Saturday • April 9, 2022 • Session II
Front Cover 349 Edgar Payne 1883-1947 Arizona Indians (detail) Oil on canvas 25 x 30 inches Signed lower right Estimate: $300,000 - 500,000
Opposite 351 William R. Leigh 1866-1955 The Narrowing Circle Oil on board 26 x 36 inches Signed lower right Estimate: $750,000 - 1,000,000
Back Cover 307 Howard Terpning b. 1927 The Shaman and His Magic Feathers Oil on canvas 48 x 65 inches Signed/CA dated 2006, lower left; Signed, titled verso Estimate: $750,000 - 1,250,000
11:00am Lots 198 - 446
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Saturday • April 9, 2022 • Session II
MICHAEL FROST
BRAD RICHARDSON
JACK A. MORRIS JR.
j.n. bartfield galleries PO Box #2400 New York, NY 10021 212.245.8890
the legacy galleries 7178 E. Main Street Scottsdale, AZ 85251 480.945.1113
morris fine arts 79 Baynard Cove Road Hilton Head Island, SC 29928 843.247.2217
225 Canyon Road Santa Fe, NM 87501 manitou galleries 123 W. Palace Avenue Santa Fe, NM 87501
Jason Brooks, Auctioneer Online bidding arrangements can be made through
www.scottsdaleartauction.com* *with no additional buyer’s premium
Download our Scottsdale Art Auctions app today!
Telephone Bidding Arrangements must be made no later than 5:00 pm on Thursday, April 7. Subject to availability. Absentee Bidding Arrangements must be made no later than 5:00 pm on Friday, April 8. Please call (480) 945-0225 or register online at www.scottsdaleartauction.com
Auction results will be available online Monday, April 18 on our website.
SCOTTSDALE ART AUCTION • 7176 MAIN STREET • SCOTTSDALE ARIZONA 85251 • 480 945-0225
www.scottsdaleartauction.com
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Saturday • April 9, 2022 • Session II
Auction preview open to the public Monday - Friday, 10am - 5pm beginning March 24, 2022. Friday, April 8 9:00am - 11:00am.............................................................................................Registration & Preview 11:00am............................................................................................................First Session: Lots 1-197 Saturday, April 9 9:00am - 11:00am.............................................................................................Registration & Preview 11:00am................................................................................................... Second Session: Lots 198-446
This event requires registration; pre-registration is available at www.scottsdaleartauction.com.
Hotels within walking distance: Marriott Suites Old Town Scottsdale 7325 E. 3rd Ave • Scottsdale (480) 945-1550
Canopy by Hilton Scottsdale Old Town 7142 E. First St • Scottsdale (480) 590-3864
SCOTTSDALE ART AUCTION • 7176 MAIN STREET • SCOTTSDALE ARIZONA 85251 • 480 945-0225
www.scottsdaleartauction.com S C O T T S D A L E A R T AU C T I O N
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Terms and Conditions
BUYER’S PREMIUM The purchase price payable by the Purchaser shall be the total of the final bid price PLUS A PREMIUM OF SEVENTEEN PERCENT (17%) on any individual lot in the amount up to and including $1,000,000; TWELVE PERCENT (12%) on any individual lot on the amount in excess of $1,000,000. This premium is in addition to any commissions or other charges payable by the consignor. Auction The art illustrated in this catalogue will be offered for sale on April 9, 2022 by Scottsdale Art Auction, LLC on premises at 7176 Main Street, Scottsdale, Arizona. Scottsdale Art Auction, LLC is not responsible for any postponements of the sale due to conditions out of their control. Telephone Bidding As a courtesy to clients who are unable to attend the sale, a telephone and order (absentee) bid service will be offered as staff and time allow. Scottsdale Art Auction, LLC shall not be responsible for any errors or omissions or failure to execute such bids. Contact Scottsdale Art Auction, LLC at (480) 945-0225 (or register online) early for arrangements as telephone lines will be allocated on a first come basis. Scottsdale Art Auction, LLC will arrange for telephone lines on lots with a minimum estimate of $5,000 and over. Absentee Bidding Confidential absentee bid orders for auction items may also be completed and will be executed by Scottsdale Art Auction, LLC on behalf of the Bidder during the auction. Scottsdale Art Auction, LLC shall not be responsible for any errors or omissions or failure to execute such intent to purchase orders or auction bids. This catalogue, as may be amended by posted notice or oral salesroom announcement, represents Scottsdale Art Auction, LLC’s entire agreement with any and all purchasers of the Property listed herein. The following are Procedures, Terms and Conditions on which all such Property listed is offered for sale by Scottsdale Art Auction, LLC as agent for various owners or other Consignors: 1. Scottsdale Art Auction, LLC reserves the right to withdraw Property at any time before or at the sale and shall have no liability for such withdrawal. 2. All Property will be sold “AS IS”. With respect to each lot of Property, Scottsdale Art Auction, LLC does not make any guarantees, warranties or representations, expressed or implied, as to merchantability or fitness for a particular purpose, the correctness of the catalogue or the authenticity or description of the Property, its physical condition, size, quality, rarity, importance, medium, provenance, exhibitions, literature or historical relevance. No statement, anywhere, whether oral or written, whether made in the 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. In no event shall Scottsdale Art Auction, LLC be responsible for genuineness, authorship, attribution, provenance, period, culture, source, origin or condition of the purchased Property and no verbal statements made regarding the Property either before or after the sale of the Property, or in any bill of sale, invoice or catalogue or advertisement or elsewhere shall be deemed such a guarantee of genuineness, or authenticity. Notwithstanding the foregoing, if within ten (10) calendar days after the purchase of any lot of Property, the Purchaser provides an opinion by a recognized authority on the artist and gives notice in writing to Scottsdale Art Auction, LLC that the lot is not authentic, and returns the purchased lot to Scottsdale Art Auction, LLC, within ten (10) days of its purchase in the same condition as when sold, then Scottsdale Art Auction, LLC will refund the full purchase price to the Purchaser. It shall be in the sole discretion of Scottsdale Art Auction, LLC as to whether the opinion provided by the Purchaser is an opinion by a recognized authority on the artist. 3. Scottsdale Art Auction, LLC and/or Auctioneer reserves the right to reject any bids. The highest bidder acknowledged by the Auctioneer shall be the Purchaser. In the event of any dispute between bidders, the Auctioneer will have absolute and final discretion to either determine the successful bidder or to re-offer and resell the Property item in dispute. After the sale, Scottsdale Art Auction, LLC’s record of final sale shall be conclusive.
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4. At the fall of the Auctioneer’s hammer, the Purchaser shall (a) be acknowledged by bidder number by the auctioneer, (b) pay the hammer price and a buyer’s premium as outlined above. In addition, Purchaser may be required to sign a confirmation of purchase. All sales are final with no exchanges or returns. 5. Unless exempted by law, the Purchaser will be required to pay any and all state and local tax pertaining to sales (sales tax, transaction privileged, etc...). It is the Purchaser's responsibility to pay any applicable use tax imposed by their state of residence on the total purchase price. In the event that sales tax has not been included in the invoiced amount and it is subsequently determined that Scottsdale Art Auction, LLC was required to collect sales tax in connection herewith, Purchaser shall reimburse Scottsdale Art Auction, LLC upon demand for any sales tax (or equivalent) accessed or due as a result of goods or services proveded by Scottsdale Art Auction, LLC hereunder, unless Purchaser provides Scottsdale Art Auction, LLC evidence of exemption from such taxes. 6. Terms for all purchases will be cash, bank wire, check or credit card (VISA/MasterCard/American Express) with settlement and payment due in full the day of the sale unless otherwise arranged. All monies shall be made payable to Scottsdale Art Auction, LLC. At the discretion of Scottsdale Art Auction, LLC, payment will not be deemed to have been made in full until funds represented by checks have been collected or the authenticity of bank or cashier’s checks has been confirmed. An additional 3% will be charged on all credit card payments. 7. No item of Property may be paid for or removed from Scottsdale Art Auction, LLC during the sale. After the sale has been completed and after the purchase price has been paid in full, Property must be removed from the saleroom at the Purchaser’s expense not later than three business days following the sale. Scottsdale Art Auction, LLC will, as a service to Purchasers, arrange to have Property packed, insured and shipped, all charges at the expense and entire risk of Purchaser. 8. Some items of Property may be offered subject to a “reserve” or confidential minimum price below which the item will not be sold. In such instances, Scottsdale Art Auction, LLC may implement the reserve by bidding through the Auctioneer on behalf of the Consignor. In no event shall the reserve exceed the low estimate in the catalogue. 9. Neither Scottsdale Art Auction, LLC, nor Auctioneer, nor Consignor make any representations whatsoever that the Purchaser of a work of art will acquire any reproduction rights thereto. 10. These Conditions of Sale and any other applicable conditions, as well as the Purchaser’s and Scottsdale Art Auction, LLC’s rights and obligations herein shall be governed by, construed and enforced in accordance with the laws of the State of Arizona. If these conditions are not complied with by the Purchaser, Scottsdale Art Auction, LLC may, in addition to other remedies available by law, including, without limitation, the right to hold the Purchaser liable for the total purchase price stated on the Confirmation of Purchase Invoice, either (a) cancel the sale and retain as liquidated damages any and all payments made by the Purchaser or (b) resell the Property privately or at public auction on three days’ notice to the Purchaser for the payment of any deficiency in the purchase price and all costs including handling charges, warehousing, the expense of both sales, the commissions, reasonable attorneys’ fees, any and all other charges due and incidental damages. 11. Biding on any item indicates your acceptance of these terms and all other terms announced at the time of sale whether bidding in person, by phone, by Internet, by absentee bid, or through a representative. 12. In most instances, sculpture measurements do not include base. In measurements for two dimensional art, height precedes width and does not include frame. 13. Bidding increments will normally follow the pattern below but may vary at the sole discretion of the Auctioneer. Estimate Increment Under 2,000............................. 100 2,000–5,000 ............................. 250 5,000–10,000............................ 500 10,000–20,000....................... 1,000
Estimate Increment 20,000–50,000 ...................... 2,500 50,000–100,000..................... 5,000 over 100,000 ....................... 10,000
11:00am Lots 198 - 446
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198 Edward S. Curtis 1868-1952 Luqaiot - Kittitas Photogravure, plate 247 Sight size 19 x 15 inches Estimate: $1,000 - 2,000
199 Edward S. Curtis 1868-1952 Hopi Maiden Photogravure, plate 412 Sight size 19 x 15 inches Estimate: $1,000 - 2,000
200 Edward S. Curtis 1868-1952 John Abbot - Osage Photogravure, plate 680 16 ½ x 12 inches Estimate: $1,000 - 2,000
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Largely considered to be one of the most important photographers of the 20th century, Edward S. Curtis was also at one point the most famous and followed photographer in America, with his adventures around the country making news in New York City and other major cities. With the backing and support of J.P. Morgan and Theodore Roosevelt, Curtis would undertake one of the largest publication projects ever attempted when he set out to document Indigenous people around the country for The North American Indian, a sprawling 20-book, 20-portfolio project that would take 30 years to complete. By the end of the series, with the Great Depression in full swing, Curtis fell into obscurity and destitution. Decades after his death, though, his work would re-emerge as a vital window into the past.
201 Oscar Jacobson 1882-1966 In the Grand Atlas Oil on canvas 29 x 36 inches Signed lower left and dated 1928; Signed and titled verso Estimate: $4,000 - 6,000
Although his images of riders on horseback are classic subjects and included in many of his masterpieces, Carl Oscar Borg spent a great deal of time painting landscapes all around the world. Special attention was paid to California, where Borg lived for large periods of his life—and where he worked with influential people such as Phoebe Hearst and filmmakers Douglas Fairbanks, Samuel Goldwyn and Cecil B. DeMille— and also to Arizona, of which there was a deep fondness. “We are in Arizona! The desert! My Desert!” he wrote in a 1937 letter partially published in Helen Laird’s book Carl Oscar Bork and the Magic Region. “The land with the red earth, the sunburnt vastness with its blue mountains…This is a big lonely country…Here one is much nearer the creator of all… There is something ethereal about it—sometimes it is blue, sometimes red, yellow or pure gold. But there is also the most impenetrable darkness; it is more black and it seems to be as endless as the night sky…Here one is near the heart of nature, undefiled and pure as it was from the beginning of time.”
202 Carl Oscar Borg 1879-1947 Grand Canyon Vista Oil on board 16 x 20 inches Signed lower right Estimate: $6,000 - 9,000
203 Joseph H. Sharp 1859-1953 Hawaiian Coastline Watercolor 12 ¾ x 9 inches Signed lower right Estimate: $4,000 - 6,000
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204 Burt Procter 1901 - 1980 Yarn Making Oil on canvas 20 x 16 inches Signed lower left; Titled verso Estimate: $2,000 - 3,000
Provenance: John Moran Auctioneers, Monrovia, California, 2019 Born amid fishing boats and lobstermen, not cowboys and cattle, Burt Proctor was enamored with tales from the Wild West, stories illustrated by Frederic Remington, N.C. Wyeth and Frank Schoonover. After the family moved to Chicago, Proctor began studying art at the Chicago Institute of Art. He was only 7 years old. Later trips to Wyoming and the Grand Canyon, and studying under Harvey Dunn in New York, helped the young artist prepare for his art career. As his own style developed, he was known for his loose brushwork, raw use of color and areas of thick impasto that gave his work an almost sculptural feel.
205 William R. Leigh 1866-1955 Indian on Horseback Looking Out Pencil 12 x 15 ½ inches Signed lower left Estimate: $4,000 - 6,000
206 Edward Borein 1872-1945 Walpi Etching 8 x 13 ¾ inches Signed lower right, outside of etching Estimate: $1,200 - 1,800
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207 Mathias Alten 1871-1938 Woman of Taos Oil on canvas 24 x 20 inches Signed lower right, “Taos” Estimate: $4,000 - 6,000
208 Ila McAfee 1897-1995 Interior Portrait Oil on board 9 ¼ x 7 ¼ inches Signed upper right Estimate: $2,000 - 3,000 Raised on a ranch in southwestern Colorado, Ila McAfee was surrounded by elements of the West for much of her early life. After taking an interest in art as a young child, McAfee would go on to study in Los Angeles and later at the Art Institute of Chicago, learning from both sculptor Lorado Taft and muralist James McBurney. She would work as a WPA artist and later travel through Taos, New Mexico, where she experienced the beauty of the land and the people. She would document Taos in paint for nearly 65 years.
209 Gerald Cassidy 1869-1934 Indian Selling Baskets “Santiago Naranjo” Watercolor and gauche 12 ½ x 6 inches Signed left middle Estimate: $2,500 - 4,500 Provenance: O’Meara Gallery, New Mexico Blackschleger Galleries, Ohio Michaan’s Auctions, California, 2019 Turner Auction & Appraisals, California, 2019 Born in Kentucky and raised across the river in Ohio, Gerald Cassidy studied early on with Frank Duveneck and was on track to be a firmly established figure painter in the Midwest region before fate intervened. After being diagnosed with tuberculosis, Cassidy did what many others with the ailment did—he moved to the Southwest. It was there he discovered the diversity of people in and around Santa Fe, from cowboys and ranchers to Native Americans and the Pueblo People. Like Indian Selling Baskets “Santiago Naranjo,” many of his most famous works feature standing figures that allow the viewer to not only behold the model’s solemn expression and natural pose, but also their clothing and various accoutrement.
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210 Frederic Remington 1861-1909 An Arizona Cowboy Lithograph Sight size 19 x 14 ¼ inches Signed lower right in plate
211 Frederic Remington 1861-1909 A Trapper Lithograph Sight size 19 x 14 ¼ inches Signed lower right in plate
212 Frederic Remington 1861-1909 A Cavalry Officer Lithograph Sight size 19 x 14 ½ inches Signed lower right in plate
Estimate: $3,000 - 5,000
Estimate: $3,000 - 5,000
Estimate: $3,000 - 5,000
213 Frederic Remington 1861-1909 An Army Packer Lithograph Sight size 19 x 14 ¼ inches Signed lower right in plate
214 Frederic Remington 1861-1909 A Cheyenne Buck Lithograph Sight size 19 x 14 ½ inches Signed lower right in plate
Estimate: $3,000 - 5,000
Estimate: $3,000 - 5,000
Literature: A Bunch of Buckskins, Frederic Remington, R.H. Russell, New York, New York, 1901: lithograph. Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors and Drawings – Volume II, Peter Hassrick and Melissa J. Webster, Buffalo Bill Historical Center, Cody, Wyoming, 1996. Remington: The Complete Prints, Peggy and Harold Samuels, Crown Publishers, New York, New York, 1990.
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215 Frederic Remington 1861-1909 Collection of 15 Remington prints published by the Werner Company, 1898 Lithograph 14 - 16 x 23 inches, 1 - 14 x 10 inches Estimate: $10,000 - 15,000
Literature: Personal Recollections and Observations of General Nelson A. Miles, Nelson A. Miles, The Werner Company, Chicago, 1896: illustrations. Frontier Sketches, Frederic Remington, The Werner Company, Chicago, 1898: illustrated. Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors and Drawings — Volume II, Peter Hassrick and Melissa J. Webster, Buffalo Bill Historical Center, Cody, Wyoming, 1996: pp. 576-579. Remington: The Complete Prints, Peggy and Harold Samuels, Crown Publishers, New York, New York, 1990: pp. 39-47. In 1896, Frederic Remington illustrated 15 images for the book Personal Recollections and Observations of General Nelson A. Miles. The book’s subject and author had served in the Civil War, American Indian Wars and the Spanish-American War. His role in the American Indian Wars was especially significant; he replaced General George Crook in the fight against Geronimo. This set of prints, printed two years after the release of the book, is exceptional because it includes all 14 original images, as well as a photographic image of the elusive 15th print, Lawton’s Pursuit of Geronimo, which was not included in the book because, according to Remington: The Complete Prints, “it did not glorify Miles.” Very few sets of these prints have been located.
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216 Tom Lovell 1909-1997 The Hunter and His Uncle (Study) Oil on board 11 ¼ x 8 a inches Signed lower right and dated ‘96; Titled verso Estimate: $10,000 - 15,000
217 Tom Lovell 1909-1997 Watering Horses (Study) Pastel 8 x 16 inches Signed lower left Estimate: $8,000 - 12,000 218 Olaf Wieghorst 1899-1988 Navajo Shepherd Oil on board 12 x 9 inches Signed lower left; Signed and titled verso Estimate: $6,000 - 9,000 Provenance: Heritage Auctions, Dallas, Texas, 2013 Altermann Galleries, Santa Fe, New Mexico, 2014 Olaf Wieghorst maintained a great deal of respect for Native Americans, especially the Navajo people, who he painted as often as he could. During a cross-country trip to Arizona in 1945 after the end of World War II, he and his family made frequent stops to meet new people. “…The Wieghorsts wended slowly westward, visiting Indian reservations and historical sites along the way,” William Reed writes in Olaf Wieghorst. “Olaf sketched constantly, collecting material and ideas for his paintings. It was on this trip that he picked up the first few artifacts of his now-extensive collection of OldWest memorabilia. These artifactual bits of history—Indian, cowboy, cavalry saddles, weaponry, harness equipment and ceremonial trappings of every conceivable type and variety—comprise the tools of Olaf’s trade just as surely as does his talent as an artist.”
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219 Edgar S. Paxson 1852-1919 Kit Carson Watercolor 19 x 13 inches Signed lower right Estimate: $9,000 - 12,000 Provenance: Dr. H. B. Farnsworth, Missoula, Montana, ca. 1914 Coeur d’Alene Art Auction, Reno, Nevada, 2012 Kit Carson influenced a number of Western artists, but few actually met the famous frontiersman. Edgar S. Paxson was one of the lucky few who had a brief encounter with Carson in Buffalo, New York, just a few months prior to the Western figure’s death in 1868. Paxson was just 16 years old at the time, but the meeting would inspire him throughout his career. This piece, showing Carson at the height of his powers in the West, was painted in 1914 and it would be one of several Carson paintings Paxson would create.
