25,000

122 MICHAEL MALM (1972- )The Water Carrier

oil on canvas34 x 30 inches signed lower right: M Malm verso: titled, signed, dated

PROVENANCE:Private Collection, Dallas, TX

$5,000 – $7,000

123 ROBERT MOORE (1957- )High Country Lake, 2014

oil on canvas40 x 40 inches signed lower left: RMOORE verso: titled, signed, numbered

“This is a painting of a high country lake that my daughter and I packed to in the Idaho wilderness. The beauty and the challenge of this painting was to capture the transparency of the water with the subtle progressions from foreground to distance. The neutral greens and blues shift in value with the occasional interpenetration of the fallen logs at the bottom of the lake.” – Robert Moore

$7,000 – $10,000

– 91 –

124 ROBERT BATEMAN (1930- )Dipper by the Waterfall

oil on board14 x 24 inches signed lower right: © Robert Bateman 1981-

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Petaluma, CA

EXHIBITED: Robert Bateman: Wildlife Artist, Greenville County Museum of Art, Greenville, SC, 1985

$10,000 – $20,000

125 ROBERT BATEMAN (1930- )Untitled (Chickens)

oil on board12 x 17 1/2 inches signed lower right: Robert Bateman 1999 ©


$8,000 – $12,000

126 DAVID LEFFEL (1931- )Cantaloupe with Grapes and Liqueur

oil on panel9 x 14 inches signed lower right: Dal verso: titled, signed, dated

PROVENANCE:The ArtistCommission for Private Collection, El Prado, NM

$4,000 – $6,000

– 92 –

127 CYRUS AFSARY (1940- )San Juan Capistrano

oil on canvas41 x 61 inches signed lower left: CYRUS AFSARY


$20,000 – $40,000

– 93 –

128 CLARK HULINGS (1922-2011)Friday Morning at Bonnieux

oil on canvas24 7/8 x 66 inchessigned lower left: Hulings © 1993

While Clark Hulings was born in Florida in 1922, he spent much of his childhood in Spain. This early exposure to the provincial marketplaces, historic ruins, and pastoral landscapes of Europe no doubt influenced Hulings later in life as he was drawn to just such subjects.

Hulings studied art at the Art Students League in New York, and also received a degree in physics from Haverford College in Pennsylvania. Following his schooling, Hulings worked first as a portraitist in Louisiana and then as an illustrator in New York. During the 1960’s Hulings developed a successful career as a painter, and in 1965 he received the first Prix de West award ever given at the National Academy of Western Art. In 1957, Hulings moved to Santa Fe, New Mexico, where he lived and worked until his death in 2011. PROVENANCE:Private Collection, NYPrivate Collection, TX

$60,000 – $100,000

– 94 –

129 WILSON HURLEY (1924-2008)Upper Falls of Yellowstone

oil on canvas28 x 36 inches signed lower left: Wilson Hurley

PROVENANCE:Private Collection, Overland Park, KS

EXHIBITED: Wilson Hurley: A Retrospective Exhibition, Buffalo Bill Historical Center, Cody, WY, 1985

$20,000 – $40,000

130 WILLIAM PENHALLOW HENDERSON (1877-1943)Portrait of Wife and Daughter, 1907

oil on canvas30 x 24 inches unsignedverso: Hirschl & Adler Galleries: Estate of William Penhallow Henderson

PROVENANCE:Meredith Long and Company, Houston, TX (label verso)Altermann Gallery, Santa Fe, NM (label verso)Maxwell Gallery, New York, NYPrivate Collection, Spokane, WA

$10,000 – $20,000

– 95 –

131 JAMIE WYETH (1946- )Gull and Windsor

mixed media on paper19 3/4 x 25 1/2 inches signed lower left: J. Wyeth

Born in 1946 in Wilmington, Delaware, Jamie Wyeth grew up a few miles north in Chadds Ford, Pennsylvania, where he still lives part of each year. The son of popular American painter Andrew Wyeth and grandson of the iconic illustrator N.C. Wyeth, art was Jamie Wyeth’s birthright. As Wyeth himself says, “Everybody in my family paints—excluding possibly the dogs.” In addition to the influence of his father and grandfather, Wyeth also grew up surrounded by his aunts Carolyn and Henriette Wyeth and his uncles Peter Hurd and John McCoy, who were also artists. By the age of twelve, Wyeth left formal schooling to pursue a career as an artist. He spent hours sketching and drawing, learning from the expertise around him and developing his own style.

Within a few years the Wilmington Society of Art and the William A. Farnsworth Library and Art Museum had added Wyeth’s work to their permanent collection. Just eighteen years old with his artistic career well underway, Wyeth moved to New York, where he studied anatomy and physiology by working at the Harlem hospital morgue. During the 1960’s and 70’s Wyeth received a number of prominent portrait commissions, including one for a posthumous portrait of John F. Kennedy.

In 1968 Wyeth purchased a house on Monhegan Island, which had formerly belonged to the painter Rockwell Kent, and began summering there. Inspired by the island life, Wyeth began to paint the animals, homes,

and emblems of Maine. In 1991, Wyeth moved to a restored light keeper’s house on Southern Island, where he continues to paint today.

In addition to his work as a painter, Wyeth has illustrated two children’s books—Betsy James Wyeth’s The Stray (1979) and Cabbages and Kings by Elizabeth Seabrook (1997). He has also designed a Christmas stamp for the U.S. Postal Service (1971), official White House Christmas cards (1981, 1984), and the Special Olympics World Summer Games Commemorative Coin (1995), which featured a portrait of Eunice Kennedy Shriver.

PROVENANCE:Nicholas Wyeth, Inc, New York, NY (label verso)James Graham & Sons, New York, NY (label verso)Trailside Americana, Jackson, WY, (label verso)Private Collection, Arlington, VA

EXHIBITED: Jamie Wyeth: Islands, The Farnsworth Art Museum, Rockland, ME, June 26-August 22, 1993Jamie Wyeth: Islands, James Graham & Sons, New York, NY, September 11-October 9, 1993

$70,000 – $100,000

– 96 –

132 MORGAN WEISTLING (1964- )Grand Pappy, 2014

oil on canvas30 x 24 inches signed lower left: Morgan Weistling ‘14 ©

“The bond between grandfather and his grandson was my inspiration. Whenever I have painted a baby I always love the sense of wonder they have in everything they see. I tried to depict that here as he reaches out to Grand Pappy’s beard. As I painted this I couldn’t help but think of those classic Madonna and child paintings by the masters and how this is my own western themed version.” – Morgan Weistling

$35,000 – $55,000


– 97 –

133 MORGAN WEISTLING (1964- )Bill

oil on canvas16 x 12 inches signed lower left: MORGAN WEISTLING -12 © verso: titled, signed, dated


EXHIBITED: Prix de West, National Cowboy and Western Heritage Museum, Oklahoma City, OK, 2012

$8,000 – $12,000

134 MORGAN WEISTLING (1964- )Sarah’s Profile

oil on canvas12 x 9 inches signed lower left: MORGAN WEISTLING © 2001verso: titled

PROVENANCE:Private Collection, Tucson, AZ

$3,000 – $5,000

– 98 –

135 GEORGE HALLMARK (1949- )The Torn Sack

oil on canvas48 x 60 inches signed lower right: © Hallmark verso: titled, signed, dated

PROVENANCE:Trailside Galleries, Scottsdale, AZ (label verso) Private Collection, Tacoma, WA

$30,000 – $50,000

– 99 –

136 TUCKER SMITH (1940- )Cook Tent

oil on canvas20 x 24 inches signed lower right: Tucker Smith 99


EXHIBITED: Prix de West, National Cowboy & Western Heritage Museum, Oklahoma City, OK, 1999

$15,000 – $25,000

137 TOM DARRO (1946- )Lady Apache

oil on canvas50 x 28 inches signed lower left: TOM ©


$12,000 – $18,000

– 100 –

138 BOB KUHN (1920-2007)North Country

acrylic on board20 x 24 inches signed lower right: KUHN verso: titled, signed, dated

PROVENANCE:The ArtistCommission for Private Collection, FL

$80,000 – $120,000

– 101 –

139 BOB KUHN (1920-2007)Fire Alarm

acrylic on board20 x 30 inches signed lower left: Kuhn 02 verso: signed and dated

PROVENANCE:The ArtistPrivate Collection, Bridgewater, CT

$75,000 – $125,000

– 102 –

140 NANCY GLAZIER (1947- )High Notes

oil on canvas20 x 54 inches signed lower left: N. Glazier

PROVENANCE:From a Nevada Collection

$15,000 – $25,000

141 WILLIAM ACHEFF (1947- )Up North

oil on canvas16 x 14 inches signed lower right: © WM Acheff 2008


$16,000 – $24,000

– 103 –

142 PIP MCGARRY (1955- )Leopard Lookout

oil on canvas30 x 45 inches signed lower right: Pip McGARRY - 2013 -

PROVENANCE:From the Artist

$12,000 – $18,000

143 LINDSAY SCOTT (1955- )Zebra Pair

oil on linen22 1/2 x 6 1/4 inches signed lower right: LINDSAY SCOTT

PROVENANCE:Spanierman Gallery, New York, NY (label verso)Private Collection, Ho-Ho-Kus, NJ

$3,000 – $5,000

144 JOHN SCHOENHERR (1935-2010)Polar Bear

oil on canvas24 x 40 inches signed lower right: Schoenherr PROVENANCE:Trailside Galleries, Jackson, WY (label verso)From a Wyoming Collection

$12,000 – $18,000

– 104 –

145 FRIEDRICH WILHELM KUHNERT (1865-1926)Brüllender Löwe

oil on canvas 66 1/4 x 111 1/2 inches signed lower right: Wilh. Kuhnert verso: signed and titled

Wilhelm “Lion” Kuhnert, as his contemporaries knew him, was born in Oppeln, Germany in 1865. After beginning an apprenticeship at seventeen, Kuhnert moved to Berlin in 1883 where he studied with renowned animal painter Paul Meyerheim at the Berlin Academy of Arts. Kuhnert first traveled to Africa in 1891 where he went on safaris in the German and English colonial territories, sketching and making field notes which he later turned into impressive oil paintings in his Berlin studio.

