WEST
96 CHARLES M. RUSSELL (1864–1926)
Start of the Roundup, 1898
watercolor on paper
14 ½ x 20 ½ inches
signed and dated lower left: CM Russell (artist cipher) 1898
Provenance: The Artist
Estate of Frances G. Evans, Arizona
Sotheby’s New York, December 1984, Lot 105
Acquired by KSA Industries, Inc. from the above
Exhibited:
American Traditions: Art from the Collections of Culver Alumni, Eiteljorg Museum of American Indian & Western Art, December 12, 1993 – March 6, 1994
Catalogue Raisonné: CR.UNL.502
“By the end of the 1890s, living and working in north-central Montana since the age of sixteen, Russell reached a pinnacle of achievement in the watercolor medium that few American artists of his time managed to attain... Russell always considered himself a better watercolorist than a painter in oils.”1
The late nineteenth century marked a pivotal era for watercolor painting in the United States. Once regarded as a marginal medium, by the 1880s watercolor emerged as a significant, respected force in American art. The American Society of Painters in Water Colors (later the American Watercolor Society) was founded in 1866 and their annual exhibitions leant gravitas to the medium and spread its popularity. The introduction of paint packaged in tubes, improved paper manufacturing, and wider availability of portable field equipment made supplies more affordable, accessible, and portable. Advances in chemistry produced a wider array of colors. By the time Russell was becoming an artist on the open ranges of Montana, watercolor supplies were readily available in the frontier towns he frequented as a young cowboy.1
Often called “the cowboy artist,” the young Russell painted and sketched during his free time on the range, and his subject matter was deeply rooted in lived experience and storytelling.
The practice of the roundup was central to the open-range cattle industry of the late nineteenth century. Twice yearly, cowboys gathered to herd cattle, brand calves, and prepare livestock for market or seasonal movement. Russell’s painting documents these authentic scenes just as the old West was giving way to barbed wire, railroads, and modernity.
In Start of the Roundup, a close group of mounted cowboys dominates the foreground, their horses poised in anticipation or action, while more riders charge across the open range in the background. Russell masterfully renders the sense of dust, speed, and collective endeavor, accentuated by the subtle gradations of light and earthy colors typical of his late-nineteenth-century palette.
The central placement of the cowboys invites the viewer into the moment preceding the arduous work of herding cattle. Each figure and horse is unique: saddles, lassos, and attire are depicted with affectionate realism, suggesting firsthand knowledge of the individuals. The landscape—a blend of open sky and rough ground—reinforces the sense of vast possibility and challenge.
More than an expertly rendered picturesque scene, Start of the Roundup is a historical document capturing the cultural memory of a storied era. Blending narrative skill, technical expertise, and historical insight, Russell invites viewers to experience the energy, risk, and camaraderie of cowboy life as it once was.
$180,000 – $250,000
1 Rick Stewart, Charles M. Russell: Watercolors
97 JOHN MARCHAND (1875–1921)
Bucking Bronco, 1912
oil on canvas
36 x 24 inches
signed and dated lower right: J.N. Marchand –1912–
Provenance:
Sotheby’s New York, Arcade, March 1994, Lot 186 (label verso) Acquired by KSA Industries, Inc. (label verso) from the above
In 1902, John Marchand met Charles M. Russell during a sketching trip to Montana. This meeting would prove pivotal to Russell’s career: Marchand, already an accomplished illustrator and painter, recognized Russell’s talent and encouraged him to broaden his horizons by going to New York City. Marchand shared his New York studio with Russell and introduced him to influential art editors at major publishing houses—introductions that would ultimately catapult Russell into national recognition and usher in a period of significant career growth.
$20,000 – $30,000
oil on canvas
24 x 40 inches
signed lower left: Joe Beeler (artist cipher) verso: titled and signed
Provenance: Western Heritage Sale (label verso)
Acquired by KSA Industries, Inc. (label verso) from the above
$40,000 – $60,000
oil on board
7 ¾ x 9 ¼ inches
signed lower right: W. R. Leigh
Provenance: Sotheby’s New York, Arcade, September 1994, Lot 136
Acquired by KSA Industries, Inc. (label verso) from the above
$3,000 – $5,000
98 JOE BEELER (1931–2006) The Approaching Storm
99 WILLIAM R. LEIGH (1866–1955) California Mountains
100 OLAF WIEGHORST (1899–1988)
24 x 30 inches signed lower left: O · Wieghorst (artist cipher)
Provenance: Christie’s New York, September 1996, Lot 130 Acquired by KSA Industries, Inc. (label verso) from the above
$20,000 – $30,000
Navajo Corral oil on canvas
101 OLAF WIEGHORST (1899–1988)
Meditate
gouache on paper
8 ½ x 12 ½ inches
signed lower left: O – Wieghorst (artist cipher)
Provenance: Drummond Gallery
Acquired by KSA Industries, Inc. (label verso) from the above
$3,000 – $5,000
102 OLAF WIEGHORST (1899–1988)
Indian on Horseback, 1976
watercolor on paper
12 x 10 inches
signed and dated lower left: O – Wieghorst (artist cipher) © 76
Provenance: KSA Industries (label verso)
$3,000 – $5,000
Piegan Brave / Blackfoot Warrior
watercolor on paper
6 ¾ x 8 ½ inches
signed lower left: O.C. Seltzer.
Provenance: Wunderlich & Company Inc, New York, NY (label verso)
Acquired by KSA Industries, Inc. (label verso) from the above
$5,000 – $7,000
103 OLAF CARL SELTZER (1877–1957)
gouache on paper
9 ¼ x 7 ½ inches
signed and dated lower right: Peter Hurd 1925
Provenance: Sotheby’s New York, June 1983, Lot 337
Acquired by KSA Industries, Inc. from the above
$2,000 – $3,000
oil on canvas
30 x 36 inches
signed lower left: John Moyers (artist cipher)
Provenance: Altermann & Morris Galleries, Dallas, TX, Houston, TX, Santa Fe, NM & Hilton Head Island, SC (label verso)
Acquired by KSA Industries, Inc. (label verso) from the above
$10,000 – $15,000
104 PETER HURD (1904–1984)
Adobe, 1925
105 JOHN MOYERS (1958– ) Pueblo Rider
106 OLEG STAVROWSKY (1927–2020)
Wild Encounter, 1984
oil on canvas
42 x 38 inches
signed lower left: Oleg Stavrowsky
verso: titled, signed and dated
Provenance:
Altermann Art Gallery, Dallas, TX (label verso)
Acquired by KSA Industries, Inc. (label verso) from the above
$5,000 – $7,000
Snowy Afternoon in Manhattan
oil on canvas
20 x 16 inches
signed lower right: Johann Berthelsen
Provenance: Sotheby’s New York, Arcade, September 1994, Lot 201
Acquired by KSA Industries, Inc. (label verso) from the above
$4,000 – $6,000
Fifth Avenue in the Snow
oil on canvas
20 x 16 inches
signed lower right: Johann Berthelsen
Provenance:
Sotheby’s New York, Arcade, September 1994, Lot 202
Acquired by KSA Industries, Inc. (label verso) from the above
$4,000 – $6,000
107 JOHANN BERTHELSEN (1883–1972)
108 JOHANN BERTHELSEN (1883–1972)
109
oil on canvas
23 ½ x 19 ½ inches
signed lower right: JHSHARP.
Provenance: Collection of Thomas Minckler Private Collection, Jackson, WY
$20,000 – $40,000
oil on canvas panel
12 x 16 inches
signed lower right: Morgan Weistling
Provenance:
National Cowboy & Western Hertiage Museum Prix de West Invitational, June 2014, Lot 304 (label verso)
From a Private Collection
Exhibited:
Prix de West Invitational, National Cowboy & Western Heritage Museum, Oklahoma City, OK, 2014
$4,000 – $6,000
110
oil on board
20 x 16 inches
signed upper right: Lipking
Provenance:
Waterhouse Gallery, Santa Barbara, CA (label verso) Scottsdale Art Auction, April 2014, Lot 274 (label verso) From a Private Collection
$10,000 – $20,000
oil on canvas mounted on masonite
40 x 40 inches
signed lower right: Tom Browning
Provenance: From the Gary Jacobson Estate
$5,000 – $7,000
JOSEPH HENRY SHARP (1859–1953)
Peonies
JEREMY LIPKING (1975– ) Chelsey
111 MORGAN WEISTLING (1964– )
Katy’s Straw Hat
112 TOM BROWNING (1949– ) Withering Vines
113 GARY ERNEST SMITH (1942– )
Potato Digger
oil on canvas
40 x 36 inches
signed lower right: Gary E. Smith
verso: titled and signed
Provenance:
Broadmoor Galleries, Colorado Springs, CO (label verso)
From a Private Collection
$8,000 – $12,000
114 CLYDE ASPEVIG (1951– )
September’s Song
oil on canvas
24 x 36 inches
signed lower left: C. Aspevig
verso: titled and signed
Provenance:
From the Collection of Shirley Porter McGinty
$8,000 – $12,000
115 ROBERT PETERS (1960– ) Autumn Solitude
oil on canvas
24 x 30 inches
signed lower left: Robert Peters
verso: signed and titled
Provenance:
The Legacy Gallery, Jackson, WY (label verso)
From the Collection of Shirley Porter McGinty
$4,000 – $6,000
Provenance:
National Museum of Wildlife Art, Western Visions 2000 Miniature Show, September 15, 2000
From the Collection of Shirley Porter McGinty
Exhibited:
Western Visions 2000 Miniature Show, National Museum of Wildlife Art, Jackson, WY, September 15, 2000
$10,000 – $15,000
Provenance: From a Private
$5,000 – $8,000
116 SCOTT CHRISTENSEN (1962– )
Big Sandy – Patterns of Fall
oil on canvas
40 x 48 inches signed lower right: Christensen ©
117 BILL ANTON (1957– )
The Cool Down
oil on canvas laid on board
16 x 20 inches
signed lower left: Bill Anton
Collection
Headcount, 2007
oil on canvas
30 x 44 inches
signed lower right: Richard D. Thomas
verso: titled, signed and dated
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso)
From a Private Collection
$8,000 – $12,000
From the High Mountain
oil on panel
18 x 24 inches
signed lower left: L. Frazier artist cipher lower right
Provenance: From a Private Collection
$6,000 – $9,000
118 RICHARD D. THOMAS (1939–2019)
119 LUKE FRAZIER (1970– )
Study for Swiss Trail
oil on board
20 x 30 inches
signed lower center: Christensen ©
Provenance:
From a Private Collection
$4,000 – $6,000
122 CLYDE ASPEVIG (1951– )
In the High Country, 1996
oil on canvas
30 x 36 inches
signed lower left: C. Aspevig
verso: titled, signed and dated
Provenance:
Altermann & Morris Galleries, Dallas & Houston, TX, Santa Fe, NM, & Hilton Head Island, NC (label verso)
The Legacy Gallery, Jackson, WY (label verso)
From the Collection of Shirley Porter McGinty
$12,000 – $18,000
Goober and Son
oil on board
24 x 20 inches
signed lower left: Oleg Stavrowsky
verso: titled and signed
Provenance:
From a Private Collection
$4,000 – $6,000
120 SCOTT CHRISTENSEN (1962– )
121 OLEG STAVROWSKY (1927–2020)
123 JIMMY DYER (1956– )
Checking the Herd
oil on canvasboard
10 x 12 inches
signed lower left: Jimmy Dyer verso: titled and signed
Provenance: From a Private Collection
$2,500 – $4,500
124 CONRAD SCHWIERING (1916–1986)
Turquoise Lake
oil on board
25 x 30 inches
signed lower right: Schwiering (artist cipher) © verso: titled and signed
Provenance: From a Private Collection
$8,000 – $12,000
125 WALT
High Country Morning
(1942– )
oil on canvas
34 x 30 inches
signed lower right: Gonske © (artist cipher) verso: titled and signed
Provenance: Trailside Galleries, Scottsdale AZ & Jackson, WY (label verso) Private Collection, Jackson, WY
$5,000 – $7,000
GONSKE
126 FREMONT ELLIS (1897–1985)
Beaver Ponds in Snowy Spring, 1963
oil on canvas
30 x 25 ¼ inches
signed and dated lower left: Fremont Ellis 1963
Provenance: Gilcrease Museum, Tulsa, OK (label verso) From the Collection of Robert Alexander
$15,000 – $25,000
127 DAN GERHARTZ (1965– ) Evening with the Tamaracks
pastel on paper
17 x 23 inches
signed lower right: D F Gerhartz
verso: signed and titled
Provenance: Private Collection, Jackson, WY
$1,500 – $2,500
128 MICHAEL LYNCH (1950– ) February Color, 1999
oil on canvas panel
24 x 36 inches
signed lower left: M.J. Lynch
verso: titled, signed and dated
Provenance: Texas Collection Jackson Hole Art Auction, September 2019, Lot 503 From a Private Collection
$5,500 – $7,500
oil on canvas 24 x 36 inches signed lower right: G. Harvey - © verso: titled and signed
Provenance:
Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso) From a Private Collection
$70,000 – $100,000
129 G. HARVEY (1933–2017) Cowboy Country Club
130 JOHN CLYMER (1907–1989)
Northern Winter, 1982
oil on canvas
10 x 20 inches
signed lower right: John Clymer (artist cipher) © 1982 verso: titled and signed
Provenance:
Scottsdale Art Auction, April 2022, Lot 331 From a Private Collection
“John Clymer has no peer among Western artists for the historical accuracy, as well as fine artistic quality, of the scenes he renders on canvas portraying the factual history of our Old West...These have provided classic subjects and added an extra dimension to the beauty of his work.”– Harold McCracken, from John Clymer: An Artist’s Rendezvous with the Frontier West
“It’s the extra dimension that McKracken speaks of that separates John from so many of the contemporary western painters...John has...portrayed a period of American history which escaped the eye of the camera.”– Paul Weaver, from The Western Paintings of John Clymer
$60,000 – $90,000
132 HERB MIGNERY (1937– ) At the Water’s Edge
bronze, 6/9
38 ⅝ x 19 ½ x 17 ⅝ inches inscribed: Mignery 6/9
Provenance:
From the Collection of Shirley Porter McGinty
$5,000 – $7,000
131 RICHARD D. THOMAS (1939–2019) Her Trusty Steed, 1991
oil on board
18 x 24 inches
signed and dated lower right: Richard D. Thomas © ‘91
verso: titled, dated and signed
Provenance:
Coeur d’Alene Art Auction, July 2018, Lot 311 Private Collection, San Francisco, CA
$3,000 – $5,000
133 R.S. RIDDICK (1952– ) White Man’s Footbell, 2006
oil on linen
38 x 28 inches
signed and dated lower right: R.S. Riddick (artist cipher) 2006 ©
Provenance:
Jackson Hole Art Auction, September 2007, Lot 162 From a Private Collection
$25,000 – $35,000
134 JONI FALK (1933– ) Camp in Winter, 1985
oil on board
20 x 30 inches
signed lower right: Joni Falk © verso: signed and dated
Provenance: Private Collection, Tulsa, OK
$4,000 – $6,000
135 KENNETH RILEY (1919 –2015)
Chiricahua Warrior, 1979
oil on board
30 x 24 inches
signed and dated lower right: Kenneth Riley 79 ©
Provenance: The Artist
Acquired by L.D. “Brink” Brinkman from the above, 1984 Bonhams, Los Angeles, CA, February 2019, Lot 109
From a Private Collection
Literature:
Susan Hallsten McGarry, West of Camelot: The Historical Paintings of Ken Riley, Eiteljorg Museum of American Indian and Western Art, Indianapolis, IN, 1993, illus. p. 181
Susan Hallsten McGarry, Honoring the Western Tradition: The L.D. “Brink” Brinkman Collection, Kerrville, TX, 2003, illus. p. 145
Exhibited: West of Camelot: The Historical Paintings of Ken Riley, Eiteljorg Museum of American Indian and Western Art, Indianapolis, IN, June–October 1993
CA Retrospective: Mehl Lawson and Kenneth Riley, Cowboy Artists of America Museum, Kerrville, TX, July 16–October 1, 1997
$50,000 – $75,000
136 SCOTT CHRISTENSEN (1962– )
oil on canvas
30 x 40 inches
signed lower right: – S Christensen © –
Provenance:
Private Collection, Jackson, WY
$5,000 – $7,000
137 ERIC BOWMAN (1960– )
oil on linen laid on gatorfoam board
16 x 20 inches
signed lower right: Bowman
verso: titled and signed
Provenance: From a Private Collection
$6,000 – $9,000
Gallatin Valley
Smokey Sky Landscape
138 MICHAEL DUDASH (1952– )
Misty Trails: Native Nomads of the Tetons, 2024
oil on linen panel
36 x 36 inches
signed lower left: C M Dudash (artist cipher)
verso: titled, signed and dated
Provenance: Private Collection, Phoenix, AZ
Literature: Art of the West Magazine, May/June 2024, illus. p. 32
A Certificate of Authenticity accompanies this lot.