220 Olaf C. Seltzer 1877-1957 The Peace Pipe Mixed Media 19 x 13 inches Signed lower right Estimate: $12,000 - 18,000
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221 Robert Lougheed 1910-1982 Mid-Day Break Oil on board 12 x 24 inches Signed lower right, Taos, New Mexico; Signed verso Estimate: $8,000 - 12,000
222 Robert Lougheed 1910-1982 Packing out of San Ildefonso Oil on board 12 x 16 inches Signed lower right; Signed, titled and dated 1970 New Mexico verso Estimate: $3,500 - 5,000
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223 W.H.D. Koerner 1878-1938 The Trusty Knaves Oil on canvas 28 x 40 inches Signed lower left and dated 1931 Estimate: $25,000 - 45,000
Literature: The Saturday Evening Post, “The Trusty Knaves,” Eugene Manlove Rhodes, April18-May 2, 1931: illustration. Provenance: Presented to Robert T. Bowman, President State Chamber of Commerce by the board of directors and the staff, April 22, 1941 Kennedy Galleries, New York, New York Golden Age illustrator W.H.D. Koerner worked with dozens of writers and authors throughout his career, but would return again and again to the writing of Eugene Manlove Rhodes, who had stories with colorful titles such as Stepsons of Light, Maid Most Dear, The Come On and Pasó por Aquí. All of them would contain Koerner illustrations, as well as The Trusty Knaves, which originally appeared in three issues of The Saturday Evening Post in the spring of 1931. The story would feature seven illustrations by Koerner, including this 40-inchwide piece showing two riders on a moonlit night. Other pieces from The Trusty Knaves are in major collections, including a cattle drive painting that is in the Anschutz Collection in Denver. In The World, The Work & The West of W.H.D. Koerner, author W.H. Hutchinson notes that before arthritis slowed down Koerner’s career, he could churn out paintings at an amazing speed. The artist received the gallery proofs from Rhodes’ first installment of The Trusty Knaves on February 22. He would deliver the first three paintings on March 10. Three paintings in 16 days. Koerner would receive $2,800 for his seven works for the story.
224 Bill Owen 1942-2013 Cutting Out the Bull Oil on canvas 20 x 30 inches Signed/CA lower right and dated 2004 Estimate: $18,000 - 28,000 One of the great realists of the Cowboy Artists of America, Bill Owen epitomized the Western experience from his upbringing onward. The son of a cowboy father and an artist mother, the Arizona-born painter would combine the two careers of his parents when he became a Western artist. By 1973, he would be voted into the CA, a group he would have tremendous influence over as he painted real working cowboys across his 50-year career. In addition to painting, Owen was also a sculptor, which he was forced to give up after a 1989 rodeo accident left him blinded in his right eye. With his depth perception gone, the artist made a permanent switch to oil paintings, and still had tremendous success all around the Western art world.
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225 Joe Beeler 1931-2006 Starting the Day Oil on board 22 x 36 inches Signed/CA lower right Estimate: $10,000 - 15,000
226 Joe Beeler 1931-2006 Gathering the Rough Country Oil on canvas 26 x 36 inches Signed/CA lower right Estimate: $15,000 - 20,000 Literature: Joe Beeler: Life of a Cowboy Artist, Don Hedgpeth, Diamond Tail Press, Vail, CO, 2004: p. 171. Four artists started the Cowboy Artists of America in 1965, but it was one artist in particular who was credited with keeping the group’s goals focused and their path clear. He was also the longest serving founding member. That artist was Joe Beeler, who not only was a real working cowboy, but also the group’s closest link—by way of Beeler’s friendship with painter Joe De Yong—to Charles M. Russell. Like Russell, Beeler did a number of terrific paintings and bronzes with Native American subjects, but it’s images like Gathering the Rough Country that show his true love for the American cowboy, horses and cattle. That love came from experience. In Don Hedgpeth’s book Joe Beeler: Life of a Cowboy Artist, Beeler friend Ed Wright lays out the artist’s background: “The first time Joe told me what he did for a living I told him he was going to starve to death and couldn’t he do anything else? Western art was something new to me altogether, and he’s not my friend because he’s an artist. He’s a good hand at ranch work, dragging calves to the fire, cutting, dehorning and always takes care of his horses. I’d always figured that artists were sissies, but around a roping arena, or on a ranch, or in a hunting camp, Joe don’t act no different from anybody else. If we were to go roping and miss our steer, or if we’re hunting and don’t get a shot, Joe is still just as happy as he was when we left home. He’s always watching and looking at everything, and enjoys being outside. He’s never made a big deal about his art to me or any of his close cowboy friends.”
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227 Chad Poppleton b. 1976 Where the Wolves Howl Oil on board 28 x 48 inches Signed/CA lower right; Signed/CA and titled verso Estimate: $18,000 - 22,000
228 Jim Norton b. 1953 The Captive Oil on canvas 18 x 24 inches Signed/CA lower left; Signed and titled verso Estimate: $8,000 - 12,000
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229 Tom Browning b. 1949 Bringin’ em Down Oil on board 22 x 48 inches Signed/CA lower right; Signed and titled verso Estimate: $18,000 - 24,000
230 Richard Thomas 1939-2019 Relocating the Herd Oil on canvas 20 x 30 inches Signed lower right and dated 91; Signed, titled and dated 1991 verso Estimate: $6,000 - 9,000
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231 Olaf Wieghorst 1899-1988 Riders Oil on canvas 24 x 30 inches Signed lower left Estimate: $30,000 - 50,000
Provenance: Scottsdale Art Auction, Scottsdale, Arizona, 2007 Santa Fe Art Auction, Santa Fe, New Mexico, 2010 Few artists can hold a candle to the adventures of Olaf Wieghorst, whose list of accomplishments reads like an impossible collection of odd jobs, any one of which would plenty fill a normal life: acrobat, sailor, cavalryman, cowboy, New York City mounted police officer, artist and part-time actor. The painter, who started life in Denmark and died in California, lived a big life. And Riders is one of his big works, showing five horses and riders perched on the top of a desert ridge. Wieghorst paints them from below looking up at the riders as they’re framed against a large clear sky. The effect seems to shrink them against the ridgeline, but their resolute poses and firm commitment to their task gives them an unflappable quality—these cowboys won’t back down easy.
232 Olaf Wieghorst 1899-1988 The Wrangler Oil on board 18 x 16 inches Signed lower left; Signed, titled and dated 79 verso Estimate: $10,000 - 15,000 Provenance: The Legacy Gallery In addition to his authentic cowboy paintings and scenes with Native Americans, Olaf Wieghorst was respected for his nocturnes, which showed an even quieter side to the artist. In The Wrangler, the scene takes a contemplative approach showing a rider trying to relax on his saddle as he watches unseen cows below him in the valley. The propped-up foot is something Wieghorst must have enjoyed to paint—it appears in several other works and is likely the product of someone who has slept on plenty of horses throughout their long career.
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233 Jim Reynolds 1926-2010 Getting Ready Oil on canvas 18 x 24 inches Signed lower left Estimate: $14,000 - 18,000
With his short, controlled brushstrokes, masterful use of color and light, and his adherence to an authentic cowboy way of life, James Reynolds was one of the most important Western painters since Frank Tenney Johnson. Getting Ready, with its intense orange light and the nuanced postures of the figures, shows his power as an artist.
234 Bill Owen 1942-2013 Takin’ Up the Slack Oil on canvas mounted to board 26 x 26 inches Signed/CA lower right and dated 2012; Signed, titled and dated verso Estimate: $15,000 - 20,000
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235 Andy Thomas b. 1957 The Withdrawal Oil on canvas 30 x 40 inches Signed lower right; Signed, titled and dated April 2014 verso Estimate: $35,000 - 50,000
236 Clark Kelly Price b. 1945 The Shoshone’s - Makers of the Coveted Horn Bow Oil on canvas 24 x 36 inches Signed/CA and dated 15 lower right Estimate: $6,000 - 9,000
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237 Bill Anton b. 1957 Turning for Home Oil on board 30 x 40 inches Signed lower right; Signed and titled verso Estimate: $16,000 - 26,000
238 Jason Rich b. 1970 Wyoming Sunrise Oil on board 30 x 40 inches Signed/CA lower right; Signed/CA titled and dated 2013 verso Estimate: $10,000 - 15,000
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239 Jeremy Lipking b. 1975 Vermilion Cliffs Oil on board 30 x 40 inches Signed lower left Estimate: $40,000 - 60,000
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240 Herman Hansen 1854-1924 Renegade Apaches Watercolor 24 x 36 inches Signed lower left Estimate: $25,000 - 35,000 Provenance: Walter Bimson Collection
Literature: The West and Walter Bimson: Paintings, Watercolor, Drawings and Sculpture, University of Arizona Museum of Art, Tucson, AZ, 1971: p. 88. For Herman Hansen, the paintings often came down to the horses. Where many artists would put the emotion in the figures, Hansen was not afraid to transfer the agony and ecstasy of Western drama into his equine subjects. Necks twisting, bulging eyes, limbs bent in desperate positions—he could telegraph the terror and violence of the West just through his animal subjects. Apache Renegades is certainly an example of this aspect of his work, as the two main horses hurdle over dry desert vegetation. Whether he was painting these dramatic scenes with a single horse, or even with teams of horses hauling a besieged stagecoach up dusty roads, Hansen was a master of the horse. Hansen was born in Denmark (present-day Germany) in 1854. His father was a draftsman and quickly recognized his son’s talents, after which he sent him first to Germany and later London to study. In 1877 he moved to the United States and quickly found work as a commercial artist while he studied in New York City, and then later Chicago. His eventual journey west was facilitated by the Northwestern Railway, which hired Hansen as a commissioned artist. He bounced around the West a bit, but eventually made it to San Francisco, where he would meet artists Maynard Dixon and William Keith. After the Great San Francisco Earthquake of 1906 wiped out his studio and nearly killed him, Hansen moved to Alameda, California, where he would live for the rest of his life. Hansen’s focus on art also had an interesting side effect: his son, noteworthy marine painter Armin Hansen, would follow his footsteps.
241 Herman Hansen 1854-1924 Pack Train Watercolor 36 x 24 inches Signed lower right Estimate: $15,000 - 25,000
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242 G. Harvey 1933-2017 Moving the Herd Oil on canvas 24 x 36 inches Signed lower right Estimate: $65,000 - 85,000
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243 Bob Kuhn 1920-2007 Polar Bear and Cub Acrylic on board 20 x 30 inches Signed lower right Estimate: $70,000 - 90,000 Provenance: Judson C. and Nancy Sue Ball Collection Heritage Auction, Dallas, Texas, 2015 Bob Kuhn famously did things a little different than many wildlife artists. Not only did he work almost exclusively in acrylics within an oil-driven art world, but the wildlife artist was also not afraid to turn to zoos and nature documentaries for inspiration. For Kuhn, his methods were less interesting than the final painting—his goal was to capture the pose and posture of an animal, their unique gestures, but also the essence of the animals and what they represent to viewers. His elk are graceful and majestic; his bears, powerful but also playful; his mountain lions, ferocious and agile. And in every work, the compositions are dynamic and often kinetic, with movement coming from multiple sources. With Kuhn’s polar bears, which he painted somewhat regularly, he captures his subjects’ magnificent size and color. “As white as they are, when you see one across an expanse of snow, in the flat light one usually finds them in, they stand out as olive-grey objects against the cold white of the Arctic landscape,” Kuhn writes in Wild Harvest: The Animal Art of Bob Kuhn. “Their conformation varies a good bit from other bears, all very logical adaptations to a unique lifestyle—one spent on land, water and ice.”
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244 Tim Shinabarger b. 1966 Into the Wind Bronze, cast 30/35 20 inches high Signed and dated 06 Estimate: $6,000 - 9,000
245 Bob Kuhn 1920-2007 Mulies in Spruce Thicket Acrylic on board 12 x 12 inches Signed lower right; Titled verso Estimate: $20,000 - 30,000
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246 Bob Kuhn 1920-2007 Belly Rub Acrylic on board 16 x 28 inches Signed lower right; Signed and dated 1999 verso Estimate: $100,000 - 175,000
Of all the animals Bob Kuhn painted, he had a special and endearing love for bears. This affection for the animal can be seen in his playful paintings of black bears, brown bears, grizzlies and polar bears, all of which are painted with varying degrees of mischievousness and humor. Here, in Belly Rub, Kuhn uses a difficult itch to create a pleasing composition with his bear subject leaning into a magnificently shaped tree limb that has washed ashore. The Arizona artist would paint many bears in his career, and would frequently paint them in playful scenes, but Kuhn was well aware of the nature of the animals and the dangerous turn they could take. He respected that power. “Although he can, indeed, be comical, inquisitive and bumbling,” he wrote in Wild Harvest: The Animal Art of Bob Kuhn, “he can also evolve into the murderous Pagliacci of operatic fame.”
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247 Bob Kuhn 1920-2007 Bear Drawing Cante Crayon 9 ½ x 12 ½ inches Signed lower left Estimate: $3,000 - 5,000
248 Tim Shinabarger b. 1966 Sik Sik Shell Game Bronze, cast 11/30 24 inches high Signed and titled Estimate: $13,000 - 17,000 S C O T T S D A L E A R T AU C T I O N
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249 Ken Carlson b. 1937 Owners of the Crags Oil on board 22 x 15 ¾ inches Signed lower right Estimate: $10,000 - 15,000 Literature: Patrons without Peer, the McCloy Collection, Tom Davis, Collectors Convey, 2009: p. 91
250 Tucker Smith b. 1940 Deep Timber Oil on canvas 16 x 20 inches Signed lower right and dated 09 Estimate: $25,000 - 30,000
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251 Robert Bateman b. 1930 Bugling Elk at Mammoth Graphite Pencil on Canvas 30 x 48 inches Signed lower right and dated 2007; Signed and dated 2007 verso Estimate: $12,000 - 18,000
252 Luke Frazier b. 1970 Romeo of the San Juan Oil on board 36 x 36 inches Signed upper right; Signed, titled and dated 2022 verso Estimate: $18,000 - 28,000
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253 Clyde Aspevig b. 1951 First Snow in Paradise Oil on canvas 24 x 30 inches Signed lower left; Signed and titled verso Estimate: $20,000 - 30,000
254 Clyde Aspevig b. 1951 Hamisa and Clouds Oil on canvas 30 x 40 inches Signed lower right; Signed and titled verso Estimate: $20,000 - 30,000
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255 Mark Boedges b. 1973 August Creek Oil on canvas 24 x 36 inches Signed lower left Estimate: $10,000 - 15,000
256 Mark Boedges b. 1973 End of a Good Day Oil on canvas 36 x 48 inches Signed lower right Estimate: $16,000 - 22,000
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257 Ed Mell b. 1942 Scattered Clouds Oil on canvas 28 x 36 inches Signed lower right Estimate: $25,000 - 35,000
258 Ed Mell b. 1942 Pink Carnations Oil on canvas 22 x 30 inches Signed lower left Estimate: $8,000 - 12,000
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259 Ed Mell b. 1942 Heavy Rain Oil on canvas 30 x 30 inches Signed lower right; Signed and titled verso Estimate: $25,000 - 35,000
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260 Eric Bowman b. 1960 A Beautiful Day Oil on canvas 36 x 36 inches Signed upper right Estimate: $20,000 - 30,000
261 Eric Bowman b. 1960 Available Space Oil on linen 16 x 20 inches Signed lower right; Signed and titled verso Estimate: $4,000 - 6,000
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262 Glenn Dean b. 1976 Connected to the Land Oil on canvas 40 x 40 inches Signed lower right; Signed, titled and dated 2020 verso Estimate: $30,000 - 45,000
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263 Ed Mell b. 1942 Sunwashed Mesas Oil on linen 24 x 24 inches Signed lower left; Signed, titled and dated 2018 verso Estimate: $16,000 - 24,000
264 Ed Mell b. 1942 Night Bloom Oil on linen 22 x 22 inches Signed lower left; Titled, dated 2004 and signed verso Estimate: $15,000 - 25,000
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265 Glenn Dean b. 1976 Toward the Afternoon Sun Oil on canvas 30 x 40 inches Signed lower left; Signed, titled and dated 2017 verso Estimate: $25,000 - 35,000
266 Glenn Dean b. 1976 The Gleaming Oil on canvas 24 x 30 inches Signed lower left; Signed, titled and dated 2018 verso Estimate: $15,000 - 20,000
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267 Don Oelze b. 1965 Signal Hill Oil on canvas 42 x 46 inches Signed lower right Estimate: $18,000 - 24,000
268 John Coleman b. 1949 The Spirit Chaser Bronze, cast 7/25 25 inches high Signed and dated 2011 Estimate: $8,000 - 12,000
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269 Bill Anton b. 1957 Off Chaparral Mesa Oil on board 30 x 36 inches Signed lower right; Titled and signed verso Estimate: $15,000 - 25,000
270 Bill Anton b. 1957 Forever Wild Oil on board 24 x 40 inches Signed lower right; Signed and titled verso Estimate: $15,000 - 25,000
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271 William Acheff b. 1947 Three Teepees Oil on canvas 16 x 14 inches Signed lower right and dated 2013; Signed and titled verso Estimate: $8,000 - 12,000
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272 William Acheff b. 1947 Harvest Dancer Oil on canvas 13 x 9 inches Signed lower right and dated 1994; Signed, titled and dated 1994 verso
273 William Acheff b. 1947 Peaceful Night Oil on canvas 20 x 14 inches Signed lower right and dated 2016; Signed and titled verso
Estimate: $4,000 - 6,000
Estimate: $8,000 - 12,000
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274 Robert Griffing b. 1940 Post and King Beaver at Fort Duquesne Oil on canvas 40 x 80 inches Signed lower right, 2001 Estimate: $125,000 - 175,000
275 Martin Grelle b. 1954 The Victor Acrylic on canvas 12 x 9 inches Signed/CA lower right and dated 16; Signed, titled and dated 2016 verso Estimate: $20,000 - 30,000
274 Robert Griffing b. 1940 Post and King Beaver at Fort Duquesne (detail) Oil on canvas 40 x 80 inches Signed lower right, 2001 Estimate: $125,000 - 175,000 Literature: The Narrative Art of Robert Griffing - Volume II: The Journey Continues, Tim J. Todish, Paramount Press, Gibsonia, Pennsylvania, 2007: p. 118-119. Epically sized at 80 inches wide, filled with a variety of figures and a glorious landscape, and rich with history, Post & King Beaver at Fort Duquesne has everything that has come to define the work of Pennsylvania-based painter Robert Griffing. Another aspect of his work that is represented here: Eastern Woodlands Indians. While many Western artists turned their attention to the people of the pueblos and the plains, Griffing has remained steadfast in his desire to tell stories about the Native Americans who were living east of the Mississippi River and who were encountering European settlers a full century—sometimes two—before the tribes in the desert Southwest. “On August 24, 1758, Christian Frederick Post, a Moravian missionary, arrived at the Indian village on the north bank of the Allegheny River across from French Fort Duquesne,” Griffing writes about Post & King Beaver at Fort Duquesne in his book The Narrative Art of Robert Griffing - Volume II: The Journey Continues. “The Delaware chief Tamaqua (Beaver) introduced him to the other chiefs, saying that Post brough them great news. The missionary had been sent to tell all the Indians that if they allowed General John Forbes’ army to march on Fort Duquesne unmolested, the British in turn would ban settlement west of the Allegheny Mountains. Although Post’s mission was generally unsuccessful, in late November, Forbes’ army arrived at the Forks of the Ohio and took possession of the abandoned Fort Duquesne. Within five years, in spite of official government prohibition, British settlers were flowing over the mountains.”
276 Martin Grelle b. 1954 Painted Oil on canvas 20 x 16 inches Signed/CA lower right and dated 99
Post’s versions of events are documented in his diary from 1758: “We continued our journey to the fort; and arrived in sight, on this side the river, in the afternoon, and all the Indian chiefs immediately came over; they called me into the middle, and King Beaver presented me to them, and said, ‘Here is our English brother, who has brought great news.’ Two of them rose up and signified they were glad to see me…”
Estimate: $20,000 - 30,000
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277 Martin Grelle b. 1954 Winter of the Mountain Crow Oil on canvas 42 x 62 inches Signed/CA lower right and dated 2002; Signed, titled and dated 2002 verso Estimate: $175,000 - 225,000 Martin Grelle has said that he agonizes over composition—the big forms and the tiny ones—and he will tweak and tweak, and then tweak some more, details as small as a bush or a rock in a field. That devotion is on clear display in a work like Winter of the Mountain Crow, which provides a cohesive flow that sends the eyes sweeping across the paint in spectacular fashion. From the massive teepees and their complementary forms against the teepee-shaped mountain in the far background, to the careful placement of golden grasses and their elongated shadows in the immediate foreground, to the shape-forming placement of the horses’ legs against the snow, the work speaks to Grelle’s masterful ability to place subjects and nature in a painting. Another elements is also at work: detail. Whether it’s historic and story-driven details—or often both together—the artist fills his canvases with small points of interest that reward careful viewing. And Winter of the Mountain Crow has much to take in: the delicate beadwork on the pouches and bags, the position and number of feathers in each riders’ hair, that wonderful Hudson Bay coat on the middle figure and the puff of warm breathe leaving the mouth of the front horse. Grelle rewards his viewers no matter how close they stand to one of his works.
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278 Jerry Jordan b. 1944 I Can Hear the Echoes of My Father’s Drum Oil on linen 36 x 48 inches Signed lower left; Signed and titled verso Estimate: $25,000 - 35,000 From the artist: “At a fall photo session with my Taos Pueblo friends, we ended the morning session at this beautiful brook. I overheard a conversation amongst them: ‘I can hear the echoes of my father’s drum.’ This became the obvious choice for the title of this painting.”