Not only a painter, but also a hunter, Kuhnert traveled to Africa yearly to capture its wild animals in the flesh and on the canvas. In between Kuhnert’s extended visits to Africa, he returned to Germany where he continued his wildlife studies, traveling throughout Europe in pursuit of indigenous species including the red stag, elk, bison, wild boar, and moose.

It is estimated that Kuhnert’s body of work totaled 5,500 paintings. Today, there are less than a thousand known works in existence. The remainder of his artwork was destroyed or lost in World War II. Kuhnert died while traveling in Switzerland in 1926, leaving a legacy of extraordinary wildlife paintings behind.

PROVENANCE:Galerie G, Heidelberg, GermanyAcquired from the above by the present owner (2006)

LITERATURE: A. Grettman-Werner, Wilhelm Kuhnert (1865-1926): Tierdarstellung zwischen Wissenschaft und Kunst, Hamburg, Germany, 1981, illus. no. 94.

$175,000 – $275,000

– 105 –

– 106 –

146 CARL RUNGIUS (1869-1959)Alarmed (Big Horn Rocky Mountain Sheep)

oil on canvas30 x 40 inches signed lower right: C. Rungius

PROVENANCE:Thomas Nygard Gallery, Bozeman, MT (label verso)The Collection of Bill RugerPrivate Collection, UT

$200,000 – $400,000

– 107 –

– 108 –

147 VICTOR HIGGINS (1884-1949)New Mexico Sky, ca. 1922-1923

oil on canvas24 x 27 inches signed lower left: VICTOR HIGGINS

Dean Porter wrote of Victor Higgins “few question his significance as an American painter and many believe him to be the strongest painter of all the artists who worked in Taos between 1915 and 1950.”

In Porter’s book on Victor Higgins, Victor Higgins: An American Master, he further comments “The most important move Higgins made was to eliminate the human figure from his landscape. One-third of his total production during 1922 and 1923 dispensed with all reference to human activity.”

New Mexico Sky was likely described in the Indianapolis Star review:

“The New Mexico sky is of pale opal green at the horizon deepening to blue as it rises. The sky is full of floating castles that have drifted away from Spain; castles so light that they would move with a feather at a puff of air, castles whose rounded forms are repeated in the little brownish trees that dot the rolling fields below. One is impressed by a feeling of arrested motion, or else of a very slow, drifting movement in those very luminous clouds that fill the sky.”

Porter’s book was published in 1990, at which time New Mexico Sky was illustrated on page 106 with the citation “New Mexico Sky c. 1922-23. Oil on canvas; 24 X 27. Present location unknown. Photo courtesy Museum of Fine Arts, Museum of New Mexico (JHR Archives)”

Of note, Taos Valley, by Victor Higgins was chosen for the cover of Porter’s book. This painting relates quite closely to Higgins’ treatment of New Mexico Sky.

New Mexico Sky demonstrates Higgins’ intentional shift away from the subject matter chosen for his paintings created during his first Taos period (1914-1919). He and the other Taos founders originally opted to herald Southwestern American Indians, their participation in all sorts of daily activities, in and out of doors. As early as 1917, Higgins chose to emphasize landscapes instead of their human occupants. Higgins was known to have considered paintings featuring American Indians as a painterly exploitation of these individuals. His focus on pure landscapes was intended to represent his contribution as an American artist of the first order, versus blending with a group of artists who were creating uniform imagery romanticizing the American Indian.

– Corinne Cain, Accredited Senior Appraiser, Fine Arts


LITERATURE: Dean Porter, Victor Higgins: An American Master, Salt Lake City, UT: Gibbs Smith, 1991, illus. p. 106.

$175,000 – $275,000

– 109 –

– 110 –

148 THOMAS MORAN (1837-1926)Devil’s Tower

oil on canvas20 1/2 x 16 1/4 inches signed lower right: T(YM cipher) MORAN .1919.

Thomas Moran was one of the artists most responsible for introducing America to its Western frontier. Born in England, Moran immigrated to the United States with his family in 1844. At the age of sixteen he began a three-year apprenticeship in a wood-engraving firm in Philadelphia, which provided his only formal training. He was painting on his own at this time, however, and participated in his first public show around 1856, exhibiting six watercolors at the Philadelphia Academy of Design.

In 1862, Moran traveled to England with his brother, the marine painter Edward Moran. While Edward studied at the Royal Academy, Thomas studied and copied the J.M.W. Turner paintings at the South Kensington Museum (now the Victoria and Albert Museum). Long familiar with and admiring of Turner’s work through engravings, Moran was even more impressed upon seeing the paintings in person. He was especially taken with their luminosity, which he tried to capture in his copies and emulated in his own work.

In 1870, Scribner’s Magazine commissioned Moran to produce etchings of the Yellowstone region based on descriptions of a surveying trip whose report the magazine published. The artist made his first trip to Yellowstone a year later, accompanying the geological survey led by Dr. Ferdinand Hayden. His sketches and watercolors from this trip appeared in Scribner’s and provided models for the artist in creating oil paintings. When the United States Congress purchased one of these paintings of the Yellowstone’s Grand Canyon to hang in the capital in 1872, Moran became one of this country’s most celebrated Western painters.

In the course of his career, Moran traveled extensively throughout the American West—the Rocky Mountains, the Grand Canyon, Yosemite, the Tetons—eventually recording the splendor of all eight of the newly established national parks. So tied to the National Park system was Moran’s work, Mount Moran in the Teton Range was named for the artist.

Moran did not produce topographically accurate images. He composed his large-scale paintings in his studio, using various elements from minutely detailed sketches he made while in the field. Rather than record a specific sight faithfully, Moran sought to capture the essence of a region. Moran celebrated the beauty and grandeur of the Western landscape to which he returned both physically and artistically throughout his life.

PROVENANCE:Ruth Moran, daughter of the artist, Santa Barbara, CA{Newhouse Galleries, New York, NY, acquired from the above prior to 1930}Private Collection{Newhouse Galleries, New York, NY}Mr. and Mrs. F. Howard Walsh, Fort Worth, TXWalsh Family Trust, until 2006{The Tea Leaf Art & Antiques, Irving, TX, 2006}{Gerald Peters Gallery, Santa Fe, 2006}Private Collection, Omaha, NE, 2007Private Collection, NY

COMPARATIVE LITERATURE:Anne Morand, Thomas Moran: The Field Sketches 1856-1923, Norman, OK: The University of Oklahoma Press, in association with the Thomas Gilcrease Institute of American History and Art, 1996, pp. 254-255 (The Devils Tower, graphite on paper sketch, cat. no. 819; illus. p. 255); Nancy K. Anderson, Thomas Moran, New Haven, CT: Yale University Press, 1997, p. 255 (for excerpts from Moran’s letters to his wife Mary about his 1892 excursion to Devil’s Tower);Thurman Wilkins, Thomas Moran: Artist of the Mountains, second edition, Norman, OK: University of Oklahoma Press, 1998, p. 267-270 (for a discussion of Moran’s 1892 trip through Wyoming).

$1,200,000 – $2,000,000

– 111 –

– 112 –

149 JOSEPH HENRY SHARP (1859-1953)Crow Camp on the Little Bighorn, Crow Agency, Montana, ca. 1908

oil on board6 x 8 1/4 inches (sight)signed lower right: JHSverso: titled

Every camp during the Buffalo Culture era had a tall red tipi near the center of the camp circle. This custom was followed only during the major gatherings of the Tribe throughout the year. This lodge was to give food and comfort to all visitors in need, even their enemies who were feasted inside of the Red Tipi. J.H. Sharp could have seen the last Red Tipi of the Crow Tribe in the 1910-1920 era which belonged to the Spotted Jackrabbit family. – Dr. Paul Dyck, August 28, 1990

PROVENANCE:The ArtistGifted to Michael B. and Viva H. Reynolds, January 21, 1921Diane Reynolds Penwall, by descentMr. and Mrs. J.A. LaDow, Lake McDonald, MT, 1990John R. Howard Fine Art

$65,000 – $85,000

– 113 –

150 E. MARTIN HENNINGS (1886-1956)Autumn Colors

oil on board10 x 14 inches signed lower right: E.M. Hennings


$8,000 – $12,000

151 OLAF CARL SELTZER (1877-1957)King of the Forest

oil on board11 1/2 x 9 inchessigned lower right: O.C.SELTZER


$25,000 – $35,000

– 114 –

152 ALFRED JACOB MILLER (1810-1874)Indian Shooting a Cougar

oil on canvas24 x 19 7/8 inches unsigned

In 1837, the Scottish nobleman Captain William Drummond Stewart invited Alfred Jacob Miller to accompany him as the expedition artist on his journey along the Oregon Trail. The journey would take them to the annual rendezvous of fur trappers and traders at Horse Creek, near the banks of the Green River. A native of Baltimore, Maryland, Miller studied at the Ecole des Beaux-Arts in Paris in 1833 and spent time copying Old Master paintings in the Louvre. After traveling through Italy, Miller returned to Baltimore the following year to earn a living as a portrait painter. In late 1836, he left his native city for New Orleans, where he met Stewart, the man who would change the course of his career.