$25,000 – $35,000
139 ROY ANDERSEN (1930–2019)
Like Wind in the Trees
oil on canvas
30 x 40 inches
signed lower left: Roy Andersen (artist cipher)
Provenance:
Coeur D’Alene Art Auction, July 2009, Lot 70
From a Private Collection
$20,000 – $40,000
140 ROY ANDERSEN (1930–2019) Tall Bull
oil on canvas panel
14 x 11 inches
signed lower left: Roy Andersen (artist cipher)
Provenance: From a Texas Collection
Jackson Hole Art Auction, September 2016, Lot 300 Private Collection, San Francisco, CA
$4,500 – $6,500
)
She Rides a Pale Horse, 2019
oil on board
36 x 48 inches
signed lower right: J. Winborg
verso: titled, signed and dated
Provenance:
Coeur d’Alene Art Auction, July 2019, Lot 159 Private Collection, San Francisco, CA
$15,000 – $25,000
)
Granddad’s Captured Crow Medicine Shield, 2009
oil on canvas
12 ½ x 12 ½ inches
signed and dated lower left: Bob Coronato © 09
Provenance:
Coeur d’Alene Art Auction, July 2019, Lot 335 Private Collection, San Francisco, CA
$5,000 – $7,000
142 HARRY
bronze
21 x 11 x 7 ⅜ inches inscribed: 29. © Harry Jackson 1977 stamped: WFS Italy
Provenance: From a Private Collection
$3,000 – $5,000
on canvas
24 x 20 inches signed lower right: Zhou
Provenance: From a Private Collection
$5,000 – $7,000
141 JEREMY WINBORG (1979–
143 BOB CORONATO (1970–
144 JIE WEI ZHOU (1962– ) The Rehearsal oil
JACKSON (1924–2011) Sacagawea, 1977
oil on canvas
30 x 48 inches
signed lower right: Roy Andersen (artist cipher)
Provenance:
Altermann & Morris Galleries, Dallas, TX, Santa Fe, NM, & Houston, TX (label verso)
From a Private Collection
$18,000 – $25,000
oil on canvas
36 x 36 inches
signed lower right: James Reynolds
Provenance:
From a Private Collection
$12,000 – $25,000
147 JIM WILCOX (1941– )
Receding Winter at Taggart Lake, 1990
oil on canvas
20 x 30 inches
signed and dated lower right: Jim Wilcox © 90 NAWA
Provenance: Region III Winner, Arts for the Parks, 1990 Private Collection, Jackson, WY
Literature:
Arts for the Parks Catalog, 1990, illus. p. 110 Arts for the Parks Catalog, 1991, illus. p. 10
“The receding ice of early spring exposed this tangle of logs at the Taggart Lake outlet. Sparkling light on the snow and jewel–like colors in the water completed the irresistible composition.” – Jim Wilcox
$3,000 – $5,000
145 ROY ANDERSEN (1930–2019) When the Answer Comes
146 JAMES REYNOLDS (1926–2010) East Vail
148 CURT WALTERS (1950– )
Moran After the Storm, 1982
oil on canvas
18 x 40 inches
signed and dated lower right: © Curt Walters 1982 verso: titled and signed
Provenance:
From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$7,000 – $10,000
149 BRUCE CHEEVER (1958– )
Morning Mist of the Yellowstone
oil on panel
30 ¾ x 47 inches
signed lower left: – Bruce · Cheever ©
Provenance: From the Artist
$10,000 – $20,000
150 RICHARD GREEVES (1935–2022) Kiowa, 1980
bronze
71 ½ x 17 x 24 inches
inscribed: R.V. Greeves © 1980 #6
Provenance:
From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$8,000 – $12,000
151
His Stately Attire, 2016
oil on canvas
40 x 26 inches
signed and dated lower right: DE Kucera © 2016
verso: titled, signed and dated
Provenance: From a Private Collection
$7,000 – $10,000
152
River Camp, 2025
oil on canvas
34 x 60 inches
signed and dated lower left: © Carson 2025
verso: titled and signed
Provenance: From the Artist
$7,000 – $10,000
1993
bronze, ACV/30
41 ¼ x 28 x 14 ½ inches
inscribed: Dave McGary 1993 ACV/30
Provenance: From the Collection of Dave Gust
$15,000 – $25,000
oil on canvas
16 x 12 inches
signed and dated lower right: Griffing © 2002
Provenance: From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$4,000 – $6,000
ED KUCERA (1961– )
JIM CARSON (1942– )
153 DAVE MCGARY (1958–2013) Bear Tracks,
154 ROBERT GRIFFING (1940– ) The Huron, 2002
155 RICHARD GREEVES (1935–2022)
Piegan Blackfeet, 2006
bronze, 8/30
22 x 12 ¾ x 7 ½ inches
inscribed: Piegan 1806RvGreeves 8/30 2006
Provenance:
From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$2,000 – $4,000
157 RICHARD GREEVES (1935–2022) Kickapoos, 2003
bronze, 15/30
37 ¼ x 16 x 12 inches
inscribed: Corps of Discovery 1804 – 1806 Kickapoos May 22nd 1804 R.V. Greeves 2003 15/30
Provenance:
From the Collection of Shirley Porter McGinty
$8,000 – $12,000
156 RICHARD GREEVES (1935–2022) Yankton Sioux Grass Dancers, 2004
bronze, 10/30
21 ½ x 19 ¼ x 23 inches
inscribed: Yankton Sioux Grass Dancers, R.V. Greeves 2004 10/30
Provenance:
From the Collection of Shirley Porter McGinty
$5,000 – $7,000
158 EDWARD CURTIS (1868–1952) Waiting in the Forest – Cheyenne
photogravure on paper
17 ¾ x 12 ½ inches
inscribed in plate, upper left: Plate 218 titled in plate, lower left: WAITING IN THE FOREST _ CHEYENNE inscribed in plate, lower center: From Copyright Photograph 1910 by E.S. Curtis inscribed in plate, lower right: Photogravure John Andrew & Son
Provenance: Private Collection, Jackson, WY
Long considered one of Edward Curtis’s most artistic images, Waiting in the Forest–Cheyenne emphasizes modernist abstract image making, high tones of white and dark sepia to emphasize tonal contrast and mystery, and an elegant composition that focuses on an imaginary secret tryst in the forest.
Curtis wrote about this image in Portfolio VI of The North American Indian: “At dusk in the neighborhood of the large encampments young men, closely wrapped in non-committal blankets or white cotton sheets, may be seen gliding about the tipis or standing motionless in the shadow of the trees, each one alert for the opportunity to steal a meeting with his sweetheart.”
$8,000 – $12,000
159 JOSEPH K. DIXON (1856–1926)
Here Custer Fell, 1909
toned silver print on paper
28 x 38 inches
Provenance:
Andrew Smith Gallery, Santa Fe, NM (label verso)
From the Collection of Bob Kelly
In the summer of 1908, Rodman Wanamaker sponsored an expedition to the Crow Reservation in Montana, led by Joseph Dixon, to film The Song of Hiawatha with Native American actors. They also took film and photographs of a re–creation of Custer’s last stand, with the four Crow scouts that Custer hired to take his troops to Little Bighorn narrating the story. The four scouts pictured here are White Man Runs Him, Hairy Moccasin, Curly, and Goes Ahead [Apsáalooke (Crow/Absaroke)].
Several of Dixon’s very rare large prints, like the one here, were exhibited in the 1915 San Francisco Pan–Pacific Exposition, where he won a gold medal. This particular print later came from estate in Montana. Allegedly, in the saloon where it hung, the proprietor covered the photograph and offered a prize to whoever could shoot the frame.
$10,000 – $20,000
160 LOUIS PALENSKE (1858–1943)
Blackfeet Chiefs at the Dedication of Haskell Stadium, 1926
toned silver print on paper
23 ¼ x 56 ½ inches
signed and dated lower center: L. Palenske, 1926
Provenance:
From the Collection of Bob Kelly
In 1926, Kansas photographer Louis Palenske was living and working in Burlington, Kansas when it was announced that Native Americans from across the country would be attending a four-day dedication of a new football stadium at Haskell Institute in Lawrence, Kansas. The event was advertised under the name, All Indian Trails Lead to Lawrence. While Lawrence was some 85 miles north of Burlington, Palenske packed his newly-acquired Korona Panoramic View Camera, along with numerous film loaders containing 7 x 17inch sheets of film, and headed to Lawrence.
Haskell Institute, founded as the Indian Training School in 1884, constructed a football stadium at the school in 1926, which by that time offered post–high school classes. The stadium was built with donations from Native American tribes from across the country. So, when the stadium was to be dedicated in the final days of October 1926, Haskell Institute invited all of the Native American tribal members across the nation to attend. While the organizers of the event expected a few hundred attendees, everyone was surprised when several thousand Native Americans arrived to celebrate the new stadium.
$7,000 – $10,000
Credit: flinthillsspecial.com/2016/11/23/all–indian–trails–lead–to–lawrence–photos
162 JOE BEELER (1931–2006)
Chief Goes to Washington
bronze, 31/35
19 ½ x 13 x 14 ⅞ inches inscribed: Joe Beeler (artist cipher) stamped: 31/35
Provenance:
Trailside Galleries, Jackson, WY From the Collection of Shirley Porter McGinty
Literature:
Don Hedgpeth, Joe Beeler: Life of a Cowboy Artist, Diamond Tail Press and Claggett-Rey Gallery, Vail, CO, 2004, example illus. p. 140
$10,000 – $12,000
163 JENNESS CORTEZ (1944– )
Road to Wounded Knee, 2015
acrylic on mahogany panel
20 x 16 inches
signed and dated lower right: Cortez © 2015
verso: titled
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) From a Private Collection
$25,000 – $45,000
The
orotone
10 ½ x 13 ½ inches
signed lower right: Curtis
Provenance: Private Collection, Sun Valley, ID
$7,000 – $10,000
161 EDWARD CURTIS (1868–1952)
Vanishing Race
164 JOHN NIETO (1936–2018)
Red Cloud, 1994
oil on canvas
44 x 40 inches
signed lower left: Nieto
verso: titled, signed and dated
Provenance: From the Estate of D. Richard Ryan, Jr.
A Certificate of Authenticity accompanies this lot.
$20,000 – $40,000
165 DAN NAMINGHA (1950– )
The Jemez, 1992
acrylic and mixed media on paper
39 ¼ x 29 ¼ inches
signed lower left: Namingha
verso: titled
Provenance:
Niman Fine Art, Santa Fe, NM (label verso)
Private Collection, Jackson, WY
$2,500 – $4,500
PROPERTY FROM THE ANNE ADAMS HELMS COLLECTION
The five prints presented here are from the collection of Ansel Adams’s daughter, Anne Adams Helms (1935-2021). It was Adams’s practice to set aside the most brilliant prints for his family and the group here demonstrates the technical mastery and sheer beauty of his photographs.
In 1927, Ansel Adams met the San Francisco art patron, Albert Bender and showed Bender a sample portfolio. Bender immediately ordered 50 copies of the portfolio to give to friends and other art patrons, fortifying Adams’s career as the leading photographer of the 20th century. Steeped in nature, the photographs are printed on a very thin and beautiful Kodak Vitava Athena Grade T Parchment paper. In these prints Adams displayed his mastery of the subject, of the grand and abstract landscape, emphasizing dark rich black tones and pure white tones. These 1927 masterpieces cemented Adams’s youthful work as the basic building blocks of American landscape photography.
166 ANSEL ADAMS (1902–1984)
Mount Clarence King, Southern Sierra, 1924
silver gelatin print, printed 1927
7 15/16 x 5 15/16 inches signed lower right: A Adams
Provenance:
Collection of Virginia Best Adams
From the Collection of Anne Adams Helms
This silver gelatin print on Kodak Vitava Athena paper is signed in pencil beneath the image with typeset title sheet recto. This print was made in 1927 for the Parmelian Prints of the High Sierras portfolio in a projected edition of 150, of which it is thought that no more than 75 copies were ever delivered to clients. Accompanied by the original folder with typeset title. Originally in the collection of Virginia Best Adams, whose inventory number is written in pencil on the accompanying folder.
$8,000 – $12,000
167 ANSEL ADAMS (1902–1984)
From Hurricane Hill, Olympic National Park, Washington, 1948
silver gelatin print, printed 1950
8 ¼ x 11 ¾ inches signed lower right: Ansel Adams
Provenance:
From the Collection of Anne Adams Helms
This vintage silver gelatin print is signed in pencil mount recto, with image number “5” in the lower left corner. Portfolio Two stamp with print #5 and set #A in red crayon, along with the Anne Adams Helms Collection stamp mount verso. Printed in 1950 in an edition of 100 numbered copies and 5 presentation copies; this print is from presentation set #A, which was dedicated to the artist’s daughter.
$8,000 – $12,000
168 ANSEL ADAMS (1902–1984)
Cloud and Mountain, Marion Lake, Southern Sierra, c. 1925
silver gelatin print, printed 1927 5 11/16 x 7 ¾ inches
signed lower right: A EAdams
Provenance:
Collection of Virginia Best Adams
From the Collection of Anne Adams Helms
This silver gelatin print on Kodak Vitava Athena paper is signed in pencil beneath the image with typeset title sheet recto. This print was made in 1927 for the Parmelian Prints of the High Sierras portfolio in a projected edition of 150, of which it is thought that no more than 75 copies were ever delivered to clients. Accompanied by the original folder with typeset title. Originally in the collection of Virginia Best Adams, whose inventory number is written in pencil on the accompanying folder.
$8,000 – $12,000
169 ANSEL ADAMS (1902–1984)
Rain, Beartrack Cove, Glacier Bay National Monument, Alaska, 1949
silver gelatin print, printed 1950
7 ⅛ x 9 ¼ inches
signed lower right: Ansel Adams
Provenance:
From the Collection of Anne Adams Helms
This vintage silver gelatin print is signed in pencil mount recto, with image number “10” in the lower left corner. Portfolio Two stamp with print #10 and set #A in red crayon, along with the Anne Adams Helms Collection stamp mount verso. Printed in 1950 in an edition of 100 numbered copies and 5 presentation copies; this print is from presentation set #A, which was dedicated to the artist’s daughter.
$8,000 – $12,000
170 ANSEL ADAMS (1902–1984)
Dunes, Hazy Sun, White Sands, New Mexico, 1941
silver gelatin print, printed 1950
9 ¼ x 6 ¾ inches
signed lower right: Ansel Adams
Provenance:
From the Collection of Anne Adams Helms
This silver gelatin print is signed in pencil mount recto, with image number “3” in the lower left corner. Portfolio Two stamp with print #3 and set #A in red crayon, along with the Anne Adams Helms Collection stamp mount verso. Printed in 1950 in an edition of 100 numbered copies and 5 presentation copies; this print is from presentation set #A, which was dedicated to the artist’s daughter.
$8,000 – $12,000
171 CHARLES WYSOCKI (1928–2002)
Where the Buffalo Roam
oil on canvas laid on board
25 x 30 inches
signed lower left: © Charles Wysocki
verso: titled and signed
Provenance: The Artist Estate of Daniel L. Richie, Denver, CO Private Collection, Denver, CO
$15,000 – $25,000
“There is a country in my mind, a landscape in my heart, a place that does not appear on any map but is so clear and sharply detailed that to paint it, I have only to look within. It is a place of wonder and surprise, instantly familiar to all who view it with the eyes of a curious child...It is the past as it ought to have been.”
– Charles Wysocki
172 KENT ULLBERG (1945– ) Herdmaster
bronze, AP/20
21 x 23 ½ x 9 ¼ inches
inscribed: © Ullberg AP/20
Provenance: From the Collection of John & Mindy Gebhardt
$3,000 – $5,000
173 JOHN FALTER (1910–1982)
Roundup Wages, 1976
oil on canvas laid on board
18 x 24 inches
signed and dated lower right: John Falter © ‘76
Provenance:
Leanin’ Tree Museum of Western & Wildlife Art (label verso)
Scottsdale Art Auction, April 2018, Lot 296 (label verso) From a Private Collection
$20,000 – $30,000
–
acrylic on mahogany panel
15 x 20 inches
signed and dated lower right: Cortez © 2007 verso: titled
Provenance:
Private Collection, Alpharetta, GA
Jackson Hole Art Auction, September 2014, Lot 119 (label verso) From a Private Collection
$25,000 – $45,000
“By [Cortez’s] selection of a famous work of art as the focus of a given painting, the viewer is instantly drawn into the picture...As we explore a wonderful interior, we experience the sheer joy of painting for its own sake. Loke the Old Masters she admires, Cortez is able to render textures of fabric, surfaces of wood, an aged piece of paper, and so on, with a convincing tangible realism. In the same way, the famous works reproduced in her compositions are painted with deep respect for their creators and with equal accuracy.” – Robert Yassin, from Homage to the Creative Spirit: The Paintings of Jenness Cortez
174 JENNESS CORTEZ (1944– )
Norman Rockwell
Freedom of Speech, 2007
175 NORMAN ROCKWELL (1894–1978)
Courting Couple at Midnight, 1919
oil on canvas laid down on board
24 x 19 inches
signed lower right: Norman Rockwell
Provenance:
Harry N. Abrams, Inc., New York, by 1972
Private collection, Hawaii
Sotheby’s New York, March 1999, Lot 154 (label verso)
From a Private Collection
Literature:
The Saturday Evening Post, March 22, 1919, cover illustration (©SEPS licensed by Curtis Licensing, Indianapolis, IN. All rights reserved)
Thomas Buechner, Norman Rockwell: Artist & Illustrator, New York, 1970, illus. p. 68, fig. 113
Christopher Finch, Norman Rockwell’s America, New York, 1975, p. 83, illus. pp. 84, 271
Dr. Donald Stoltz and Marshall L. Stoltz, Norman Rockwell and ‘The Saturday Evening Post:’ May 1916–July 1928, vol. I, New York, 1976, p. 35, illus. p. 36
Mary Moline, Norman Rockwell Encyclopedia: A Chronological Catalogue of the Artist’s Work 1910–1978, Indianapolis, Indiana, 1979, illus. p. 37, fig. I–26 (as Courting Under the Clock at Midnight)
Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, vol. I, Stockbridge, Massachusetts, 1986, no. C206, p. 79, illus. p. 78
Jan Cohn, Covers of “The Saturday Evening Post:” Seventy Years of Outstanding Illustration from America’s Favorite Magazine, New York, 1995, illus. p. 83
Exhibited:
The Fort Lauderdale Museum of the Arts, Fort Lauderdale, Florida
Brooklyn Museum, Brooklyn, New York
The Corcoran Gallery of Art, Washington, D.C.
McNay Art Institute, San Antonio, Texas
M.H. De Young Memorial Museum, San Francisco, California
Oklahoma Art Center, Oklahoma City, Oklahoma Indianapolis Museum of Art, Indianapolis, Indiana
Joslyn Art Museum, Omaha, Nebraska
Seattle Art Museum, Seattle, Washington
Norman Rockwell: A Sixty Year Retrospective, Seattle Art Museum, Seattle, WA, February 1972–April 1973
Hankyu Department Store, Osaka, Japan, April 4–9, 1975 (label verso)
Painted in 1919, Courting Couple at Midnight was the featured cover illustration for The Saturday Evening Post on March 22nd, 1919.
Art historian Christopher Finch observed that “Rockwell’s young lovers are generally fairly attractive but seldom glamorous. He constantly affirms the fact that everybody has the right to fall in love. He does not give us fashion-plate couples. In his treatment of young love...he is devoted to the notion that ordinary folks are capable of a poetry of behavior which is as deserving of our attention as any other kind of poetry.”1
Here is a young couple in the throes of courtship, seated together as the clock strikes midnight. Bathed in the warm glow of domestic intimacy, the young woman leans affectionately into her date’s embrace while the young man, caught between romance and responsibility, gazes anxiously at a cuckoo clock—a detail laden with narrative consequence—aware that their curfew has arrived. He wishes he could turn back time and prolong the fleeting moment.
Rockwell’s characteristic humor and attention to detail are evident: the young man’s yellow carnation and untamable cowlick, the young woman’s adoring gaze, the urgency of the elaborately carved cuckoo clock. The floral wallpaper and patchwork pillow place the scene in a comfortable middle-class American home. The sartorial details—the young man’s watch chain, cufflink, handkerchief; the young woman’s ruffled blouse and sheer sleeves—underscore the ritual and formality of courting in the early twentieth century.
Though anchored in time and place, this simple moment—two young people lingering past curfew—is transformed into a universal story of youthful romance and the bittersweet passage of time. The painting remains a beloved example of Rockwell’s ability to find beauty and meaning in the everyday.