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279 Logan Maxwell Hagege b. 1980 All the Wild That Remains Oil on canvas 42 x 40 inches Signed lower left
Accompanied with this lot is the study for All the Wild That Remains. 7 x 6 inches, colored pencil
Estimate: $60,000 - 80,000 From the artist: Back in 2019, when I completed this painting I was pleased with the results, and I decided to keep it in my personal collection. I find it helpful to keep certain paintings in my home to feel inspired by, to live with, walk by daily, and examine. Part of my job as an artist is to critique my own work and remain hyper critical of the pieces that come out of my studio. This painting, to me, has achieved all the elements I strive to reach when constructing a painting. I am happy to offer this piece at the 2022 Scottsdale Art Auction. All the Wild That Remains plays with the idea of pattern, and flat spaces. I’m constantly fascinated by what paint can do. How a dark shape next to a light shape “pops”, or the way a bright color next to a muddy color appears. 3D against 2D. Thick paint next to thin paint. I think of my art studio as a place to experiment and keep myself entertained. All the Wild That Remains was exhibited at the Woolaroc Museum, as part of their Woolaroc Retrospective Exhibit in 2019.
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280 Mark Maggiori b. 1977 We’re Just Passing Through / In the Shade and the Light Oil on board 18 x 24 inches Signed lower right and dated 19 Estimate: $15,000 - 25,000
281 Billy Schenck b. 1947 Cly Mesa Oil on canvas 14 x 22 inches Signed lower right and dated 17; Signed and dated 2017 verso Estimate: $5,000 - 7,000
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282 Howard Post b. 1948 On the Move Oil on canvas 40 x 66 inches Signed lower right Estimate: $15,000 - 25,000
283 Howard Post b. 1948 Olive Pastures Oil on canvas 48 x 36 inches Signed lower left Estimate: $10,000 - 15,000
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284 William Acheff b. 1947 American Native Oil on canvas 28 x 30 inches Signed lower left; Titled and signed verso Estimate: $15,000 - 25,000
285 William Acheff b. 1947 Colors Oil on canvas 16 x 12 inches Signed lower right and dated 2002; Signed, titled and dated 2001 verso Estimate: $12,000 - 18,000
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286 John Coleman b. 1949 He Who Jumps Over Everyone Bronze cast 4/20 23 inches high Titled, signed and dated 2016 Estimate: $14,000 - 18,000
287 John Coleman b. 1949 Big Soldier Bronze, cast 27/35 20 ½ inches high Signed/CA and dated 03 Estimate: $5,000 - 8,000
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288 John Coleman b. 1949 Sun Priest Oil on canvas 50 x 29 inches Signed/CA lower right Estimate: $60,000 - 80,000
Provenance: Legacy Gallery, Scottsdale, Arizona, 2016 Painted in 2016 for John Coleman’s monumental solo show at Legacy Gallery in Scottsdale, Arizona, Sun Priest was one of the last works finished for the historic show. Coleman, who had primarily been known for his bronzes and charcoal drawings at that point, had taken nearly two full years off from showing his work to prepare for the oneman show, which he intended to be his formal debut as a painter. “A true artist is one who chooses a vocabulary to communicate ethereal ideas,” he wrote in the show catalog. “It is said that a poet concerns himself less of words and more of the spaces between them.” Sun Priest is also based on a large charcoal work completed in 2013.
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289 John Coleman b. 1949 Daughter of the Plains Oil on canvas 30 x 20 inches Signed/CA lower right; Signed, titled and dated 2020 verso Estimate: $38,000 - 48,000 Provenance: Legacy Gallery, Scottsdale, Arizona, 2020
John Coleman freely admits that he was growing more sentimental when he hit 70 years old just prior to his major solo show in the fall of 2020 at Legacy Gallery in Scottsdale, Arizona. The artist had two daughters and many grandchildren, with a great grandchild on the way. So when it came time to create work for the 2020 show, Spirit · Lives ∙ Legends—itself a sequel to the major career-defining body of work he created for a 2016 show at Legacy—he was drawn to images of nurturing mothers, coming-of-age young women and playful little children. One of the works for the show was Daughter of the Plains, showing a mature young girl sitting in silent reflection as light from above gently caresses her face and shoulders within the warm confines of a teepee’s soft shadows and moody interior. “For me, the word daughter represents the spiritual center,” Coleman wrote in the show’s catalog. “In this painting I feel the pose of my model has an ethereal feel that exemplifies the spiritual essence of these people.”
290 John Coleman b. 1949 Great Blackness Bronze, cast 45/50 12 ½ inches high Signed, titled and dated 2008
Coleman’s paintings were praised by collectors for their unique qualities largely unseen in Western art, particularly the use of the chiaroscuro painting style, which allowed Coleman to show the contrast of brilliant light against darker, more shadowed backgrounds—all without losing detail throughout the painting. The effect, seen here and in other works from both the 2016 and 2020 Legacy shows, draws more comparisons to Vermeer, Rembrandt and Caravaggio than to any Western art.
Estimate: $3,000 - 4,000
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291 G. Harvey 1933-2017 South Texas Patrol Oil on canvas 24 x 36 inches Signed lower left and dated 1975; Titled and dated 1975 verso Estimate: $60,000 - 90,000 Provenance: Brinkman Foundation, TX Literature: Honoring the Western Tradition: The L.D. “Brink” Brinkerman Collection, Kerrville, TX, L.D. Brinkman Foundation, 2003: p. 206 Much has been written about G. Harvey’s use of candlelight, streetlamps and reflections in wet streets. These are tricky parts of paintings because these elements are so susceptible to error. One misplaced brushstroke can make the illusion of light crumble. Harvey was a master at those components, but he was also quite exceptional at normal sunlight and moonlight, as is the case here with South Texas Patrol, a painting that doesn’t have a single streetlamp and yet it hums with that unmistakable G. Harvey energy. The soft shadows, the lightness in the Texas sand, the dusty green of the desert foliage—the painting reverberates with light and life. “G. Harvey believes the West, more than any other part of the country, is a state of mind—an independence,” writes Randy Best in The Golden Era: The American Dream—G. Harvey. “He admires the qualities embodied in frontier families, the commitment of a handshake, and an outward toughness but inner gentleness. He saw these characteristics in his own father, and, from him, learned that self-reliance and adversity build character. Together, they walked dry riverbeds and searched ancient campsites for the relics of talented hands that shaped tools and weapons. In his paintings, he crosses rivers and barriers of time.”
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292 G. Harvey 1933-2017 At the Mission Well Oil on canvas 62 x 86 inches Signed lower right and dated 1980; Titled verso Estimate: $150,000 - 250,000
292 G. Harvey 1933-2017 At the Mission Well (detail) Oil on canvas 62 x 86 inches Signed lower right and dated 1980; Titled verso Estimate: $150,000 - 250,000 Provenance: Brinkman Foundation, TX Literature: Honoring the Western Tradition: The L.D. “Brink” Brinkerman Collection, Kerrville, TX, L.D. Brinkman Foundation, 2003: p. 212 G. Harvey has painted hundreds, if not thousands, of gently lit windows shining out onto a dark world. Some paintings have dozens of light sources, and yet here in At the Mission Well, a massive 86-inch-wide work, the artist paints only one window. But it’s marvelously effective, as the female rider sits in front of it waiting to get off her horse and trudge through the mud to get to that window beckoning warmth and shelter. The window is also all the more effective as its warmth plays against the cool colors that fill the sky and burrow into the shadows around the courtyard entrance.
293 Z.S. Liang b. 1953 Spring Morning Sun Oil on linen 34 x 56 inches Signed lower left; Signed, titled and dated 2021 verso
“What is it about a lighted window that is so comforting? I don’t have an answer to that question. But I do know that when I start a painting with buildings in it, whether they are old West Texas ranch houses or a store-front brownstone in New York, I simply have to give those buildings some life… some light, in the windows,” Harvey writes in The Golden Era: A Celebration of Light by G. Harvey. “It’s not a conscious thing but a compulsion that doesn’t let me rest until I’ve warmed up the painting to the point where there is no threat left to darkness, no discomfort to put a sour note on the scene.”
Estimate: $40,000 - 60,000 “On a springtime morning when the golden rays of the sun are reflecting on the water, causing the water lily flowers to unfold and brightening the hearts of everyone, a young brave is using his flute to send a deep and euphemistic melody of love to someone nearby.” —Z.S. Liang
He continues: “The same is true of the ‘family units’ that often appear in my paintings. I don’t say to myself, ‘Well, I’ll put a mother and child here.’ Rather, the compositional motif of a large and small shape and the warm assurance that I sense from the care and love lavished within a parent-child relationship simply compel me to place them in the crowds of people who move along the boulevards. Like emblems of humanity these family units offer assurance that all is right with the world. Light, life, the warmth of family…these words hold great meaning to me. I’m not always able to verbally express how significant the concepts behind these words are, but I hope I reflect their importance to me through art.” It is believed that the main building in the painting is the Mission Espada, the first mission in Texas. It was founded in 1690 as San Francisco de los Tejas near Wechas, Texas. In 1731 the mission was moved to the San Antonio River area and renamed Mission San Francisco.
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294 Kyle Polzin b. 1974 Strength & Pride Oil on canvas 47 ½ x 24 ½ inches Signed lower right Estimate: $45,000 - 65,000 “Those who wore the Buffalo horn headdress held the highest position in the eyes of Indian warriors, and only a few were given the right to wear one by the village leaders. The bonnet featured in Strength and Pride was modeled after a Nez Percé example that is on display at Scottsdale’s Museum of the West.” —Kyle Polzin
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295 Martin Grelle b. 1954 Mystic Moon Oil on canvas 40 x 30 inches Signed/CA lower right and dated 95; Signed, titled and dated 95 verso Estimate: $60,000 - 90,000
Martin Grelle is one of the most revered and collected Western artists working today. But back in 1995 he was just a rising Texas painter with heaps of ambition and a drive to make his artwork better at every step. When he was invited to show his work to the Cowboy Artists of America in the fall of 1995 he brought fives pieces, including Mystic Moon, a nocturne with a single figure on horseback. At the time, Grelle was primarily known as a painter of cowboys and ranch scenes, though he was starting to explore Native American subjects more frequently. It was on the strength of Mystic Moon and four other works that brought the artist into the CA, a group that Grelle is still involved with today. In addition to being a member, the painter has also served in leadership roles, including president and chairman for the group’s 50th anniversary celebrations in 2015.
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296 Martin Grelle b. 1954 White Man’s Remnants Oil on canvas 40 x 60 inches Signed/CA lower right and dated 97 Estimate: $150,000 - 250,000
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297 Billy Schenck b. 1947 Uh Oh! Oil on canvas 50 x 40 inches Signed lower left and dated 22; Signed, titled and dated 2022 verso Estimate: $25,000 - 35,000
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298 Logan Maxwell Hagege b. 1980 Apache Cloud Oil on board 16 x 12 inches Signed upper left; Signed, titled and dated 2013 verso Estimate: $7,000 - 10,000
299 Logan Maxwell Hagege b. 1980 When It Rains Oil on linen 30 x 30 inches Signed lower right; Signed, titled and dated 2013 verso Estimate: $30,000 - 40,000
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300 Kyle Polzin b. 1974 Weathered Traveler Oil on canvas 46 x 42 inches Signed lower left Estimate: $65,000 - 85,000
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301 Kyle Polzin b. 1974 Cowboy’s Tools of the Trade Oil on canvas 16 x 22 inches Signed lower right Estimate: $30,000 - 40,000
302 Kyle Polzin b. 1974 Gathering Dust Oil on canvas 8 x 18 inches Signed lower left; Signed verso Estimate: $15,000 - 20,000
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303 Robert Griffing b. 1940 Through the Straits of Mackinac Oil on canvas 30 x 50 inches Signed lower left and dated 2010 Estimate: $80,000 - 120,000 Provenance: Private Collection, Texas Robert Griffing grew up along the banks of Pennsylvania’s Pymatuning Lake, where tales of long-ago tribes rattled around in his head as he poked through the landscape discovering artifacts from past cultures. After graduating from the Art Institute of Pittsburgh, Griffing started what would become a 30-year career in the advertising world as an art director. After a one-man show of his art turned into a sell-out sale in 1991, the artist gave his notice at the ad firm and quickly got to work in his home studio. Since then Griffing has become one of the authorities on Eastern Woodland Indians. Not only has his work won accolades at shows and entered museum collections, his paintings are cheered for their accurate depictions of people, places and events. History, the artist notes, is paramount. And history is front and center in Through the Straits of Mackinac. “Two birch bark canoes suddenly appear out of the early-morning mist over the Straits of Mackinac,” Griffing notes in 2010. “Paddled by Odawa warriors, they skim across the waters, laden with beaver pelts and other valuable furs destined to be traded for European-made goods at Fort Michilimackinac. The Straits, where lakes Huron and Michigan meet in the five-mile gap separating Michigan’s lower and upper peninsulas, was known to the Natives as Michilimackinac, or ‘Land of the Great Turtle.’ During the French, British and later the American occupation periods, it was truly the Crossroads of the Great lakes, where except for one brief incident during the Pontiac Uprising, Indians and white’s met in peaceful commerce that benefited both cultures.”
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304 Howard Terpning b. 1927 One Man’s Castle Oil on board 21 ¼ x 28 inches Signed/CA lower right and dated 1980; Signed and titled verso Estimate: $120,000 - 180,000 Exhibition: Eiteljorg Museum, Indianapolis, Indiana, 1995 Autry Museum of the American West, Los Angeles, California, 2012 Literature: The Art of Howard Terpning, Elmer Kenton, Bantam Books, New York, New York, 1992: p. 77. Terpning: Tribute to the Plains People, Harley Brown, Greenwich Workshop Press, Seymour, CT, 2012: p. 168. With just two small details—a pair of crossed feet and a hand on a chin—Howard Terpning was able to convey volumes of story in One Man’s Castle. For the man, all we see of him are his crossed feet. These are not the feet of exhaustion or weariness. They are telegraphing contentedness, comfort and rest. For the woman, the mountain man’s wife, her hand seems to hold up her head as she frowns in the shade. There is boredom on her face, and maybe even regret at her path to this point. These were the kinds of story details that set Teprning’s illustrations above the fray in New York City, and it’s the kind of detail that sets his fine art work so far ahead of his colleagues. “Many trappers and mountain men took Indian women as wives,” Harley Brown writes in Terpning: Tribute to the Plains People. “The women were generally hard working and industrious and relieved the men from all the chores they would have to contend with as bachelors, not to mention the fact that they offered companionship in an otherwise lonely existence. Within this painting, we have two very important people in the Terpning family, each taking a well-earned break. That’s Howard under the lean-to and Marlies [Terpning] keeping watch over dinner and the horizon.”
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305 Z.S. Liang b. 1953 Huckleberry Gathering Oil on canvas 46 x 30 inches Signed lower left Estimate: $20,000 - 30,000
306 Ray Swanson 1937-2004 Navajo Mother and Child Oil on canvas 40 x 30 inches Signed lower left and dated 85; Titled verso Estimate: $15,000 - 25,000 Provenance: Altermann Galleries, Santa Fe, New Mexico, 2003 Scottsdale Art Auction, Scottsdale, Arizona, 2016 In The Art of Ray Swanson: Celebrating People and Lifestyles, author Tom O’Keefe sums up Ray Swanson’s powerful presence in Western art: “A part of the American Realism school, Ray has accomplished with the Southwest Indians what Andrew Wyeth did among rural New England a generation ago, producing a body of work that definitively represents a people and a lifestyle. Like Wyeth, one of his artistic influences, Ray is much more than merely representational in his paintings. While his technical sophistication and extraordinary pictorial effectiveness capture the viewer’s attention, Ray’s uncanny ability to project what is inside human beings and what brings meaning into their lives is his lasting appeal. As a result, Swanson stands dramatically apart from most contemporary painters, whether or not they are in the category of Western art.”
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307 Howard Terpning b. 1927 The Shaman and His Magic Feathers Oil on canvas 48 x 65 inches Signed/CA lower left and dated 2006; Signed, titled verso Estimate: $750,000 - 1,250,000
308 Kenneth Pauling Riley 1919-2015 Evening Glow Oil on board 9 x 12 inches Signed/CA lower right Estimate: $10,000 - 15,000
Kenneth Riley was among the first, and most prominent, of the post-war East Coast illustrators who abandoned illustration to come live and work in the West. Born in Missouri and raised in Kansas, Riley was a student under acclaimed regionalist Thomas Hart Benton, before going on to illustrate for pulp magazines. During World War II he served as a combat artis and saw action in the Pacific Theater. After the war he worked for National Geographic, The Saturday Evening Post and other popular magazines. After he moved to Tucson, Arizona, in 1971, Riley would go on to become an important figure in the Western art world. In addition to being a member of the Cowboy Artists of America, he was also a member of the Tucson 7 with fellow CA artists Howard Terpning and Harley Brown.
307 Howard Terpning b. 1927 The Shaman and His Magic Feathers (detail) Oil on canvas 48 x 65 inches Signed/CA lower left and dated 2006; Signed, titled verso Estimate: $750,000 - 1,250,000 Literature: Terpning: Tribute to the Plains People, Harley Brown, Greenwich Workshop Press, Seymour, CT, 2012: p. 111. Exhibition: Autry Museum of the American West, Los Angeles, California, 2012 Widely regarded as one the greatest living Western artists, Howard Terpning was in top form in 2006 when he painted The Shaman and His Magic Feathers, which was finished just two years after his museum-bound masterpiece The Force of Nature Humbles All Men. Though it is not the largest piece he painted, this 65-inchwide work is certainly among the largest the Arizona illustrator-turned-painter accomplished in his long career. He often turned to massive canvases to the show the drama and majesty of the land, but also, as is the case here, to properly convey the story and its many intricate details. Of particular note in this work are the various expressions among the 13 figures—each is unique and each benefits from the painting’s incredible size. “The Plains Indians accepted the powers of the shaman as proof of supernatural blessing, both of the shaman and of their tribe,” friend and fellow painter Harley Brown writes in Terpning: Tribute to the Plains People. “To paint children well is a delightful but difficult challenge. They are magnificent in this painting, filled with wonder as they watch the shaman perform his magic. The smoldering fire’s soft smoke adds to the mystery as does the expression on the lone man at left. There’s an abundance to contemplate because Howard never duplicates. Each individual reacts to the ceremony in a unique way. The rocks below pull us into the painting. Note the wisps of grass, the singular blue dress and necklace, and an almost silent blue touch on the lone man’s shoulder. The cool sky sets against the warmth of the painting.”
309 Kenneth Pauling Riley 1919-2015 Regalia Oil on board 12 x 16 inches Signed lower right; Dated 1981 verso
Terpning was born in Illinois and had some of his early training as a commercial artist in Chicago. Later he moved to New York City (and later Connecticut), where he would work under Haddon Sundblom and then become one of the most in-demand illustrators of his generation. Early work was done for commercial clients, then magazine and books, followed by a period involving movie posters, including timeless images for Doctor Zhivago, The Guns of Navarone, The Sound of Music, Cleopatra and Lawrence of Arabia. By the mid1970s, at the peak of his illustration career, the artist moved to Tucson, Arizona (his neighbor would be actor Lee Marvin), where he could focus entirely on his Western easel work.
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310 Kenneth Pauling Riley 1919-2015 Power of the Shield Oil on canvas 48 x 36 inches Signed/CA lower right Estimate: $80,000 - 120,000 Exhibitions: The Phippen Museum, Prescott, Arizona Cowboy Artists Museum, Kerrville, Texas Eiteljorg Museum, Indianapolis, Indiana Desert Caballeros Western Museum, Wickenburg, Arizona National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma Literature: West of Camelot: The Historical Paintings of Kenneth Riley, Susan Hallsten McGarry, Eiteljorg Museum of American Indian and Western Art, Indianapolis, Indiana, 1993: p. 145. A Poetic Spirit: The Enduring Art of Kenneth Riley, Susan Hallsten McGarry, The National Cowboy & Western Heritage Museum, 2003: p. 6 Artists sometimes talk about “happy accidents”—a mistake that informed an idea that was worth keeping on the canvas. While Kenneth Riley certainly made mistakes, because all artists do, and he may have even kept some of them in his works, there is no indication that this is a method he gave much merit. For Riley, everything had a purpose. The forms, the shadows, the colors and their intensity, the movement around an invisible axis, the cracks in a rock or the ribs of a teepee or the limbs of a tree—they all were carefully thought out and meticulously place by the Arizona artist. For form he studied abstract expressionism. For his paint he studied the psychology of color. For rhythm he studied prehistoric cave paintings and Rembrandt seemingly simultaneously. Nothing would be out of place and nothing would be meaningless to the composition. In West of Camelot: The Historical Paintings of Kenneth Riley, Susan Hallsten McGarry writes about “The Idea,” Riley’s starting point for all of his works: “The Idea is the means by which the artist imposes order. Through comes clarification and communication. Everything in a painting subordinates to the Idea, which motivates all other elements, from the type of line, to the character of shape and the relationships of colors.” Aspects of this way of thinking can be found in Power of the Shield, which, when broken down, reveals a simple arrangement of shapes that order the importance of each element of the painting, from the feathers on a spear to a draped blanket in the background to the shield, the central figure in the composition. “A warrior’s shield was an object of accumulative power and spirituality. Its design and colors were usually reserved in a vision,” Riley said about the work. “The objects attached to it had personal meaning were viewed as ‘medicine’ that would protect the owner from harm in combat. In religious ceremonies the shield’s power was reflected in its circular shape, which symbolized the eternal continuity of life.”