By joining Stewart’s expedition, Miller received the opportunity to travel further on the Oregon Trail than any artist had at that point; allowing him to paint previously unknown subjects and scenery. The American frontier was a continuously changing environment, and several scenes and events that Miller recorded in 1837 had disappeared by the time other artists followed in his footsteps. For example, Miller’s paintings of Fort Laramie record the original wooden structure that was torn down in 1840 and replaced by a new adobe building the next year. The drawings and watercolors that Miller produced while on the trail and afterwards provide rare glimpses into the life of the American Indian and the events that occurred on the American frontier during that period.

In order to provide his patron with a comprehensive pictorial record of the 1837 journey, Miller constantly observed and sketched the day-to-day life of the trappers and Indians that the caravan encountered. Theses sketches and the life experiences Miller had while on the Oregon Trail provided him with a lifetime of source material for the oil paintings he completed upon his return. Able to blend his first-hand accounts of the 1837 expedition with his idealized romantic tendencies from his academic training, Miller created an oeuvre that provides viewers today with a rare window into this moment of the American frontier.

On the trail Miller encountered Indians with cougar pelts, and learned first hand of the preciousness of these skins. According to Miller’s own account “The Indians set a high value on his (the Cougar’s) beautiful hide, in a superstitious view, as grand ‘medicine,’ and in a particular view, as an elegant quiver for arrows,-nothing will induce them to part with an acquisition of this kind. They formed certainly the finest article that came under our view;- but we failed entirely in our trails to purchase one.” Unable to acquire an actual pelt, Miller captured this beautiful and enigmatic creature in oil instead—immortalizing a memory from his travels and owning it in the only way he could.

This work will be included in the forthcoming catalogue raisonné to be done under the supervision of Ron Tyler and Debbie White.

1 Marvin C. Coss, ed., Artists Letters to Alfred Jacob Miller, Typescript, Library, Walters Art Museum.

PROVENANCE:John Nicholas Carroll and Mary Thomas Carroll (likely commissioned from the artist), Baltimore, MDDouglas Gordon Carroll (their son) and Amelie Hack Carroll, Brooklandville, MDDouglas Gordon Carroll, Jr. (their son) and Marguerite Dewey Carroll, Brooklandville, MDBy descent in the family to Private Collection, Brooklandville, MD, ca. 1984

EXHIBITED: Alfred Jacob Miller: Artist on the Oregon Trail, The Walters Art Gallery, Baltimore, Maryland, October 16, 1981-January 10, 1982Alfred Jacob Miller: Artist on the Oregon Trail, The Amon Carter Museum, Ft. Worth, Texas, January 29-March 14, 1982Alfred Jacob Miller: Artist on the Oregon Trail, Buffalo Bill Historical Society, Cody, Wyoming, May 1- September 30, 1982Government House (courtesy of the Maryland Historical Society), Baltimore, Maryland, 1984-88The Walters Art Museum, Baltimore, Maryland, 2005-2013 (courtesy of Present owner)

LITERATURE:Ron Tyler, ed., Alfred Jacob Miller: Artist on the Oregon Trail, with a Catalogue Raisonné by Karen Dewees Reynolds and William R. Johnston, Fort Worth, TX: The Amon Carter Museum, 1981, no. 51, p. 247; cat. no. 146C.

$800,000 – $1,200,000

– 115 –

– 116 –

153 ALBERT BIERSTADT (1830-1902)Estes Park Colorado, ca. 1875

oil on paper mounted on board12 1/2 x 16 inchessigned lower left: Bierstadt

PROVENANCE:Private Collection, CA

$200,000 – $300,000

– 117 –

154 FREDERIC REMINGTON (1861-1909)The Mountain Man

bronze 24b29 x 21 x 11 inches inscribed right side: Copyright by Frederic Remington inscribed lower right: ROMAN - BRONZE - WORKS NY

PROVENANCE:Private Collection, Big Timber, MT

LITERATURE: Michael Greenbaum, Icons of the American West: Frederic Remington’s Sculpture, Frederic Remington Art Museum, 2nd edition, 1996, illus. p. 190.

$40,000 – $60,000

– 118 –

155 FREDERIC REMINGTON (1861-1909)The Passion of Ah-We-Ah, ca. 1899

oil on canvas27 1/4 x 40 inches signed lower right: Frederic Remington

The Passion of Ah-We-Ah was one of three illustrations painted by Remington in 1899 for his story in Harper’s Monthly titled “The Story of the Dry Leaves.” He had just returned from Cuba and what was for him rather traumatic exposure to modern war, and he was recuperating from a case of malaria at the time. The tale, perhaps as a result, was not a happy one.

“The Story of the Dry Leaves” was about solitude and survival. The protagonist is a young Ojibwa man, Ah-We-Ah, who loses his family to a band of marauding Sioux. Though he survives, he is severely embittered by the experience and goes in search of friendly tribesmen who will join him in seeking revenge. No fellow warriors accept the cause, but in the process he discovers something that will mitigate his loss. Among friendly compatriots, he meets and courts his bride-to-be, Red Light of the Morning. She “swayed him, and … finally overpowered him altogether,” Remington wrote. His lust for revenge was replaced by passion for the young woman who brought an “abundance of cheer” to her lodge and to his heart. The scene pictured in the painting The Passion of Ah-We-Ah shows Red Light of the Morning on the left as she and her mother begin to butcher a moose that he has provided for them with his skills as a hunter. His work completed, Ah-We-Ah stands in the background musing about how and when to ask for Red Light’s hand in marriage. Ah-We-Ah’s quest for his young love is successful. This is his happiest hour. They are betrothed, and for some time they continue to share in the communal richness of her family. Eventually though, the couple goes off on their own, back to his family hunting ground some substantial distance away.

For the first year, things go well for the couple. A baby is born, and Ah-We-Ah is successful as a provider for the family, trading an abundant harvest of furs with the Northwest Company for supplies that help sustain them. But in the second year his canoe capsizes while he is out hunting. Many of his vital tools are lost, and the traders at the Northwest Company post refuse to advance him provisions. His loss is compounded by a fall drought in which the dry leaves made “a great noise” as he stalks his prey, alerting them to flee. His frustrations turn to hunger for him and his family, a hunger that increases through the early winter. Eventually, the baby perishes from starvation and just as he finally finds success as a hunter, his wife succumbs as well. “The dry leaves,” Remington concluded, “had lasted longer than she.”

The story is a metaphor on several levels. It speaks to his disillusionment with war and senseless loss of life. It reflects on Remington’s own life and the profound solitude he felt as a young man when his father, on whom he depended, died prematurely. Moreover, the year he wrote the story, 1899, was the same year he exhibited at the National Academy of Design for the last time. He had hoped that he would be elected as a full National Academician, but his hopes were dashed. He was left alone to succeed as a solitary painter without the official endorsement of the academy.

The painting, on the other hand, is the genesis of a true love story. Avoiding the sentimentality of most amorous pictorial accounts of the period, this affair of the heart is direct, focused, simple and effective. The courtship results in a bond that, though ephemeral, was like his own with Eva Remington, cherished and enduring of a lifetime.

– Peter Hassrick, Director Emeritus and Senior Scholar, Buffalo Bill Center of the West

PROVENANCE:James Graham & Sons Gallery, New York, NY (label verso)Mr. and Mrs. Charles W. Engelhard, NJBy descent to the present owner, circa 1988

EXHIBITED:Whitney Gallery of Western Art, Cody, WY, 1974

LITERATURE:F. Remington, Harper’s Monthly, vol. XCIX, no. DLXXXIX, New York, June 1899, illus. p. 99P. Samuels, H. Samuels, The Collected Writings of Frederick [sic] Remington, Garden City, New York, 1979, photoengraving illus. p. 369P.H. Hassrick, M.J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, vol. II, Cody, Wyoming, 1996, illus. p. 686, no. 2432.

$150,000 – $250,000

– 119 –

– 120 –

156 OSCAR E. BERNINGHAUS (1874-1952)Irrigation Ditch

oil on board12 x 16 inches signed lower right: O.E. Berninghaus - 49

PROVENANCE:Private Collection, MI, purchased in 1949 during a trip to the Southwest Private Collection, MINedra Matteucci Galleries, Santa Fe, NM (label verso)Private Collection, El Prado, NM

$30,000 – $50,000

– 121 –

157 W.H.D. KOERNER (1878-1938)Slicker Weather, 1930

oil on board29 x 33 3/4 inches signed lower right: WHDKverso: titled and numbered

PROVENANCE:From a Delaware Collection

LITERATURE: Saturday Evening Post, August 16, 1930, cover illustration for Eugene Manlove Rhodes’ Maid Most Dear

$15,000 – $25,000

158 OLAF WIEGHORST (1899-1988)Cowboy on Pony

oil on board23 1/4 x 23 1/4 inchessigned mid lower right: O-Wieghorst

PROVENANCE:Collection of William Foxley, Saratoga, WY

$15,000 – $25,000

159 OLAF CARL SELTZER (1877-1957)Standing Cowboy

watercolor and pencil on paper11 1/4 x 7 inches (sight)signed lower right: O.C.SELTZER initialed lower right: O.C.S.