$500,000 – $700,000
1 Christopher Finch, Norman Rockwell’s
PROPERTY FROM THE H.B. TURNER COLLECTION
H.B. “Tony” Turner (1936-2025) was a larger-than-life figure known for his wide-ranging achievements and passions. A Harvard Business School graduate and entrepreneur, his professional life included serving as the Assistant Secretary of Commerce; he was also an officer in the US Navy and a guest lecturer at the University of Virginia Darden School of Business. He worked to finance Jacques Cousteau’s Living Sea exhibit on the Queen Mary ocean liner in the early 1970s and worked with Peter Ueberroth on organizing the 1984 Los Angeles Olympics.
After living and working in New York City for many years, Turner relocated permanently to Scottsdale, Arizona, residing in the ranch home originally owned by the famed journalist—credited with inventing the gossip column— radio host, and actor, Walter Winchell. Passionate about Western culture and art, Turner filled this historic home with an extensive collection of Western and Native American art and artifacts.
Turner’s personal life was marked by a dedication to adventure, lifelong learning, and a genuine devotion to animals and art. He was known for his enduring love of the West, living the life of a cowboy and developing a reputation as a “horse whisperer” and a devoted animal rescue supporter. He was known to play the piano in restaurants for tips, which he donated to his local horse rescue.
Jackson Hole Art Auction is pleased to present 26 works from this storied collection, wide-ranging in period and style, from an aficionado of the region’s heritage and history.
Portrait of H.B.Turner by Harley Brown, Courtesy of the Turner Family
176 OLAF WIEGHORST (1899–1988)
Blackfoot Chief
watercolor and ink on paper
11 x 8 ½ inches
signed lower left: O–W (artist cipher)
verso: signed and titled
Provenance:
From the Estate of H.B. Turner
$1,000 – $2,000
178 OLAF WIEGHORST (1899–1988)
Taking a Break
watercolor and ink on paper
10 x 8 inches
signed lower left: O – Wieghorst (artist cipher)
Provenance: From the Estate of H.B. Turner
$3,000 – $5,000
177 OLAF WIEGHORST (1899–1988)
Smoking Side Saddle
watercolor and ink on paper
12 ¾ x 12 ½ inches
signed lower left: O – Wieghorst (artist cipher)
Provenance: From the Estate of H.B. Turner
$3,000 – $5,000
179 OLAF WIEGHORST (1899–1988) Cowboy on Horse
watercolor and ink on paper
9 ¾ x 7 ¾ inches
signed lower left: O · W (artist cipher)
Provenance: Biltmore Galleries, Los Angeles, CA
From the Estate of H.B. Turner
$3,000 – $5,000
oil on board
16 x 14 inches
signed lower left: Richard D. Thomas
verso: titled, signed and dated
Provenance: From the Estate of H.B. Turner
$1,500 – $2,500
oil on canvas
24 x 36 inches
signed and dated lower left: Clark Kelley Price
Provenance: From the Estate of H.B. Turner
$4,000 – $6,000
bronze, 8/9
18 ¼ x 13 x 9 ½ inches inscribed: 8/9 Mignery (artist cipher) 1996
Provenance: From the Estate of H.B. Turner
$2,000 – $4,000
cipher) © 04
180 RICHARD D. THOMAS (1939–2019)
Eatin’ Dust ‘n Wranglin’, 2007
181 HERB MIGNERY (1937– ) Ridin’ by Range Rules, 1996
182 CLARK KELLEY PRICE (1945– )
Almost Home, 2004
(artist
183
Pause for a Drink, 1976
pencil on paper
29 ¼ x 39 ¼ inches
signed and dated lower right: Paul Calle © 1976
Provenance:
Trailside Galleries, Scottsdale, AZ
From the Estate of H.B. Turner
$3,000 – $5,000
oil on canvas
24
signed and dated lower
Provenance:
Trailside
From the Estate of
$7,000 – $10,000
PAUL CALLE (1928–2010)
184 CLARK KELLEY PRICE (1945– )
Southfork Crossing, 2005
x 48 inches
left: Clark Kelley Price (artist cipher) © 05
Galleries, Jackson, WY & Scottsdale, AZ (label verso)
H.B. Turner
oil on canvas
27 x 36 inches
signed lower right: Peter McIntyre
Provenance:
From the Estate of H.B. Turner
$4,000 – $6,000
oil on canvas
24 x 36 inches
signed lower right: Peter McIntyre
Provenance: From the Estate of H.B. Turner
$4,000 – $6,000
signed lower right: Robt.
Provenance: From the Estate of H.B. Turner
$3,000 – $5,000
30
signed and dated lower right: Robt. C. Rishell N.A.W.A. © 73
Provenance: Biltmore Galleries, Scottsdale, AZ (label verso) From the Estate of H.B. Turner
$4,000 – $6,000
185 PETER MCINTYRE (1910–1995) Herding Cattle
186 PETER MCINTYRE (1910–1995) Herding to Water
187 ROBERT CLIFFORD RISHELL (1917–1976) Canyon Warriors
oil on canvas
30 x 40 inches
C Rishell
188 ROBERT CLIFFORD RISHELL (1917–1976) Road to the Sing, 1973
oil on canvas
x 40 inches
189 SCOTT ROGERS (1960/61– ) Stampede, 2004
bronze, 7/30
28 ¾ x 22 ½ x 25 inches
inscribed: “Stampede” ‘04 © D.S. Rogers 7/30
Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ From the Estate of H.B. Turner
$2,000 – $4,000
190 GRANT SPEED (1930–2011) The Apache Wars, 1982
bronze, 8/30
21 ⅜ x 23 x 10 inches
inscribed: (artist cipher) G Speed © 1982 (artist cipher) 8/30
Provenance: From the Estate of H.B. Turner
$2,000 – $4,000
Streets of
oil on canvas
26 x 40 inches signed and dated lower left: – JWHampton – (artist cipher) © 1968
Provenance: From the Estate of H.B. Turner
$3,000 – $5,000
191 JOHN WADE HAMPTON (1918–2000)
Laredo, 1968
192 W. HERBERT DUNTON (1878–1936)
The Stagecoach Robbery, 1909
oil on canvas
21 x 33 inches
signed and dated lower right: W. Herbert Dunton ‘09
Provenance:
Stephen V. O’Meara Inc., Scottsdale, AZ
From the Estate of H.B. Turner
Literature:
Julie Schimmel, The Art and Life of W. Herbert Dunton, 1878–1936, University of Texas Press, Austin, TX, 1984, p. 209 (possibly)
W. Herbert Dunton’s work as a cowboy and hunter in the American West, from Montana to Mexico, lent authenticity to his illustrations for Western stories. He sketched in the West during the summer then turned them into illustrations in his Eastern studios.
By 1906 Dunton began illustrating for magazines—Cosmopolitan Magazine, Harper’s, and Scribner’s—as well as books by Harold Bindloss, Zane Grey, Alfred Henry Lewis, and others. Paintings en grisaille (in grays), such as “The Stagecoach Robbery,” typify many of Dunton’s illustrations before 1915. Reproducing color illustrations accurately remained a challenge for publishers until about 1910. Therefore, grisaille illustrations in books and magazines remained the standard and were far less expensive to reproduce.
Like all artists throughout history, Dunton turned to a recognized master for motivation and possible solutions to problems. Thus, Dunton’s “Stagecoach Robbery” is a retelling of Charles M. Russell’s 1899 The Hold-Up. In a letter to Texas artist H. D. Bugbee (1900-1963), Dunton wrote of Russell, who died on October 24, 1926: “I suppose you know Charlie Russell was gone. I can not believe it. He was a good friend.”1 Noted as Russell’s artist-friend in an early Russell biography, 2 another scholar posited that Dunton “idolized Russell” and Russell “returned the compliment, taking an active interest in his young admirer’s progress and regarding him as a close and trusted friend.”3 While Dunton rarely emulated his pard’s work, in “The Stagecoach Robbery” Dunton turned to his own Montana experiences in the 1890s and to Russell for inspiration.
The orientation of the stagecoach and the “players” echoes Russell’s The Hold-Up. Both paintings portray a stage coach driver with hands raised; frightened female passengers; a gambler in a top hat; and one of the robbers rifling through pockets of the victims. However, Dunton’s setting is not the Miles City-toDeadwood line but instead the deserts near El Paso or in Arizona (perhaps a Butterfield stage?). Likewise, all but one robber in Dunton’s painting are mounted, while all of Russell’s are afoot.
The biggest difference between the two paintings is the main antagonist: instead of real-life robber and murderer “Big Nose” George Parrott—who terrorized Wyoming, the Dakotas, and eastern Montana territories in the 1870s—standing and leveling his shotgun at his wretched victims in Russell’s The Hold-Up, Dunton’s anonymous mounted bad man levels his Colt revolver, freshly pulled from his Mexican double-loop holster, while the robber at left aims his rifle a la “Big Nose George.” (Dunton may even have included George’s grey horse at extreme left). Dunton also included a hapless mustachioed possible lawman, with his inconveniently positioned cartridge belt and holster.
Ironically, all three robbers in Dunton’s painting wear checkered wool “California pants” with reinforced leather seats, favored by Montana cowboys; perhaps a subtle reference to the Big Sky State. Moreover, the rifleman at left sports a Montana peak hat, but the other thieves do not.
Both artists in their respective stagecoach robbery paintings “involve[d] us in whatever drama is ostensibly the picture’s subject and to elicit our identification with those who helplessly watch.”4 This theatricality would later serve Dunton well in his mature work in Taos.
Dunton painted a number of stagecoach scenes during his career. However, he typically depicted lawmen inspecting a coach; the arrival of a stage in town; or stage drivers and guards doing their duty. Dunton’s “Stagecoach Robbery” is a rare example of him portraying outlaws.
This painting will be included in the forthcoming Dunton catalogue raisonné being compiled by Michael Grauer. We are grateful to him for writing this essay.
$20,000 – $40,000
1 W. Herbert Dunton to Texas artist H. D. Bugbee (1900–1963), letter, November 10, 1926.
2 Ramon F. Adams and Homer E. Britzmann, Charles M. Russell: The Cowboy Artist (Pasadena: Trail’s End Publishing Co., Inc., 1948): 229.
3 Adra A. Johnson, “William Herbert Dunton: Quintessential Westerner,” Southwest Art 13 (October 1983): 78. Johnson intimates that Dunton and Russell may have become acquainted in 1897, when Dunton traveled near the Great Falls area not long after Russell had settled there.
4 Joan Carpenter Troccoli, “Poetry and Motion in the Art of Charles M. Russell,” The Masterworks of Charles M. Russell (Norman: University of Oklahoma Press, 2009): 56.
193 CHARLES DAMROW (1916–1989)
oil on linen laid on board
30 x 40 inches
signed lower right: Charles Damrow
Provenance:
McGee’s Art Gallery, Scottsdale, AZ
From the Estate of H.B. Turner
$2,000 – $4,000
194 GRAY PHINEAS BARTLETT (1885–1951)
on the Reservation
oil on canvas
30 x 40 inches
signed lower right: Gray Bartlett (artist cipher) verso: titled (Evening at (indecipherable) on the Reservation) and signed
Provenance: From the Estate of H.B. Turner
$4,000 – $6,000
196 JOE FERRARA (1932–2004)
, 1991
oil on canvas
30 x 40 inches
signed and dated lower right: Gray Bartlett 39.
Provenance: From the Estate of H.B. Turner
$4,000 – $6,000
oil on canvas
30 x 32 inches
signed and dated lower right: Ferrara © 91
Provenance: The Artist From the Estate of H.B. Turner
$1,500 – $2,500
Cowboys
Evening
195 GRAY PHINEAS BARTLETT (1885–1951) Saddling the Horses, 1939
Meeting on the Sagebrush
Meeting on the Plains, c. 1874
oil on canvas
25 x 44 inches
unsigned
Provenance:
Kennedy Galleries, Inc., New York, NY (label verso)
Biltmore Galleries, Scottsdale, AZ (label verso) From the Estate of H.B. Turner
$25,000 – $45,000
oil on canvas
22 x 40 inches
signed and dated lower right: Ferrara © 91
Provenance:
The Artist
From the Estate of H.B. Turner
$1,500 – $2,500
197 WILLIAM DE LA MONTAGNE CARY (1840–1922)
198 JOE FERRARA (1932–2004)
Buffalo Hunt, 1991
199 EANGER IRVING COUSE (1866–1936)
Two Brothers Hunting, 1906
oil on canvas
20 x 24 inches
signed lower left: E – I – Couse ·
Provenance:
Justus Morris, Jr.
American Art Association Auction, New York, 1917
Dudensing & Son Galleries, New York, NY
Private Collection, Tennessee
Peter F. Fagley, Newburyport, MA, 1977
Biltmore Galleries, Scottsdale, AZ, 1985
Private Collection, California
Biltmore Galleries, Scottsdale, AZ, 1993 (label verso)
From the Estate of H.B. Turner
Literature:
[unknown author & title], American Art Annual (New York, NY) vol. XLV (1917), p. 349
[unknown author & title], New York Sun (New York), January 25, 1917
Nicholas Woloshuk, E. Irving Couse: 1866–1936. Santa Fe: Santa Fe Village Art Museum, 1976. Monograph, Illus. p. 20, as Two Brothers Hunting
Catalogue Raisonné: 2034 / id 2038
Painted in 1906, Two Brothers Hunting is a luminous and intimate example of Eanger Irving Couse’s early masterworks—quietly narrative, steeped in atmosphere, and centered on themes of familial connection and traditional Indigenous lifeways. Depicting two Native American men crouched in shadow at the edge of a clearing, their eyes fixed on a pair of deer beyond a sun-drenched stream, this painting exemplifies Couse’s signature blend of artistic refinement and cultural reverence.
Couse, born in Michigan and trained in Paris, was one of the founding members of the Taos Society of Artists and a pivotal figure in American art at the turn of the century. His time in France shaped his strong academic technique, but it was the Southwest—particularly Taos, New Mexico—that awakened his artistic voice. In Taos, Couse developed a close relationship with local Pueblo communities, especially Taos Pueblo, where he found both inspiration and models for his work.
In Two Brothers Hunting, Couse employs a rich chiaroscuro to heighten the emotional and narrative impact. The shadowed figures blend into the forest, underscoring their harmony with the natural world and their quiet patience as hunters. The warm glow of filtered sunlight bathes the landscape in golden hues, creating a striking contrast between the hidden observers and the unsuspecting deer in the distance. This delicate play of light and shadow is a hallmark of Couse’s style, conveying not only visual beauty but emotional depth.
The painting also reflects Couse’s ongoing effort to dignify Native American subjects at a time when many artists and illustrators depicted them in stereotypical or sensationalized ways. His works, including this one, celebrate cultural identity, skill, and connection to land without resorting to romantic excess or exoticism.
Two Brothers Hunting holds an important place in the early development of Couse’s Taos period. It foreshadows the more formal compositions he would pursue in the following decades while retaining a raw immediacy and sincerity. For collectors and historians, this work encapsulates the foundational values of the Taos Society of Artists: fidelity to regional truth, celebration of light and form, and respect for the people and traditions of the American Southwest.
As such, Two Brothers Hunting is more than a scene of pursuit—it is a meditation on kinship, environment, and the enduring dignity of Indigenous presence in American art.
To learn more about Couse’s life and legacy, please visit the Couse-Sharp Historic Site in Taos, New Mexico or online at couse-sharp.org. Through its archives, collections and programming, the Couse-Sharp Historic Site preserves and interprets Taos’ crossroads of cultures, promoting and facilitation research, education, and new perspectives on the Taos Society of Artists, early artists of Taos, and regional and Indigenous communities in relation to the greater story of the multicultural American West.
Essay courtesy of Couse-Sharp Historic Site, 2025.
$70,000 – $100,000
Couse Family Photo Collection. Courtesy of Lunder Research Center, Couse-Sharp Historic Site, Taos, NM
gouache on paper
29 x 21 inches signed and dated lower right: W, R, Leigh · 1910.
Provenance:
Biltmore Galleries, Scottsdale, AZ From the Estate of H.B. Turner
$30,000 – $50,000
200 WILLIAM R. LEIGH (1866–1955) Meeting at the Loom, 1910
201 PAUL PLETKA (1946– )
Pentetetuch, c. 1975
acrylic on canvas
48 x 66 inches
signed lower right: Pletka
Provenance: Gallery 10, Scottsdale, AZ
From the Estate of H.B. Turner
Pentetetuch refers to a division of the Comanche tribe, and the word has been translated as “honey–eaters,” “no meat,” and “steep climbers.” The Pentetetuch were considered by the Spanish and early white settlers of Texas to be the most hostile of the Comanche groups, and the Texas Rangers were subsequently formed to protect the new territory. The painting depicts a group of warriors, who are identified by their oversized shields. The Pentetetuch had limited access to horses so these shields offered maximum protection when defending against mounted adversaries.