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311 Kenneth Pauling Riley 1919-2015 Dance of Four Lances Oil on board 17 ½ x 13 ½ inches Signed lower right Estimate: $25,000 - 35,000 Literature: West of Camelot: The Historical Paintings of Kenneth Riley, Susan Hallsten McGarry, Eiteljorg Museum of American Indian and Western Art, Indianapolis, Indiana, 1993: p. 13
312 John Coleman b. 1949 Mandan Buffalo Dancers Bronze, cast 15/35 24 inches high Signed, titled and dated 2000 Estimate: $6,000 - 9,000
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313 Z.S. Liang b. 1953 Voice of the Canyon Oil on canvas 36 x 51 inches Signed lower right; Titled and dated 2015 verso Estimate: $45,000 - 65,000
314 Barry Eisenach b. 1952 Moon Song Bronze, cast 4/30 20 inches high Signed and dated 2005 Estimate: $2,500 - 3,500
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Even as his figures are bundled in coats and trudging through snow, there is a warmth in the paintings of G. Harvey. It’s a quality that comes through in a work like The Night Carriage, with its soft glowing light amid wet city streets. “He paints the golden moment when horses were leaving the city streets to make way for automobiles, and the gaslights were extinguished for the last time yielding to the glow of Edison’s magic bulb,” writes Randy Best in The Golden Era: A Celebration of Light by G. Harvey. “He paints the rustle of long skirts, waving sheets of soft rain, the hiss of blowing steam as a great engine waits in the station for its cars to be boarded, the warmth of a campfire, the double exposure in the mirrored surface of a silver lake, and the men of the West riding into the wind beneath sunlit peaks.” Best continues: “G. Harvey restores all those memories, sights, sounds, smells, emotions and moods. Somehow he finds places we’ve never been, mysteriously hidden in our subconscious, and he awakens our souls to an eerie sense of familiarity and longing. One can live with a G. Harvey painting for a lifetime and still feel its energy.”
315 G. Harvey 1933-2017 The Night Carriage Oil on canvas 12 x 9 inches Signed lower right and dated 1988; Signed, titled verso Estimate: $10,000 - 15,000
316 G. Harvey 1933-2017 A Child’s Holiday Oil on canvas 24 x 20 inches Signed lower right; Signed, titled and dated 07 verso Estimate: $50,000 - 70,000
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317 G. Harvey 1933-2017 Genteel Times Oil on canvas 48 x 40 inches Signed lower right; Titled verso Estimate: $125,000 - 200,000
Literature: The Golden Era: A Celebration of Light by G. Harvey, Gerald Harvey Jones, Randy Best and Susan Hallsten McGarry, Somerset House Publishing, Fulshear, Texas, 1990: p. 54. While known for his cowboy and Old West scenes, G. Harvey also produced a number of exceptional city scenes, including images of Washington, D.C., as he does here with Genteel Times. “I selected the Golden Era of the early 20th century as a painting subject because it allowed me to combine a number of subthemes that I have enjoyed painting over the years: horses, wagons and carriages, early automobiles, trolleys, people socializing, moody atmosphere and, perhaps most importantly, light,” Harvey writes in The Golden Era: A Celebration of Light by G. Harvey. “For years I was fairly timid about dramatizing light, but the more I’ve played with it the more intrigued I’ve become with pushing light to its highest impact and still having the light hold the canvas together. It’s a balancing act—there must be drama and excitement in the color, values and textures, yet there must be control and solidity.” He continues: “How far to push the light is one of the hardest questions I face as an artist. To create Genteel Times, I begin with my research and with recollections of visiting the location. I composed the painting in thumbnail sketches and moved to the canvas with a larger drawing before beginning to apply color. This may sound like a simple 1, 2, 3 process. But it’s not. There are questions all along the way: Should I move the element over? Does the building recede properly? Is everything in accurate perspective? Are there any dead spots that need some life? Is that light capturing the viewer’s eye and yet allowing him to move effortlessly throughout the work? The hardest questions come at the very end of the process. I try to get a fresh perspective on the work by framing it and studying it in the downstairs sitting area of my studio. At this stage I begin to see the light areas that can be pushed to white and the points at which I can use paint texture to add to the impact of light that I want to achieve. If you look at the trolly light…and the streetlamp in the upper right you’ll find some of those ‘last-minute touches’ that can make a canvas sing.”
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318 Richard Schmid 1934-2021 Portrait of a Woman Oil on board 19 ½ x 16 inches Signed lower right Estimate: $14,000 - 16,000 Widely considered to be one of the most important contemporary figurative painters of the last 50 years, Richard Schmid was first influenced not by a painter, but a sculptor, his grandfather Julian Oates. The Chicagoborn artist later studied under William H. Mosby, who guided his career forward at an early and pivotal period. As his star rose in the world of contemporary realism, Schmid also started teaching and releasing books, which energized a new generation into painting figures, landscapes and still lifes.
319 Richard Schmid 1934-2021 Nude Jamie Oil on canvas 23 ½ x 17 ½ inches Signed lower right; Signed, titled and dated 1971 verso Estimate: $10,000 - 15,000
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320 Richard Schmid 1934-2021 Alaskan Summer Oil on canvas 11 x 16 inches Signed lower right and dated 1993; Signed, titled and dated 1993, Petersberg, AK verso Estimate: $15,000 - 25,000 Literature: The Landscapes, Richard Schmid, Nancy Guzik, Stove Prairie Press, 2017: p. 178
321 Richard Schmid 1934-2021 River Landscape Oil on canvas 10 x 16 inches Signed lower left Estimate: $10,000 - 15,000
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322 Thomas Moran 1837-1926 A Bit of Acoma, New Mexico Oil on board 10 x 12 inches Signed lower right, dated 1911 Estimate: $60,000 - 90,000
Provenance: Collection of Mr. and Mrs. Chester R. Colpitt, Tulsa, Oklahoma By descent to the granddaughter of the above Heritage Auctions, Dallas, Texas, 2015 Literature: Thomas Moran, Nancy K. Anderson, Yale University Press, New Haven, Connecticut, 1997: p. 272, discussed. Thomas Moran’s first painting trips to the Acoma Pueblo, in western New Mexico, were taken as part of a series of trips that began in the summer of 1900. The reason for the journey west was to clear his head following a period of mourning after the death of his wife, Mary Nimmo Moran, in the fall of 1899. She was only 57 years old, and her death was a huge blow to the artist. Moran and his daughter, Ruth, had several early destinations on their itinerary, including Shoshone Falls on the Snake River and Blue Lakes, both in Idaho, and Yellowstone National Park. He wouldn’t know it at the time, but the 1900 trip would be the last time he would set foot in the park. His first visit to Acoma and its famous Sky City would take place the following summer, in May 1901. After a trip to the Grand Canyon earlier in the month, Moran would date a sketch, Sandstorm at Acoma, on May 31. Sky City, the fortress-like village that sits above high cliffs on nearly all sides, would turn up in several key paintings by Moran, including Acoma in 1902, The Rock of Acoma in 1904 and The Pueblo of Acoma, New Mexico in 1913. A Bit of Acoma, New Mexico was painted in early 1911, and exhibited April 1 at the Century Club, and shows the closest view of the ancient settlement that Moran painted. Pueblo homes, some under intense afternoon sun while others are in moody shadow, are perched atop a sandy patch of earth as jagged rocks and silhouetted boulders fill the bottom half of the painting. Acoma is one of the longest continuously inhabited places in all of North America, but Moran paints no figures in the work. And yet, A Bit of Acoma doesn’t appear to abandoned or in disrepair. Moran paints it as a living place, because that’s what it was then, and that’s what it still is today.
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323 Thomas Moran 1837-1926 Solitude, Coconino Forest, Arizona Oil on canvas 20 x 30 inches Signed lower right and dated 1907; Titled and dated verso Estimate: $400,000 - 600,000
323 Thomas Moran 1837-1926 Solitude, Coconino Forest, Arizona (detail) Oil on canvas 20 x 30 inches Signed lower right and dated 1907; Titled and dated verso Estimate: $400,000 - 600,000 This work will be included in Stephen L. Good and Phyllis Braff’s forthcoming catalogue raisonné.
324 19th Century American School Moonlight Mist Oil on canvas 14 x 22 inches
Provenance: Thomas Moran (the artist) Thomas D. Murphy, Red Oak, Iowa (to 1928) Thomas C. Murphy Helen Murphy
Estimate: $8,000 - 12,000 Literature: Gravity State Bank calendar, ca. 1922, illustrated. Thomas Moran: Artist of the Mountains, Thurman Wilkins, University of Oklahoma Press, Norman, Oklahoma, 1966: p. 249, listed. “The Significance of Thomas Moran as an American Landscape Painter,” James B. Wilson, Ph.D. dissertation, Ohio State University, 1955, discussed. Thomas Moran is often associated with epic paintings of monumental land forms and natural features carved from the earth over millions of years, and yet here in Solitude, Coconino Forest, Arizona the artist takes a relatively mundane vista—“mundane” only in comparison to the views from the south rim of the Grand Canyon, or the shores of Green River, or from deep within Yellowstone’s golden meadows— and heightens it to an almost ethereal form. Anyone traveling to Arizona from back east, or further, hoping to witness what Moran saw when he was painting would likely discover this location over and over again on any hike through what is now called the Coconino National Forest. Visitors would have seen the burnt-orange sunsets, the rock-strewn paths through tree-lined hills, the gentle streams that meandered through grassy clearings and the tall pines that swayed in autumn breezes. They would have seen what Moran did, but not in one place, but hundreds—the beauty was everywhere. While Solitude, Coconino Forest, Arizona was exhibited at New York’s Century Club in the spring of 1907, many more people likely saw it as part of Thomas Murphy’s line of calendars. Moran’s image would run in one such calendar for Gravity State Bank in 1922. Murphy must have been enamored with the work, because it went from Moran’s hands to his and remained within the family until 2018. As for the painting prior to 1907, it likely came from sketches and field studies Moran made during annual trips to the Grand Canyon in the early 20th century. The artist was fond of the visits, and traded with the railroad to facilitate the trips—paintings for train tickets. During his Arizona expeditions he would often explore surrounding areas, which is likely where the initial inspiration for Solitude, Coconino Forest, Arizona originated. At the time of the painting, the national forest hadn’t even been named yet, nor had Arizona been granted statehood. It would take another year, in 1908, before Coconino would become a national forest, and another five years before Arizona would become the 48th state. Before statehood and after, few other artists were as strongly linked to Arizona and its desert wonders than Thomas Moran.
325 Albert Bierstadt 1830-1902 Mountain Landscape Oil on board 7 ¼ x 9 ¼ inches Estimate: $8,000 - 12,000
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326 Wilson Hurley 1924-2008 Raven’s Wall Oil on canvas 32 x 40 inches Signed lower left Estimate: $18,000 - 28,000 The great landscape painter Wilson Hurley was adamant that the central focus of a painting could depart from conventional guidelines, and this included the placement of subjects. In Raven’s Wall, Hurley plays with the central void that has been carved out by two opposing layers of canyon. Even as the cliffs on the left and right serve as prominent subjects in the work, the real focus is the hole created by the three central masses of rock—the goal, according to the artist, was to create a bottomless canyon. As for the title, Hurley named it Raven’s Wall because he had seen raven’s floating on their back in the updrafts along the canyon’s walls.
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327 Glenna Goodacre 1939-2020 Waiting to Dance Bronze, cast 2/35 37 inches high Signed and dated 2005 Estimate: $6,000 - 9,000
328 Glenna Goodacre 1939-2020 Spotted Tail Bronze, cast 5/25 41 inches high Signed and dated 1999 Estimate: $7,500 - 10,000
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329 Glenna Goodacre 1939-2020 Sacagawea and Jean Baptiste Monument, Bronze, cast 11/15 85 inches high Signed and dated 2001 Estimate: $80,000 - 120,000
Literature: Glenna Goodacre: Sculpture, Glenna Goodacre, Encantado Press LLC, Santa Fe, New Mexico, 2009: pp. 220-221. In 1998, Glenna Goodacre was skimming through USA Today when she read an article about the U.S. Mint adding Sacagawea, the Lehmi Shoshone guide who helped the Lewis & Clark Expedition in 1804-1805, to a new dollar coin. Within days she was applying to be an artist for the coin, a contest she would eventually win when her bas relief of Sacagawea was chosen for the “heads” side of the coin. The U.S. Mint paid her $5,000, a sum she asked for in golden dollar coins bearing her artwork. By 2006, the 200th anniversary of the end of the Lewis & Clark Expedition, Goodacre returned once again to story of Sacagawea. “Perhaps the most intriguing member of the company was the Shoshone Indian interpreter, Sacagawea, who made the long journey with her infant son Jean Baptiste,” the artist writes in Glenna Goodacre Sculpture. “To the Native American peoples encountered along the way, she was a symbol of a peaceful mission. Not a single member of the expedition was lost to gunshot or arrows. I wanted to make a sculpture that reflected the stature of this courageous young wife and mother in American history. I used a heavy buffalo robe to create a mass in the piece. I learned in the research for my Sacagawea U.S. Dollar design that a Shoshone woman would not necessarily have tied a baby on her back in a cradleboard, particularly a tiny newborn, but the infant would have been swathed in a sling of leather or cloth in front or on the back, as many Native mothers do today in Central America or Africa, for example. The absence of the cradleboard allowed me to create more movement and expression, to focus on the head of this extraordinary young woman, and to make both figures’ faces visible from several angles. She is looking up, reflective, perhaps about to tackle a snowy pass in the Rocky Mountains. After the intense discipline of creating meticulous reliefs for the coins, I was itching to make a full three-dimensional maquette and a monumental statement about her.”
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330 Michael Coleman b. 1946 On the Banks of the Yellowstone Oil on board 24 x 48 inches Signed lower right Estimate: $20,000 - 30,000
331 John Clymer 1907-1989 Northern Winter Oil on canvas 10 x 20 inches Signed lower right, dated 1982; “This is a picture of an old time hunter in Alberta”, signed John Clymer verso Estimate: $30,000 - 50,000 John Clymer never lived in a place that didn’t have all four seasons. Washington, Delaware, Connecticut, Wyoming and Canada—the painter was exposed to frigid temperatures and snow every year, sometimes in abundance. His snow paintings, of which there are many, include gems like Northern Winter, with its single rider wrapped tightly in his colorful Hudson Bay coat amid snow broken only by the horses and an unknown creature that has crossed paths in front of the rider. Painted in 1982, Northern Winter was painted while Clymer was living in Jackson Hole, Wyoming, which likely provided endless fields of snow to inspire this work.
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332 John Clymer 1907-1989 Crazy Horse Oil on canvas 24 x 48 inches Signed/CA and dated 75 lower right; Signed, titled and dated July 1, 75 verso Estimate: $135,000 - 185,000
333 Frank Tenney Johnson 1874-1939 Cruising for Cattle Oil on canvas 14 x 14 inches Signed lower right and dated 1915 Estimate: $25,000 - 50,000
332 John Clymer 1907-1989 Crazy Horse (detail) Oil on canvas 24 x 48 inches Signed/CA and dated 75 lower right; Signed, titled and dated July 1, 75 verso
Provenance: Kennedy Galleries, New York, New York Salmagundi Club, New York, New York Frank Tenney Johnson was raised on a farm in what is today the town of Oakland in southwestern Iowa. Within sight of the family’s farmhouse was the Overland Trail, by which pioneers would make the trek westward. “It was inevitable that I should choose the painting of Western life as my life’s work,” Johnson would say later. After moving to Milwaukee with his family in his early teen years, he would apprentice under artist F.W. Heine and later Richard Lorenz before moving to New York City in 1895 to study at the Art Student’s League. It would be there, after a stint as an illustrator, Johnson would study under Robert Henri, John Henry Twachtman and William Merritt Chase. After the turn of the century, he took assignments west for Field & Stream and they forever changed the trajectory of his career.
Estimate: $135,000 - 185,000 Literature: John Clymer: An Artist’s Rendezvous with the Frontier West, Walt Reed, Northland Press, Flagstaff, AZ, 1976: p. 79. The Western Paintings of John Clymer, Paul Weaver, Peacock Press/ Bantam Book, Bearsville, NY, 1977: pl. 18.
While Johnson had many great teachers and artists friends—including Norman Rockwell, Victor Clyde Forsythe, Jack Wilkinson Smith and many others—his work was uniquely his. Besides his famous nocturnes, Johnson had a look to his work, particularly his brushstrokes, which were broad and painterly, but could also emphasize detail. “…In Johnson’s paintings one can find both solid delineation as well as abbreviation,” writes Melissa J. Webster in Frank Tenney Johnson and the American West. “There are passages completed with the bold, painterly brushwork that characterizes the Munich style as well as American and French impressionism. With a solid framework, Johnson often generalizes landscape detail with broad brushstrokes, while still giving a realistic impression of the scene.”
Provenance: Morris & Whiteside Galleries, Hilton Head, SC Dozens of horses and figures, intense action and a panoramic-like composition—Crazy Horse has many of the masterful attributes that would appear in John Clymer paintings throughout his distinguished career. The 1975 work—showing Lakota warrior Crazy Horse at the Battle of the Rosebud on June 17, 1876—would also have historical grounding, which was a quality valued by the painter and his research partner and wife, Doris. In 1976, just a year the painting was finished, author Walter Reed noted the significance of the work in John Clymer: An Artist’s Rendezvous with the Frontier West: “Crazy Horse, like all the Indians of his time, was a great believer in dreams and his personal vision as a guiding force in his life. In his dream as a youth he had seen himself seated on his horse riding straight through the enemy shadows with the streakings about him like arrows and lead balls, which always disappeared before they struck him. Several times he was held back by his own people but he rode on, while behind him a storm cloud rolled. The sound of thunder was in the air, and a few hail spots and zigzags of lightning appeared on his body. Then the storm faded. He rode on with the people around him making a great noise, while over him flew the small red hawk making its cry. His father, on hearing his dream, told him when he went into battle he should always think of his vision and he would not be hit by enemy bullets. He must dress as the man had dressed in the vision and have the hawk over him and he must be first in fighting and leading his people. At the Rosebud fight Crazy Horse was said to have painted his body with hailstones and to have painted zigzag lightning marks on his pony. He wore also a red calfskin cape with the white spots that resembled hailstones. Leading the charge of his followers armed with guns, bows and war clubs, he holds his Winchester rifle aloft like a lance.”
334 Frank Tenney Johnson 1874-1939 Wyoming Trail Oil on board 12 x 16 inches Signed lower left and dated 37;
While the Native American fighters and their horses are given prominence in the painting, Clymer does paint one foreshadowing indicator of how the battle will end: In the center-right of the painting, right in front of Crazy Horse, is a riderless U.S. Army horse.
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Estimate: $30,000 - 40,000
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335 Joseph H. Sharp 1859-1953 Portrait Oil on canvas 13 ½ x 9 ¼ inches Signed lower right; Letter on back regarding provenance. Estimate: $30,000 - 40,000 Exhibitions: La Jolla Museum of Contemporary Art, California Mount Holyoke College Art Museum, Massachusetts In 1893 Joseph Henry Sharp was the first member of the Taos Society of Artists to lay a foot in Taos, New Mexico. He was immediately struck by the beauty of the place, but mostly by its people. Throughout his time in Taos, which was considerable, he would treat the Pueblo Indians and other models with great respect. And they, in turn, cared for him. “Many of the Indians loved Sharp dearly, almost always preferring to pose for him rather than the other artists, and they were greatly amused by his habits,” writes Forrest Fenn in Teepee Smoke: A New Look Into the Life and Work of Joseph Henry Sharp. “When working on a painting, Sharp would dab some paint on the canvas then dance or hop backward six or eight feet to view the result. The Indians who often gathered in the studio thought this was very funny and would laugh and mimic him behind his back. Their actions weren’t disrespectful, though; they were instead a sign of acceptance and regard for the artist.”