$18,000 – $24,000

– 122 –

160 RAPHAEL LILLYWHITE (1891-1958)On the Open Range

oil on canvas16 x 20 3/4 inchessigned lower left: Raphael Lillywhite

PROVENANCE:Manitou Galleries, Cheyenne, WY

$10,000 – $15,000

161 RAPHAEL LILLYWHITE (1891-1958)Untitled (Lone Rider)

oil on masonite15 1/4 x 19 1/2 inchessigned lower left: Raphael Lillywhite PROVENANCE:Manitou Galleries, Cheyenne, WY

$10,000 – $15,000

– 123 –

162 RAPHAEL LILLYWHITE (1891-1958)Untitled (Lone Tree)

oil on masonite22 1/2 x 29 1/2 inches signed lower left: Raphael Lillywhite

PROVENANCE:Manitou Galleries, Cheyenne, WY

$15,000 – $30,000

163 RAPHAEL LILLYWHITE (1891-1958)Untitled (Sheep Mountain)

oil on masonite24 1/2 x 29 1/2 inchessigned lower left: Raphael Lillywhite PROVENANCE:Manitou Galleries, Cheyenne, WY

$20,000 – $30,000

– 124 –

164 E.S. PAXSON (1852-1919)Blackfoot Encounter

oil on canvas17 1/2 x 21 1/2 inches signed lower right: E.S. Paxson 1916

Edgar Samuel Paxson was born in upstate New York where he spent much of his childhood helping his father make a living as a sign painter and carriage decorator. Assisting his father was Paxson’s only formal artistic training.

Paxson was first introduced to the American West through reading James Fennimore Cooper’s novels in school. After hearing about the Battle of the Little Big Horn in 1876, Paxson was inspired to venture west and explore the frontier. From 1877 to 1878, Paxson travelled the western frontier working as a cowboy, meat hunter, guard, and scout in the Nez Perce war. In 1879, Paxson sent for his wife and children in New York and the family settled in Deer Lodge, Montana where he worked as a commercial artist and sign painter, decorating saloons and painting theater sets.

When Charles M. Russell arrived in Montana in 1880, the two became close friends and soon gained recognition as the state’s most famous pioneer resident artists. Russell and Paxson shared mutual pride in their self taught artistic talents and their desire to preserve the traditions and customs of the vanishing West through their paintings. The Paxsons moved to Butte, Montana in 1881 before settling in Missoula in 1905. Paxson’s studio in Missoula became a popular gathering place for artists visiting the West from other parts of the country.

Paxson’s works are held by the Whitney Gallery of Western Art, the Buffalo Bill Historical Center, the University of Montana, and the Anschutz Collection.

PROVENANCE:Kennedy Galleries, New York, NYPrivate Collection, United KingdomPrivate Collection, MTPrivate Collection, Spokane, WA

$60,000 – $90,000

– 125 –

– 126 –

165 TIM SOLLIDAY (1952- )Horse Trading

oil on canvas38 1/2 x 58 inchessigned lower right: T. SOLLIDAY verso: titled and signed

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Houston, TX

$25,000 – $35,000

– 127 –

166 LOGAN MAXWELL HAGEGE (1980- )Go in Shadows, 2014

oil on linen30 x 40 inchessigned lower right: LOGAN MAXWELL HAGEGEverso: titled, signed, dated

“My paintings always consist of organic matter. I want the figures in this painting to feel like they are part of the landscape. By balancing all of the elements in the composition, a sense of harmony is created.” – Logan Maxwell Hagege

$12,000 – $18,000

167 HARRY JACKSON (1924-2011)Sacajawea with Packhorse

egg and oil tempera on bronze27 x 21 x 14 inches inscribed on the back: © Harry Jackson 1992 inscribed verso: SAPH 15P; 4JS CODY stamp

PROVENANCE:Trailside Galleries, Scottsdale, AZPrivate Collection, Boise, ID

$20,000 – $40,000

– 128 –

168 R. TOM GILLEON (1942- )Prima Facie

oil on canvas60 x 60 inches signed lower left: R. Tom Gilleon


EXHIBITED: Let Icons Be Icons: R. Tom Gilleon Retrospective, C.M. Russell Museum, Great Falls, MT, 2013

$50,000 – $75,000

– 129 –

169 R. TOM GILLEON (1942- )Big Brother Bear

oil on canvas40 x 40 inches signed lower right: R Tom Gilleon verso: titled and signed

PROVENANCE:Private Collection, Big Sky, MT

The artist created this painting for a Big Brothers/Big Sisters charity auction. Iconography in the bear depicted on the tipi represents the Big Dipper pointing to the North Star.

$20,000 – $40,000

170 BUCKEYE BLAKE (1946- )Roundup

watercolor on paper19 1/2 x 29 1/4 inches (sight) signed lower right: © BUCKEYE BLAKE 2001


$6,000 – $9,000

– 130 –

171 CONRAD SCHWIERING (1916-1986)Snow Sculpture

oil on board25 x 30 inches signed lower right: Schwiering (artist cipher) verso: titled and stamped

PROVENANCE:Private Collection, Shelley, ID

$8,000 – $12,000

172 LEANDER ALLEN PLUMMER II (1857-1914)Bluefish Feeding on Mackerel

polychrome wood relief carving25 1/2 x 38 3/4 x 4 inches signed lower right: L.A. Plummer 1904 PROVENANCE:Private Collection, CAPrivate Collection, WY

LITERATURE:Mary Jane Blasdale, Artists of New Bedford, A Biographical Dictionary, New Bedford, MA: New Bedford Whaling Museum, 1990, illus. p. 144-5.

$30,000 – $50,000

173 STANLEY MELTZOFF (1917-2006)Blue Marlin 21, 1976

oil on board30 1/2 x 30 inches signed lower right: SM verso: signed and titled

PROVENANCE:From the Estate of Stanley Meltzoff

LITERATURE: Stanley Meltzoff and Mike Rivkin, Stanley Meltzoff: Picture Maker, Silverfish Press, Korea, 2010, illus. p. 117Stanley Meltzoff, Sports Illustrated, “Like a Neon Shadow in the Sea,” July 25, 1977, illus. p.23

$30,000 – $40,000

– 131 –

174 MICHAEL COLEMAN (1946- )Moose in the Canadian Rockies

oil on board20 x 30 inches signed lower right: Michael Coleman ©

PROVENANCE:The ArtistPrivate Collection, Hope, NJ, by descent

$8,000 – $12,000

175 STANLEY MELTZOFF (1917-2006)Autumn Hunter and Pointers

oil on board26 x 20 inches signed lower left: SM

PROVENANCE:J. Russell Jinishian Gallery, Fairfield, CT (label verso)From the Estate of Stanley Meltzoff

LITERATURE:Stanley Meltzoff and Mike Rivkin, Stanley Meltzoff: Picture Maker, Silverfish Press, Korea, 2010, illus. p. 45.

$25,000 – $35,000

– 132 –

176 ROBERT BATEMAN (1930 - )Flying High (Golden Eagle)

oil on board42 x 30 inches signed lower right: © Robert Bateman -1979-

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Petaluma, CA

EXHIBITED: National Museum of Natural Sciences Travelling Exhibition, Images of the Wild, 1981-1983Robert Bateman: Wildlife Artist, Greenville County Museum of Art, Greenville, SC, 1985Portraits of Nature: Paintings by Robert Bateman, The National Museum of Natural History Smithsonian Institution, Washington, DC, 1986-1987

$25,000 – $45,000

– 133 –

177 JOHN BANOVICH (1964- )Buffalo Run, 2014

oil on linen48 x 60 inches signed lower right: © BANOVICH 2014

“Once numbering over ten million and dispersed the distance from Alaska to Mexico, the American bison is truly an iconic symbol of the west. A victim of disease, commercial slaughter and government attempts to exterminate natives, by the 1870s bison numbers plummeted below 500. Heroic efforts of early conservationists saved them from extinction, and today their numbers have rebounded to well over 500,000. Genetics research over the last few years has demonstrated that bison are an outstanding example of an ‘Ultimate Survivor’ species and well deserving of the term ‘Iconic’. This is the fifth painting of my bison running in snow series, which began with research conducted for the commission hanging in the exclusive Warren Miller Lodge of the Yellowstone Club in Big Sky, MT. I am fascinated with the quiet drama of a bison herd plowing through winter snow. In this scene I depicted the bison in a slightly different setting with the snow showing signs of warming trends and spring right around the corner.” – John Banovich

$60,000 – $80,000


– 134 –

178 KEN CARLSON (1937- )High Desert Winter

oil on board18 1/2 x 28 1/2 inches signed lower right: CARLSON


$12,000 – $18,000

179 RALPH OBERG (1950- )Moonlight Serenade, 2014

oil on board38 x 36 inches signed lower left: oberg verso: titled and signed

“Anyone who has spent a night out in the country in the West has heard the wild chorus that a small group of coyotes will make as they welcome the night. Even two can create a beautiful harmony and intricate melody together. I have wanted to do this theme for a while and loved trying to paint the feeling of moonlight.” – Ralph Oberg

$15,000 – $25,000

– 135 –

180 BONNIE MARRIS (1951- )Last Touch of Daylight, 2014

oil on canvas36 x 48 inches signed lower right: BLMarris

“Catching the last caress of the sun’s warmth in their frozen world, this trio of wolves are thinking about rising, stretching and making tracks.” – Bonnie Marris