$40,000 – $60,000
fired clay, metal can, wood base
20 ⅜ x 12 x 14 ⅝ inches inscribed: Rox
Provenance:
Santa Fe Art Auction, June 2022, Lot 352 From a Private Collection
$3,000 – $5,000
oil on canvas
36 x 28 inches
signed lower left: R. Tom Gilleon verso: titled
Provenance: From a Private Collection
$15,000 – $25,000
oil on canvas
30 x 24 inches
signed lower right: Ray Roberts verso: titled and signed
Provenance:
Mark Sublette Medicine Man Gallery Inc., Tucson, AZ (label verso) From a Private Collection
$5,000 – $7,000
oil on panel
21 x 36 inches
signed lower left: Nicholas Coleman © verso: signed and titled
Provenance: From a Private Collection
$5,000 – $8,000
202 ROXANNE SWENTZELL (1962– ) Modern Pueblo Woman
204 R. TOM GILLEON (1942– ) Tatonka Evening
203 RAY ROBERTS (1957– ) Desert Vision
205 NICHOLAS COLEMAN (1978– ) Near the Hudson Bay Divide
206
Summer Home on the Kotzebue Sound
oil on board
12 x 24 inches
signed lower left: Robert Lougheed
verso: titled and signed
Provenance: From a Private Collection
$5,000 – $7,000
acrylic on paper
3 ¼ x 3 ½ inches
signed lower right: Kenneth Riley (artist cipher)
Provenance: From a Private Collection
$2,000 – $4,000
acrylic on board 12 x 9 inches
signed lower right: Kenneth Pauling Riley
Provenance: From a Private Collection
$4,000 – $6,000
oil on canvas
30 x 30 inches
signed lower center: Lawrence W Lee
verso: titled and signed
Provenance: From a Private Collection
$2,500 – $4,500
ROBERT LOUGHEED (1910–1982)
208 KENNETH RILEY (1919–2015) Split Horn Bonnet
207 KENNETH RILEY (1919–2015) Seated Warrior
209 LAWRENCE W. LEE (1947– ) Jd’dad Shaman
King
oil on canvas
40 x 28 inches
signed lower right: Julia Noffsinger Rogers
Provenance:
Private Collection, Calgary
March in Montana, 2021, Lot 580
Out of Africa in Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT
$3,000 – $5,000
212
Lion Pair – Ngorongoro Crater, 1988
acrylic on canvas
8 x 10 ½ inches
signed and dated lower right: Seerey – Lester 2/25/88
Provenance:
Christopher Queen Gallery, Duncans Mills, CA (label verso)
Revere Auctions, February 2021, Lot 254 (label verso) From a Private Collection
$1,500 – $2,500
bronze, 6/21 12 x 29 x 10 inches
inscribed: Michael Barlow 6/21
Provenance: From a Private Collection
$4,000 – $6,000
213
watercolor and pen and ink on paper
9 ⅛ x 12 ⅞ inches
signed lower right: Seerey–Lester © x
Provenance: From a Private Collection
$2,500 – $4,500
210 JULIA ROGERS (1962– )
of the Savanna
JOHN SEEREY–LESTER (1946–2020)
211 MIKE BARLOW (1963– ) The Buffalo Hunter
JOHN SEEREY–LESTER (1946–2020) Simba
214 T.D. KELSEY (1946– )
Checkin’ the Menu, 2008
bronze, 3/5
17 ⅛ x 12 ¼ x 39 ⅜ inches
inscribed: Checkin the Menu 2008 TDKelsey (artist cipher) © 3/5
Provenance:
Scottsdale Art Auction, April 2017, Lot 408 Private Collection, Bozeman, MT
$8,000 – $12,000
216 JIE WEI ZHOU (1962– ) Giraffes
oil on canvas
40 x 30 inches
signed lower right: (Chinese characters) Jie Wei Zhou
Provenance: March in Montana, 2022, Lot 621
Private Collection, Bozeman, MT
$4,000 – $6,000
215 DAVID SHEPHERD (1931–2017) Lion Under a Thorn Bush
oil on canvas
7 x 10 inches
signed lower right: David Shepherd
Provenance: Private Collection, Georgetown, TX
$6,000 – $9,000
217 A. JOHN PELLETIER (20th Century) Bulls on the Move (Elephants)
oil on canvas
26 x 51 inches
signed lower right: A. John Pelletier
Provenance: March in Montana, 2015, Lot 150 Out of Africa in Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT
$2,500 – $4,500
218 MURRAY GRANT (20th Century)
Cape Buffalo, 2003
bronze, 8/10
14 ¾ x 20 ¼ x 9 ¾ inches
inscribed: Murray Grant 8/10 2003
stamped: pangolin editions
Provenance:
From a Private Collection
$2,000 – $4,000
219 WILHELM KUHNERT (1865–1926)
Water Buffalo
bronze
5 ½ x 11 x 5 ¼ inches
inscribed: Wilh. Kuhnert
stamped: GUSS SILER
Provenance: From a Private Collection
$5,000 – $7,000
gouache on illustration board
11 x 16 inches
signed lower right: Kuhn
Provenance: From a Private Collection
$6,000 – $9,000
221 ANNA HYATT HUNTINGTON (1876–1973)
Rocky Mountain Goat Bookends (Pair)
bronze
7 ⅛ x 8 ⅛ x 6 ⅛ inches (each)
inscribed: Anna V. Hyatt (each)
stamped: GORHAM CO FOUNDERS GAC 0447 32
stamped: GORHAM CO FOUNDERS GAC 0447 33
Provenance: From a Private Collection
$5,000 – $8,000
220 BOB KUHN (1920–2007) Encroaching on Cape Buffalo
222 DAVID SHEPHERD (1931–2017)
oil on canvas
7 x 10 inches
signed and dated lower right: – David Shepherd ‘73
Provenance: Private Collection, Georgetown, TX
$6,000 – $9,000
224
oil on canvas
28 x 44 inches
signed and dated lower right: – David Shepherd – 70
verso: dated and signed
Provenance: Private Collection, Georgetown, TX
$20,000 – $40,000
223 KENNETH BUNN (1938–2020) Bull Elephant on the Move
bronze, 5/5 15 ¾ x 21 x 20 inches inscribed: Bunn © 5/5
Provenance: From the Collection of John & Mindy Gebhardt
$8,000 – $12,000
Elephant, 1973
DAVID SHEPHERD (1931–2017) Bull Elephant, 1970
225 FRANCOIS KOCH (1944– )
The Chosen One, 2025
oil on linen laid on board 18 x 24 inches
signed lower right: Francois Koch verso: titled and signed
Provenance: From the Artist
$3,000 – $5,000
227 PIP MCGARRY (1955– )
Zebra and Egret, 2017
oil on canvas 16 x 20 inches
signed and dated lower right: Pip McGarry 2017
Provenance: The Artist
Jackson Hole Art Auction, September 2017, Lot 265 From a Private Collection
$3,000 – $5,000
226 MOPHO GONDE (1968– ) On the Run
African leadwood 17 ¾ x 32 x 17 ¼ inches
inscribed: M. Gonde.
Provenance: Astoria Fine Art, Jackson, WY From a Private Collection
$5,000 – $7,000
228 ANNA HYATT HUNTINGTON (1876–1973) Kangaroo, 1951
cast aluminum 10 ¼ x 16 ½ x 4 ⅜ inches
inscribed: Anna Huntington 1951 stamped: ROMAN BRONZEWKS INC
Provenance: Private Collection, Washington Pensler Galleries, Washington, D.C. From a Private Collection
Literature:
Gerald Peters Gallery, Paul Manship and His Circle (Exhibition Catalogue), New York, 2006, p.44
Exhibited:
Paul Manship and His Circle, Gerald Peters Gallery, New York, November 3 – December 15, 2006
The Bronze Zoo: Anna Hyatt Huntington and Exotic Animals, Brookgreen Gardens, Murrells Inlet, SC, April – June, 2008
$2,500 – $4,500
229 STEVE BURGESS (1960– )
American Beauty, 2017
oil on board
24 x 36 inches
signed and dated lower left: Steve Burgess © 17
Provenance: Scottsdale Art Auction, April 2017, Lot 459
From a Private Collection
$8,000 – $12,000
230 JULIE CHAPMAN (1963– )
Beach Babe, 2002
oil on canvas laid on board
25 x 32 inches
signed and dated lower right: jtc 2002
Provenance: Hindman, June 2022, Lot 75
Out of Africa in Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT
$3,000 – $5,000
231 DAN OSTERMILLER (1956– )
Apres la Danse, 1999
bronze, 7/20
10 ½ x 18 ⅜ x 14 ¾ inches
inscribed: 7/20 © Dan Ostermiller 99
Provenance: From a Private Collection
$3,000 – $5,000
conte crayon on paper
9 ¾ x 12 ¾ inches
signed lower left: Kuhn
Provenance:
From a Private Collection
$3,000 – $5,000
oil on board
18 x 20 inches
signed lower left: Carlson
Provenance:
From a Private Collection
$15,000 – $25,000
High Country Elk
oil on panel
24 x 30 inches
signed lower left: Michael Coleman (artist cipher) ©
Provenance: Coeur d’Alene Art Auction, July 1999, Lot 194 Scottsdale Art Auction, April 2011, Lot 264 (label verso) Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) Jackson Hole Art Auction, September 2021, Lot 223 Private Collection, Bozeman, MT
$9,000 – $12,000
235
Dinner Bell, 2010
bronze, 15/20
11 ¾ x 11 x 7 ¼ inches
inscribed: © Dan Ostermiller 2010 15/20
Provenance: From a Private Collection
$2,500 – $4,500
233 MICHAEL COLEMAN (1946– )
232 BOB KUHN (1920–2007)
Caribou
234 KEN CARLSON (1937– )
Black Bear Sow and Cub
DAN OSTERMILLER (1956– )
236 NICHOLAS COLEMAN (1978– )
In His Prime
oil on board
29 ½ x 39 ½ inches
signed lower right: – Nicholas Coleman ©
Provenance:
From a Private Collection
$7,000 – $10,000
237 RALPH OBERG (1950– )
Wyoming Moose
oil on linen laid on panel
23 ½ x 31 ½ inches
signed lower left: oberg
Provenance: Private Collection, American Canyon, CA
$5,000 – $7,000
238 DAN OSTERMILLER (1956– ) The Bonding, 1990
bronze, 10/12
53 x 68 ½ x 16 ¾ inches fawn: inscribed: © Dan Ostermiller 1990; stamped: (artist cipher) 200 doe: inscribed: © Dan Ostermiller 1990 10/12; stamped: (artist cipher) 200
Provenance: From a Private Collection
Literature: Jim Eaton, Dan Ostermiller: A Sculptor of Animals, Actian Press, 1990, illus. p. 15
$20,000 – $30,000
oil on board
11 x 14 inches
signed and dated lower left: James Reynolds 1983 © verso: titled, dated and signed
Provenance: Private Collection, Georgetown, TX
$3,000 – $5,000
239 JAMES REYNOLDS (1926–2010) Whitetail, 1983
oil on board
12 x 18 inches
signed lower left: Carlson
Provenance:
J.N. Bartfield Galleries, New York, NY (label verso)
From a Private Collection
Literature:
Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey, Dallas, TX, 2009, illus. p. 70
$8,000 – $12,000
the Pool, 2007
bronze, 31/35
10 ½ x 12 x 10 ¾ inches
inscribed: SSander © 31/35 07
Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ From a Private Collection
$1,500 – $2,500
etching on paper
9 1/4 x 12 inches
signed lower right: C. Rungius.
Provenance:
From a Private Collection
$4,000 – $6,000
etching on paper
7 x 9 inches
signed lower left: To Helen Graham from C.R. Aug 14th 1949
signed lower right: C. Rungius
Provenance: From a Private Collection
$3,500 – $5,500
241 SHERRY SANDER (1941– ) Narcissus at
240 KEN CARLSON (1937– ) Passing Through
242 CARL RUNGIUS (1869–1959) Alaskan Wilderness
243 CARL RUNGIUS (1869–1959) Morning Mist
244 CARL RUNGIUS (1869–1959)
The Stranger
etching on paper
8 x 11 inches
signed lower right: C. Rungius
verso: signed
Provenance:
From a Private Collection
$3,000 – $5,000
245 CARL RUNGIUS (1869–1959)
Mountain Caribou
etching on paper
8 ¾ x 11 ½ inches
signed lower right: C. Rungius.
Provenance: From a Private Collection
$3,000 – $5,000
246 TUCKER SMITH (1940– )
Early Snow, 2000
oil on canvas
20 x 24 inches
signed and dated lower left: Tucker Smith 00
Provenance: From a Private Collection
Exhibited: Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
“Moose are one of my favorite species of wildlife. Their size and style give them a real presence. Some people think they look ungainly, but nothing could be further from the truth. They can move through marsh and deep snow like no other animal. Their long nose allows them to feed under water and browse on high bushes. Like all wildlife they are well adapted to their natural habitat.” – Tucker Smith, from The Paintings of Tucker Smith: A Celebration of Nature, 2004
$30,000 – $50,000
, 2003
bronze, 18/20
8 ½ x 7 ¾ x 8 ½ inches
stamped: (artist cipher) 2003 inscribed: © Dan Ostermiller 2003 18/20
Provenance:
From a Private Collection
$2,000 – $4,000
Fast Food, 2025
oil on board
32 x 26 inches
signed lower left: Steve Burgess
Provenance: From the Artist
$8,000 – $12,000
etching and drypoint on paper
8 x 10 ½ inches
signed lower left: To Helen Graham from C.R. Sept. 1944 signed lower right: C. Rungius
Provenance: From a Private Collection
$4,000 – $6,000
247 STEVE BURGESS (1960– )
248 DAN OSTERMILLER (1956– ) Jugar
249 CARL RUNGIUS (1869–1959) Silvertip
250 CARL BRENDERS (1937– ) America on the Rise, 2021
mixed media on panel 38 x 29 inches signed and dated lower right: © CBrenders ‘21
Provenance: The Artist Private Collection, Duxbury, MA
Exhibited: Birds in Art, Leigh Yawkey Woodson Art Museum, Wausa, WI, September 11 – November 28, 2021
“Some time ago, I watched a falconer holding a bald eagle on his gloved and moving hand, forcing the bird to open its wings to keep its balance. I captured the most wonderful photograph and knew I would use the image for a future painting. It took several years for me to envision an appropriate setting. The background is based on memories of numerous trips in rugged terrain, but this is the first time I’ve painted a foggy atmosphere. I positioned the eagle on a standing snag covered with the yellow mosses seen in western North American forests.” – Carl Brenders
$60,000 – $90,000
251 BOB KUHN (1920–2007)
Spooked, 1984
acrylic on board
14 ½ x 18 ⅜ inches
signed and dated lower left: Kuhn 84
verso: signed
Provenance:
From a Private Collection
Literature:
Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey, Dallas, TX, 2009, illus. p. 98
Spooked portrays a pair of white-tailed deer, their bodies taut with adrenaline as they leap through an open, sunlit field bordered by dense brush. The buck in the foreground, with its tail raised in alarm and powerful muscles flexed mid-stride, becomes the undisputed focal point. Kuhn’s attention to anatomical detail—the elegant proportions of the deer, the texture of their fur, and the dynamic twist of the animal’s body—is true to life, the result of countless hours of field observation.
The setting is skillfully rendered with warm earth tones and wispy grasses that transition into a thicket of brush and spiky yucca plants. The environment not only grounds the scene in realism but also heightens the feeling of suddenness; the deer seem to burst from the cover of the brush, startled by an unseen danger. The sky, with its painterly clouds and clear blue expanse, lends a sense of openness but also unpredictability.
What sets Spooked apart is not only its fidelity to nature but its invocation of a narrative moment. The viewer is invited to imagine what has startled the deer, to feel the instant rush of fear and flight. In this way, Kuhn goes beyond animal portraiture to communicate a universal drama—the tension between vigilance and vulnerability, predator and prey, calm and chaos.
$60,000 – $90,000
253 KEN CARLSON (1937– ) Winter Pair – Mule Deer
oil on canvas
24 x 36 inches
signed and dated lower left: Ken Carlson © ‘78
Provenance: From a Private Collection
$20,000 – $40,000
254 BOB KUHN / GEORGE NORTHUP (1920–2007) / (1940–2017) River Crossing, 1991
bronze, 9/28
16 ¾ x 47 ½ x 14 ¾ inches inscribed: KUHN Northup 9/28 © (artist cipher) 91
Provenance: From a Private Collection
$15,000 – $25,000
oil on board
16 x 24 inches signed lower left: Carlson
Provenance:
Jean and J. Dawson Burns, Tucson, AZ Coeur d’Alene Art Auction, July 2017, Lot 150 Private Collection, San Francisco, CA
$12,000 – $18,000
252 KEN CARLSON (1937– )
Mule Deer in the Mountains, 1978
acrylic on board
14 ½ x 18 ⅜ inches signed lower right: Kuhn verso: signed and dated
Provenance: From a Private Collection
$60,000 – $90,000
256 TIM SHINABARGER (1966– ) Seeking Passion and Glory
bronze, 11/35
24 x 24 ⅛ x 9 inches inscribed: 11/35 Shinabarger ©
Provenance: From a Private Collection
Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey, Dallas, TX, 2009, illus. p. 187
$5,000 – $7,000
255 BOB KUHN (1920–2007) High Country Face-off (Dall Rams), 1990
257 BOB KUHN (1920–2007)
Prime Time
acrylic on board
13 ¾ x 17 ¾ inches
signed center left: Kuhn
Provenance:
From a Private Collection
In Prime Time, a bull moose commands the center of the canvas, its massive antlers cutting a dramatic silhouette against the autumnal landscape. Bob Kuhn’s approach often involved placing his subjects in a setting that feels both real and poetic, as evidenced here. The animal stands alert, its body rendered with brushwork that balances detail and freedom—its coat is depicted not hair-by-hair but through bold, expressive strokes that suggest the roughness and luster of its fur. Kuhn described this method as purposely “cheating on the facts” where necessary—to emphasize, augment, or amplify the spirit of the scene rather than merely record its details.
The background is painted with wide swaths of color, drawing inspiration from modernists like Mark Rothko, who influenced Kuhn’s understanding of vibrating shapes and saturated hues. The warm tones suggest peak autumn, a time synonymous with the moose’s own “prime.” The environment is not painstakingly detailed but rather evoked through suggestion, keeping the attention anchored on the moose’s presence while conveying the expanse and drama of the wild.
Kuhn often said that his mission as an artist was not just to document wildlife but to act as a “balladeer” for the last great mammals of the earth. In Prime Time he expresses admiration and respect for the moose’s unique form and solitary strength. The title itself—Prime Time—evokes both a season of life and heightened intensity in nature. There’s a dignity and vigilance in the animal’s stance that suggests prime physical condition and acute awareness. This work is representative of Kuhn’s lifelong devotion to painting animals with both scientific accuracy and dynamic artistry, a combination that solidified his reputation as one of the greatest wildlife artists of the 20th century.
$80,000 – $120,000
258 JOHN PAUL STRAIN (1955– )
Bears of Yellowstone, 1996
gouache on paper
5 x 10 inches
signed lower left: John Paul Strain
verso: titled, signed and dated
Provenance: From a Private Collection
$4,000 – $6,000
259 JULIE JEPPSEN (1960– )
King of the River
oil on canvas
24 x 36 inches
signed lower left: Julie Jeppsen © verso: titled
Provenance: Private Collection, Bozeman, MT
$9,000 – $12,000
260 TERRY LEE (1948– )
Great Northern Sanctuary, 1999
oil on canvas
30 x 60 inches
signed lower right: Terry Lee © verso: dated and signed
Provenance: March in Montana, 2014, Lot 460
Out of Africa in Montana Gallery, Bozeman, MT (label verso)
Private Collection, Bozeman, MT
$5,000 – $10,000
261 CARL RUNGIUS (1869–1959)
Elk in the High Country, c. 1936
oil on paper
6 ¾ x 5 ¾ inches
signed lower right: C. Rungius
Provenance: The Artist
Mrs. A.S. Cowie, gift from the above, March 26, 1936
Coeur d’Alene Art Auction, July 2006, Lot 34
Collection of Judson C. and Nancy Sue Ball
Heritage Auctions, May 2015, Lot 77146
Private Collection, Livermore, CA
$20,000 – $40,000
262 WILLIAM GOLLINGS (1878–1932)
Winter Lobo, 1925
oil on board
10 x 7 inches
signed and dated lower left: Gollings (artist cipher) 1925
Provenance: From a Private Collection
Born in Pierce City, Idaho, in 1878, Bill Gollings spent his early years on farms in Idaho, Michigan, and New York. His family moved to Chicago in 1889, but preferring life in the West, Gollings left home at the age of 18 and traveled through Iowa, Nebraska, South Dakota, and Montana, making his way as a cowboy, trapper, sheepherder, and gold prospector. Influenced by the magazine illustrations of Frederic Remington, Gollings began to focus on a career in the arts, and in 1903 he sent a mail order to Montgomery Wards to obtain his first oil painting materials.