336 Joseph H. Sharp 1859-1953 Cottonwood Canon, Taos Oil on canvas 16 x 20 inches Signed lower right; Titled verso Estimate: $18,000 - 28,000
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337 E.I. Couse 1866-1936 Moonlight, Pueblo de Taos Oil on canvas mounted on board 30 x 36 inches Signed lower right/NA Estimate: $150,000 - 250,000 Provenance: The Artist Mrs. Alexander H. Kerr William Kerr, 1936 Coeur d’Alene Art Auction, Nevada, 2012 When Eanger Irving Couse first visited Taos, New Mexico, in 1902, the universe seemed poised to prevent his passage to the storied location. A late train, rats in the hotel in Hondo Canyon, a blizzard that dumped an abundance of snow overnight— the fates were against his travel. But when he finally arrived in Taos, he was met by Bert Geer Phillips and very quickly “Taos wrought its magical attraction on Couse…” writes Mary Carroll Nelson in The Legendary Artists of Taos. It was there in that famous location where Couse would produce some of his greatest work, including Moonlight, Pueblo de Taos. “Couse was famous for his paintings of both moonlight and firelight, and in Moonlight, Pueblo de Taos he effectively combines both elements, the challenge being to bring the cool and warm tones into a unified whole,” wrote Virginia Couse Leavitt, Couse’s granddaughter, in 2012. “In this painting, moonlight casts a green tone across the night scenes, creating luminous backdrop as it washes across the adobe walls of the pueblos in the background. An Indian father crouches beside a small campfire in the foreground, while a young boy kneeling at his side adds a stick of wood to the embers. The two figures are bathed in the orange glow of the fire, but its warmth has not yet reached the young girl who stands behind them wrapped in a colorful shawl. Through the skillful use of form and color, Couse portrays the warmth of a fire surrounded by cool night air within the hushed silence of a village wrapped in moonlight.”
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338 Gaspard de Latoix 1858-1918 Pueblo Traders Oil on board 14 x 18 inches Signed lower right; Envelope with artist description verso Estimate: $8,000 - 12,000 Provenance: Fenn Galleries LTD Midwestern Galleries The Legacy Gallery
Though he was born and died in the England, Gaspard de Latoix would come to be inextricably linked to the Southwest, which he sought out from 5,000 miles away starting around 1885. His early work of the Plains Indians and the Pueblo People, notably before many of the Taos artists had made the pilgrimage to New Mexico, led to a short but intense 20-year period of painting the Southwest that would gain him comparisons to Henry Farny and other painters who crossed the Atlantic to seek out adventure in the American West. The artist worked in both watercolor and oil, which can be seen here with Pueblo Traders, a magnificently textured daytime scene with brilliant light.
339 E.I. Couse 1866-1936 Moonlight Chant Oil on board 9 ½ x 12 ¾ inches Signed lower right; Signed and titled verso Estimate: $30,000 - 50,000 Among some of Eanger Irving Couse’s most treasured paintings are his nocturne scenes of Native Americans in Taos, New Mexico. Almost all of the Taos Society of Artists members would document the clear nights of the high desert in and around Taos, but Couse would take the brilliant moonlight and push it as far as his paint would let him. Moonlight Chant is a perfect example: the figure is almost swallowed by the darkness, even as the delicate light shines on his bare chest, shoulders and upward-pointing knees. The bluish-green paint saturates every corner of the painting, giving nuance to the quality of the light against the veil of the darkness. The density of the paint’s nighttime hue even renders the campfire inert as a light source, absorbing what little light it produces into the endless silence of the Taos skies.
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340 Leon Gaspard 1882-1964 Taos Wood Hauling Team Oil on board 11 x 22 ½ inches Signed lower left/Taos 1918 Estimate: $25,000 - 35,000
Provenance: Coeur d’Alene Art Auction, Reno, Nevada, 2006 Jackson Hole Art Auction, Jackson Hole, Wyoming, 2011 Artists came from far and wide to settle in Taos, New Mexico, at the beginning of the 20th century, and Leon Gaspard was one of the painters who came the furthest. The painter, born on the Western edge of Russia (today Belarus), was instructed by his doctor to find a simpler life. “Santa Fe was too civilized,” Gaspard is quoted in Forrest Fenn’s Leon Gaspard: The Call of Distant Places. “In the Taos plaza there were ponies tied to every fence post and an undertaker and saloon at every other door, with ice cream parlors and barbershops sandwiched in between.” Though the artist, known for his rich tapestries of swarming people, traveled far and wide, he would live much of the rest of his life in Taos.
341 Leon Gaspard 1882-1964 The Fair - Russia 1911 Pastel 9 ¾ x 25 inches, triptych Signed and titled lower center; The Estate of Leon Gaspard, Nedra Matteucci Galleries - Santa Fe verso Estimate: $40,000 - 60,000 Artist Leon Gaspard traveled all around the globe, and in almost every location he found himself in he would turn his attention to the common people, the humble residents of the small villages and rural hamlets off the beaten path. He painted the Pueblo People in Taos, New Mexico; Jewish musicians and marketgoers in rural Russia; trudging caravans of people making their way through French forests; and migrating families in Poland. Not only were these paintings colorful and full of texture, they had a gentle kinetic energy to them as ribbons of marching people were pulled along to their eventual destination. The Fair - Russia 1911, done in triptych, is one such painting and it exhibits many of the qualities that made these paintings special: hundreds of figures, gem-like blocks of color that shine from the crowd and quaint scenery that invokes Gaspard’s inquisitive love of new cultures.
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342 Oscar Berninghaus 1874-1952 Among the Adobes-Taos Oil on canvas 16 x 20 inches Signed lower right/Taos, NM Estimate: $60,000 - 90,000
Like Monet in his flower garden or Thomas Moran and Green River, there is special energy that comes from a work when the master is painting an iconic subject. And that is certainly the case here in Among the Adobes—Taos, in which Oscar E. Berninghaus depicts the subject that would define his career, the Taos Pueblo. With magnificent color and a serene presence within the day-to-day life of the pueblo and its people, Berninghaus’ work hints at the artist’s confidence in paint, in subject and in technique. “As a painter, Oscar Berninghaus was a very intense man,” Gordon Sanders writes in Oscar E. Berninghaus: Master Painter of American Indians and the Frontier West. “He had the ability to learn, to experiment, to improve—to listen, to observe. His research was impeccable—he had to know his subject, whether it be a mountain, an Indian or a tree. He studied the flora and fauna in and around Taos, and spent hours talking with cowboys, farmers and wagonmasters. Every detail, he wanted to know. He also had one of the finest traits that anyone who wants to know something can have—the ability to ask. He listened and learned, but he never copied. What he learned was evaluated, weighed and used to fortify his own style—his interpretation. Regardless of what he painted it always came out ‘Oscar E. Berninghaus.’ As an artist, his ego was always intact, never threatened by another artist’s work or success. This inner calm and security made him a very popular person, not only with his family but also with his fellow painters. If indeed he had his moments of doubt, he never let on about them.”
343 Oscar Berninghaus 1874-1952 At the Hitchrack Oil on board 10 x 12 inches Signed lower right/“Taos-25” Estimate: $15,000 - 25,000
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344 Walter Ufer 1876-1936 A Singer Oil on canvas 10 ¾ x 12 ¼ inches Signed upper right; Titled and signed verso Estimate: $80,000 - 120,000
Provenance: J.N. Bartfield Galleries, New York, New York Christie’s, Los Angeles, California, 2001 One of Walter Ufer’s most prominent New Mexico models was Taos artist Jim Mirabal, who appears in countless paintings, including this one, from Ufer’s time living near the pueblo. “During the 1920s, Ufer also began painting a series of canvases of Jim Mirabal playing musical instruments—drums and flutes. He may have been inspired by the romanticized paintings of the conservatives who portrayed Taos Indians playing musical instruments in a landscape or in an interior as part of a religious setting,” according to Walter Ufer: Rise, Fall, Resurrection. “In those situations, the flute player, in an idyllic world, played to a potential mate or to nature. In Ufer’s paintings, Jim Mirabal plays for the artist, the paintings audience and himself. Although he occasionally pictured the musician in a landscape setting, more often than not Ufer painted his subject in his studio. Employing musical instrument props, Ufer painted Jim in an entirely realistic manner.”
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345 William H. Dunton 1878-1936 Indian Riders Oil on board 10 x 8 inches Signed lower left Estimate: $40,000 - 60,000 Provenance: Schenck Southwest, New Mexico Christie’s, New York, New York, 2005 Booth Western Art Museum, Georgia, 2006 Zaplin | Lampert Gallery, New Mexico The Owings Gallery, New Mexico Adison Rowe Fine Art, New Mexico If judging by appearances only, William Herbert “Buck” Dunton would be the most traditional of the Taos Society of Artists founders. The tall and lanky artist, with his large 10-gallon hat and neckerchief, looked more like a cowboy than a painter. And yet Dunton, who had come to Taos from Maine by way of Boston and Montana, was very much a modernist who found himself invigorated by new art movements, including hints of impressionism, aspects of which can be seen in his Indian Riders. “The introduction of light and a brightening of the palette that suggest the impact of impressionism are the striking features of Dunton’s work…,” Julie Schimmel writes in The Art and Life of W. Herbert Dunton, 1878-1936. “However, with the exception of a light palette and bright skies, there is little else to associate Dunton with impressionism. He never adopted a brushstroke that was uniformly placed across the surface; rather his brushstrokes always conformed to individual shapes; also, his shadows were traditionally conceived in tones of grays, browns and blacks and were not the reflected colors of the impressionist palette.” Schimmel also explains that Dunton was a product of the plein air movement, particularly the variety championed by John Constable, the Pre-Raphaelites and the Barbizon painters. His focus on outdoors study eventually led to his association in the sub-movement known as the “glare aesthetic,” which described the sun-saturated paintings from the late-19th and early-20th centuries. “Dunton’s paintings [from this period] quickly reflected his new interest in subjects studied in direct light, and critics were soon to perceive this quality of his work.” For instance, one writer in 1915 commented that Dunton had painted a “gorgeous composition, better than anything Remington ever painted, although in the bold open-air vein.”
346 William H. Dunton 1878-1936 October Oil on board 8 x 10 inches Signed lower left Estimate: $30,000 - 50,000 Provenance: Santa Fe Art Auction, Santa Fe, New Mexico Coeur d’Alene Art Auction, Reno, Nevada Loosely painted with vibrant color and clearly discernable blocks of paint applied by his brush, William Herbert “Buck” Dunton’s October is a classic example of the artist’s more modernist landscape renderings. Dunton, the resident cowboy and hunter within the Taos Society of Artists, was fond of these loose exciting little works, which often had fall color and backgrounds that were in shadow and barely manifesting through dark paint. While October is almost certainly a plein air work or early study for a larger painting, its nuance and delicate beauty are palpable still.
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347 Joseph H. Sharp 1859-1953 Chant to the Rain Gods Oil on canvas 24 x 20 inches Signed lower right; Picture of artist verso Estimate: $100,000 - 150,000
No one has done a survey, but informally this painting contains both the most famous fireplace and window in all of the West. In 1915 Joseph Henry Sharp moved into his second studio in Taos, New Mexico, several dozen feet from Eanger Irving Couse’s home and studio. What started as a small single-story house was eventually turned into a two-story studio with a larger window to the north and an expansive loft area where he could store artifacts and other materials. While Sharp used almost every corner of the studio to pose his models, few areas are as recognizable as the corner featured here in Chant of the Rain Gods, with the kiva fireplace on the extreme right and the round window with the square frame. One of the more unique aspects of this painting is the three sources of light: the orange glow of the fireplace that appears on the figures, the more intense light coming from the round window, and the diffused light coming from that large (and unseen) north-facing window that is casting strong shadows behind the seated drummer.
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348 Joseph H. Sharp 1859-1953 Indian Couple in Interior Oil on canvas 25 x 30 inches Signed lower right Estimate: $125,000 - 175,000 The bulk of Joseph Henry Sharp’s completed works can largely be put into two categories: single figures in indoor settings and larger outdoor scenes. A much smaller, though quite interesting, category are his portraitlike paintings of two, three and four figures, many of them in profile, as is the case with Indian Couple in Interior. One of the striking aspects of the work is the more modern feel of the pose; the magnificent colors, including that violet striped fabric worn by the male figure; and the delicate composition, which nests the female figure almost entirely in the male form. “Most of the Indian painters of the last 60 years have painted the Indians as they are now, or in battle, horse rustling…and ignored their legends, sentiments and home life,” Sharp writes in Teepee Smoke: A New Look Into the Life and Work of Joseph Henry Sharp. “[I try] to present the Indian as he is…mentally as well as physically; not as ephemeral fiction has delighted to picture him, but as human being, endowed with intelligence, swayed by nobility of thought, venerated by indolence, animated by craftiness, or calmed by reveries of bygone days.”
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Edgar Payne 1883-1947 Arizona Indians Provenance: O’Brien’s Art Emporium, Scottsdale, Arizona Valley National Bank, Arizona Private Collection, Arizona Literature: Payne’s Southwest Exhibition of Western Landscapes and Genre Art, Arizona West Galleries, Scottsdale, Arizona, 2000 cover.
In the 2012 book Edgar Payne: The Scenic Journey, the late Western scholar Peter Hassrick relates the story of two friends: long-celebrated California landscape painter William Wendt and his younger painting protégé Edgar Payne. Though the two men shared qualities—for instance, they were both largely self-taught—differences had emerged the more time they spent together. “Payne sees nature in a big and comprehensive way, and something of this bigness of outlook communicates to us,” wrote one art critic in 1929. Hassrick, responding 83 years later, wrote: “Yet, by degrees, Payne took his bigness to another level. It was a function of his adventuresome personality. No horizon was too far for him; no vista, regardless of how daunting, was too intimidating. Wendt famously remarked in 1924 that he refused to paint the Grand Canyon because it was simply impossible. Payne could not fathom the impossible.” That “bigness” that was referred to shows up here in Arizona Indians as four figures on horseback marvel at the scenery stretching out in front of them. Although Payne would paint a number of great paintings with clouds, his primary interest was the land forms and their looming presence over human figures. But here, the clouds are the king as they billow up into an overwhelming presence in the sky. The clouds create a lovely effect on the ground below as the shadows and the fading light combine to create layers of purples and pinks on the valley floor. The image would appear in the book Payne’s Southwest Exhibition of Western Landscapes and Genre Art, which estimated its completion around 1925. “There is a spiritual reverence to this work that Payne used infrequently in his Southwest pieces,” the book notes. “The quality of the cloud anatomy, depth of field for the desert scene and the size and rendering of the four Navajos and their horses combine to make Arizona Indians one of the finest example of Payne’s career in the Southwest.” Another aspect of this painting worth noting is the size of the riders against the immensity of the land and sky. While the riders are certainly small in comparison to the clouds, they hold their own within the composition of Arizona Indians. This quality of Payne’s work was influenced early on by the photography of Edward S. Curtis, particularly his Canyon de Chelly images. Two decades after Curtis, Payne was painting similar images with “Navajo people surrendered to the enormity of their natural home,” Hassrick writes. Later, though, as his work developed, he brought the riders out of the bottom of the paintings—they were “liberated from the sandstone chasm,” Hassrick adds. That liberation can be seen here in Arizona Indians, in which the figures are equals with the natural world.
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349 Edgar Payne 1883-1947 Arizona Indians Oil on canvas 25 x 30 inches Signed lower right Estimate: $300,000 - 500,000
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350 Gerard Curtis Delano 1890-1972 Navajo Night Oil on board 16 x 20 inches Signed Lower left Estimate: $60,000 - 80,000 Provenance: The artist Park Floral Store, Denver, Colorado Mr. Richard L. Champlin, Chicago, Illinois, 1968 Coeur d’Alene Art Auction The Ownings Gallery, New Mexico In his heyday of the mid-20th century, Gerard Curtis Delano generally focused on contemporary scenes of Native Americans, particularly the Navajo people in Northern Arizona. These were not historic figures from the past, but people who were living in the present in a place largely untouched by time. Many of his works were based on personal observation, as was the case for this work. “Navajo Night commemorates one evening on the reservation when I attended a ‘Squaw Dance,’” the artist wrote in a letter in the fall of 1968. “Apparently I was the only white person there. And one of my very vivid memories is of a Navajo couple arriving on their ponies, the moonlight glinting from the silver band on the man’s hat and from other reflecting surfaces such as the conchas and bridle bits. It was from such a memory that Navajo Night was conceived and painted.” Delano was fond of the Navajo, or Diné, people and their customs. And he was mesmerized by their lands, which were very foreign to the East Coaster who came from New England where he had studied with Dean Cornwell, Harvey Dunn and N.C. Wyeth. “There is a vastness, an immensity, and the peaceful hush of an enormous cathedral about Arizona’s great canyons,” he says in Richard G. Bowman’s book Walking With Beauty: The Art and Life of Gerard Curtis Delano. “Whoever has been within these walls and has seen the flocks of sheep and goats grazing, heard the distant tinkle of the lead goat’s bell, listened to the haunting song of the bright-skirted shepherdess, and who has seen in the distance an approaching rider, a tiny speck against the massive walls, must yearn to perpetuate his impressions of those previous moments. That is why I paint the Navajo.”
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351 William R. Leigh 1866-1955 The Narrowing Circle Oil on board 26 x 36 inches Signed lower right Estimate: $750,000 - 1,000,000
351 William R. Leigh 1866-1955 The Narrowing Circle (detail) Oil on board 26 x 36 inches Signed lower right Estimate: $750,000 - 1,000,000
William R. Leigh 1866-1955 In Pursuit Provenance: J.N. Bartfield Galleries
The hard-charging horse and rider painted mid-stride and usually pointed toward the left edge of the painting, hoofprints stamped hard in the desert dust by pounding locomotion, the weary look on the animal’s exhausted face, the rigid form of the rider pulling the reins—this image is classic William R. Leigh. And it’s an image he would return to repeatedly throughout his career. In Dodging Lead, the rider turns behind him with a six-shooter at the ready. In Pony Express, the rider is a mail carrier watching wolves ride up alongside his terrified horse. In Indian Rider, another rider takes the place of the wolves. Midnight Ride of Paul Revere features the same composition, but has a setting and characters far removed from the Old West. Each painting, while having a similar visual motif, tells a different story with different characters, and each one presents a new thrilling take on action and adventure in the desert. In Pursuit is certainly one of the finest examples of this theme. Not only is the rider painted with special care—the resolve in his face radiates down his body, giving him a relentless power that bursts forward—but the landscape and sky are richly painted with beautiful color and texture. The sky is especially vivid, with a pointillist-like tapestry of brushstrokes that counters the scene’s ominous tone with wonder in the stars. Who is the rider pursuing and why? Leigh provides few clues except for the seriousness on the Native American rider’s face.
Provenance: O’Brien Galleries, Scottsdale, Arizona. Walter Reed Bimson, Phoenix, Arizona, 1954 Valley National Bank of Arizona Collection Private Collection Christie’s, New York, New York, 2016 Literature: “Snedecor’s Summer Show,” American Art News, vol. XIV, no. 36, July 15, 1916: p. 3. “The National Academy of Design: Winter Exhibition--1916-1917,” The Art World, vol. 1, no. 5, February 1917: p. 306. “Western Scenes by W.R. Leigh at Snedecor’s,” The Brooklyn Daily Eagle, April 1, 1917, p. 33. Babcock Galleries, Paintings of the West, New York, 1920, n.p., illustrated. “Paintings of the West,” El Palacio, vol. VIII, no. 1, January 31, 1920, p. 184. W.R. Leigh: The Definitive Illustrated Biography, June DuBois, The Lowell Press, Kansas City, Missouri, 1977: p. 85. The West and Walter Bimson: Paintings, Watercolor, Drawings and Sculpture, University of Arizona Museum of Art, Tucson, AZ, 1971: p. 109.
These action scenes were Leigh’s bread and butter, and he proved to be passionate about their layers of action and drama, as well as the chaotic presence they hold on the canvas as the horse chugs forward under flailing limbs and frantic momentum. Once, when Leigh was in Billings, Montana, he was approached by a cowboy who offered him a ticket to a nearby bucking contest. Fifty cents were plucked from a pocket and Leigh headed over to a corral, where he climbed to the top rail to watch as man and beast fought for dominance. “Well, we saw the real thing!” Leigh wrote later. “Of all the rip-roaring, all-fired shows I had ever seen, this took the lead.” Author June DuBois, in her book W.R. Leigh: The Definitive Illustrated Biography, relates the mini rodeo story to Leigh’s larger career: “So vivid and realistic is Leigh’s rendering of flashing hooves and flying distorted bodies, both equine and human, that the viewer feels his own perch on the top rail should be abandoned for a view through a knothole.”