$20,000 – $30,000

181 ADAM SMITH (1984- )Kingdom of the West, 2014

acrylic on board33 x 22 inches signed lower right: ASmith © 14

“I have been to Yellowstone several times and each visit brings a new experience. The sights and sounds during the bison rut are like no other. Competition is fierce between bulls and keeping their cows close can be exhausting. It is exhilarating to watch and essential for my artistic process.” – Adam Smith

$9,000 – $12,000


– 136 –

182 LUKE FRAZIER (1970- )Winter Wonderland

oil on board24 x 48 inches signed lower right: - l. frazier verso: titled, signed, dated


$10,000 – $15,000

183 DUSTIN VAN WECHEL (1974- )The Polar Express, 2014

oil on canvas board28 x 40 inches signed lower left: D Van Wechel

“I wanted The Polar Express to communicate in several ways, the most obvious of which was contrast in design using the bold shapes of the ice against the dark forms of the rocks — all leading the viewer to the painting’s subject: the polar bear. There is also a more subtle story being told here, one that I’ll leave to the viewer to puzzle out.” – Dustin Van Wechel

$7,000 – $9,000

– 137 –

184 JOHN DEMOTT (1954- )Teton Grandeur, 2014

oil on canvas 36 x 60 inches signed lower left: © DeMott 2014

“The Greater Yellowstone ecosystem is the only place in the lower 48 states where an endemic population of wild bison has survived since prehistoric times. Perhaps no other animal symbolizes the American West like the American bison. In prehistoric times millions of these quintessential creatures of the plains roamed the North America from northern Canada, south into Mexico and from Atlantic to the pacific. No one knows how many bison were in America before Columbus arrived but the guesstimate is about sixty million. They were the largest community of wild animals that the world has ever known. For a good part of the 1800s bison were considered to be in limitless supply.

After the Civil War the push to settle the west was on, new army posts were established, coinciding with the westward push of the railroads. The army and railroads contracted with local men to supply buffalo meat to feed the troops and construction laborers.

Bison were hunted nearly to extinction in the late 1800’s and were reduced to less than a thousand animals by the end of the century. Many western legends took part in the big buffalo hunt including Wyatt Earp, Bat Masterson, Pat Garrett, Wild Bill Hickok, and William F. Cody, just to name a few.” – John DeMott

$45,000 – $65,000

– 138 –

185 CARL RUNGIUS (1869-1959)The Challenge

oil on canvas30 1/4 x 46 1/2 inchessigned lower right: C. Rungius PROVENANCE:Private Collection, Columbia Falls, MT

$225,000 – $325,000

– 139 –

– 140 –

186 JIE WEI ZHOU (1962- )Jianzhi - Health and Prosperity

oil on canvas36 x 30 inches signed lower left: Jie Wei Zhou verso: signed and dated


$10,000 – $15,000

187 JIE WEI ZHOU (1962- )A Busy Time in the Kitchen

oil on canvas36 x 30 inches signed lower right: Jie Wei Zhou verso: titled and signed


$10,000 – $15,000

– 141 –

188 JIE WEI ZHOU (1962- )Race To The Finish Line, 2014

oil on canvas30 x 40 inches signed lower right: Jie Wei Zhou verso: signed

“In the rural countryside of China, the children played with wooden toys during their pastimes. Wooden scooters were especially popular amongst the young and brought much joy to these kids. Though simplistic, the children would use their imagination to turn this scooter into a unique race car and race each other to the finish line. So, which child from this painting do you predict will win?” – Jie Wei Zhou

$16,000 – $24,000

189 JIE WEI ZHOU (1962- )The Trusted Companion

oil on canvas30 x 24 inches signed lower right: Jie Wei Zhou

PROVENANCE:From an Arizona Collection

$7,000 – $10,000

190 HUIHAN LIU (1952- )Moonrise, Northern Tibet

oil on canvas14 x 11 inches signed lower right: Huihan 08

PROVENANCE:Private Collection, Naples, FL

$2,000 – $4,000

– 142 –

191 CLYDE ASPEVIG (1951- )Grand Canyon

oil on canvas18 x 24 inches signed lower left: C. ASPEVIG

PROVENANCE:Grand Central Art Galleries, New York, NY (label verso)Trailside Galleries, Jackson, WY (label verso)Private Collection, Overland Park, KS

$6,000 – $9,000

192 CLYDE ASPEVIG (1951- )Overlooking the Grand Canyon

oil on canvas40 x 32 inches signed lower right: C. ASPEVIG


$15,000 – $25,000

193 PINO D’ANGELICO (1939-2010)Wild Flowers

oil on canvas40 x 30 inches signed lower left: pino

PROVENANCE:Private Collection, Seattle, WA

LITERATURE: Catherine Arturi Parilla, Pino: Remembrance of Moments Past, Collectors Editions, Inc., Conoga Park, CA, 1998, illus. p. 114-115.

A signed copy of Remembrances of Moments Past will accompany this lot

$20,000 – $30,000

– 143 –

194 CURT WALTERS (1950- )Tsegi Canyon

oil on canvas30 x 50 inches signed lower right: CURT WALTERS verso: titled

PROVENANCE:Trailside Galleries, Scottsdale, AZPrivate Collection, Wilmington, DE

$20,000 – $40,000

196 ROBERT LOUGHEED (1910-1982)Quebec White on White

oil on board12 x 16 inches signed lower left: ROBERT LOUGHEED verso: titled and signed

PROVENANCE:Private Collection, Lake Placid, NY

$5,000 – $7,000

195 STEPHEN C. ELLIOT (1943- )Early Flight

oil on board14 x 18 inches signed lower right: S.C. Elliot verso: titled, signed, dated


$800 – $1,200

– 144 –

197 ALFREDO RODRIGUEZ (1954- )Live Wild and Free

oil on canvas30 x 40 inches signed lower right: A. Rodriguez © verso: titled, signed, dated

PROVENANCE:Heritage Gallery, Scottsdale, AZFrom a California Collection

$12,000 – $18,000

198 JOHN CLYMER (1907-1989)Piegan Chief

pencil and charcoal on paper14 x 10 1/2 inches (sight) signed lower right: John Clymer verso: personal inscription to recepient

PROVENANCE:Doris Clymer, gifted to Private Collection, Jackson WY

Per Doris Clymer the drawing is a study for a figure in the painting Trader at Pierre’s Hole Rendezvous; Walt Reed and Harold McCracken, John Clymer: An Artist’s Rendezvous with the Frontier West, Northland Press, 1976, illus. p. 54-55.

$4,000 – $6,000

199 ED KUCERA (1961- )Range Rover

oil on canvas40 x 30 inches signed lower right: DEKUCERA © 2002 verso: titled and signed

PROVENANCE:Private Collection, Sun City West, AZ

$6,000 – $9,000

– 145 –

200 ALFREDO RODRIGUEZ (1954- )Dividing the Claim, 2014

oil on linen40 1/4 x 30 inches signed lower right: A. Rodriguez © 2014 verso: titled, signed, dated

“This group of prospectors have all staked a claim on this section of land which lies on both sides of the creek. They want to settle the dispute amicably, but in case there is a lack of cooperation, guns are always at the ready.” – Alfredo Rodriguez

$18,000 – $24,000

– 146 –

201 CYRUS AFSARY (1940- )Young Dancer, 2014

oil on linen30 x 24 inches signed lower left: Cyrus Afsary

“The young man proudly wears and carries his ceremonial clothes as he makes his way to the site of the celebration. Today is a special day for the young dancer, he will be performing one of the tribal legends which are so carefully planned and his body will be moving in time to the drum beats that have echoed for centuries in this ritual dance.” – Cyrus Afsary

$18,000 – $22,000

202 DAVE POWELL (1954- )Sketchbook Page-Women’s Tools

ink and watercolor on paper12 1/2 x 10 1/2 inches (sight)verso: titled, signed


$1,500 – $2,500

203 DAVE POWELL (1954- )Sketchbook Page-Horse Gear

ink and watercolor on paper10 1/2 x 13 1/2 inches (sight)signed lower right: DAVE (star) POWELL CAverso: signed, titled


$1,500 – $2,500

– 147 –

204 DAN MIEDUCH (1947- )The Snap of a Twig, 2014

oil on canvas26 x 39 inchessigned lower left: DAN MIEDUCH 2014

“In the mythology of the peoples indigenous to North America, nature and all its elements were endowed with consciousness just as was man. And, the energies generated by the elements (the trees, the air, or the chatter of the birds) created ripples and eddies in the currents of a warriors life, very similar to film director George Lucas’ ‘The force’ in his Star Wars films.” – Dan Mieduch

$16,000 – $24,000

205 HARRY JACKSON (1924-2011)Chief Washakie - First Working Model

bronze 1935 1/2 x 29 1/2 x 15 inches front of the bronze on base: WASHAKIE FIRST WORKING MODEL FOR A MONUMENT HARRY JACKSON back of the bronze on base: © Harry Jackson 1978 (fingerprint & WFS Italia stamp) WA 19