Acting as Gollings’s agent, the artist’s brother sold Bill’s first paintings to a furniture storeowner in Sheridan, Wyoming. His brother also sent pictures to the editor of the Chicago Fine Arts Journal. At the suggestion of the editor, Gollings made his way to Chicago where, in 1905, he used the proceeds from painting sales to enroll at the Chicago Academy of Fine Arts. When his finances eventually gave out, Gollings moved back to Sheridan, where he continued painting and breaking horses to make his living. The last of his fulltime “cowboy” jobs was working for the government as a line rider on the Cheyenne Reservation. In 1909, determined to establish his reputation as an artist, he built a shack and called it a studio, and devoted himself to painting scenes of the Western life that he knew so well. Gollings’ primary influences were Howard Russell Butler, William P. Henderson, Charles M. Russell, W.H.D. Koerner, Joseph Henry Sharp, and Frederic Remington.
$30,000 – $50,000
263 DAVID CHARLES WADE (1952–2019)
Mountain Lion
oil on board
31 ½ x 41 ½ inches
signed lower right: Wade
Provenance: Private Collection, Jackson, WY
$3,000 – $5,000
264 BRUCE CHEEVER (1958– )
Great White Throne – Zion National Park, 1990
gouache and tempera on paper
18 x 14 ½ inches
signed and dated lower right: Bruce Cheever © 90
Provenance: Private Collection, Jackson, WY
$4,000 – $6,000
265 JAN MARTIN MCGUIRE (1955– ) Red Rock Realm
acrylic on board
20 x 24 inches
signed lower right: Jan Martin McGuire ©
Provenance: Private Collection, American Canyon, CA
$3,000 – $5,000
266 GERALD BALCIAR (1942– )
Colorado Yule marble
43 ½ x 32 x 17 inches inscribed: G. Balciar 1998
Provenance: From a Private Collection
Exhibited: Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$30,000 – $50,000
40
signed and dated lower left: Wilson
Provenance: From a Private Collection
$30,000 – $50,000
Canyon King, 1998
267 WILSON HURLEY (1924–2008) Canyon de Chelly, Late Afternoon, 1975
oil on canvas
x 60 inches
Hurley (artist cipher) ‘75
268 MELVIN WARREN (1920–1995)
A Life Struggle, 1977
oil on canvas
24 x 36 inches
signed and dated lower left: © Melvin C. Warren (artist cipher) 1977
Provenance:
Private Collection, Georgetown, TX
$10,000 – $20,000
270 DON OELZE (1965– )
Trail Marker – Pointing the Way
oil on canvas
40 x 42 inches
signed lower left: Oelze
Provenance:
From a Private Collection
$20,000 – $40,000
269 RICHARD GREEVES (1935–2022)
Captain Lewis Meets the Shoshone, 2008
bronze, 10/30
24 ¾ x 22 ⅞ x 7 ⅞ inches
inscribed: August 11, 1805 Capt. Lewis Meets the Shoshone Rv Greeves 10/30 2008
Provenance: From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$3,000 – $5,000
271 R.S. RIDDICK (1952– )
Sisters of the Sunlit Sage, 1998
oil on canvas
54 x 40 inches
signed lower right: Riddick (artist cipher) 1998 ©
Provenance: From a Private Collection
$25,000 – $45,000
272 G. RUSSELL CASE (1966– )
Navajo Moon Rise, 2020
oil on panel
20 x 30 inches
signed lower right: G. Russell Case verso: titled, signed and dated
Provenance:
Maxwell Alexander Gallery, Pasadena, CA (label verso)
From a Private Collection
$8,000 – $12,000
273 TIM SOLLIDAY (1952– )
Desert Moon
pastel on paper
18 x 12 ¼ inches
signed lower left: T. Solliday artist cipher lower right
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso)
Private Collection, Jackson, WY
$2,000 – $4,000
274 FRANCIS JOHN MCCOMAS (1875–1938)
Cliff Dwellings
watercolor on paper
20 ¾ x 26 ½ inches
signed lower right: Francis McComas
Provenance:
Vickery, Atkins & Torrey, San Francisco, CA
Private Collection, Los Altos, CA
Bonhams California, November 2018, Lot 9
From a Private Collection
$10,000 – $20,000
275 ROBERT LOUGHEED (1910–1982)
Heading Home
oil on board
20 x 30 inches
signed lower right: Robert Lougheed (artist cipher)
Provenance:
From a Private Collection
$2,000 – $4,000
276 HOWARD POST (1948– )
Empty Buckets, 2020
oil on canvas
12 x 24 inches
signed lower right: · H E Post
verso: titled, signed and dated
Provenance:
From a Private Collection
$3,000 – $5,000
277 EARL BISS (1947–1998)
People of the Big Sky, 1986
oil on canvas
72 x 96 inches
signed upper right: Biss
verso: titled, signed and dated
Provenance:
From the University of Denver Collection
$25,000 – $45,000
278a G. RUSSELL CASE (1966– ) Sunday in Taos, 2011
oil on panel
12 1/4 x 16 1/4 inches
signed lower right: (artist cipher) G. Russell Case
verso: titled, signed and dated
Provenance: From a Private Collection
$2,000 – $4,000
278 GARY ERNEST SMITH (1942– ) Autumn Tree, 2018
oil on canvas
23 ¾ x 24 inches
signed lower right: Gary Ernest Smith
verso: titled, signed and dated
Provenance: From a Private Collection
$3,000 – $5,000
279 AIDEN LASSELL RIPLEY (1896–1969)
Springers and Pheasants, 1948
oil on canvas
27 x 40 inches
signed and dated lower left: A. Lassell Ripley © 1948
verso: titled, signed and dated
Provenance:
The Sporting Gallery and Bookshop, New York
Private Collection, New York
Copley Fine Art Auctions, July 2011, Lot 27
From a Private Collection
Literature:
A. Lassell Ripley and Dana S. Lamb, “Sporting Etchings,” Barre, MA, 1970, pp. 30, 25
Aiden Lassell Ripley’s Springers and Pheasants is an evocative portrayal of rural Americana that captures the essence of upland game hunting in the autumn countryside.
The landscape is bathed in the golden hues of late fall. Tall grasses, dry corn shocks, and the russet foliage of distant trees amplify the sense of the season, while scattered clouds drift across a light blue sky. The scene exudes tranquility yet is charged with the energy of discovery and pursuit. The bright orange and gold of the leaves set against the pale trunks of trees, especially the striking white bark in the center, create a vibrant sense of place and season.
At the heart of the composition are two hunters, shotguns in hand, poised among towering stacks of corn. Their stances suggest readiness and anticipation, embodying the long tradition of hunting as both sport and sustenance. Accompanying them are two springer spaniels, dogs renowned for their skills in flushing and retrieving game. The alert, expectant posture of the dogs reveals their vital role in the hunt and their deep partnership with the hunters.
Flush with movement, a trio of pheasants takes flight from the autumn grasses, their plumage rendered in careful detail. Ripley’s depiction of the birds’ sudden burst into the air captures a moment of thrilling unpredictability and skillful observation. The tension between the hunted and the hunters is palpable, transforming the painting into a dynamic narrative rather than a static scene.
The painting resonates emotionally by evoking not only the excitement of the hunt but also themes of tradition, nature, and companionship. For many, Springers and Pheasants recalls memories of family outings, the change of seasons, and the rhythms of the countryside. The harmonious interplay between humans, animals, and the land reflects Ripley’s appreciation for the beauty and heritage of sporting life.
$80,000 – $120,000
280 DAVID MAASS (1929– )
Cleared for Landing
oil on board
26 x 42 inches
signed lower right: Maass
Provenance: Abercrombie & Fitch New York, Chicago, San Francisco
Private Collection, Troy, NY
$7,000 – $10,000
282 DAN OSTERMILLER (1956– )
Bella Donna, 2002
bronze, 3/20
12 ¼ x 19 ¼ x 5 ⅝ inches
inscribed: © Dan Ostermiller 2002 3/20
Provenance: From a Private Collection
$2,000 – $4,000
281 ARTHUR FITZWILLIAM TAIT (1819–1905)
A Soft Mouth, 1891
oil on canvas
14 x 16 inches
signed and dated lower left: A.F. Tait NA (indecipherable) 91
Provenance: Private Collection, American Canyon, CA
$8,000 – $12,000
283 TED BLAYLOCK (1940–2022)
Strutting Gobbler, 1999
acrylic on board
22 ¼ x 30 inches
signed and dated lower right: (artist cipher) Ted Blaylock © 99
Provenance: Hindman, June 2022, Lot 59
Out of Africa in Montana Gallery, Bozeman, MT (label verso)
$1,500 – $2,500
284 JOHN WHORF (1903–1959)
Early Morning, East Harbor
watercolor on paper
14 ¼ x 21 ½ inches
signed lower right: · John Whorf.
Provenance:
The Milch Galleries, New York, NY (label verso)
Doyle New York, November 2008, Lot 1258
Copley Fine Art Auctions, January 2012, Lot 253
Copley Fine Art Auctions, July 2017, Lot 107
Private Collection, San Francisco, CA
$6,000 – $9,000
285 JOHN WHORF (1903–1959)
Morning Hunt, 1937
watercolor on paper
15 x 21 inches
signed and dated lower right: John Whorf ‘37
Provenance:
Coeur d’Alene Art Auction, July 2014, Lot 203
Private Collection, San Francisco, CA
$6,000 – $9,000
286 FRANK B. HOFFMAN (1854–1924)
Quail Thunder
oil on board
18 x 24 inches
signed lower left: Hoffman (artist cipher)
Provenance:
Coeur d’Alene Art Auction, July 2015, Lot 197
Private Collection, San Francisco, CA
$15,000 – $25,000
287 FRANK B. HOFFMAN (1888–1958)
oil on canvas
24 x 30 inches
unsigned
Provenance:
Gerald Peters Gallery, New York, NY (label verso)
From a Private Collection
$12,000 – $18,000
288 BOB KUHN (1920–2007) Black Bear
gouache on illustration board
8 x 10 inches signed lower left: Kuhn
Provenance: From a Private Collection
$3,000 – $5,000
289 BOB KUHN (1920–2007) Grizzly Illustration
gouache and charcoal on board
13 ¾ x 10 ⅜ inches
signed lower right: Kuhn
Provenance:
From a Private Collection
Literature: Outdoor Life Magazine, August 1966, cover illustration
$15,000 – $25,000
Bears
290 SHERRY SANDER (1941– )
The Fishing Hole, 2000
bronze, 9/35
9 ½ x 16 ⅛ x 9 ½ inches
inscribed: 9/35 SSSander 00 ©
Provenance:
From the Estate of John Craig Matthews
$2,000 – $4,000
291a SANDY SCOTT (1943– )
Sleepy Fox, 2005
bronze, 5/75
17 3/4 x 15 3/4 x 9 3/4 inches
inscribed: 05 5/75 © Sandy Scott
Provenance:
National Museum of Wildlife Art, Jackson, WY, 2005
From a Private Collection
$3,000 – $5,000
291 KEN CARLSON (1937– )
Starting from Scratch
oil on board 12 x 11 inches
signed lower left: Carlson
Provenance: Private Collection, Georgetown, TX
Literature:
Ray Sasser, Texas Brushstrokes: Contemporary Images of the Outdoors, Collectors Covey, Dallas, TX, 1999, illus. p. 70
“I saw this coyote in a small zoo in California. The large enclosure held two young coyotes brought in from the wild, and they were very active. While I was watching them, one stopped to scratch himself several times and the ordinary gesture became the impetus for the painting. This less than dramatic moment turned into a unique portrait with minimal background––just enough to place the coyote in a wild setting.” – Ken Carlson
$3,000 – $5,000
292 TUCKER SMITH (1940– )
Plains Bison, 1985
oil on masonite 9 x 12 inches
signed and dated lower right: Tucker Smith 85
Provenance:
Private Collection, California
Santa Fe Art Auction, November 2022, Lot 365
From a Private Collection
$10,000 – $20,000
293 SHERRY SANDER (1941– )
Young Bulls, 2003
bronze, 21/35
9 ⅝ x 11 ¾ x 5 inches inscribed: Sander © 03 21/35
Provenance:
Trailside Galleries, Jackson WY & Scottsdale, AZ (label verso) From a Private Collection
$1,500 – $2,500
294 EDWARD ALDRICH (1965– )
Constant Vigil
oil on canvas
24 x 34 inches signed lower right: Aldrich
Provenance: Private Collection, Wilson, WY
$3,500 – $5,500
295 RICHARD GREEVES (1935–2022) Pronghorn
bronze from left to right, as pictured:
1) 10 ¾ x 13 x 4 inches; inscribed: © RvGreeves #1 1984 Study I
2) 15 x 10 ¼ x 3 ¾ inches; inscribed: © Rv Greeves #1 7 10 Study IV
3) 11 x 12 x 4 inches; inscribed: © RvGreeves 1984 #1 Study III
4) 11 x 11 ¾ x 3 ½ inches; inscribed: © RvGreeves #1 1984 Study II
5) 14 ¼ x 8 ½ x 4 ¾ inches; inscribed: © RvGreeves #1 1984 Study VIII
6) 11 ¼ x 11 ¼ x 7 ¼ inches; inscribed: © RvGreeves 1984 #1 Study VI
Provenance: From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$4,000 – $6,000
296 CARL RUNGIUS (1869–1959)
Pronghorn Antelope, c.1900
oil on canvas
29 ¼ x 46 inches
signed lower right: C. Rungius
Provenance:
Norman James, Baltimore, likely purchased directly from the artist Kende Galleries of Gimbel Brothers, New York, March 1944, Lot 25
Dr. James Thorington, Philadelphia, acquired from the above Private Collection, Princeton, NJ, gift from the above Private Collection, Pennsylvania, gift from the above in the mid 1990s
“My decision to cut all ties with the Old World and to live in America for good was due in no small part to this first Wyoming trip. For my heart was in the West.” – Carl Rungius
Widely recognized as the premier painter of North American wildlife, Carl Rungius was born in Germany in 1869 and classically trained at the Royal Academy of Arts in Berlin. He first came to North America in 1894 on a hunting trip to Maine and stayed on to spend the following summer hunting in Wyoming.
An avid hunter and outdoorsman, Rungius spent considerable time in the wilderness studying animal anatomy and behavior firsthand. Direct observation lent his work a sense of authenticity and immediacy that set it apart from many of his contemporaries. Rungius’s approach to wildlife painting was groundbreaking for his time. He was among the first artists in early 20th century North America to merge wildlife and landscape painting, situating animals within their natural environments. He presented wildlife in a setting seemingly untouched by mankind, projecting an image of the West as unspoiled, remote, and wild.
This approach helped shift wildlife painting toward an aesthetic of respect and ecological consciousness. His work aligns with early twentieth-century conservation ideals, as exemplified by figures like Theodore Roosevelt and John Muir, who saw the American wilderness as a resource to be appreciated and preserved rather than exploited. Painting with a keen eye to both natural beauty and ecological accuracy, it is no surprise that Rungius became a central figure in the burgeoning conservation movement of his time.
Pronghorn Antelope features a small herd standing in an open sagebrush plain, likely western Wyoming. The animals, with their distinctive markings, are rendered with remarkable anatomical accuracy. The leading buck stands alert with head turned in both vigilance and curiosity. As does the pronghorn second from the right, possibly a young buck, except it is staring directly at the viewer, a subtle message from the artist that the viewer is present and need not be merely a bystander. The does, clustered together, subtly suggest the social structure and wariness of this iconic North American species.
Rungius’ use of light is central to the painting’s impact. Delicate sunlight bathes the animals and landscape, casting soft shadows that ground each figure in the space. The palette of warm ochres, browns, and muted greens accurately portrays the tones of the arid plain. The landscape, texturally defined in the foreground, gradually fades into the distant horizon, heightening the contrast with the defined rendering of the animals. This atmospheric effect imparts a sense of tranquility, freedom, and vastness inherent in the Western landscape.
This work will be included in the forthcoming Catalogue Raisonné, currently being prepared by Adam Duncan Harris, Ph.D., Grainger/Kerr Director of the Carl Rungius Catalogue Raisonné, an independent project of the National Museum of Wildlife Art.
$200,000 – $300,000
297 EDWARD DEMING (1860–1942)
Monarch of the Rockies, 1917
oil on canvas
18 x 13 inches
signed and dated lower left: (artist cipher) E. W. Deming 1917
Provenance:
From a Private Collection
$1,500 – $2,500
298 OLAF CARL SELTZER (1877–1957)
Mule Deer in the Valley, c. 1935
oil on canvas
24 x 24 inches signed lower right: O.C.SELTZER.
Provenance:
J. N Bartfield Galleries, New York, NY (label verso)
CM Russell Auction of Original Western Art, 2004, lot 236 (label verso)
Gerald Peters Gallery, Santa Fe, NM (label verso)
Private Collection, Denver, CO
From a Private Collection
$30,000 – $50,000
299 PAUL WAYLAND BARTLETT (1865–1925)
Bohemian Bear Tamer, modeled 1887
bronze, cast before 1892
27 ½ x 13 ¼ x 16 ½ inches
inscribed: Paul W Bartlett
stamped: 2662 (edition number for Siot Foundry)
Provenance:
John Quincy Adams Ward (1830–1910)
By descent in the family
From a Private Collection
Literature:
Lewis I. Sharp, John Quincy Adams Ward: Dean of American Sculpture, University of Delaware Press, 1985, p. 65, figure 49
Adam Duncan Harris, Wildlife in American Art, University of Oklahoma Press, Norman, OK, 2009, example illus. pp. 102-103
$50,000 – $70,000
301 FRANK MCCARTHY (1924–2002)
By the Snow Moon, 1978
oil on board
24 x 36 inches
signed and dated lower right: McCarthy (artist cipher) © 1978
verso: titled and signed
Provenance:
Heritage Auctions, July 2009, lot 38131
From a Private Collection
Literature:
Elmer Kelton, Frank McCarthy: The Old West, Greenwich Press Ltd: Trumbull, CT, 1981, illus. p 88–89
Exhibited: Gilcrease Rendez-Vous, Tulsa, OK, 1984
$50,000 – $75,000
300 M. C. POULSEN (1953– ) Solitude
oil on canvas
35 ½ x 48 inches
signed lower left: © M. C. Poulsen
verso: titled and signed
Provenance: From the Collection of Dr. Georgina A. Hopkin
A Certificate of Authenticity accompanies this lot.