Bursting with action and drama, William Robinson Leigh’s 1916 painting The Narrowing Circle is imbued with danger and ferocity. The threats are so palpable—the aimed rifles, the kicking horses, the dead men in the dirt—that if the bullets don’t strike down these warriors, than the sun and the simmering desert heat certainly will. Leigh was a master at mythologizing people and their plights for survival, but he could also create lore from the lands itself, which is rendered here in a manner that will make audiences suddenly very thirsty and hot—he’s captured the desert in all its dangerous beauty. His colors, somehow muted and vibrant at the exact same time, heighten the mood as riders fall and horses rear up in both defeat and victory. The paint has an almost fabric-like quality, typical of a Leigh painting, with small bursts of impasto that make viewing the work in person a treat to behold as light hits the sumptuous built-up color and ricochets off into the room. Leigh was a technical painter, a mechanic at the easel. It can be seen here as he nudges a terrifying desert skirmish to its bloody, though still undecided, conclusion. The relentless nature of the work, particularly the frenzied action and tumbling bodies, would be used as a model for a later Leigh masterpiece, Custer’s Last Stand, now at the Woolaroc Museum in Oklahoma. The Narrowing Circle is rendered with magnificent detail and a powerful composition that traps the viewer within the action as it ratchets the tension tighter and tighter. “William R. Leigh’s The Narrowing Circle is an astonishingly well drawn and dramatic frontier battle scene,” wrote one writer in 1917. “Dramatic” was Leigh’s specialty, as is evidenced by his ensemble of antagonists: grizzly bears, rattlesnakes, bucking broncos, charging buffalo and, in one unique piece, an alkali pool of water beckoning weary cowboys to its banks. Leigh’s West was a treacherous place, but that’s also what makes his work so thrilling, so adventurous and so brutally mesmerizing.
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352 William R. Leigh 1866-1955 In Pursuit Oil on canvas mounted on board 28 x 22 inches Signed lower left and dated 1915 Estimate: $400,000 - 600,000
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Frank Tenney Johnson 1874-1939 Packing In Provenance: The Artist Maxine Champion Scottsdale Art Auction, Scottsdale, Arizona, 2012 Literature: The Frank Tenney Johnson Book, Harold McCracken, Doubleday, New York, New York, 1974: p. 145 full page color.
No Western artist is more linked to the nocturne than Frank Tenney Johnson. And few of Johnson’s paintings are as iconic to the nocturne as a genre than Packing In, a supremely confident 1931 painting of a rider and pack horse sloshing through a canyon stream as moonlight bathes the scene in a brilliant radiating glow. Certainly other artists, Frederic Remington among them, were capable of painting the night and its many nuances, but Johnson took his work, and with it the nocturne, to another level. “[Charles M.] Russell knew the riders of the Northwest, but Russell is dead. Remington knew the cowboy and his mount and whole story of the Old West, but Remington is dead. When Johnson is gone, the last of this triology of the trail and the range will have passed,” wrote Fred Hogue in a 1928 issue of the Los Angeles Times (as told in The Frank Tenney Johnson Book). “As a painter of nocturnes, Frank Tenney Johnson is the peer of any artist that ever came out of the West. Russell and Remington could paint the sunlight, but when the twilight shadows began to fall they cleansed their brushes, assembled their canvases and withdrew…Perhaps Frank Tenney Johnson is a poet who sings in color. There is a harmony in his canvases that escapes our fives sense. There is art, an art that I did not discover last summer when I visited contemporary exhibitions in seven European countries…His best is equal to the best in any company. He possesses the secret of color, of light and shade, of technique and composition. Perhaps, when he is dead, other lovers of the beautiful will write of him and his art what I have written here.” One of the remarkable aspects of Johnson’s nocturnes is how they came to be, and almost didn’t. In 1904, while traveling through Hayden, Colorado, Johnson ran out of money and was stranded. He sent a letter for a money order, but his letter and the response back were delayed. Finally, on the 11th day, the money arrived and Johnson resumed his journey. But his written correspondence during those 11 days was revealing. “Frank’s letters immediately became a lot longer and chatty. There is an indication he was doing considerably more sketching and painting, particularly in a rocky canyon, where he had been studying the colors in the shadows at different times of the day, from early morning until under the glow of the moonlight,” Harold McCracken writes in The Frank Tenney Johnson Book. “‘I’ve been experimenting with colors,’ he wrote, ‘the way Maxfield Parrish gets his peculiar techniques. It’s an attractive effect indeed and I’ll make good use of it.’ It seems that this experience and the influence of the deep and extraordinary blues which distinguished so many of the fine paintings done by Maxfield Parrish, together with the study of colors under the effects of moonlight in a deep rocky canyon near Hayden, may have well been the beginning of the very distinctive nocturnes which later became the hallmark of Frank Tenney Johnson as an extraordinary artist. It is sometimes strange how seemingly almost unbearable situations of apparent distress are in reality blessings in disguise. If he had not been literally stranded in Hayden he might never have made this study in depth of the simulation of daylight colors under the effects of moonlight. Johnson succeeded in accomplishing this artistic technique to a finer degree than any other artist in his field.”
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353 Frank Tenney Johnson 1874-1939 Packing In Oil on board 24 x 18 inches Signed and dated 1931 lower left Estimate: $250,000 - 350,000
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354 Frank Tenney Johnson 1874-1939 Apache Scout Oil on board 20 x 24 inches Signed lower left Estimate: $75,000 - 125,000 During Frank Tenney Johnson’s epic 1904 journey throughout the desert Southwest, the trip included many encounters with Native Americans that cemented his love for the area and its people. He recalls many times walking through small villages and seeing interesting faces on the people as they were going about their lives—the boy from Iowa was fascinated at their culture, clothing and customs. He would often greet people, use a gesture with his hands to indicate he wanted to take a picture and then snap a shot. Afterward a quarter or 20 cents would be given for their trouble. Later, as Johnson was set up on location with his easel, word would get out that he was paying for portraits and curious onlookers would stream out of the town to go see their visiting artist, and maybe make some money. It’s very likely a piece like Apache Scout, which was sold in 1928 at the Salmagundi Club for $330, could have started with one of these impromptu modeling sessions. This figure—serious face, white shirt, light-colored headband, rifle, horse with a white socks and head—would appear in several works, though no works as masterful as Apache Scout, with its light greens and sapphire blues giving mood and drama to the intensity of the night. “They do a lot of their traveling across the desert at night to avoid the intense desert heat during the day,” Johnson wrote from this 1904 trip. “But seeing these people in the moonlight or even the magic light of just the stars has impressed me very deeply. What paintings I can make of some of the scenes…”
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355 Frank Tenney Johnson 1874-1939 The Rimrock Wrangler Oil on canvas 28 x 36 inches Signed lower left, dated 1936 Estimate: $400,000 - 600,000
355 Frank Tenney Johnson 1874-1939 The Rimrock Wrangler Oil on canvas 28 x 36 inches Signed lower left, dated 1936 Estimate: $400,000 - 600,000 By 1936, when The Rimrock Wrangler was painted, Frank Tenney Johnson and his wife had been summering at Rimrock Ranch for five years. They had settled there in 1931 and saw it as a welcome relief to the imploding economic situation happening everywhere except, seemingly, northwest Wyoming about 25 miles from Cody and not far from the east entrance to Yellowstone National Park. Several decades earlier, Buffalo Bill had vacationed at his nearby TE Ranch in between runs of his famous Wild West Show. The cool mountain air and breathtaking views worked for Buffalo Bill, and they worked for Frank Tenney Johnson. And in The Rimrock Wrangler, it’s not hard to see Johnson painting a little bit of his own life on that mountain slope: the content cowboy taking a quiet break with his horse. The valley splayed out below them in an array of beautiful color. The skies parting to allow clear light to dance on the rocks and flicker into the green vegetation. If there was an Eden, then it was there in Rimrock country.
356 Henry Shrady 1871-1922 Buffalo Bronze 13 inches high Signed; Copywrite 1899 Theodore B Starr Estimate: $75,000 - 125,000
“The Rimrock Ranch in the Wapiti Valley of Wyoming’s great Rocky Mountains had seemed to the Johnsons like a place far away from the mercenary problems of a suddenly disrupted world,” writes Harold McCracken in The Frank Tenney Johnson Book. “Rugged snow-decorated peaks jutting high into a blue sky; riding a narrow trail up to where one looks far down to where big rivers appear like little gray ribbons; getting fleeting glimpses of wildlife, big and small; and catching jerking trout to be cooked over a campfire far from a kitchen. Such experiences are a wonderful elixir to forget everything but the enjoyment of being alive. There, in his log studio home in the Rockies, Frank could paint without thinking too much about exhibitions and sales galleries.”
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Literature: The American West in Bronze, 1850-1925, Thayer Tolles, Thomas Brent Smith, Metropolitan Museum of Art and Yale University Press, New Haven, Connecticut, 2013: pp. 56, 69-70. Regarded as one of the most important bison bronzes in the West, Henry Shrady’s Buffalo is revered by curators and collectors alike. A cast of the bronze was exhibited in The American West in Bronze, 1850-1925 at the Metropolitan Museum of Art in 2013. “Nearly every sculptor of the Western themes, whether an animal specialist or not, at some point modeled the bison,” writes Thayer Tolles in the exhibition’s catalog. “Perhaps the most remarkable in terms of its naturalism and quality of casting is Henry Merwin Shrady’s Buffalo, which was produced in two sizes (approximately 13 and 23 inches high). This bronze exemplifies Shrady’s command of animal anatomy, acquired in biology studies at Columbia University as well as through observation of animals at the New York Zoological Park (the Bronx Zoo). He convincingly recorded the bison’s solid form, rendering its weighty coat as a textural tour de force. The skull on the rocky base resonates with meaning, as Brian W. Dippie has observed: ‘The buffalo skull is to the western plains what the tree stump is to the easter forest: a symbol of progress that leaves in its wake an uneasy sense of loss.”
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357 Charles Russell 1864-1926 Cavalry Mounts for the Braves Watercolor and Gouache 16 x 14 inches Signed lower left with skull Estimate: $150,000 - 250,000 Exhibitions: Legends of the West: The Foxley Collection, Joslyn Art Museum, Omaha, Nebraska, 2006-2007 Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Kennedy Galleries, New York, New York J.N. Bartfield Galleries, New York, New York Private Collection, Wyoming Literature: Legends of the West: The Foxley Collection, J. Brooks Joyner, Joslyn Art Museum, Omaha, Nebraska, 2007: p. 81 Charles M. Russell: A Catalogue Raisonné, B. Byron Price, University of Oklahoma Press, Norman, Oklahoma, 2007: p. 235 One of the many aspects of Charles M. Russell’s works that fascinates viewers from all over the art world is his ability to tell volumes of narrative through his figures’ posture and simple gestures. A lot of praise is heaped upon him, deservedly so, for his authentic portrayals of cowboying, of Native American customs and clothing, of horses and their various movements. His works have an almost journalistic quality to them—he wasn’t just painting the West, he was reporting on it. And yet, the unsung hero in this authenticity are the emotions of his figures, their poses, their postures and their conveyance of their internal truths. In Cavalry Mounts for the Braves, a watercolor and gouache painted around 1907, the artist paints a Native American rider leading a herd of horses out on the open plain. Even in the looser brushstrokes of the watercolor, there is an unmistakable emotion on the figure’s face and in his body. From the gentle hold of the rifle and the turned glance toward the sunlight to the subtle position of his mouth and the slow walk of the horse, everything about this figure and the way he is painted is telegraphing one thing—pride. And the way Russell conveys so much with so little is a testament to his enduring skill as a painter. “Charles Russell reveals to his viewers much information about his compositions through his titles as in Meat’s Not Meat Til its in the Pan or When Shadows Hint Death. He does so again in Cavalry Mounts for the Braves,” wrote Russell historian and collector Ginger Renner in 2007. “Among the young warriors of the Northern Plains, actual warfare against enemies was one of their greatest expressions of courage and tribal support. Another was stealing horses, an act that enhanced the position, wealth and reputation of the tribe and there was encouraged, supported and promoted by all tribal members. Here, a confident, proud young warrior leads a small group of fellow tribesmen who have achieved the ultimate coup against a mighty enemy, riding right into the camp of a cavalry company camped out on the plains, absconding with a large group of Army mounts. This, in itself a might effort, is compounded by the arrogance of the Indian warrior who at some time traded with military to acquire his ‘YellowBoy,’ a 66 Winchester rifle he so lovingly cradles in his arms, as well as the brass tacks he has decorated it with.”
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358 Charles Russell 1864-1926 The Stampede Watercolor 20 x 30 inches Signed with skull lower left; Letter about the painting and artist by David C. Hunt, Consultant verso Estimate: $125,000 - 175,000 Provenance: Kodner Gallery Fine Art, St. Louis, Missouri Santa Fe Art Auction, Santa Fe, New Mexico, 1999 Charlie Russell’s watercolor The Stampede, sometimes titled The Stampede (Or Turning the Herd), shows the terrifying effect of cattle high-tailing it across the plains during a lightning storm. These are not individual cows anymore, but a hulking mass of horns, hooves and leather surging forward in a violent swirl that could easily swallow up any inexperienced rider. Russell paints his cows practically stuck together, some attempting to leap out or push ahead as they lunge forward. There is danger here, but Russell’s cowpuncher makes a valiant attempt to calm the herd. In We Pointed Them North: Recollections of a Cowpuncher, E.C. “Teddy Blue” Abbott, a friend of Russell’s, describes the perils of a stampede: “The only thing to do during a stampede was to ride along the lead of the cattle—not in front, but alongside—and try to head them and get them into a mill, because once they got to milling they would stop running after awhile. And that was the reason for singing or making some kind of a noise when we were riding with a stampeded, because if you could hear your partner, you knew he was all right, but if you couldn’t hear him, he might be down. And if that happened, you stopped trying to mill them and let them run in a straight direction to get away from him.” Does this rider make it out? Does he calm the cattle? Does he live to ride another night? Russell leaves that to the viewer to decide.
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Provenance: The Artist Mr. & Mrs. Willis T. Burns Ms. Helen Craney, St. Maries, Idaho Ms. Gertrude Thomas, St. Maries, Idaho Ms. Virginia M. Tousley Mr. Norman G. Belcher, Las Vegas, NV Private Collection, South Carolina
359 Charles Russell 1864-1926 Collection of two paintings: Indian Woman; Logger Watercolor 5 x 4 inches each Signed lower left with skull and dated 1913 Estimate: $20,000 - 30,000 This set of watercolors was a place setting gift of Mr. & Mrs. Charles M. Russell to Mr. & Mrs. Willis T. Burns at a dinner in the Russell's home in 1913. They subsequently passed through the Burns family until they were acquired by a collector in Las Vegas, NV and later, a collector in South Carolina.
360 Charles Humphriss 1867-1934 Appeal to the Great Spirit Bronze, signed Roman Bronze Work, New York 15 inches high Estimate: $6,000 - 9,000 Charles Humphriss was born in England, but later was so enamored with the open lands and sense of adventure in American that he made the long boat journey to settle in New York City. He quickly made a name for himself in sculpting circles in the city, and as soon as he could he ventured West, where he would be drawn to Native American subject matter early in his career. He showed his work—including Appeal to the Great Spirit, one of his most prized works—at many exhibitions in the Northeast, including New York and Pennsylvania, and also on the West Coast in San Francisco at the PanamaPacific Exposition of 1915. There is some minor debate on Humphriss’ Appeal to the Great Spirit and Cyrus Dallin’s iconic bronze with the same name. Not only did the works share a title, but they also had similar themes: both depicted Native American subjects in a solemn moment of tranquility as they hold their hands out. Though Dallin’s work has been more widely seen, it was Humphriss’ work that likely came first in 1906, two full years before Dallin’s.
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361 Henry Farny 1847-1916 The Hunter Gouache 8 c x 5 8 inches Signed lower right and dated 1900 Estimate: $30,000 - 50,000 Provenance: Brinkman Foundation, TX Literature: Honoring the Western Tradition: The L.D. “Brink” Brinkerman Collection, Kerrville, TX, L.D. Brinkman Foundation, 2003: p. 9 Henry Farney, Denny Carter, Watson-Guptill Publications, New York, NY, 1978: p. 114 Born in France, Henry Farny came to the United States as a young boy after his family fled Napoleon’s empire in 1842. He settled in Cincinnati, Ohio, where he would meet artists like Frank Duveneck and spend time with the nearby Seneca Indians, who would fascinate the young artist. After the Civil War, and a somewhat lucrative lithography endeavor, Farny traveled to Europe to study art. Upon his return to America, he started making trips west, including up and down the Missouri River. His interactions with Native Americans informed his work, and today that body of work is held in top public and private collections around the country.
362 Henry Farny 1847-1916 Long Way Home Gouache 7 x 4 inches Signed lower right and dated Estimate: $20,000 - 30,000 Provenance: Brinkman Foundation, TX Literature: Honoring the Western Tradition: The L.D. “Brink” Brinkerman Collection, Kerrville, TX, L.D. Brinkman Foundation, 2003: p. 10
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363 William Gollings 1878-1932 A Herald of Trouble India Ink and Gouache 20 x 16 inches Signed lower right and dated 1914 Estimate: $14,000 - 18,000
Dated 1914, this India ink and gouache version of William Golling’s A Herald of Trouble was a favorite image by the painter, who completed at least two oil versions of this work three years earlier in 1911. Although the oil versions may be favorites among collectors and Gollings fans, the India ink and gouache version has several notable improvements: the clearly defined shape of the horse, particularly the small glint in its eye that gives the animal a desperate look as it flees from danger; the well-defined silhouette of the rider’s face, which is less pronounced and muddled in the oil paintings; and the more active composition with the two chasing riders positioned directly over the central figure’s shoulder.
364 William Gollings 1878-1932 Round Up Oil on board 7 x 10 inches Signed lower left, dated 1923 Estimate: $30,000 - 50,000 Provenance: Nedra Matteucci Galleries, New Mexico Literature: Elling William “Bill” Gollings: A Cowboy Artist, William T. Ward and Gary L. Temple, Patagonia Publishing Company, Argentina, 2007: p. 128. Born in the West and friends with a motley crew of artists—Joseph Henry Sharp, Charles M. Russell, Hans Kleiber, Frank Stick, Joe De Yong and Will James—Bill Gollings carved a spot of his own in Sheridan, Wyoming, where he could paint images of the untamed West of his early memory. Like his contemporaries, Gollings had experience riding horses and working around cattle and sheep, aspects of his own history that served his artwork well. With the feel of the leather in his grip and a horse galloping underneath him, Gollings would strive to capture the excitement and mystery of the West. Round Up was completed in 1923, the same year the artist finished his autobiography, which closes on this line: “A works for the rest of my life is ahead of me with only one thing that would ever take me from it; to be younger and have the country open and unsettled as it was when I first made riding my profession.”
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Kenneth Bunn was 18 years old and fresh out of high school when he took an anatomy course intended for medical students at the
University of Utah. Later he had a four-year apprenticeship with Denver taxidermist Coloman Jonas and apprenticed at the National Museum of Natural History in Washington, D.C., where he would assist in designing and creating human and animal models for museum exhibits. With lots of experience under his belt, Bunn would later start his own commercial art business providing models for museum displays, all while maintaining his own working art studio. Finally, in 1969, Bunn gave up the other work to focus on his art. He celebrated this new motivation with his own artwork by taking a trip to Africa. With simple and playful animal gestures, a loose impressionist style of sculpting and a phenomenal work ethic, Bunn would quickly become a revered and respected wildlife sculptor, both inside and outside Western art. “Bunn’s sculptures employ a blend of realism and impressionism in a strong interpretive style, using loose, flowing sculptural surfaces to convey life and movement without unnecessary detail,” notes the National Museum of Wildlife Art. “He works with every anatomical element within each piece, adjusting them until the whole sculpture reflects some truth about the essence of the animal depicted. Bunn seeks to express implied or anticipated movement within his sculptures. Ideas for the works come from experience and research, with Bunn rarely sculpting a subject he has not personally seen.”