PROVENANCE:Center For The Arts, Jackson, WY


$20,000 – $30,000

– 148 –

206 BRUCE CHEEVER (1958- )Morning Light, Missouri Breaks, 2014

oil on board24 x 38 inches signed lower right: –Bruce.Cheever ©

“Lewis and Clark, in their journey to the West, traveled through Blackfeet Indian territory on the upper Missouri. They described the cliffs along this stretch of river as: elegant ranges of lofty freestone buildings, having parapets well stocked with statuary, and scenes of visionary enchantment. This painting depicts those pillars of statuary, in the light of a calm early morning. Discussing the day ahead, a group of Blackfeet sit alongside their teepees adorned with the artwork of their own hands.” – Bruce Cheever

$9,000 – $12,000

207 CYRUS AFSARY (1940- )Eagle Feather, 2014

oil on linen20 x 16 inchessigned lower right: Cyrus Afsary

“He stands proudly and is deep in thought as he contemplates the feather he is holding in his hand, his life and his tribal customs. He has been presented with the feather of an eagle, a sacred bird, and this feather too will be placed with the others he has courageously earned throughout his life. The feather is a powerful symbol of leadership and strength, and it is the bird that is able to soar to great heights. The eagle has a very special meaning in the legends of his people.” – Cyrus Afsary

$10,000 – $15,000

– 149 –

208 DAN BODELSON (1949- )Storm Chasers, 2014

oil on canvas30 x 40 inches signed lower right: Bodelson © verso: titled, signed, dated

“The inspiration for this painting came from the deck at my house. We look across the Rio Grande Valley and during the summer the storms roll in. Watching them is humbling. I try to take pictures of the lightning, just for fun, but I always miss it. However, I can paint it happening. I am sure many Native Americans stopped and watched this magic. I am also sure ‘Did you see that one!’ has been spoken in many languages.” – Dan Bodelson

$15,000 – $20,000

209 BILL NEBEKER (1942- )I Will Listen No More

bronze 9/2520 1/2 x 11 1/2 x 5 inches back center on bronze base: 1997 © Bill Nebeker CA 9/25

PROVENANCE:Center For The Arts, Jackson, WY


$4,000 – $6,000

210 CRAIG TENNANT (1946- )Against the Current

oil on canvas20 x 30 inches signed lower left: Craig Tennant ©


$3,000 – $5,000

– 150 –

211 OLAF WIEGHORST (1899-1988)Bucking Bronco

oil on canvas board18 x 14 inches signed lower right: O Wieghorst

PROVENANCE:Private Collection, Jamestown, NY

$12,000 – $18,000

212 NELSON BOREN (1952- )North Judd Spur

watercolor on paper38 1/2 x 39 2/4 inches (sight)signed lower right: Nelson Boren (artist cipher) PROVENANCE:Private Collection, Arlington, VA

$5,000 – $7,000

213 NELSON BOREN (1952- )Untitled

watercolor on paper43 3/4 x 51 3/4 inches (sight) signed lower right: Nelson Boren

PROVENANCE:Private Collection, New York, NY

$6,000 – $9,000

– 151 –

214 HOWARD ROGERS (1932- )Get Along There

oil on canvas30 x 44 inches signed lower right: HRogers ©

PROVENANCE:From an Arizona Collection

$8,000 – $12,000

215 ROBERT SHUFELT (1935- )Beau’s Feather

pencil on paper15 1/4 x 11 1/4 inches (sight) signed and titled lower right: BEAU’S FEATHER... Shoofly (artist cipher) ©

PROVENANCE:Trailside Galleries, Jackson, WY (label verso)Private Collection, Phoenix, AZ

$1,000 – $2,000

216 HARLEY BROWN (1939- )Season

pastel on paper12 x 8 3/4 inches signed lower right: Harley Brown © 2002

PROVENANCE:Private Collection, El Prado, NM

$3,000 – $5,000

– 152 –

217 ROSS STEFAN (1934-1999)At Jerome Pueblo - Enter the Buffalo Dancers

oil on canvas36 x 28 inches signed lower left: Ross Stefan verso: titled, signed, dated


$3,000 – $5,000

218 SCOTT CHRISTENSEN (1962- )Autumn’s Peak

oil on board12 x 24 inches signed lower right: CHRISTENSEN © verso: titled and signed

PROVENANCE:Trailside Galleries, Jackson, WYPrivate Collection, Camp Hill, PA

$4,000 – $6,000

219 ROSS STEFAN (1934-1999)Shall We Journey Upon the Wind? Navajo

oil on canvas28 x 50 inches signed lower left: Ross Stefan verso: titled, signed, “From sketches made on my first visit to Navajo Country in 1955 (on the trail to Kaibito, Northern Arizona)”


$8,000 – $12,000

– 153 –

220 DONNA HOWELL-SICKLES (1949- )Corn Muse

oil and charcoal on canvas58 x 34 inches signed lower right: Donna Howell-Sickles © 95

PROVENANCE:Private Collection, El Dorado Hills, CA

$5,000 – $7,000

222 CONRAD SCHWIERING (1916-1986)Court House Towers

oil on board30 x 36 inches signed lower left: Schwiering (artist cipher) © verso: titled, signed, stamped, dated

PROVENANCE:Estate of Conrad SchwieringDr. Patricia L. Hutinger Trust

$7,000 – $10,000

221 SCOTT ROGERS (1961- )They Put The Wild in The West

bronze 21/30 22 x 17 1/2 x 10 inchesinscribed back right: DS ROGERS © ‘04verso: titled and numbered PROVENANCE:From a Wyoming Collection

$4,000 – $6,000

– 154 –

223 MICHAEL COLEMAN (1946- )In the Rockies

oil on board24 x 30 inches signed lower left: MICHAEL COLEMAN ©


$9,000 – $12,000

224 LUKE FRAZIER (1970- )Hookin a Trailer

oil on board30 x 24 inches signed upper left: l. frazierlower right: artist cipher verso: titled, signed, dated


$7,000 – $10,000

225 MICHAEL COLEMAN (1946- )Dog Valley Mule Deer

oil on board19 x 24 inches signed lower right: © Michael Coleman

PROVENANCE:Gerald Peters Gallery, Santa Fe, NM (label verso)Private Collection, Orlando, FL

$5,000 – $8,000

– 155 –

226 SARAH WOODS (1956- )Icon of the West, 2014

oil on canvas32 x 42 inches signed lower left: S. Woods

“Nestled between the ranges of the Rocky Mountains are fertile valleys, the perfect home for the American Bison. This scene is late spring, before the leaves appear on the willows, and the bulls are still gathered together. Seeing herds of buffalo, or the single magnificent bull, recalls in all of us the lore of the old west.” – Sarah Woods

$7,000 – $10,000

227 NICHOLAS COLEMAN (1978- )Young Bull, 2014

oil on linen40 x 50 inches signed lower right: Nicholas Coleman

“Fall in the Alaska Range is fantastic, the crisp air in the morning, the smell of smoke in the evening reminds us in that moment we are alive! Catching a glimpse of these lords of the mountains truly is a sight to behold.” – Nicholas Coleman

$15,000 – $20,000

228 TED LONG (1932-2007)The Smell of Smoke - Yellowstone Fire

oil on canvas24 x 30 inches signed mid lower right: Ted Long ©


$3,000 – $4,000

– 156 –

229 MELVIN WARREN (1920-1995)Trudging the Storm

oil on canvas15 1/4 x 19 inches signed lower left: Melvin C. Warren 1965


$7,000 – $10,000

230 GEORGE NORTHUP (1940- )Wyoming Centennial Medallion

bronze 6/25027 1/2 x 15 3/4 x 1/4 inches inscribed upper left: 6 Northup


$3,000 – $5,000

231 ROBERT PUMMILL (1936- )Headin Home

oil on board20 x 29 3/4 inches signed lower left: pummill © 70

PROVENANCE:Trailside Galleries, Jackson, WYFrom a Colorado Collection

$4,000 – $6,000

– 157 –

232 OLEG STAVROWSKY (1927- )Road to Jerome

oil on canvas36 x 54 inches Signed lower left: Oleg Stavrowsky verso: titled and signed


$10,000 – $20,000

233 BRUCE GREENE (1953- )A Cowboy’s Carnegie Hall

bronze 10/5019 1/2 x 13 1/2 x 15 1/2 inchesinscribed back right corner: Bruce R Greene 10/50 © PROVENANCE:From a Wyoming Collection

$4,000 – $6,000

234 JAMES REYNOLDS (1926-2010)Day’s End

oil on board23 1/2 x 33 1/2 inches signed lower right: James Reynolds

PROVENANCE:O’Brien’s Art Emporium, Scottsdale, AZ (label verso)Private Collection, Peoria, AZ

$8,000 – $12,000

– 158 –

235 GREG BEECHAM (1954- )Pride of Pagosa

oil on canvas14 x 20 inches signed lower right: G. Beecham © ‘85

PROVENANCE:Wolfe Publishing, Prescott, AZPrivate Collection, Cave Creek, AZ

$3,000 – $5,000

236 GREG BEECHAM (1954- )Buck’s Lair

oil on canvas14 x 20 inches signed lower left: G. Beecham © 85

PROVENANCE:Wolfe Publishing, Prescott, AZPrivate Collection, Cave Creek, AZ

$3,000 – $5,000

237 MIAN SITU (1953- )The Force of Nature

oil on canvas18 x 24 inches signed lower right: Mian Situ verso: titled and signed

PROVENANCE:Private Collection, Toquerville, UT

$4,000 – $6,000

– 159 –

238 MANFRED SCHATZ (1925-2004)Flying Ducks

oil on canvas24 x 31 1/2 inches signed lower right

PROVENANCE:Private Collection, Germany

$5,000 – $7,000

239 CARL BRENDERS (1937- )Red Squirrel

gouache and watercolor on paper17 x 13 1/2 inches (sight) signed lower center: 9-3-’83 C. Brenders Painted at Trailside Galleries Jackson Hole WY