$8,000 – $12,000
302 DAVE MCGARY (1958–2013) Bear’s Nest
bronze, 1/30
34 x 20 ¼ x 16 ½ inches
inscribed: Dave McGary 1/30
Provenance: From the Collection of Dave Gust
$10,000 – $20,000
303 MICHAEL DUDASH (1952– )
A Journey’s Guardian, 2015
oil on linen panel
48 x 36 inches
signed lower left: C M Dudash (artist cipher)
verso: titled, dated and signed
Provenance: Private Collection, San Francisco, CA
$15,000 – $25,000
304 JIM C. NORTON (1953–2023) Rustling Leaves, 1999
oil on canvas
24 x 36 inches
signed lower left: Jim C. Norton (artist cipher)
verso: titled, signed and dated
Provenance:
Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso)
From the Collection of Shirley Porter McGinty
$12,000 – $18,000
305 WILLIAM AHRENDT (1933– ) The Counselor oil on linen
22 x 28 inches
signed lower right: © William Ahrendt
Provenance: From a Private Collection
$4,000 – $6,000
306 FRANK MCCARTHY (1924–2002)
War Path, 1976
oil on masonite
24 x 36 inches
signed and dated lower right: McCarthy (artist cipher) © 76’
verso: titled and signed
Provenance: From a Private Collection
$25,000 – $45,000
307 HERB MIGNERY (1937– )
Seventy Winters, 2008
bronze, 4/12
24 ¼ x 24 ¼ x 18 inches
inscribed: Mignery (artist cipher) ENSS 2008 4/12
Provenance: Wyoming Collection
Jackson Hole Art Auction, September 2015, Lot 115
From a Private Collection
$6,000 – $9,000
308 MARTIN GRELLE (1954– )
Scouting, 1997
oil on canvas
9 x 12 inches
signed and dated lower right: Martin Grelle © ‘97 (artist cipher)
verso: titled
Provenance:
Private Collection
Jackson Hole Art Auction, September 2022, Lot 157
Private Collection, Nashville, TN
$15,000 – $25,000
308a JERRY JORDAN (1944– )
Every Tree Is Dancing, 2006
oil on canvas
36 x 24 inches
signed lower left: Jerry Jordan © (artist cipher)
verso: titled, dated and signed
Provenance:
From a Private Collection
$15,000 – $25,000
309 RICHARD GREEVES (1935–2022) Arikara Man, 2004
bronze, 22/30
24 x 10 ¼ x 14 ½ inches
inscribed: Rv Greeves 2004 22/30
Provenance:
From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$2,000 – $4,000
310 DAN MIEDUCH (1947– )
War Clubs and Medicine Shields, 2009
oil on board
24 x 36 inches
signed and dated lower right: Dan Mieduch © 2009
Provenance: The Artist From a Private Collection
$6,000 – $9,000
311 GARY NIBLETT (1943– )
Autumn Counsel
oil on canvas
28 x 38 ¼ inches
signed lower right: Gary Niblett (artist cipher) © (artist cipher)
verso: titled and signed
Provenance: From a Private Collection
$6,000 – $9,000
312 RICHARD GREEVES (1935–2022)
Bird Woman, 2001
bronze, 11/20
22 ⅜ x 9 x 7 ⅜ inches
inscribed: R.V. Greeves 11/20 2001
Provenance:
R.V. Greeves, Ft. Washakie, WY (label verso)
From the Collection of Shirley Porter McGinty
$3,000 – $5,000
acrylic on canvas
40 x 30 inches
signed lower right: Pirnie verso: titled and signed
Provenance:
Jackson Hole Fall Arts Festival Poster Image, 2001 Private Collection, Jackson, WY
$5,000 – $7,000
acrylic on canvas
24 x 30 inches
signed lower right: Pirnie verso: titled and signed
Provenance: West Lives on Gallery, Jackson, WY (label verso) Private Collection, Jackson, WY
$3,000 – $5,000
acrylic on masonite
17 ¾ x 12 inches
signed lower left: Chethlahe
acrylic on canvas
24 x 36 inches
signed lower left: Chethlahe
verso: titled
Provenance: From a Private Collection
$2,000 – $4,000
Provenance: From a Private Collection
Literature: Lynda Paladin, Painting the Dream: The Visionary Art of Navajo Painter David Chethlahe Paladin, Park Street Press, Rochester, VT, 1992, p.46, plate 5
$1,000 – $2,000
313 LARRY PIRNIE (1940– ) Racin’ for the Red Eye Special
315 DAVID CHETHLAHE PALADIN (1926–1984) Cantata for Ancient Gods
314 LARRY PIRNIE (1940– ) Leavin’ Heaven
316 DAVID CHETHLAHE PALADIN (1926–1984) Sun God
317 EMIL BISTTRAM (1895–1976)
Man the Unknown, 1961
oil on canvas
48 x 32 inches
signed and dated lower right: (artist’s cipher) BISTTRAM 61
Provenance:
Bisttram Studio Galleries, Taos, NM (label verso)
Fenn Galleries, Santa Fe, NM (label verso)
Collection of Walt Wiggins (label verso)
From the Collection of Wes Nedblake
Literature:
Walt Wiggins, The Transcendental Art of Emil Bisttram, Pintores Press, 1988, illus. front cover, p. 71
$70,000 – $100,000
318 EMIL BISTTRAM (1895–1976)
The Treasure, 1950
oil on canvas
36 x 48 inches
signed and dated lower right: BISTTRAM 50
Provenance:
Collection of Mr. and Mrs. Neal Elliott, Albuquerque, NM
From the Collection of Wes Nedblake
Literature:
Walt Wiggins, The Transcendental Art of Emil Bisttram, Pintores Press, 1988, illus. p. 59
$30,000 – $50,000
320
oil on canvas
40 x 50 inches
signed lower left: Colt Idol
verso: titled, dated and signed
Provenance: From the Artist
$8,000 – $12,000
oil on canvas
60 x 48 inches
signed lower right: Peloke
verso: signed and dated
Provenance: From a Private Collection
$4,000 – $6,000
oil on canvas
20 x 16 inches
signed lower left: Nieto verso: titled, signed and dated
Provenance: Private Collection, Victor, ID
$8,000 – $12,000
319 COLT IDOL (1992– ) Rose and Crimson, 2025
JOHN NIETO (1936–2018) General Custer, 2016
321 KENNETH PELOKE (1978– ) Horse and Rider, 2018
322 MARK MAGGIORI (1977– )
High Noon, 2020
oil on canvas
30 x 30 inches
signed and dated lower right: Mark Maggiori 2020
Provenance:
From a Private Collection
In a short period of time, Mark Maggiori has become a leading figure in a new wave of Western artists, invigorating the Western art genre with his distinctive blend of cinematic realism, bold color, and evocative composition. He approaches his cowboy subjects with an academic realism but infuses scenes with heightened colors, sweeping clouds, and staged composition reminiscent of movies. By combining elements from European art traditions with the romanticism of the American frontier, he’s helped steer Western art into the 21st century, making it more accessible and engaging for a global audience.
In High Noon, Maggiori employs a dramatic sense of light and shadow, dividing the canvas into pronounced horizontal layers that capture the arid ground, stoic figures, and monumental skies. The cowboy, central and backlit beneath a vast, cloud-strewn sky, becomes an almost mythic figure. The horse and rider emerge from deep shadow, while behind them the cattle and terrain recede, reinforcing the feeling of expanse and isolation. The signature clouds, painted in intricate, luminous detail, dominate the sky and frame the subject below, heightening the cinematic tone.
High Noon exemplifies how Maggiori bridges past and present: the painting is steeped in nostalgia but executed with a modern mastery of composition and light. The myth and promise of the West live on, both honoring tradition and inviting new interpretations. His unique voice—as someone who studied the West from afar before immersing himself in its landscapes—has transformed him into one of the most important and influential artists in contemporary Western painting.
$75,000 – $125,000
323 PHIL EPP (1946– )
acrylic on board
30 x 40 inches
signed lower right: Phil Epp (artist cipher)
verso: titled and signed
Provenance: From the Artist
$10,000 – $15,000
oil on canvas
9 x 12 inches
signed lower right: Tony Abyeta
Provenance: From a Private Collection
$5,000 – $7,000
Distant Rumble
324 TONY ABEYTA (1965– ) North Canyon Storm
326 OLSEN NOLTE
Silver Mounted Saddle, Bit, Rein & Breastplate, c. 1940–1950
hand tooled leather, sterling silver, copper, gold and wool
46 ¾ x 28 x 21 inches
inscribed: Olsen Nolte Makers San Francisco, Calif
Provenance:
From the Collection of Mike Farid
$7,000 – $10,000
325 BILL SCHENCK (1947– )
On the Trail to Santa Fe, 2015
oil on canvas
30 x 40 inches
signed and dated lower left: Schenck 15 verso: signed, dated and titled
Provenance: From a Private Collection
$20,000 – $40,000
327 PARADE SADDLE
leather, silver and wool
42 x 27 x 19 inches
Provenance: From the Collection of Mike Farid
Stand not included
$4,000 – $6,000
328 DAN MIEDUCH (1947– )
4 Mules and 1 Jackass, 1981
oil on board
24 x 36 inches
signed and dated lower left: Dan Mieduch 1981
Provenance: Private Collection, Georgetown, TX
$8,000 – $12,000
329 OLEG STAVROWSKY (1927–2020)
Loggers
oil on canvas
41 x 54 inches
signed lower right: Oleg Stavrowsky
Provenance:
Trailside Americana Fine Art Galleries, Jackson, WY, Scottsdale, AZ & Carmel, CA (label verso)
From a Private Collection
$10,000 – $20,000
330 JIM CARSON (1942– )
Run for Your Life, 2025
oil on canvas
32 x 60 inches
signed dated lower right: © Carson 2025 verso: titled and signed
Provenance: From the Artist
$7,000 – $10,000
331 JOHN BYE (1970– )
acrylic on canvas
20 x 40 inches
signed lower right: JBye
Provenance: From the Artist
$6,000 – $10,000
Golden Skies
332 G. HARVEY (1933–2017)
When Cowboys Move On, 1986
oil on canvas
24 x 30 inches
signed and dated lower right: G. Harvey – © 1986 verso: titled, signed and dated
Provenance:
The Artist
Trailside Galleries, Jackson, WY
Private collection, by descent
G. Harvey’s painting, When Cowboys Move On, powerfully evokes an era of transition and the resilience in the American West. Executed in Harvey’s signature impressionistic style, the scene unfolds on a rain-soaked street at dusk or dawn, with two cowboys mounted on horseback passing through a small, bustling town. The reflections glimmer on the wet ground, bringing an atmosphere of both nostalgia and movement. The somber, diffused light and muted tones—yellows, grays, and greens—create a sense of quiet melancholy, while scattered points of warm light from windows and streetlamps add hope and a feeling of community.
At the center, the two main figures—cowboys in weathered gear—ride purposefully forward. Their presence dominates the foreground, embodying the enduring image of the cowboy as traveler and worker. Their slightly bowed heads and the trailing horses suggest both fatigue and resolve, hinting at the end of one chapter and the beginning of another. In the background, oil derricks tower over the town, their stringed lights cutting through the mist, signaling the arrival of modern industry and change.
To the right, a group of townsfolk gathers under the shelter of a building, their hats and coats reminiscent of early-20th-century America. The figures’ postures suggest conversation and daily life, yet their attention is drawn to the cowboys passing by. In this moment, Harvey captures a poignant intersection: the fleeting passage of the old West side by side with the steady encroachment of the new.
Harvey’s brushwork is loose yet disciplined, adeptly conveying rain, light, and texture. The indistinct facial features and muted silhouettes allow viewers to project themselves into the narrative, making the work universal in its emotional scope. His attention to light—reflected from wet surfaces, glowing in windows, sparkling on distant derricks—imbues the piece with hope and endurance amid adversity.
When Cowboys Move On functions both as a tribute and as a commentary. The painting honors the cowboy’s legacy—hard work, migration, adaptation—while also acknowledging the inevitable progress symbolized by power lines, vehicles, and oil rigs. The rough track, muddied by rain, emphasizes hardship but also growth, as rain brings renewal. The juxtaposition of horse and motor vehicle underscores choices and consequences: to stay or to move on, to cling to tradition or embrace change.
$100,000 – $200,000
333 MELVIN WARREN (1920–1995) Moon Lighting, 1975
oil on panel
29 ¾ x 39 ¾ inches
signed and dated lower left: © Melvin C. Warren (artist cipher) 1975
verso: titled, signed and dated
Provenance: Private Collection, Georgetown, TX
$35,000 – $55,000
The Tally
oil on canvas
46 1/2 x 72 inches
signed lower right: Oleg Stavrowsky
verso: titled and signed
Provenance: From the Collection of Dave Gust
$10,000 – $20,000
oil on canvas
38 x 48 inches
signed lower left: Oleg Stavrowsky
verso: titled and signed
Provenance: From a Private Collection
$10,000 – $20,000
334 OLEG STAVROWSKY (1927–2020)
335 OLEG STAVROWSKY (1927–2020) Train’s Late
336 JAMES MILTON SESSIONS (1882–1962)
Train Robbery
watercolor on paper
23 ¼ x 34 inches
signed lower right: Sessions
Provenance:
The Artist
Gordon Varney (designer of HO scale model trains)
A. J. Kollar Fine Paintings, LLC., Seattle, WA (label verso)
The Estate of Bruce Leven, Mercer Island, WA Coeur d’Alene Art Auction, July 2018, Lot 281 Private Collection, San Francisco, CA
$6,000 – $9,000
337 JIM VOGEL (1964– )
Full Cord: Blocked, Split, Dry, 2016
oil on canvas panel
15 ½ x 11 ½ inches
signed and dated lower right: Jim Vogel 16 verso: titled, dated and signed
Provenance: From a Private Collection
$1,500 – $2,500
338 WILLIAM AHRENDT (1933– ) Rendezvous
oil on canvas
36 x 36 inches
signed lower left: © William Ahrendt
Provenance: From a Private Collection
$6,000 – $9,000
339 DAN OSTERMILLER (1956– )
Tres
, 1998
bronze, 11/20
13 ¼ x 11 x 9 ¾ inches
inscribed: © Dan Ostermiller 11/20 1998
Provenance: From a Private Collection
$5,000 – $7,000
340 DAN
, 1996
bronze, 3/12
32 x 38 x 24 inches
(1956– )
inscribed: © Dan Ostermiller 1996
Provenance: From a Private Collection
$25,000 – $35,000
bronze
53 x 52 ½ x 16 inches
inscribed: R.V. Greeves 1992 #6
Provenance: From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$4,000 – $6,000
Osos
OSTERMILLER
Redondo
341 RICHARD GREEVES (1935–2022) Night Song, 1992
342 EDGAR SAMUEL PAXSON (1852–1919)
Rain in the Face, 1898
oil on board
12 x 10 inches
signed and dated lower left: E.S. Paxson 3/98
verso: titled
Provenance:
Gerald Peters Gallery, Santa Fe, NM (label verso)
From a Private Collection
The dramatic and adventurous tales of James Fenimore Cooper stirred in the young Edgar Samuel Paxson a desire to go west to seek his fortune. In 1877, at the age of twenty-five, he left his wife and children in New York while he headed west to Montana Territory. Here, he reveled in the wild frontier, working odd jobs as a cowboy, a meat–hunter, and even a scout in the Nez Perce war (1877-78). Two years later, he sent for his family; after their arrival Paxson settled for a short time in Deer Lodge, Montana, later relocating to Butte.
Before becoming an artist full time, Paxson was a government scout for the Montana National Guard and served in the Spanish-American War. It was not until after his service in this war that he turned to easel painting full time as his primary source of income. The frontier life was inspirational to the artist, who recorded every detail that he absorbed from his new life. Some of his most common themes are of Indian wars, the Lewis and Clark expedition, historical scenes and hunting scenes. They are dramatic, romantic, and nostalgic; Paxson seemed to truly regret that the way of life in the West was changing rapidly, and this awareness inspired him to record his experience.
$15,000 – $25,000
343 RICHARD LORENZ (1858–1915)
Chief in Profile
oil on board
13 ½ x 10 inches
signed lower right: R. Lorenz
Provenance:
Kennedy Galleries, New York, NY (label verso)
Christie’s New York, January 2025, Lot 407 (label verso)
From a Private Collection
$8,000 – $12,000
344 MARY CHILTON MENDENHALL GRAY (1888–1969)
Indian Mother and Child, 1926
oil on canvas
34 x 30 ¼ inches
signed and dated upper left: Gray ‘26
Provenance:
Bonhams California, August 2021, Lot 43
From a Private Collection
Exhibited:
Bierstadt to Warhol: American Indians in the West, Utah Museum of Fine Arts, Salt Lake City, UT, February 15 – August 11, 2013
$8,000 – $12,000
345 JOSEPH HENRY SHARP (1859–1953)
Montana
oil on canvas
12 x 18 inches
signed lower left: JH Sharp
Provenance:
Private Collection, Ohio
Gerald Peters Gallery, Santa Fe, NM, 2007 (label verso)
Jackson Hole Art Auction, September 2014, Lot 72 (label verso)
From a Private Collection
Literature:
Forrest Fenn, The Beat of the Drum and the Whoop of the Dance: A Study of the Life and Work of Joseph Henry Sharp, Santa Fe, New Mexico, 1983
Carl Shaefer Dentzel, Joseph Henry Sharp and the Lure of the West, C.M. Russell Museum, Great Falls, MT, 1977
$55,000 – $75,000
346 JOSEPH HENRY SHARP (1859–1953)
Leaf Down – Taos Indian Girl
oil on canvas
20 x 24 inches signed lower right: JHSharp
Provenance:
Fenn Galleries Ltd., Santa Fe, NM (label verso)
Mitchell Brown Fine Art Inc., Santa Fe, NM (label verso)
Gerald Peters Gallery, Santa Fe, NM (label verso) Bonhams California, August 2021, Lot 9 From a Private Collection
Exhibited:
Masters of Western Art 1900–2000, Desert Caballeros Western Museum, Wickenburg, AZ, November 6, 1999 – January 16, 2000
Visions of the Southwest from the Diane and Sam Stewart Art Collection, Brigham Young University, Provo, UT, February 11 – July 3, 2009
Bierstadt to Warhol: American Indians in the West, Utah Museum of Fine Arts, Salt Lake City, UT, February 15 – August 11, 2013
The artist writes on an original cardboard backing affixed verso: ‘Leaf Down - Taos Indian Girl / Hopi Bride Dres (sic) - and Basket / Dress made from cotton raised by the Indians before / Spaniards came - the wool embroidery later - / Dress an oblong square “blanket”, over one arm and under / other - pinned down side with - silver pins / One of my very best firelights - J.H. Sharp - Taos, / & Pasadena - Nov. 1944’.
Joseph Henry Sharp’s Leaf Down – Taos Indian Girl is a superb example of his mature techniques as a painter as well as his mastered ability to capture the likeness of Native Americans. Sharp is recognized today as one of American art history’s most beloved painters of Native Americans and the American West, with an oeuvre spanning more than six decades.