365 Kenneth Bunn 1938-2020 Vantage Point Bronze, cast 6/21 24 inches high x 33 inches wide Signed and dated 1997 Estimate: $16,000 - 24,000
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366 Kenneth Bunn 1938-2020 Rimrock Cougar Bronze, cast 23/35 17 inches high x 31 inches wide Signed and dated 2008 Estimate: $10,000 - 15,000
367 Kenneth Bunn 1938-2020 Striding Grizzly Bronze, cast 3/7 32 inches high x 50 inches wide Signed Estimate: $25,000 - 35,000 S C O T T S D A L E A R T AU C T I O N
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368 Kenneth Bunn 1938-2020 A Tribute to the Gray Wolf Bronze, cast 4/12 24 inches high x 29 inches wide Signed and dated 2014 Estimate: $10,000 - 15,000
369 Tim Shinabarger b. 1966 Call of the North Bronze, cast 27/35 18 inches high Signed and dated 07 Estimate: $2,500 - 3,500
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370 Frank Schoonover 1877-1972 Rough Crossing Oil on canvas 30 x 36 inches Signed with initials lower right and dated 1935 Estimate: $45,000 - 65,000 Literature: The American Boy–Youth’s Companion, “Beaver Woman’s Vision,” James Willard Schultz, August 1935: p. 17. The White Buffalo Robe, James Willard Schultz, Houghton Mifflin Company, Boston, Massachusetts, 1936: p. 44. Sometimes titled Rough Crossing, Frank Schoonover’s We Recrossed the Creek originally ran as an illustration in an article titled “Beaver Woman’s Vision” in a 1935 issue of The American Boy, one of the most popular magazines for boys in the 1930s. The image ran with the original caption: “In the big north and south trail we recrossed the creek, and were looking for a place in the timber to make our stand.” The illustration ran across from a separate Schoonover piece, They Were Up in the Wagons and Lashing the Teams. Both pieces superbly show the artist’s ability to render stories, simple and complex, with just a few key points in any given work. “Capturing outdoor scenes of action was Frank Schoonover’s natural delight—and the delight of vast public,” writes Cortland Schoonover, the artist’s son, in the book Frank Schoonover: The Illustrator of the North American Frontier. “The western United States and Canada was Schoonover’s favorite setting. He had spent a great deal of time there: On horseback with the cowboys; traveling thousands of miles by canoe, dogsled and snowshoe with the Indians; and trekking many long miles afoot. He became a magician of dramatic outdoor composition and always had his public eagerly anticipating the next pictorial adventure.”
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371 Frank Schoonover 1877-1972 Upper Reaches of the Kenogami River, Ontario, Canada Oil on canvas 18 x 24 inches Signed lower right and dated 43; Map of the area verso Estimate: $9,000 - 12,000
Provenance: Mr. Hackett, Wilmington, Delaware Versed in adventure of all kinds—pirates, marauders, soldiers, crusaders, Native American chiefs, sled-dog racers and cowpunchers— Frank Schoonover focused almost his entire body of work on thrilling stories of bravery, heroism and exciting characters from all over world history. The painter came up just behind Howard Pyle, who taught a generation of artists, including N.C. Wyeth and Harvey Dunn, how to create narrative-based art that would work its way deep into American culture, including in books and magazines, where many people first saw and appreciated illustration. Today, Schoonover and his colleagues are part of a period of art with a fitting name— the Golden Age of Illustration.
372 Frank Hoffman 1888-1958 Sundown Strike Oil on board 17 ½ x 24 inches Signed lower right Estimate: $20,000 - 25,000
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373 Philip R. Goodwin 1882-1935 An Unexpected Opportunity Oil on canvas 31 x 22 inches Signed lower left Estimate: $150,000 - 200,000
Provenance: Private Collection, Wyoming Exhibitions: National Museum of American Illustration, Newport, Rhode Island Literature: Staats Motor Co. Calendar, 1931, illustrated. Philip R. Goodwin: America’s Sporting & Wildlife Artist, Larry Len Peterson, Coeur d’Alene Art Auction, Hayden, Idaho, 2001: p. 250. There is purity in the work of Philip R. Goodwin. He painted an abundant story in every work—magnificent landscapes, dramatic action, wildlife encounters, the thrill of the hunt—but the purity comes from one simple overarching theme: Man vs. Nature. No other artist was more motivated by that eternal struggle than Goodwin, who painted every encounter as if Nature was inches away from winning. Though the artist would paint bears raiding camps, fishing scenes in canoes, moose hunts and many other sporting favorites, An Unexpected Opportunity builds suspense not by what is seen, but what is unseen. One figure stands at attention, binoculars at his face, while another emerges from a tent with a rifle at the ready. They are scanning the mountain’s edge, looking for movement. A viewer could write off their search since nothing is in the picture. But look closer. There on the ridgeline, Nature takes the shape of three bighorn sheep. Like many of Goodwin’s paintings, An Unexpected Opportunity was widely seen due to its mass productions on the cover of a Staats Motor Co. calendar from 1931. Interestingly, the painting on the calendar omitted the three bighorn sheep in the upper right corner due to an unfortunate crop that ends that painting just below the rocky outcropping the animals are perched on. The full painting provides a rewarding conclusion—the hunters are on the right trail.
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374 Tim Shinabarger b. 1966 Along the Hoback Bronze, cast 2/18 44 inches high Signed and dated 2012 Estimate: $12,000 - 16,000
375 Philip R. Goodwin 1882-1935 Fisherman and Guide Oil on board 8 x 10 inches Signed lower right Estimate: $6,000 - 9,000 At just 22 years old, Philip R. Goodwin would illustrate Jack London’s overnight sensation The Call of the Wild. Soon after the Connecticut-born artist would work with Theodore Roosevelt and study under Howard Pyle, and later become close friends with Carl Rungius and Charles M. Russell. And although he had famous friends, Goodwin proved he was a formidable force himself as he became America’s authority on sporting and wildlife artwork. His work was also widely available as prints, magazine covers, book illustrations and calendars, ensuring that every hunter, Boy Scout and outdoorsman—art collector or not—knew the name Philip R. Goodwin.
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376 Philip R. Goodwin 1882-1935 Moose Hunters Oil on canvas 25 x 36 inches Signed lower right Estimate: $125,000 - 175,000 Provenance: Private Collection, Wyoming The thrill of a painting like Philip R. Goodwin’s Moose Hunters, a classic image by the sporting artist, is not in the setup, but in the inconclusive payoff. Do the hunters bag their moose, or does it escape unharmed into the nearby stand of trees. That is entirely up to the viewer as Moose Hunters leaves both parties—hunters and moose—holding their breath indefinitely. In 2017, Larry Len Peterson, who wrote Philip R. Goodwin: America’s Sporting & Wildlife Artist, noted, “Moose Hunters is one of Goodwin’s masterworks and demonstrates an exceptional attention to detail, deft composition and accuracy of color. The oil is a poignant reminder of why he is considered by many to be America’s greatest sporting and wildlife artist.”
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377 Clark Hulings 1922-2011 Patient Companion Oil on board 12 x 18 inches Signed lower right, 1978 Estimate: $12,000 - 18,000
378 Clark Hulings 1922-2011 House in Sicily Oil on canvas 21 x 15 inches Signed lower right Estimate: $10,000 - 15,000
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379 Clark Hulings 1922-2011 Market/Annecy France Oil on board 30 x 44 inches Signed and dated 1997 lower left Estimate: $100,000 - 150,000
380 John J. Audubon 1785-1851 White Headed Eagle Hand-colored etching, No. 7 plate XXXI 26 x 38 inches Estimate: $10,000 - 15,000 Engraved, printed and coloured by R. Havell.
379 Clark Hulings 1922-2011 Market/Annecy France (detail) Oil on board 30 x 44 inches Signed and dated 1997 lower left Estimate: $100,000 - 150,000 Literature: A Gallery of Paintings by Clark Hulings, Clark Hulings, White Burro Publishing, 2006: p. 14. Widely recognized as a Western artist for his work in New Mexico and Arizona—and winning the very first Prix de West museum purchase award in Oklahoma City in 1973—Clark Hulings bristled at the notion he was just a “Western painter,” even as his closest friends were John Clymer, Tom Lovell, Robert Lougheed and many others. Estimates of his entire body of work puts his Western subject matter at somewhere between 10 to 20 percent. Many of the pieces that left his studio were inspired by places in Europe, Eastern Europe, Scandinavia, the Near East, North Africa, Mexico and Central America, and even the American South. A great many paintings would come from France, including Market/Annecy France, which shows street vendors selling vegetables and flowers in a stone courtyard between the city’s narrow streets.
381 Arthur B. Frost 1851-1928 The Bull Elk Watercolor 14 ½ x 12 ¾ inches Estimate: $5,000 - 8,000 Provenance: Bartfield Gallery, New York, New York Kennedy Gallery, New York, New York
This quaint scene with its stone walls and European feel was far removed from the American Southwest, but Hulings was using his “Western eye” to bring his American collectors into his global perception of the world. “Hulings…is transferring the Western eye—an eye common to painter, collector, museum worker and simply resident in that part of the country—from its normal preoccupation with its familiar furnishings, vistas and people, to many other people and places,” writes Frank Getlein in Hulings: A Collection of Oil Paintings by Clark Hulings. “That there is such a thing as a Western eye is to me selfevident. It is formed, or trained, by the changing lights of the Western sky, by the vastness of the landscape, and also by the often-crucial importance to the Westerner of being able to sense what the weather is going to do in the next half hour or half day.” Getlein adds that Hulings, who spent part of his childhood in Spain before moving to Santa Fe, has traveled the world many times over and it has informed his Western paintings, and his Western paintings have informed all his other work—“His Western eye is authentic and is enriched by his travels and sojourns in other countries and other regions of his own country.”
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Literature: A.B. Frost: The American Sportsman’s Artist, Henry Wysham Lanier,The Derrydale Press, New York, 1933: p. 62, illustrated. One of the earliest and most prominent sportsmen painters in the United States, Arthur Burdett Frost was revered for his thrilling scenes of hunting, fishing and other outdoor pursuits. While much of his attention was devoted to waterfowl and hunting dogs, Frost would also hunt and paint elk. One such hunting excursion near Ottawa in 1882 is documented in A.B. Frost: The American Sportsman’s Artist, which includes an illustration of The Bull Elk, and it records Frost as an eager hunter, but also one of shaky confidence. “There he was, sure enough. A splendid big buck, standing in the water. Of course Jonah has duckshot in both barrels of his gun (hang my beastly luck). It flashed on me in a second that to fire on him with that would be like tickling him with a straw. I knew it would only sting him at that distance, fully thirty yards…” Frost wrote. “I never felt so chagrined or disappointed in my life. Here was the chance I had been wishing for years—and to lose it that way was simply miserable.” Two days later, Frost would bag his elk.
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382 David Shepherd 1931-2017 Egrets and Friends Oil on canvas 16 x 30 inches Signed lower right, dated 01 Estimate: $25,000 - 35,000
383 Simon Combes 1940-2004 Yellow Eyed Stare Oil on canvas 12 x 16 inches Signed lower left Estimate: $3,000 - 5,000
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384 Steve Burgess b. 1960 Cooling Off Oil on board 24 x 34 inches Signed lower right, dated 2019 Estimate: $6,000 - 9,000
385 Gary Swanson 1941-2010 Migration at the Mara Oil on canvas 40 x 72 inches Signed lower right Estimate: $15,000 - 25,000
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386 David Shepherd 1931-2017 Elephants of Samburu Oil on canvas 28 x 44 inches Signed lower left, 1964 Estimate: $25,000 - 45,000 Provenance: Private Collection, South Carolina Regarded as one of great painters of African wildlife, London-born David Shepherd started not with elephants and tigers but airplane portraits for the Royal Air Force in the 1960s. The assignment took him to Africa, which is where he first encountered the continent’s many unique animals. It was on that early trip he also witnessed the gruesome aftermath of poachers, which helped cement an early interest in conservation that would stay with him throughout his life. While Africa was his preferred painting grounds, Shepherd also was drawn to China, Mongolia and even occasionally his hometown of London.
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387 Luke Frazier b. 1970 Thunderclap Oil on board 15 x 30 inches Signed lower right; Signed and titled verso Estimate: $6,000 - 8,000
388 Tim Shinabarger b. 1966 Clash of Thunder Bronze, cast 19/25 30 ½ inches high Signed, titled and dated 10 Estimate: $10,000 - 15,000
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389 Luke Frazier b. 1970 Yukon Territory Oil on board 36 x 48 inches Signed lower right; Alaskan Yukon Moose, Yukon Territories and dated 2012 verso Estimate: $20,000 - 30,000 390 Ken Carlson b. 1937 Searching for Time Oil on board 24 x 36 inches Signed lower left Estimate: $20,000 - 30,000 Note: A book, From the Tundra to Texas - The Art of Ken Carlson by Tom Davis accompanies this lot.
Literature: From the Tundra to Texas - The Art of Ken Carlson, Tom Davis, Collectors Cobie, Dallas, Texas, 1994: p. 117
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391 Richard Schmid 1934-2021 Lynden Barns Oil on board 12 x 16 inches Signed and dated 1996 lower right; Signed, titled and dated 1996 verso Estimate: $12,000 - 18,000
Literature: The Landscapes, Richard Schmid, Nancy Guzik, Stove Prairie Press, 2017: p. 154
392 Richard Schmid 1934-2021 Blue Mountain Oil on board 12 x 16 inches Signed lower right; Signed, titled and dated 1962 verso Estimate: $5,000 - 8,000
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393 Fremont Ellis 1897-1985 Autumn Comes to Colorado Oil on canvas 24 x 30 inches Signed lower left; Signed, titled and dated 1929 verso Estimate: $15,000 - 25,000
There were, and still are, many artists who were drawn to the turn of the season in Colorado and northern New Mexico, but few who were as intrinsically linked to the land like Fremont Ellis. The Montana-born painter first discovered art after seeing Albert Bierstadt’s western landscapes at the Metropolitan Museum of Art in New York. Careful study of the master’s work eventually led to his first set of oil paints, and then enrollment in the Art Student’s League, though he left after several months to pursue painting outdoors. Ellis found himself in Santa Fe by 21 years old. It was a seismic and transformative visit. Later, at just 31 years old, Ellis would help start Los Cinco Pintores with Jozef Bakos, Walter Mruk, Willard Nash and Will Shuster.
394 Fremont Ellis 1897-1985 Borderland Oil on canvas 20 x 25 inches Signed lower right; Signed and titled verso Estimate: $18,000 - 28,000
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395 Frank Stick 1884-1966 Opening Morning Oil on canvas 30 x 20 inches Signed lower left and dated 09 Estimate: $6,000 - 8,000 Note: Accompanied by Frank Stick: Splendid Painter of the Out-of-Doors book by Michael F. Mordell Literature: Field and Stream, September 1909: cover. Frank Stick: Splendid Painter of the Out-of-Doors, Michael F. Mordell, Settlers West Galleries, Tucson, Arizona, 2004: pp. 17, 37. Opening Morning would have several titles—including Hard Luck and Unexpected—but it would mark one major milestone for the sporting-art painter Frank Stick: the painting was the very first cover the artist would create for Field and Stream. The image, one of dozens Stick would do for a handful of major magazines, came after he studied at the Art Institute of Chicago and then under Howard Pyle. It was with Pyle where Stick met many of his contemporaries: Philip R. Goodwin, Harvey Dunn, W.H.D. Koerner and Frank Schoonover. The artist later moved to New Jersey and then North Carolina, where he was a driving force behind the creation of the Roanoke Island National Park, the Virgin Islands National Park and other monuments and parks.
396 Frank Stick 1884-1966 Out of Time Oil on canvas 36 x 26 inches Signed lower right Estimate: $5,000 - 7,000
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397 Michael Coleman b. 1946 In the Halfway River Country Oil on board 20 x 30 inches Signed lower left Estimate: $7,000 - 9,000
398 Brett Smith b. 1958 Ready for the Net Oil on canvas 20 x 24 inches Signed upper right; Signed and titled verso Estimate: $4,000 - 6,000
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399 Gary Lynn Roberts b. 1953 You’ve Been Warned Oil on canvas 40 x 50 inches Signed lower right Estimate: $20,000 - 25,000
400 C. Michael Dudash b. 1952 At One with His World Oil on board 24 x 36 inches Signed lower right, dated 2013; Signed and titled verso Estimate: $8,000 - 12,000
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401 John DeMott b. 1954 Blackfoot Hunting Party Oil on board 30 x 24 inches Signed lowr left; Signed and dated 2014 verso Estimate: $7,000 - 10,000
402 Tim Shinabarger b. 1966 Shank’s Mare Bronze, cast 11/35 32 inches high Signed and dated 06 Estimate: $5,000 - 7,000
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403 George Hallmark b. 1949 Room with a View Oil on canvas 36 x 48 inches Signed lower right; Signed, titled and dated 2006 verso Estimate: $28,000 - 38,000
404 Clyde Aspevig b. 1951 Grand Canyon, AZ Oil on board 16 x 12 inches Signed lower left; Signed and titled verso Estimate: $3,000 - 4,000
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405 Glenn Dean b. 1976 Canyon Riders Oil on Canvas 24 x 30 inches Signed lower left Estimate: $6,000 - 9,000
406 G. Russell Case b. 1966 Down Hill Oil on board 16 x 12 inches Signed lower right; Signed, titled and dated 2013 verso Estimate: $4,000 - 6,000
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408 Lon Megargee 1883-1960 Hopi Oil on board 12 x 8 inches Signed and dated 1910, upper right 407 Roy Andersen 1930-2019 Keeper of the Kiowa Mixed Media 26 x 20 inches Signed/CA lower left; Estimate: $6,000 - 9,000
Estimate: $8,000 - 12,000
409 Elbridge Ayer Burbank 1858-1949 Collection of two paintings Estimate: $8,000 - 12,000
Standing Soldier, Sioux 1899 Oil on canvas 12 x 10 inches Signed lower left, Pine Ridge SD
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Chief Wolf Robe, Cheyenne 1900 Oil on canvas 12 x 10 inches Signed lower left, Lane Deer, MONT
410 Frank Hoffman 1888-1958 Cowboys and Chuckwagon Oil on board 33 x 49 ½ inches Signed lower right Estimate: $9,000 - 12,000
Provenance: John Pogzeba, Santa Fe, New Mexico Walter Reed Bimson, Phoenix, Arizona Valley National Bank of Arizona, Phoenix, Arizona Exhibitions: University of Arizona Museum of Art, Tucson, Arizona, The West and Walter Bimson: Paintings, Watercolors, Drawings and Sculpture, April 17-June 6, 1971. Literature: The West and Walter Bimson: Paintings, Watercolor, Drawings and Sculpture, University of Arizona Museum of Art, Tucson, AZ, 1971: p. 90. Frank B. Hoffman painted the West, but he mostly painted adventure, which occasionally involved some of his Old West subjects, including stagecoach robberies, cattle drives and wildlife. And yet he also painted pirates, pioneer scenes, hunting dogs and countless sporting scenes with men fishing in canoes and hunters kneeling in thick brush with rifles at the ready. The Chicago-born artist was lured to the West by the Great Northern Railroad, which offered him work painting wildlife to help promote Glacier National Park. Encouraged by the work of Leon Gaspard, Hoffman would later travel to Taos, New Mexico, where he would spend the remainder of his life.
411 Arnold Friberg 1913-2010 On the Trail of the Almighty Voice Oil on canvas 25 x 40 inches Signed lower right; Signed and titled verso Estimate: $20,000 - 30,000 Provenance: Scottsdale Art Auction, Scottsdale, Arizona, 2013 Scottsdale Art Auction, Scottsdale, Arizona, 2016 Arnold Friberg first painted the Royal Canadian Mounted Police in the late 1930s for an assignment as an illustrator in Chicago. He didn’t know it at the time, but the square-jawed, dimple-chinned subjects would become some of his most iconic works, subjects he would return to again and again over the next 50 years. For On Trail of Almighty Voice, Friberg paints his golden-hour light onto a scene showing a Mountie with a First Nations guide on the trail of Almighty Voice, a Cree leader arrested in 1895 for illegally butchering a government cow. Almighty Voice eventually escaped and led the Mounties on an 18-month manhunt that culminated in his death after a shootout in the summer of 1897. This work, like many other by the artist, has figures that are all muscle with broad shoulders and narrow hips, and an almost antique-like patina to the light quality that preserves the ruggedness of the land and the people.
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412 Don Troiani b. 1949 Southern Standard Bearer Oil on board 31 x 25 inches Signed lower right SAHA, dated 82’ Estimate: $9,000 - 12,000
The son of a commercial artist father and an antiques dealer mother, Don Troiani found a perfect union of the two respective fields when he began painting images of the Civil War, an interest he discovered after finishing his art education at the Pennsylvania Academy of Fine Arts and New York City’s Art Students League. Today he is considered one of the great authorities on artwork related to the Civil War. In these two complementary pieces, Union Standard Bearer and Southern Standard Bearer, Troiani shows that an immense toll was taken from soldiers on either side of the conflict.