PROVENANCE:Private Collection, Sedona, AZ

$3,000 – $5,000

240 GENE DODGE (1942- )High Country Champions

oil on board39 x 29 inches signed lower right: Gene Dodge © 81 verso: titled and signed


$4,000 – $6,000

– 162 –

INDEX

ACHEFF, WILLIAM

From the Plains and the Pueblos, 75

Ancestors, 85

Up North, 141

AFSARY, CYRUS

San Juan Capistrano, 127

Young Dancer, 201

Eagle Feather, 207

ANTON, BILL

Sierra Night, 31

Canyon Springs Wrangler, 34

ASPEVIG, CLYDE

Into the High Country, 44

Wind River Mountains, WY, 45

High Country Lakes, 76

Central Park, NY, 112

Grand Canyon, 191

Overlooking the Grand Canyon, 192

BANOVICH, JOHN

Buffalo Run, 177

BATEMAN, ROBERT

Great Blue Heron, 28

Woodland Drummer: Ruffed Grouse, 29

Dipper by the Waterfall, 124

Untitled (Chickens), 125

Flying High (Golden Eagle), 176

BEECHAM, GREG

Pride of Pagosa, 235

Buck’s Lair, 236

BEELER, JOE

Chief Goes to Washington, 42

Sundance Chief, 79

BERNINGHAUS, OSCAR E.

Irrigation Ditch, 156

BIERSTADT, ALBERT

Estes Park Colorado, 153

BLAKE, BUCKEYE

Roundup, 170

BODELSON, DAN

Storm Chasers, 208

BOREN, JAMES

January Morn, 37

BOREN, NELSON

North Judd Spur, 212

Untitled, 213

BRENDERS, CARL

Rough and Tumble, 98

Memories of Tchaikovsky, 120

Red Squirrel, 239

BROWN, HARLEY

Season, 216

BURGESS, STEVE

Chilling Out, 22

CARLSON, KEN

Wash of Autumn, 43

Cow Moose, 47

Bull Moose, 48

Inland Grizzly, 49

Band of Bighorn, 99

High Desert Winter, 178

CARY, WILLIAM DE LA MONTAGNE

Indian Scouts Overlooking River, 65

CHEEVER, BRUCE

Morning Light, Missouri Breaks, 206

CHRISTENSEN, SCOTT

Autumn Runoff, 18

Autumn’s Peak, 218

CLYMER, JOHN

Buffalo Chase, 74

Grizzly Country, 92

Piegan Chief, 198

COLEMAN, MICHAEL

Yellowstone Geyser, 11

Mountain Kingdom, 23

Moose in the Canadian Rockies, 174

In the Rockies, 223

Dog Valley Mule Deer, 225

COLEMAN, NICHOLAS

Young Bull, 227

CORTEZ, JENNESS

Native Voices, 77

Norman Rockwell - Freedom of Speech, 119

COTTON, BRENT

Looking Back, 50

D’ANGELICO, PINO

Wild Flowers, 193

DALLIN, CYRUS EDWIN

Medicine Man, 61

DARRO, TOM

Lady Apache, 137

DELANO, GERARD CURTIS

Dust of the Desert, 64

DEMOTT, JOHN

Autumn Splendor, 53

Teton Grandeur, 184

DODGE, GENE

High Country Champions, 240

DUNCAN, ROBERT

The Trackers, 40

DUNTON, W. HERBERT

Holdup in the Canyon, 71

EGGENHOFER, NICHOLAS

San Marcos Farry Office and Bar, 7

Untitled, 8

ELLIOT, STEPHEN C.

Early Flight, 195

FALTER, JOHN

Sundown, 121

FELLOWS, FRED

Wild Horses, 35

Match Race, 36

FRAZIER, LUKE

Mountain Melody, 17

Looking for a Fight, 95

Winter Wonderland, 182

Hookin a Trailer, 224

GILLEON, R. TOM

Prima Facie, 168

Big Brother Bear, 169

GLAZIER, NANCY

Montana Skies, 21

High Notes, 140

GOLLINGS, WILLIAM

Set of Six Portraits, 60

Untitled, 62

– 163 –

GREENE, BRUCE

A Cowboy’s Carnegie Hall, 233

GRELLE, MARTIN

Winter Trader, 39

Fires Burned Out, 86

HAGEGE, LOGAN MAXWELL

Go in Shadows, 166

HALLMARK, GEORGE

The Torn Sack, 135

HARVEY, G.

When Cowboys Dream, 57

Evening Walk, 114

Museum Carriage, Washington, 116

Memories of London, 117

HENDERSON, WILLIAM PENHALLOW

Portrait of Wife and Daughter, 130

HENNINGS, E. MARTIN

An Indian Song, 68

Autumn Colors, 150

HIGGINS, VICTOR

New Mexico Sky, 147

HILL, THOMAS

Untitled, 66

HOWELL-SICKLES, DONNA

Corn Muse, 220

HULINGS, CLARK

Friday Morning at Bonnieux, 128

HURLEY, WILSON

Upper Falls of Yellowstone, 129

JACKSON, HARRY

Sacajawea with Packhorse, 167

Chief Washakie - First Working Model, 205

JOHNSON, FRANK TENNEY

The Short Cut, 63

Surprise Meeting, 69

KOERNER, W.H.D.

Slicker Weather, 157

KUCERA, ED

Range Rover, 199

KUHN, BOB

Grizzly, 46

Rocky Mountain High-bighorn sheep, 88

Red Fox on Patrol, 89

Night Sounds-mule deer, 97

Black Maned Lion Resting, 100

Bengal Tiger, 102

Leopard, 103

Resting Cat, 104

North Country, 138

Fire Alarm, 139

KUHNERT, FRIEDRICH WILHELM

Brullender Lowe, 145

LAWES, BRUCE

Pickett’s Charge, When Boys Became Men, 118

LEFFEL, DAVID

Cantaloupe with Grapes and Liqueur, 126

LIANG, Z.S.

Riding Hard to Reclaim their Lands, 1868, 87

LILLYWHITE, RAPHAEL

On the Open Range, 160

Untitled (Lone Rider), 161

Untitled (Lone Tree), 162

Untitled (Sheep Mountain), 163

LIU, HUIHAN

Moonrise, Northern Tibet, 190

LONG, TED

The Smell of Smoke - Yellowstone Fire, 228

LOUGHEED, ROBERT

Packing in Truchas Country, 55

Quebec White on White, 196

MALM, MICHAEL

The Water Carrier, 122

MANN, DAVID

Call to the Little Big Horn, 81

Conjuring Buffalo, 82

Making Medicine, 84

MARRIS, BONNIE

Last Touch of Daylight, 180

MATTHEWS, WILLIAM

Untitled, 56

MCCARTHY, FRANK

Top Hand, 9

MCGARRY, PIP

Leopard Lookout, 142

MELTZOFF, STANLEY

Blue Marlin #21, 173

Autumn Hunter and Pointers, 175

MIEDUCH, DAN

Way of the Plains People, 78

The Snap of a Twig, 204

MILLER, ALFRED JACOB

Indian Shooting a Cougar, 152

MONROE, LANFORD

Canyon De Chelly #1, 51

Late in Season, 94

MOORE, ROBERT

High Country Lake, 123

MORAN, THOMAS

Devil’s Tower, 148

MOYERS, JOHN

El Caballo Negro, 19

Horses of the Revolution, 20

NEBEKER, BILL

I Will Listen No More, 209

NORTHUP, GEORGE

Wyoming Centennial Medallion, 230

NORTON, JIM

Weaning Time, 33

Bringing Out the Trophy, 80

Prayers to the Buffalo, 83

OBERG, RALPH

Moonlight Serenade, 179

PAXSON, E.S.

Blackfoot Encounter, 164

PETERS, ROBERT

October Rust, 30

PLUMMER II, LEANDER ALLEN

Bluefish Feeding on Mackerel, 172

POWELL, DAVE

Sketchbook Page-Women’s Tools, 202

Sketchbook Page-Horse Gear, 203

PRICE, CLARK KELLEY

The Provider, 41

PUMMILL, ROBERT

Headin Home, 231

– 164 –

REMINGTON, FREDERIC

The Mountain Man, 154

The Passion of Ah-We-Ah, 155

REYNOLDS, JAMES

Day’s End, 234

RILEY, KENNETH

The Scouts, 10

Crow Regalia, 38

RODRIGUEZ, ALFREDO

Live Wild and Free, 197

Dividing the Claim, 200

ROGERS, HOWARD

Get Along There, 214

ROGERS, SCOTT

They Put The Wild in The West, 221

RUNGIUS, CARL

Near Long Lake, 1

Lord of the Canyon, 2

The Stranger, 3

Alaskan Wilderness, 4

Cliff Dwellers, 5

Moose, 90

Alarmed (Big Horn Rocky Mountain Sheep), 146

The Challenge, 185

RUSSELL, CHARLES M.