When asked why he painted “Indians” Sharp mused, “I was always interested even as a small boy. I guess it was Fenimore Cooper who first attracted me to the Indian. It was the romance of youth, boyhood I suppose. Then when I came to know them I liked them for themselves.
Perhaps they attracted me as subjects to paint because of their important historical value as the First Americans. Then the color of their costumes and dances, this no less attracted me.”
Described by one observer as having ‘a Van Dyke beard and the twinkle of Irish humor in his eye’ Sharp possessed a courageous character and a positive disposition. His gentle demeanor and honesty endeared him to his Native models, colleagues, and friends. Sharp quickly gained notoriety for the visual accuracy of his paintings which deftly captured the quiet customs and integrity of his Native models. In this, Sharp’s work marked a shift from prevailing attitudes toward the American Indian.
“[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 a human being endowed with intelligence, swayed by nobility of thought, venerated by indolence, animated by craftiness, or calmed by reveries of bygone days.”
In Leaf Down – Taos Indian Girl, as Sharp describes with an inscription on an original cardboard backing affixed to the verso, he deftly depicts his model wearing a patterned Hopi dress, or manta. Sharp notes that the dress was made from cotton raised by the Indians before the Spaniards came and that the wool embroidery was done later. She is also wearing the thick leggings customary of Pueblo women’s ceremonial wear, and to her right, resting on the adobe bench, or banco, is a large and traditionally patterned Native basket. The lighting of the interior is by firelight. Sharp’s studio, where he produced this fabulous work, is open to the public as part of the Couse-Sharp Historic Site. Sharp notes in the same inscription on the verso that the present work is one of his very best firelight pictures.
To learn more about Sharp’s life and legacy, please visit the Couse-Sharp Historic Site in Taos, New Mexico or online at couse-sharp.org. Through its archives, collections and programming, the Couse-Sharp Historic Site preserves and interprets Taos’ crossroads of cultures, promoting and facilitation research, education, and new perspectives on the Taos Society of Artists, early artists of Taos, and regional and Indigenous communities in relation to the greater story of the multicultural American West.
Essay courtesy of Couse-Sharp Historic Site, 2025.
$100,000 – $150,000
348 JOHN MIX STANLEY (1814–1872)
Valley of the Mimbres, 1846
oil on board
9 ⅞ x 12 ½ inches
signed lower right: STANLEY
verso: titled and dated
Provenance:
Gerald Peters Gallery, Santa Fe, NM (label verso)
Estate of David Alvey Reed
From a Private Collection
Literature:
Lt. William H. Emory, Notes of a Military Reconnaissance, from Fort Leavenworth, in Missouri, to San Diego, in California, including parts of the Arkansas, Del Norte, and Gila Rivers, Washington: Wendell and Van Benthuysen Printers, 1848
Exhibited:
Frederick County Historical Society, Frederick, MD
$40,000 – $60,000
347 CHARLES CRAIG (1846–1931)
Indian Encampment, 1896
oil on canvas
21 ½ x 35 ⅜ inches
signed and dated lower right: Chas. Craig 1896
Provenance:
Christie’s Los Angeles, May 2000, Lot 49
Private Collection, Jackson, WY
$20,000 – $30,000
349 RALPH EARL DECAMP (1858–1936)
Gates of the Mountains
oil on canvas
14 x 20 inches
signed lower right: R. E. DeCamp
Provenance:
Private Collection, Maryland
Thomas Nygard, Inc., Bozeman, MT (label verso)
Gerald Peters Gallery, Santa Fe, NM (label verso)
From a Private Collection
$3,000 – $5,000
350 CHARLES M. RUSSELL (1864–1926)
Pronghorn Antelope, 1925
watercolor and ink on paper
3 ¼ x 5 ⅛ inches
signed and dated lower left: CMR (artist cipher) 1925
Provenance:
Private Collection, New Mexico
Gerald Peters Gallery, Santa Fe, NM (label verso)
From a Private Collection
$25,000 – $45,000
351 OSCAR BERNINGHAUS (1874–1952)
Philmont Ranch, c. 1927
gouache on paper
7 ¼ x 11 ¼ inches
unsigned
Provenance: Affidavit by Dorothy Berninghaus Brandenburg notarized by the state of NM (affixed to verso)
Governors Mansion Restoration Auction, Albuquerque, NM (label verso)
From a Private Collection
$4,000 – $6,000
352 THOMAS MORAN (1837–1926)
Lake Tahoe, 1879
watercolor and pencil on paper 11 ¼ x 14 ½ inches
signed and dated lower left: Tahoe Aug 9th, 79 T.Moran.
Provenance:
J.N. Bartfield Galleries, New York, NY
Private Collection, Houston, TX
Private Collection, New York
Gerald Peters Gallery, Santa Fe, New Mexico (label verso)
Private Collection, Omaha, Nebraska
Private Collection, New Mexico
Jackson Hole Art Auction, September 2009, Lot 114 (label verso)
Santa Fe Art Auction, December 2016, Lot 307 (label verso)
From a Private Collection
Exhibited:
Tahoe: A Visual History, Nevada Museum of Art, Reno, NV, August 22,2015 – January 10, 2016
$60,000 – $90,000
354
bronze, #11
8 ¾ x 6 ¾ x 3 ¾ inches
inscribed: Anna V. Hyatt stamped: GORHAM CO. FOUNDERS 0477 #11
Provenance: From a Private Collection
$5,000 – $8,000
bronze 9 ½ x 8 x 4 ¼ inches
inscribed: Copyright 1907 BY EWDEMING ROMAN BRONZE WORKS N-Y-
Provenance: From a Private Collection
$1,000 – $2,000
353 ANNA HYATT HUNTINGTON (1876–1973) Reaching Jaguar
EDWARD DEMING (1860–1942) Mutual Surprise, 1907
355 CYRUS EDWIN DALLIN (1861–1944) On the Warpath, 1914
bronze, lifetime cast
23 1/4 x 21 1/2 x 6 1/2 inches
inscribed: C.E. Dallin stamped: GORHAM CO. FOUNDERS Q490
Provenance:
Lewis Kotekas, Manchester, NH (1943–2017) From a Private Collection
$40,000 – $60,000
357 CYRUS EDWIN DALLIN (1861–1944) The Scout, 1910
bronze
8 ⅛ x 8 1/2 x 2 ¾ inches
inscribed: C · E · Dallin © 1910 #42 stamped: GORHAM CO FOUNDERS 0487
Provenance:
Collection of C.B. Voorhis, Dubois, WY Private Collection, Jackson, WY
C.B. Voorhis designed the Chapel of the Transfiguration in Grand Teton National Park and was instrumental in raising the funds for its construction.
$7,000 – $10,000
356 CYRUS EDWIN DALLIN (1861–1944) The Signal of Peace, 1890
bronze, 75/750 15 ⅛ x 8 ⅞ x 2 1/2 inches
inscribed: © C.F. Dallin 1890 stamped: 75/750 GORHAM FOUNDERS
Provenance: From the Estate of D. Richard Ryan, Jr.
The owner of this bronze, D. Richard Ryan, Jr., was the former President of the Gorham Manufacturing Company.
$8,000 – $12,000
358 CYRUS EDWIN DALLIN (1861–1944) Appeal to the Great Spirit, 1913
bronze
8 ⅞ x 5 ¾ x 9 inches
inscribed: © C · E · Dallin 1913 #229 stamped: GORHAM CO FOUNDERS OXC
Provenance:
Collection of C.B. Voorhis, Dubois, WY Private Collection, Jackson, WY
C.B. Voorhis designed the Chapel of the Transfiguration in Grand Teton National Park and was instrumental in raising the funds for its construction.
$8,000 – $12,000
359 EDWARD DEMING (1860–1942)
View of Native Americans on Horseback
oil on canvas
12 x 16 inches
signed lower right: To our Friend Evangeline (indecipherable) (artist cipher) EW DEMING
Provenance: Gerald Peters Gallery, Santa Fe, NM (label verso)
From a Private Collection
$2,000 – $4,000
361
acrylic on illustration board
6 x 5 ¼ inches
signed lower right: Kenneth Riley
Provenance:
From a Private Collection
$2,500 – $4,500
gouache on illustration board
3 ¼ x 5 ¾ inches
signed lower right: Kenneth Riley
Provenance: From a Private Collection
$2,500 – $4,500
362
oil on panel
8 x 10 inches
signed lower right: Lipking verso: titled
Provenance:
Arcadia Contemporary, Culver City, CA (label verso)
From a Private Collection
$4,000 – $6,000
KENNETH RILEY (1919–2015) Maiden of the Aspens
360 KENNETH RILEY (1919–2015) Gathering Horses
JEREMY LIPKING (1975– ) Quaking Aspen
363 CLYDE ASPEVIG (1951– )
Aspen Interior, 2005
oil on linen laid on panel 20 x 24 inches
signed and dated lower left: C. Aspevig ·05
verso: titled, signed and dated (2006)
Provenance: The Artist
Moose Head Ranch, Moose, WY
Literature:
Art of the West Magazine, May/June 2007, illus. p. 42 Montana Quarterly Magazine, Fall 2009, illus. p. 58
Exhibited: The Landscapes of Clyde Aspevig: A Closer Look, Nordic Heritage Museum, Seattle, WA, April 14 – June 11, 2006 (label verso)
$7,000 – $10,000
364 TUCKER SMITH (1940– ) Union Park Gather, 1992
oil on canvas
16 x 18 inches
signed and dated lower right: Tucker Smith 92
verso: titled
Provenance:
National Academy of Western Art (label verso)
From a Private Collection
Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey, Dallas, TX, 2009, illus. p. 206
$12,000 – $18,000
365 G. HARVEY (1933–2017)
Riding the Salt River Canyon, 1978
oil on canvas
16 x 20 inches
signed and dated lower right: G. Harvey © / 1978
Provenance:
From a Private Collection
L.D. “Brink” Brinkman was the winning bidder of this painting at a Texas benefit auction in the 1980s. After competitive bidding, he kindly sold the painting to the current owner, who was the crestfallen underbidder at the auction.
$20,000 – $40,000
366 BILL OWEN (1942–2013)
Watering Hole, 1972
oil on canvas
24 x 30 inches
signed and dated lower right: Bill Owen s/v 1972
Provenance:
From a Private Collection
Exhibited:
Eye on the Prize, Booth Western Art Museum, Cartersville, GA, September 23, 2023 – January 14, 2024
$8,000 – $12,000
367 OLEG STAVROWSKY (1927–2020)
Just Cruisin’
oil on canvas
36 x 48 inches
signed lower right: Oleg Stavrowsky verso: titled and signed
Provenance: From the Collection of Dave Gust
$8,000 – $12,000
368 ROY ANDERSEN (1930–2019)
Tom Mix
oil on canvas
40 x 30 inches
signed lower right: Roy Andersen – (artist cipher)
Provenance:
Claggett/Rey Gallery, Vail, CO Private Collection, Denver, CO
$8,000 – $12,000
369 DAN OSTERMILLER (1956– )
Charlie Russell Rider Empty Saddle, 1996
bronze, CRR/13
7 ⅞ x 11 ⅛ x 3 ⅜ inches
inscribed: © Dan Ostermiller 96 CRR/13
Provenance: From a Private Collection
$2,000 – $4,000
371 ANTOINE–LOUIS BARYE (1796–1875)
Napoleon Premiere, c. 1862
bronze
18 x 13 ½ x 5 ¾ inches inscribed: BARYE stamped: BARYE
Provenance: The Marshall B. Coyne Collection, Washington, D.C. From a Private Collection
Literature:
Michel Poletti and Alain Richarme, Barye: Catalogue Raisonné des Sculptures, Paris, France: Gallimard, 2000, pl. 475, p. 425
Napoleon Premiere was first conceived by sculptor Antoine Louis Barye in 1862 for a proposed monument in Grenoble, France. The sculptor abandoned the project by 1866, and as a result, this sculpture was never edited for commercial production. Napoleon Premiere has been confused with other versions of the same subject, likely because this present model is so rare.
$10,000 – $20,000
370 JAMES WALKER (1818–1889)
Artillery Maneuvers, 1881
oil on canvas
30 ½ x 50 ¼ inches
signed and dated lower left: James. Walker. 1881.
Provenance:
Private Collection, Oklahoma
Gerald Peters Gallery, Santa Fe, NM (label verso) Collection of William B. Ruger, Connecticut, 1997
Christie’s New York, December 2002, Lot 169 (label verso) Gerald Peters Gallery, Santa Fe, NM From a Private Collection
James Walker’s best known works are scenes from the American Civil War. This particular painting was painted many years after Walker had worked for General Scott, but his memory and his sketches from the battlefield served him well. The men in this painting wear the red pompons of General Winfield Scott’s Artillery Troops, an elite unit serving a famous general
$20,000 – $40,000
372 ANTOINE–LOUIS BARYE (1796–1875)
Turkish Horse, c. 1870
bronze
11 ½ x 12 ¼ x 4 ⅞ inches inscribed: BARYE
Provenance: Private Collection, New York From a Private Collection
$4,000 – $6,000
373 WILLIAM HAHN (1829–1887)
Admiring the Horses, 1867
oil on linen
36 ½ x 55 ½ inches
signed and dated lower right: W. Hahn (indecipherable) 1867
Provenance: Private Collection, Pennsylvania Freeman’s | Hindman, June 2017, Lot 152 From a Private Collection
$10,000 – $20,000
374 OLAF CARL SELTZER (1877–1957)
Bronc on a Frosty Morn, 1899
oil on board
11 ¼ x 18 inches
signed and dated lower right: O. Seltzer (artist cipher) 99
Provenance:
Newhouse Galleries Incorporated Paintings, New York, NY (label verso)
Gerald Peters Gallery, Santa Fe, NM (label verso)
From a Private Collection
$20,000 – $40,000
374a WILLIAM GOLLINGS (1878–1932)
Riders of the Sage, 1923
oil on board
10 x 7 inches
signed and dated lower right: Gollings (artist cipher) 1923
Provenance:
Gerald Peters Gallery, Santa Fe, NM (label verso)
From a Private Collection
$35,000 – $55,000
375 HERMAN WENDELBORG HANSEN (1854–1924)
Herding Horses
watercolor on paper
18 x 24 inches
signed lower right: H.W. Hansen
Provenance:
Gilbert Bovet, San Francisco, California, 1960s
Coeur d’Alene Art Auction, July 2013, Lot 137
Private Collection, San Francisco, CA
$15,000 – $25,000
oil on canvas
12 x 14 inches
unsigned
Provenance: Schweitzer Gallery, New York, NY (label verso) From a Private Collection
Exhibited: The Minneapolis Institute of Arts (label verso)
$10,000 – $20,000
30 x 48 inches
signed and dated lower right:
Provenance: From a Private Collection
$2,000 – $4,000
376 WILLIAM R. LEIGH (1866–1955)
Bronco Buster
377 HAROLD HOPKINSON (1918–2000) Cattle Drive, 1973
oil on canvas
HHopkinson © ‘73
378 FRANK MCCARTHY (1924–2002)
Forward by Two’s, 1972
oil on masonite
22 x 36 inches
signed and dated lower right: McCarthy © 72
verso: titled, signed and dated
Provenance: From a Private Collection
$20,000 – $40,000
379 ERIC SLOANE (1905/10–1985)
Grand Canyon
oil on board
24 x 48 inches
signed lower left: – Eric Sloane (artist cipher)
verso: titled and signed
Provenance:
Estate of Mr. and Mrs. Duncan Van Norden, Palm Beach, FL
From a Private Collection
$15,000 – $25,000
380
oil on canvas
28 x 32 inches
signed lower left: Starke verso: titled and signed
Provenance: Private Collection
Jackson Hole Art Auction, September 2022, Lot 64 Private Collection, Jackson, WY
$4,000 – $6,000
381 GRANT REDDEN (1961– )
Trailing Home, 2023
oil on canvas
20 x 24 inches
signed lower right: Grant Redden (artist cipher)
verso: titled, signed and dated
Provenance: From a Private Collection
$5,000 – $7,000
382
oil on canvas
20 x 40 inches
signed and dated lower left: R Duncan © ‘90
verso: titled, signed and dated
Provenance: From a Private Collection
$4,000 – $6,000
PHIL STARKE (1957– ) Summer Skies
ROBERT DUNCAN (1952– ) Wyoming Born and Bred, 1990
oil on canvas
12 x 14 inches
signed and dated lower left: Tucker Smith 90 verso: titled
Provenance:
From a Private Collection
Literature:
Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey, Dallas, TX, 2009, illus. p. 207
B. Byron Price, Tucker Smith: A Celebration of Nature, National Museum of Wildlife Art, Jackson, WY, 2020, illus. p. 47
$10,000 – $20,000
384
oil on canvas laid on board 16 x 20 inches
)
signed and dated lower right: Tucker Smith 90 verso: titled
Provenance: Settlers West, Tucson, AZ (label verso) From a Private Collection
Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey, Dallas, TX, 2009, illus. p. 189
$25,000 – $45,000
383 TUCKER SMITH (1940– ) Big Sky, 1990
TUCKER SMITH (1940–
Wind River Rams, 1990
385 WAYNE WOLFE (1944/45– )
Hayden Gorge
oil on canvas panel
35 x 55 inches
signed lower right: Wayne Wolfe
Provenance:
Claggett/Rey Galleries, Vail, CO (label verso) From a Private Collection
$5,000 – $7,000
386 CHARLES MUENCH (1966– )
Deep in the Sierra Backcountry, Minaret Lake, 2025
oil on canvas
32 x 40 ¼ inches
signed lower right: Charles Muench
verso: signed and titled
Provenance: From the Artist
$7,000 – $10,000
387 SCOTT CHRISTENSEN (1962– )
Ascending the Winds
oil on canvasboard
40 x 48 inches
signed lower right: Christensen
verso: titled (Asceding the Winds)
Provenance: Claggett/Rey Galleries, Edmond, CO (label verso)
From a Private Collection
$18,000 – $28,000
388
Pass Lake
oil on linen laid on panel
21 ¾ x 27 ¾ inches
signed lower left: oberg verso: titled and signed
Provenance:
Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso)
Private Collection, American Canyon, CA
$2,000 – $4,000
In Dawn’s Light
oil on board
12 x 18 inches signed lower right: Carlson
Provenance:
National Academy of Western Art (label verso) From a Private Collection
Literature:
Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey, Dallas, TX, 2009, illus. p. 79
$8,000 – $12,000
390
Banks of the Missouri
oil on canvas
36 x 50 inches
signed lower left: C. Aspevig
Provenance:
Thomas Nygard Inc., Bozeman, MT (label verso)
Sotheby’s New York, September 2010, Lot 210 Scottsdale Art Auction, April 2013, Lot 179 (label verso)
Claggett/Rey Gallery, Edwards, CO (label verso) From a Private Collection
$20,000 – $40,000
The Falls, 1982
oil on canvas
40 x 50 inches signed and dated lower left: Hughes 82
Provenance: From a Private Collection
$4,000 – $6,000
RALPH OBERG (1950– )
CLYDE ASPEVIG (1951– )
389 KEN CARLSON (1937– )
391 BILL HUGHES (1932–1992)
393 DAN OSTERMILLER (1956– ) Pedicure, 1993
bronze, 12/30
9 ⅛ x 12 ½ x 8 inches
inscribed: © Dan Ostermiller 1993 12–30
Provenance:
Nedra Matteucci Galleries, Santa Fe, NM
From a Private Collection
A Certificate of Authenticity accompanies this lot.