413 Don Troiani b. 1949 Union Standard Bearer Oil on board 31 x 25 inches Signed lower right SAHA, dated 83’ Estimate: $9,000 - 12,000
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414 G. Harvey 1933-2017 Jeb Stuart’s Return Oil on canvas 30 x 42 inches Signed lower right, dated 1988; Signed and titled “A House Divided” verso Estimate: $100,000 - 150,000 Provenance: Private Collection, South Carolina Literature: The Golden Era: The American Dream—G. Harvey, Gerald Harvey Jones, Randy Best and Susan Hallsten McGarry, Somerset House Publishing, Fulshear, Texas, 1992: p. 32. Completed in 1989, G. Harvey’s Jeb Stuart’s Return marked an important milestone for the Texas artist, who had done the occasional Civil War painting here and there between cowboy and city scenes. The image, with its column of Confederate soldiers calmly riding through a rain-soaked camp, was classic Harvey: the magnificent light in the sky, the forward view of the riders coming directly toward the viewer and his muddy road lined with ribbons of reflected sunlight. It was on the strength of images such as Jeb Stuart’s Return that brought Harvey to Washington, D.C., in the fall of 1991 to unveil four Civil War images that would be sold as prints, the royalties of which would benefit the Civil War Record of the National Archives. The event, held in the rotunda of the National Archives, was a celebration of Harvey’s more sensitive and poignant imagery related to the Civil War. “What draws us to the Civil War…[is the] human drama that unfolded on fields of glory—the incredible bravery and remarkable spirit of Johnny Reb and Billy Yank, the surging armies and prancing horses, the snapping flags and flashing sabers,” writes Herman J. Viola, from the National Museum of Natural History and Smithsonian Institute, in The Golden Era: The American Dream—G. Harvey. “General Lee said it best when, after routing the Federals at Fredericksburg, he remarked to an aide: ‘It is well that war is so terrible—we should grow too fond of it.’”
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415 Kenneth Pauling Riley 1919-2015 The Dispatch Rider Oil on board 16 x 24 inches Signed and dated 81 lower right Estimate: $15,000 - 20,000
Provenance: Private Collection, Dayton, Ohio Literature: West of Camelot: The Historical Paintings of Kenneth Riley, Susan Hallsten McGarry, Eiteljorg Museum of American Indian and Western Art, Indianapolis, Indiana, 1993: p. 105
The dispatch rider had the unglamorous job of keeping the field units in touch with headquarters. In Apache Country the two most critical ingredients of his job were a sharp eye for ambush and a fresh horse with speed and stamina.
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416 Kenneth Pauling Riley 1919-2015 Scouting the Ridge Acrylic 4 ¼ x 5 ½ inches Signed lower left
417 Kenneth Pauling Riley 1919-2015 Trio Acrylic 3 x 4 ¼ inches Signed lower left
Estimate: $4,000 - 6,000
Estimate: $3,000 - 5,000
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418 Kenneth Pauling Riley 1919-2015 The Competition (Study) 1990 Acrylic and ink 3 x 3 inches Signed lower right; Ink Drawing; 2 x 1 ¾ inches Estimate: $4,000 - 6,000 Provenance: Estate of the artist Literature: West of Camelot - The Historic Paintings of Kenneth Riley, Susan Hallsten McGarry, Foreword by James K. Ballinger, Published by Eiteljorg Museum of American Indian and Western Art, Indicanapolis, Indiana, 1993: p. 44. “Since the earliest days of my training I've focused on the human figure,” Riley noted about this work. “Working with Thomas Benton I learned that the human body is itself a composition, comprising complementary and opposing curves and lines. This painting is a study in the wondrous shapes and angles found within the human form.”—West of Camelot: The Historical Paintings of Kenneth Riley book on p. 44.
419 Kenneth Pauling Riley 1919-2015 Out of the Sun Oil on canvas 26 x 19 inches Signed lower right Estimate: $20,000 - 40,000
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420 Kenneth Pauling Riley 1919-2015 Tentative Agreement Acrylic 4 x 5 inches Signed lower left Estimate: $3,500 - 4,500
421 Karl Bodmer 1809-1893 Fort Clark on the Missouri (February 1834) Colored lithograph Sight size 14 x 18 inches Signed in plate Estimate: $1,000 - 2,000 Literature: Karl Bodmer and the American Frontier, David C. Hunt, 1985: p. 18
Sometime in late 1833 or early 1834, artist-explorer Karl Bodmer watched as the ice moved down the Missouri River near Fort Clark, a Mandan settlement in land that is today part of North Dakota. The scene would inspire the image Fort Clark. “A fine mid-winter scene: the bleakness of the frozen winter landscape broken by the constant flow of figures back and forth across the iced-over Missouri,” David C. Hunt notes in Karl Bodmer and the American Frontier. “Fort Clark is visible in the left mid-distance, warmly wrapped in their buffalo robes the Mandan women in the foreground carry their burdens up past the watchful warriors, out on the frozen river a line of figures make their way back and forth…Karl Bodmer’s images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life.”
422 Karl Bodmer 1809-1893 Bison-Dance of the Mandan Indians Colored lithograph Sight size 14 x 18 inches Signed in plate Estimate: $2,000 - 4,000 Occasionally titled Bison-Dance of the Mandan Indians in front of Their Medicine Lodge in Mih-Tutta-Hankush, this scene was witnessed by Karl Bodmer during his 1832-1834 Missouri River expedition as the visual recorder for Prince Maximilian zu Wied-Neuwied. The work would later appear as Plate 18 from the atlas that would accompany the Travels in the Interior of North America, the publication that would document the exploration.
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423 Clark Hulings 1922-2011 Taormina Cobblestones Oil on canvas 30 x 25 inches Signed lower left Estimate: $30,000 - 50,000
Taormina is a small town along the east coast of Sicily, Italy. The ancient city, first established as a Greek colony nearly 3,000 years ago, is today a thriving and colorful coastal destination with magnificent views out over the Mediterranean. Up the marketlined streets filled with flowers and potted plants hanging from modest wrought-iron balconies, there is an old-world quality to the stone buildings and the narrow pathways. Clark Hulings captures the quiet solitude of the less-traveled path in his work Taormina Cobblestones, one of several major pieces he did from the Sicilian village. “Hulings embraced the vibrancy of the human spirit,” his daughter Elizabeth Hulings notes. “He often described himself as a ‘backdoor painter’ who was interested in what people were actually doing in their lives while the ‘buzz’ of world events was capturing the public’s attention. Hulings wanted to see the simple, untouched parts of any country and capture the unique lifestyles and soul of those who lived there.”
424 Clark Hulings 1922-2011 Cornwall, English Farmhouse Oil on canvas 21 x 32 inches Signed lower left, dated 69 Estimate: $10,000 - 15,000 S C O T T S D A L E A R T AU C T I O N
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425 Christopher Blossom b. 1956 Full Sail Oil on board 9 x 12 inches Signed lower right Estimate: $2,000 - 3,000
426 Paul King 1867-1947 Harbour Scene Oil on canvas 25 x 30 inches Signed lower right Estimate: $4,000 - 8,000 Guided by his father, a metalworker and designer, Paul King was encouraged at an early age in the arts in Buffalo, New York. After studying drawing, lithography and painting in Buffalo, the artist would go on to study at the Art Students League in New York City, before eventually going to learn in Paris during a pivotal time for the city’s art movements. By the time her returned to the United States in 1906, King was versed in impressionism, but also Dutch tonalism and fauvism. His work primarily focused on lovely forest scenes and coastal landscapes, but special attention was given to his paintings of ships on the water and anchored in harbor.
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427 William A. Walker 1838-1921 Cabin Scene Oil on board 6 ½ x 12 ½ inches Signed lower left Estimate: $7,000 - 10,000
428 William Sidney Mount 1807-1868 Long Island Farm Oil on board 10 x 12 ¼ inches Estimate: $30,000 - 50,000 Provenance: William Macbeth Inc, New York, New York
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429 Walter Schofield 1867-1944 Afternoon Light Oil on canvas 20 x 24 inches Signed lower left Estimate: $14,000 - 24,000
With subjects like snow-lines streams, harbors full of bobbing boats and quaint country roads lined with overgrown hedgerows, Walter Elmer Schofield has painted quiet nature and town scenes from all around the world. Today, along with Edward Willis Redfield and Daniel Garber, Schofield is recognized as one of the great Pennsylvania Impressionists, whose atmospheric works came to define the Bucks Country area of Pennsylvania for more than 50 years. Although identified with that American art movement, Schofield spent a great deal of time in Cornwall, England, where he painted many of his greatest paintings.
430 John G. Brown 1831-1913 Shoe Shine Boy Oil on canvas 24 x 16 inches Signed lower left, dated 1891 Estimate: $8,000 - 12,000 John George Brown was born into a poor family in Durham, England, which could certainly explain his sympathetic images of street children in their modest clothes, worn shoes and impish little grins that hide their playful mischievousness—“cheerful street urchins,” one writer would note. He began his career as a glass cutter, which eventually brought him to New York City, where his paintings would soon fill his time. Though Brown would go on to paint many subjects—his landscape and boat scenes are remarkable—he would return often to the innocent faces of children. This work is part of an even more exclusive subset of paintings by the artist featuring shoeshine boys, who would pop up in dozens of Brown’s works.
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431 R. Brownell McGrew 1916-1994 Girls Playing Piano and Violin Oil on board 38 ½ x 48 inches Signed lower right; Dated 1976 verso Estimate: $8,000 - 12,000
432 Morgan Weistling b. 1964 The Florist Oil on canvas 25 x 24 inches Signed lower right, dated 13; Signed, titled and dated 2013 verso Estimate: $12,000 - 18,000
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433 Frank W. Benson 1862-1951 Ducks Pen and Ink Wash 19 x 26 inches Signed lower right Estimate: $12,000 - 18,000
Known for his life-long interest in waterfowl and sporting art, Frank W. Benson is also admired for his mastery of multiple painting mediums, from oil and watercolor to his etchings, lithography and, as is the case here with Ducks, pen and ink washes. Early in his career “…Benson frequently experimented with wash drawings,” Faith Andrews Bedford writes in The Sporting Art of Frank W. Benson. “These were done with a wash of black watercolor on white paper and were often spur-of-the-moment affairs. He left them behind at the spots he visited…[and later] they were gaining for him the same critical acclaim as his oils.”
434 Harry Curieux Adamson 1916-2012 Ballet - Black-Bellied Whistling Ducks Oil on canvas 24 x 36 inches Signed lower left Estimate: $12,000 - 18,000
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435 David Maass b. 1929 Canada Geese Coming in for a Landing Oil on board 23 ½ x 33 inches Signed lower right Estimate: $6,000 - 9,000
436 Chet Reneson b. 1934 Snow Geese Watercolor 18 x 28 inches Signed lower right Estimate: $2,000 - 3,000
437 Frank W. Benson 1862-1951 Baldpates Etching 8 x 10 inches Signed lower left outside of etching Estimate: $800 - 1,200
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438 Frederick Schafer 1839-1927 Buffalo Stampede - Prairie Fire Oil on canvas 30 x 60 inches Signed lower right Estimate: $15,000 - 25,000
439 Ken Payne 1938-2012 Injun Ways Bronze, cast 6/45 17 inches high x 29 inches wide Signed and dated 90’ Estimate: $2,000 - 4,000
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440 Anna Hyatt Huntington 1876-1973 Ram Bronze 10 ¼ inches high Signed; Gorham Co. Founders/OOU Estimate: $3,000 - 5,000
441 Bob Scriver 1914-1999 The Winchester Rider Bronze, cast 54/250 15 ½ inches high Signed and dated 1979; Powell Bronze Estimate: $8,000 - 12,000
442 Curt Mattson b. 1956 Ready for Trouble Bronze, cast 8/9 22 ¼ inches high Signed and dated 2008 Estimate: $1,500 - 2,500
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443 Veryl Goodnight b. 1947 Cares for Her Brothers Bronze, cast 9/9 36 inches high x 40 inches wide Signed and dated 1985 Estimate: $12,000 - 15,000
Provenance: Private Collection, Houston, Texas Literature: No Turning Back - The Art of Veryl Goodnight, Goodnight Fine Art Publishing, Mancos, Colorado, Foreword by James Nottage, Thoughts on Cares for Her Brothers, by Robin Salmon, p. 56-59 Brookgreen Gardens SCULPTURE Vol.II, Robin R. Salmon, Brookgreen Gardens Publishing, 1993, p. 180-181.
I had an art show in Fort Collins with Ben Nighthorse Campbell, a Northern Cheyenne. On the way back to his home in Ignacio, Colorado, he stopped [by our home] for a visit. He came at feeding time and had to follow me around from animal to animal. A few weeks later, I received a beaded necklace and a letter from Ben. It stated, “I told my Grandmother of a woman whose heart goes out to all living things. She said she should be known as Ewu Wumishi HeMe: ‘Cares for Her Brothers.’” I chose to portray this honorable name through a sculpture of a pioneer woman cradling an abandoned fawn deer.—Veryl Goodnight It’s one of those artworks that demands attention—not in a loud or offensive way, but in a manner that compels the viewer to come closer. The mystique of Cares for Her Brothers was evident from the time it was placed at Brookgreen Gardens in 1987. Through the years, our staff and volunteers have declared it to be a favorite and our visitors have wanted to linger near it. I am aware of the ashes of at least three persons that have been scattered around her base. The last scattering included the ashes of the conservation volunteer who cared for Cares, ensuring that his final resting place was near the sculpture he loved. The woman’s face, hands, knee, foot, and apron beat the mark of the public’s attention. This does not detract from the figure; rather, it underscores her humanity. The light discolorations have been rendered by loving touches, even caresses, from the hands of many visitors as they appreciate the figure’s beauty, compassion, and strength, and the meaning of her Native American name. There are many important sculptures in the Brookgreen Collection, but only a few have that kind of magic.—Robin R. Salmon, Curator, Brookgreen Gardens
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444 Oscar Berninghaus 1874-1952 Old Pueblo Indian - Taos Lithograph 2/8 Sight size 11 ¼ x 9 inches Signed lower right and titled lower left
445 Olaf Wieghorst 1899-1988 War Chief Watercolor 12 x 9 inches Signed lower center
Estimate: $3,000 - 5,000
Estimate: $2,500 - 3,500
446 Frederic Remington 1861-1909 A Calvary Officer Lithograph Sight size 19 x 14 ¼ inches Signed lower right in plate Estimate: $3,000 - 5,000
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Saturday • April 9, 2022 • Session II Index – Alphabetical by Lot number Artist
Lot #
19th Century American School...............................324
Acheff, William....................271, 272, 273, 284, 285 Adamson, Harry Curieux........................................434 Alten, Mathias........................................................207 Andersen, Roy........................................................407 Anton, Bill.............................................237, 269, 270 Aspevig, Clyde.......................................253, 254, 404 Audubon, John J....................................................380
Bateman, Robert...................................................251 Beeler, Joe......................................................225, 226 Benson, Frank W............................................433, 437 Berninghaus, Oscar.................................342, 343, 444 Bierstadt, Albert.....................................................325 Blossom, Christopher.............................................425 Bodmer, Karl..................................................421, 422 Boedges, Mark................................................255, 256 Borein, Edward.......................................................206 Borg, Carl Oscar.....................................................202 Bowman, Eric.................................................260, 261 Brown, John G.......................................................430 Browning, Tom......................................................229 Bunn, Kenneth...............................365, 366, 367, 368 Burbank, Elbridge Ayer..........................................409 Burgess, Steve.........................................................384
Carlson, Ken.................................................249, 390 Case, G. Russell......................................................406 Cassidy, Gerald.......................................................209 Clymer, John..................................................331, 332 Coleman, John........268, 286, 287, 288, 289, 290, 312 Coleman, Michael...........................................330, 397 Combes, Simon.......................................................383 Couse, E.I.......................................................337, 339 Curtis, Edward S....................................198, 199, 200
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Artist
Lot #
de Latoix, Gaspard.................................................338 Dean, Glenn...................................262, 265, 266, 405 Delano, Gerard Curtis............................................350 DeMott, John.........................................................401 Dudash, C. Michael................................................400 Dunton, William H.......................................345, 346
Eisenach, Barry......................................................314 Ellis, Fremont.................................................393, 394
Farny, Henry.................................................361, 362 Frazier, Luke...........................................252, 387, 389 Friberg, Arnold......................................................411 Frost, Arthur B.......................................................381
Gaspard, Leon...............................................340, 341 Gollings, William..........................................363, 364 Goodacre, Glenna...................................327, 328, 329 Goodnight, Veryl...................................................443 Goodwin, Philip R.................................373, 375, 376 Grelle, Martin........................275, 276, 277, 295, 296 Griffing, Robert.............................................274, 303
Hagege, Logan Maxwell........................279, 298, 299 Hallmark, George...................................................403 Hansen, Herman............................................240, 241 Harvey, G...............242, 291, 292, 315, 316, 317, 414 Hoffman, Frank..............................................372, 410 Hulings, Clark.......................377, 378, 379, 423, 424 Humphriss, Charles................................................360 Hurley, Wilson.......................................................326 Hyatt Huntington, Anna........................................440
Jacobson, Oscar.....................................................201 Johnson, Frank Tenney...........333, 334, 353, 354, 355 Jordan, Jerry...........................................................278
Saturday • April 9, 2022 • Session II Index – Alphabetical by Lot number Artist
Lot #
King, Paul............................................................426 Koerner, W.H.D.....................................................223 Kuhn, Bob.....................................243, 245, 246, 247
Leigh, William R..........................IFC, 205, 351, 352 Liang, Z.S...............................................293, 305, 313 Lipking, Jeremy.....................................................239 Lougheed, Robert...........................................221, 222 Lovell, Tom....................................................216, 217
Artist
Lot #
Reneson, Chet........................................................436 Reynolds, Jim.........................................................233 Rich, Jason.............................................................238 Riley, Kenneth Pauling.........308, 309, 310, 311, 415, 416, 417, 418, 419, 420 Roberts, Gary Lynn................................................399 Russell, Charles......................................357, 358, 359
Schafer, Frederick..................................................438
Owen, Bill......................................................224, 234
Schenck, Billy.................................................281, 297 Schmid, Richard.............318, 319, 320, 321, 391, 392 Schofield, Walter....................................................429 Schoonover, Frank...........................................370, 371 Scriver, Bob............................................................441 Seltzer, Olaf C........................................................220 Sharp, Joseph H......................203, 335, 336, 347, 348 Shepherd, David.............................................382, 386 Shinabarger, Tim............244, 248, 369, 374, 388, 402 Shrady, Henry.........................................................356 Smith, Brett...........................................................398 Smith, Tucker.........................................................250 Stick, Frank....................................................395, 396 Swanson, Gary........................................................385 Swanson, Ray.........................................................306
Paxson, Edgar S.....................................................219
Terpning, Howard.................................304, 307, BC
Maass, David........................................................435 Maggiori, Mark......................................................280 Mattson, Curt.........................................................442 McAfee, Ila.............................................................208 McGrew, R. Brownell.............................................431 Megargee, Lon........................................................408 Mell, Ed.................................257, 258, 259, 263, 264 Moran, Thomas..............................................322, 323 Mount, William Sidney..........................................428
Norton, Jim..........................................................228 Oelze, Don............................................................267
Payne, Edgar................................................... FC, 349 Payne, Ken.............................................................439 Polzin, Kyle...................................294, 300, 301, 302 Poppleton, Chad.....................................................227 Post, Howard.................................................282, 283 Price, Clark Kelly...................................................236 Procter, Burt...........................................................204
Remington, Frederic....................210, 211, 212, 213,
Thomas, Andy........................................................235 Thomas, Richard....................................................230 Troiani, Don...................................................412, 413
Ufer, Walter..........................................................344 Walker, William A..............................................427 Weistling, Morgan.................................................432 Wieghorst, Olaf..............................218, 231, 232, 445
214, 215, 446 S C O T T S D A L E A R T AU C T I O N
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Saturday • April 9, 2022 • Session II Absentee Bid Form Fax to (480) 423-4071 or Email info@scottsdaleartauction.com As a courtesy to Absentee Bidders, Scottsdale Art Auction, LLC will execute your bid if you are unable to be present at the auction. Please complete this form and forward it to a member of our staff. A disinterested party will bid on your behalf, not necessarily to your maximum bid, but to the next bid above what is offered, provided that your bid is in excess of the reserve, if any. In the event of identical bids, the first bid received will take precedence. Mailed or faxed bids should be confirmed by email at info@scottsdaleartauction.com Absentee Bidder Information: Name _______________________________________________________________________________________ Address______________________________________________________________________________________ City ______________________________________________________State __________Zip _________________ Email _______________________________________________________________________________________ Phone
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S C O T T S D A L E A R T AU C T I O N
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S C O T T S D A L E A R T AU C T I O N
Writer: Michael Clawson Photography: Rob Kaufman Hilton Head Island, SC (843) 290-8883 www.kaufmanphotography.com Design & Production Cindy & Paula Moser Phoenix, AZ (843) 441-3686 www.xmsdesigns.com Printing: O’Neil Printing Phoenix, AZ (602) 258-7789 www.oneilprint.com
SCOTTSDALE ART A U CTION 7176 main street • scottsdale arizona 85251 • www.scottsdaleartauction.com • 480 945-0225