Buffalo Hunt, 73

SANDER, SHERRY SALARI

A Mother Bear, 15

African Courtship, 101

SANDERS, JARED

Under the Cedars, 24

White House, 25

Center Creek Farm, 26

Backside, 27

SCHATZ, MANFRED

Flying Ducks, 238

SCHMID, RICHARD

Yellow Roses, 105

Ruth in the Studio, 106

Self-Portrait with Doll (Nancy), 108

Sandra at the Window, 109

Pastoral, 110

Madeline’s Kitchen, 111

Portrait of a Young Girl, 113

The Chair, 115

SCHOENHERR, JOHN

Polar Bear, 144

SCHWIERING, CONRAD

Snow Sculpture, 171

Court House Towers, 222

SCOTT, LINDSAY

Zebra Pair, 143

SELTZER, OLAF CARL

Indian with Shield, 58

Medicine Man, 59

King of the Forest, 151

Standing Cowboy, 159

SHARP, JOSEPH HENRY

Edge of the Bighorns, 67

Montana, 70

Untitled, 72

Crow Camp on the Little Bighorn,

Crow Agency Montana, 149

SHINABARGER, TIM

An Apple a Day, 96

SHUFELT, ROBERT

Beau’s Feather, 215

SIMS, KYLE

On the Up and Up, 12

The Element of Surprise, 52

SITU, MIAN

New Marketplace, Yunnan, China, 107

The Force of Nature, 247

SMITH, ADAM

Kingdom of the West, 181

SMITH, DAN

A Time to Feast, 16

SMITH, TUCKER

Perspective, 93

Cook Tent, 136

SNIDOW, GORDON

Autumn Paint, 54

SOLLIDAY, TIM

Horse Trading, 165

STAVROWSKY, OLEG

Road to Jerome, 232

STEFAN, ROSS

At Jerome Pueblo - Enter the Buffalo Dancers, 217

Shall We Journey Upon the Wind? Navajo, 219

STRAIN, JOHN PAUL

Grizzly Bears in Camp, 13

TENNANT, CRAIG

Against the Current, 210

TERPNING, HOWARD

Major North and the Pawnee Battalion, 91

THOMAS, RICHARD D.

Spring Run, 32

VAN WECHEL, DUSTIN

The Polar Express, 183

WALTERS, CURT

Tsegi Canyon, 194

WARREN, MELVIN

Trudging the Storm, 229

WEISTLING, MORGAN

Grand Pappy, 132

Bill, 133

Sarah’s Profile, 134

WIEGHORST, OLAF

Rider on Horse, 6

Cowboy on Pony, 158

Bucking Bronco, 211

WOOD, ROBERT W.

Cascade Canyon, 14

WOODS, SARAH

Icon of the West, 226

WYETH, JAMIE

Gull and Windsor, 131

ZHOU, JIE WEI

Jianzhi - Health and Prosperity, 186

A Busy Time in the Kitchen, 187

Race To The Finish Line, 188

The Trusted Companion, 189

TERM S AND CON DI TIO N S O F S A L E

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At Pearls by Shari, we specialize in the finest golden South Sea pearls the ocean has to offer. We invite you to visit our showroom or make an appointment for a private consultation. Come view our exclusive golden South Sea designs and experience the jewels of the sea.

The following Terms and Conditions of Sale constitute Jackson Hole Art Auction, LLC’s (“Jackson Hole Art Auction”) and its agents’ and consignors’ entire agreement with prospective bidders, bidders and purchasers relative to the property listed in this catalogue. These Terms and Conditions of Sale and all other contents of this catalog are subject to amendment during or before the sale. The property will be offered by the Jackson Hole Art Auction as agent for the consignors, unless the catalogue indicates otherwise.

1. Jackson Hole Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Jackson Hole Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein.

a. Except as set forth in paragraph 1(b) below, all property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Jackson Hole Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot.

b. The authenticity of the authorship attributed to the property as described in this catalogue is guaranteed to the limited extent as stated in this paragraph 1(b).

i. The authorship attributed to an item of property includes name of the artist and any reservations therewith stated, as, for example, “attributed to”, “in the school of”, or “appears to have been signed by.” The Jackson Hole Art Auction makes no warranties whatsoever, express or implied, with respect to any material in the catalogue other than the authorship attributed to the property.

ii. This guarantee is further limited as follows: The benefits of this guarantee are not assignable and shall be available only to the purchaser of record; this guarantee shall remain in force and be effective only if notice of rescission is given to the Jackson Hole Art Auction within three (3) years following the date of sale, provided the property is tendered to the Jackson Hole Art Auction in Jackson, Wyoming, in the same condition as the property was found at the time of sale; and that the rescission of a sale and the refund of the original purchase price paid (the successful bid price, plus the buyer’s premium and applicable tax) is exclusive and in lieu of any other remedy which might be otherwise available, and that the Jackson Hole Art Auction and its agents and consignors shall not be liable for any incidental or consequential damages incurred or claimed.

iii. In no event will the liability of the Jackson Hole Art Auction, or its agents or consignors, exceed the original purchase price actually paid.

2. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored.

3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 17% of the final bid price of each lot up to and including $500,000, 15% of the excess of the final bid price above $500,000, and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price for each lot up to and including $500,000, 18% of the excess of the final bid price above $500,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges.

4. The Jackson Hole Art Auction reserves the right to withdraw any property before or during the sale and shall have no liability whatsoever for such withdrawal.

5. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalogue.

6. The Jackson Hole Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or to reoffer and resell the article in dispute. If any dispute arises after the sale, the Jackson Hole Art Auction’s sale record shall be final and conclusive. The Jackson Hole Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Jackson Hole Art Auction is not responsible for any errors or omissions in connection therewith.

7. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the article offered, he or she may reject the same and withdraw the article from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.

8. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the terms and conditions set forth herein, and is immediately obligated to pay the full purchase price or such parts thereof as the Jackson Hole Art Auction may then require. All sales are final, and there shall be no exchanges or returns. Payment shall be made by cash, check, wire transfer, Visa, MasterCard, or American Express. (See, paragraph 3 above: “If paying by credit card . . .”) In addition to other remedies available to us by law, the Jackson Hole Art Auction reserves the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein.

TERMS AND CONDITIONS

Under $2,000 $100$2,000 - $5,000 $250$5,000 - $10,000 $500$10,000 - $20,000 $1000$20,000 - $50,000 $2,500$50,000 - $100,000 $5,000over $100,000 $10,000

a. All property must be removed by the purchaser at his or her expense not later than (10) business days following the sale, and if it is not so removed, (i) a handling charge of 1% of the total purchase price per month from the tenth day after the sale (until its removal) will be payable to us by the purchaser, with a minimum of 5% of the total purchase price due for any property not so removed within 60 days after the sale, and (ii) we may send the purchased property to a public warehouse for the account, at the risk and expense of the purchaser.

b. If any applicable conditions herein are not complied with by the purchaser, the purchaser will be in default, and in addition to any and all other remedies available to the Jackson Hole Art Auction and its agents and consignors by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, including all fees, charges, and expenses set forth herein, the Jackson Hole Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser, or (ii) resell the purchased property, whether at auction or by private sale, or (iii) effect any combination thereof. The purchaser will be liable for any deficiency, any and all costs, handling charges, late charges, expenses, and commissions of both sales, legal fees, and expenses, collection fees, and incidental damages. In addition, a defaulting purchaser will be deemed to have granted and assigned the property or money to the Jackson Hole Art Auction or its agents and consignors or any of their affiliated companies, and the Jackson Hole Art Auction may retain and apply such property or money as collateral security for the obligations due. The Jackson Hole Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the Wyoming Uniform Commercial Code. The purchaser of each lot agrees that each lot is unique and that the Jackson Hole Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such purchaser fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Jackson Hole Art Auction shall have collected good funds. The Jackson Hole Art Auction reserves the right to hold all purchases pending collection of the total purchase price.

9. All lots, unless otherwise indicated by the symbol ■ or letters wr, are subject to a reserve, which is the confidential minimum price acceptable to the consignor. In such instances, the Jackson Hole Art Auction may implement the reserve by bidding on behalf of the consignor. In instances where the Jackson Hole Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. The Jackson Hole Art Auction, or its agents or consignors, may also bid upon other property listed in this catalogue.

10. Jackson Hole Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Jackson Hole Art Auction.

11. Unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. It is the purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price.

12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Wyoming, without regard to Wyoming rules concerning conflicts of law.

13. Prospective bidders and purchasers agree that, in the event of any controversy or claim arising out of or relating to a sale of property, the party asserting such controversy or claim shall provide written notice thereof to the other party, and that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including any controversy or claim arising from or relating to the sale, or to these Terms and Conditions of Sale, including the terms of this paragraph, shall be resolved and settled by binding arbitration in Jackson Hole, Wyoming, or such other place upon which the parties may agree, in writing; such arbitration shall be pursuant to the commercial arbitration rules of the American Arbitration Association then in effect; the award, which shall include costs of arbitration and an award of reasonable attorneys’ fees to the prevailing party, shall be final, and the judgment on the award may be entered in any court having jurisdiction.

14. The Jackson Hole Art Auction may, in its discretion and at a purchaser’s request, package and ship items as directed by the purchaser. In such event, purchaser agrees to the following conditions:

a. All such packaging, handling and shipping is at the sole risk of the purchaser, and the Jackson Hole Art Auction shall have no liability for any loss or damage to such items; and

b. Purchaser shall pay all related expenses in advance. Allow four to six weeks for shipping.

15. Results are sent to buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders four weeks after the sale.



Tel 866 JH WY ART (866 549-9278) | Fax 307.732.1600



Jackson Hole Art Auction Catalog 2014

Documents

Transcript of Jackson Hole Art Auction Catalog 2014