$4,000 – $6,000
392 RUSSELL CHATHAM (1939–2019) Paradise Valley on a Summer Evening, 2000
oil on canvas
36 x 36 inches
signed and dated lower left: (artist cipher) 2000
verso: titled, signed and dated
Provenance:
Broschofsky Galleries, Ketchum, ID Private Collection, Sun Valley, ID
$20,000 – $40,000
394 DAN OSTERMILLER (1956– )
, 1990
bronze, 17/30
7 ⅞ x 6 ⅛ x 8 ¾ inches
inscribed: © Dan Ostermiller 17/30 (artist cipher) 90
Provenance: From a Private Collection
Literature:
Fleischer Museum, Dan Ostermiller: Les Animalier, FCCA Publishing, 1993, illus. p. 48
Jim Eaton, Dan Ostermiller: A Sculptor of Animals, Actian Press, 1990, illus. p. 14
$2,000 – $4,000
Camille
395 JAMES SWINNERTON (1875–1974) Navajo Home
oil on canvas
30 x 30 inches
signed lower right: Swinnerton
Provenance: Private Collection, Eagle, ID
$4,000 – $6,000
396 JIM C. NORTON (1953–2023)
The Platts Farm – Wyoming, 1990
oil on canvas
24 x 32 inches
signed lower left: Jim C Norton (artist cipher) ©
verso: titled, signed and dated
Provenance: From the Estate of John Craig Matthews
$8,000 – $12,000
397 FRANCOIS KOCH (1944– )
Prepping for the Season
oil on linen
18 x 24 inches
signed lower right: Francois Koch
verso: titled and signed
Provenance: From the Artist
$3,000 – $5,000
398 FRANCOIS KOCH (1944– )
Fall in the Dragoons
oil on canvas
26 x 40 inches
signed lower right: Francois Koch
Provenance:
Coeur d’Alene Art Auction, July 2007, Lot 239
Coeur d’Alene Art Auction, July 2015, Lot 293
Private Collection, San Francisco, CA
$10,000 – $20,000
399 CLARK HULINGS (1922–2011) Donkey, 1974
watercolor on paper
15 ½ x 11 ½ inches
signed and dated lower left: Hulings 1974
Provenance: From a Private Collection
$2,000 – $4,000
400 MORRIS RIPPEL (1930–2009)
Ranch House on the Rio Grande, 2001
watercolor on board
13 ½ x 22 inches
signed and dated lower left: M. Rippel © ‘01
verso: titled, dated and signed
Provenance:
Mr. & Mrs. John Dittman, Kalispell, MT
Coeur d’Alene Art Auction, July 2003, Lot 186
Private Collection, CA
Coeur d’Alene Art Auction, July 2017, Lot 305
Private Collection, San Francisco, CA
$8,000 – $12,000
401 JEFF LEGG (1959– )
Vessel with Apricots, 2005
oil on board
30 x 24 inches
signed and dated lower left: Legg 2005
Provenance:
American Legacy Gallery, Kansas City, MO (label verso) From the Collection of Shirley Porter McGinty
Literature: Southwest Art Magazine, December 2005, illus. p. 97
$5,000 – $7,000
402 DAVID KROLL (1956– ) Egret with Oranges and Lemon
oil on linen
32 x 28 inches unsigned
Provenance: From a Private Collection
$8,000 – $12,000
402a SANDY SCOTT (1943– ) Eat More Beef (Maquette), 1997
bronze, 14/15
17 3/8 x 18 3/4 x 12 1/2 inches inscribed: Sandy Scott © 97 14/15
Provenance: Gilcrease Museum, Tulsa, OK, 1998 From a Private Collection
$3,000 – $5,000
403 LEON
1914
oil on canvas laid on board
7 ¼ x 7 inches
signed and dated lower right: Leon Gaspard 1914
Provenance:
Charlotte, North Carolina Estate
Charlton Hall Galleries, November 2023, Lot 433
From a Private Collection
$3,000 – $5,000
404 LEON GASPARD (1882–1964) Self Portrait
pencil on canvas
8 ¾ x 7 inches
unsigned
Provenance:
WNC Bridge Foundation Benefit Sale
Brunk Auctions, September 2022, Lot 1378 From a Private Collection
$1,000 – $2,000
405
Hecho
oil on linen
36 x 36 inches
signed lower left: © Hallmark
verso: signed, titled and dated
Provenance: Trailside Galleries, Jackson, WY (label verso) From the Collection of Shirley Porter McGinty
$15,000 – $25,000
GASPARD (1882–1964) Market Scene,
GEORGE HALLMARK (1949– )
en la Sombra, 2002
406 GEORGE HALLMARK (1949– )
The Census Taker, 2003
oil on linen
36 x 60 inches
signed and dated lower right: © Hallmark – 03
verso: titled, signed and dated
Provenance:
Trailside Galleries, Jackson, WY
From the Collection of Shirley Porter McGinty
$25,000 – $45,000
407 REMBRANDT HARMENSZOON VAN RIJN (1606–1669)
The Good Samaritan, 1633
etching and engraving on paper 10 x 8 inches
signed and dated lower center: Rembrandt 1633
verso: Certificate of Authenticity from Merrill Chase Galleries, Ltd.
Provenance: From a Private Collection
$15,000 – $25,000
408 RICHARD SCHMID (1934–2021)
San Francisco de Asis Mission Church, Taos, New Mexico
oil on canvas
24 x 36 inches
signed lower left: Richard Schmid
Provenance:
Heritage Auctions, October 2021, Lot 47122
Larsen Art Auction, October 2023, Lot 335
From a Private Collection
$3,000 – $5,000
conte crayon on paper
19 x 17 inches
signed lower right: Schmid verso: titled and signed
Provenance: From a Private Collection
$5,000 – $7,000
oil on linen
16 x 10 inches
signed lower left: Schmid verso: titled, signed and dated
Provenance: Altermann Galleries & Auctioneers, Santa Fe, NM (label verso) From a Private Collection
$10,000 – $20,000
oil on canvas
60 x 82 inches
signed lower left: Thomas DeDecker
verso: titled, dated and signed
Provenance: From the Artist
$7,000 – $10,000
409 RICHARD SCHMID (1934–2021)
Nude (Helga)
410 RICHARD SCHMID (1934–2021) Bettina, 1979
411 THOMAS DEDECKER (1951– ) Pink and White Water Lilies, 2025
412 JIM MORGAN (1947– )
Along the Firehole, 1991
oil on canvas
20 x 30 inches
signed lower right: Jim·Morgan· © (artist cipher) verso: signed and dated
Provenance:
O’ Gallerie, Portland, OR, Lot 133 (label verso) From a Private Collection
$6,000 – $9,000
413 DAN KNEPPER (1961– ) Beckoning
oil on canvas
30 x 40 inches
signed lower right: Knepper verso: titled and signed
Provenance: From the Artist
“I always find some new unexplored bend when visiting McDonald Creek in Glacier National Park. The crystal clear teal water seems lit from within.” – Dan Knepper
$4,000 – $6,000
414 ANDREW PETERS (1954– ) Taggart Lake
oil on canvas
36 x 48 inches
signed lower right: Andrew Peters
Provenance: Claggett/Rey Gallery, Edwards, CO (label verso) From a Private Collection
$12,000 – $18,000
415 BRUCE CHEEVER (1958– )
The Great Untamed oil on panel
23 ¼ x 35 ¼ inches
signed lower right: – Bruce · Cheever ©
Provenance: From the Artist
$8,000 – $12,000
416 RICHARD GREEVES (1935–2022)
Koe–Mah, 1973
bronze, 5/12
25 ⅜ x 8 ⅜ x 8 ¾ inches
inscribed: Rv Greeves © 1973 5/12
Provenance:
From the Studio Collection of Richard and Stephanie Greeves, Fort Washakie, WY
$3,000 – $5,000
417 JAMES REYNOLDS (1926–2010)
Lonely Lake oil on canvas
38 x 48 inches
signed lower right: James Reynolds (artist cipher)
Provenance: Claggett/Rey Galleries, Edmond, CO (label verso)
From a Private Collection
$10,000 – $20,000
acrylic on panel
32 ¼ x 26 inches
signed and dated lower right: Smith © 88
Provenance:
Private Collection
Jackson Hole Art Auction, September 2017, Lot 13
Private Collection, San Francisco, CA
$6,000 – $9,000
420 ROBERT BATEMAN (1930– )
Penguins, 2001
watercolor on paper
3 ¾ x 10 ⅝ inches
signed and dated lower right: Robert Bateman 2001
Provenance:
Private Collection, Pittsboro, NC
Brunk Auctions, February 2023, Lot 1064
From a Private Collection
$3,000 – $5,000
419
acrylic on board 12 x 18 inches
signed and dated lower left: Smith © 06
Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso)
From a Private Collection
$4,000 – $6,000
421
bronze, 5/35
19 ⅞ x 29 ⅞ x 9 ⅞ inches
inscribed: © 06 Shinabarger 5/35
Provenance: From a Private Collection
$8,000 – $12,000
418 DANIEL SMITH (1954– ) Solitary Snow Goose, 1988
Emperor
DANIEL SMITH (1954– ) Winter Passage, 2006
TIM SHINABARGER (1966– ) Into the Wind, 2006
422 GORDON SNIDOW (1936– )
Laughter Is the Best Medicine, 2011
gouache on paper
23 ½ x 18 inches
signed and dated lower right: Snidow © 2011
Provenance:
Claggett/Rey Gallery, Edwards, CO (label verso) From a Private Collection
$4,000 – $6,000
423 PAUL CALLE (1928–2010)
A Coureur de Bois, 1993
oil on board
24 ½ x 14 ⅞ inches
signed and dated lower left: Paul Calle © 1993 verso: titled
Provenance: March in Montana, 2020, Lot 619 From a Private Collection
$10,000 – $20,000
424 HAN WU SHEN (1950– )
Mother and Child
oil on canvas
30 x 24 inches
signed lower right: H.W. Shen
Provenance: From a Private Collection
$15,000 – $25,000
425
Chief, 2019
oil on canvas
60 x 60 inches
signed and dated lower right: Frederick 2019
Provenance: From a Private Collection
$5,000 – $7,000
426 DAVID FREDERICK RILEY (20TH/21ST CENTURY)
Ropin’ Ready, 2018
oil on canvas
40 x 60 inches
signed and dated lower left: Frederick 2018
Provenance:
From a Private Collection
$4,000 – $6,000
Three Cows
oil on panel
48 x 84 inches
signed lower right: Murray
Provenance: From a Private Collection
$6,000 – $9,000
DAVID FREDERICK RILEY (20TH/21ST CENTURY)
427 RICHARD MURRAY (1948– )
ABEYTA, TONY
North Canyon Storm, 324 ACOMA
Acoma or Laguna Polychrome Olla, 28
Acoma Polychrome Olla, 27, 29, 30, 32, 33
ADAMS, ANSEL
Mount Clarence King, Southern Sierra, 166
From Hurricane Hill, Olympic National Park, Washington, 167 Cloud and Mountain, Marion Lake Southern Sierra, 168 Rain, Beartrack Cove, Glacier Bay National Monument, Alaska, 169
Dunes, Hazy Sun, White Sands, New Mexico, 170
AHRENDT, WILLIAM
The Counselor, 305 Rendezvous, 338 ALDRICH, EDWARD
Constant Vigil, 294 AMOS, LOUISE
Zuni Polychrome Olla, 34 ANDERSEN, ROY
Crane in the Sky, 4 Bartering the Spanish Pony, 78 Like Wind in the Trees, 139 Tall Bull, 140
When the Answer Comes, 145 Tom Mix, 368 ANTON, BILL
Topping Out, 21
The Cool Down, 117 APACHE
Apache Basketry Olla, 57
Apache Pictorial Tray, 59, 63 Apache Tray with Cactus Flower Design, 60 ASPEVIG, CLYDE
September’s Song, 114
In the High Country, 122 Aspen Interior, 363 Banks of the Missouri, 390 BALCIAR, GERALD Canyon King, 266 BARLOW, MIKE
The Buffalo Hunter, 211 BARTLETT, GRAY PHINEAS
Evening on the Reservation, 194 Saddling the Horses, 195 BARTLETT, PAUL WAYLAND
Bohemian Bear Tamer, 299 BARYE, ANTOINE-LOUIS
Napoleon Premiere, 371 Turkish Horse, 372 BATEMAN, ROBERT Emperor Penguins, 420 BEELER, JOE
The Approaching Storm, 98 Chief Goes to Washington, 162 BERNINGHAUS, OSCAR
Philmont Ranch, 351 BERTHELSEN, JOHANN
Snowy Afternoon in Manhattan, 107 Fifth Avenue in the Snow, 108 BISS, EARL
People of the Big Sky, 277 BISTTRAM, EMIL
Man the Unknown, 317
The Treasure, 318 BLAYLOCK, TED Strutting Gobbler, 283 BOREN, JAMES
In Old San Antonio, 86 BOWMAN, ERIC
Smokey Sky Landscape, 137
BRENDERS, CARL
America on the Rise, 250 BROWNING, TOM Withering Vines, 112 BUNN, KENNETH
Bull Elephant on the Move, 223 BURGESS, STEVE
American Beauty, 229 Fast Food, 247 BYE, JOHN Golden Skies, 331 CALLE, PAUL
Pause for a Drink, 183 A Coureur de Bois, 423 CARLSON, KEN
Black Bear Sow and Cub, 234 Passing Through, 240
Mule Deer in the Mountains, 252
Winter Pair - Mule Deer, 253 Starting from Scratch, 291 In Dawn’s Light, 389 CARSON, JIM
River Camp, 152 Run for Your Life, 330 CARY, WILLIAM DE LA MONTAGNE
Meeting on the Plains, 197 CASE, G. RUSSELL
Navajo Moon Rise, 272
Sunday in Taos, 278a CHAPMAN, JULIE
Beach Babe, 230 CHATHAM, RUSSELL
Paradise Valley on a Summer Evening, 392 CHEEVER, BRUCE
Morning Mist of the Yellowstone, 149
Great White Throne - Zion National Park, 264
The Great Untamed, 415 CHEMEHUEVI
Chemehuevi Basketry Olla, 58 CHRISTENSEN, SCOTT
Big Sandy - Patterns of Fall, 116 Study for Swiss Trail, 120 Gallatin Valley, 136
Ascending the Winds, 387 CLYMER, JOHN
Northern Winter, 130 COLEMAN, MICHAEL
High Country Elk, 233 COLEMAN, NICHOLAS
Near the Hudson Bay Divide, 205 In His Prime, 236 CORDERO, HELEN
Pueblo Storyteller Ceramic Doll, 25
Cochiti Storyteller Ceramic Figure, 26 CORONATO, BOB
Granddad’s Captured Crow Medicine Shield, 143 CORTEZ, JENNESS
Road to Wounded Knee, 163
Norman Rockwell - Freedom of Speech, 174 COUSE, EANGER IRVING
The Hunter, 90
Two Brothers Hunting, 199 COWAN, JOHN
Dead Calm, 71 CRAIG, CHARLES
Indian Encampment, 347 CROWLEY, DON Anna, 13
INDEX
CURTIS, EDWARD
Waiting in the Forest - Cheyenne, 158
The Vanishing Race, 161 DALLIN, CYRUS EDWIN
On the Warpath, 355
The Signal of Peace, 356
The Scout, 357
Appeal to the Great Spirit, 358 DAMROW, CHARLES Cowboys, 193 DARRO, TOM
Old Friends at the Winding Water, 6
A Search for Heaven, 23 DAVIS, STAN
When Honor Was Virtue, 9
Ever the Wagons Come, 79 DECAMP, RALPH EARL
Gates of the Mountains, 349 DEDECKER, THOMAS
Pink and White Water Lilies, 411 DELANO, GERARD CURTIS
The Colorful People, 19 DEMING, EDWARD
Monarch of the Rockies, 297 Mutual Surprise, 354 View of Native Americans on Horseback, 359 DIXON, JOSEPH K.
Here Custer Fell, 159 DUDASH, MICHAEL
Misty Trails: Native Nomads of the Tetons, 138
A Journey’s Guardian, 303 DUNCAN, ROBERT
Wyoming Born and Bred, 382 DUNTON, W. HERBERT
The Stagecoach Robbery, 192 DYER, JIMMY
Checking the Herd, 123 ELLIS, FREMONT
Beaver Ponds in Snowy Spring, 126 EPP, PHIL
Distant Rumble, 323 FALK, JONI
Camp in Winter, 134 FALTER, JOHN Roundup Wages, 173 FERRARA, JOE
Meeting on the Sagebrush, 196 Buffalo Hunt, 198 FRAZIER, LUKE
From the High Mountain, 119 GASPARD, LEON Market Scene, 403 Self Portrait, 404 GERHARTZ, DAN Evening with the Tamaracks, 127 GILLEON, R. TOM
Tatonka Evening, 204 GOLLINGS, WILLIAM Winter Lobo, 262
Riders of the Sage, 374a GONDE, MOPHO
On the Run, 226 GONSKE, WALT
High Country Morning, 125 GRANT, MURRAY
Cape Buffalo, 218
GRAY, MARY CHILTON MENDENHALL
Indian Mother and Child, 344 GREEVES, RICHARD Kiowa, 150
Piegan Blackfeet, 155 Yankton Sioux Grass Dancers, 156 Kickapoos, 157 Captain Lewis Meets the Shoshone, 269 Pronghorn, 295 Arikara Man, 309 Bird Woman, 312 Night Song, 341 Koe-Mah, 416 GRELLE, MARTIN Scouting, 308 GRIFFING, ROBERT
The Huron, 154 GRINNELL, ROY
Turning Star - Crow, 83 HAHN, WILLIAM
Admiring the Horses, 373 HALLMARK, GEORGE Hecho en la Sombra, 405
The Census Taker, 406 HAMPTON, JOHN WADE
Streets of Laredo, 191 HANSEN, HERMAN WENDELBORG
Herding Horses, 375 HANTMAN, CARL
Scouting Party, 11 HARVEY, G.
Cowboy Country Club, 129 When Cowboys Move On, 332 Riding the Salt River Canyon, 365 HENNINGS, EARNEST MARTIN Homeward Bound (Sunset Near Taos), 91 HOFFMAN, FRANK B.
Quail Thunder, 286 Bears, 287 HOPKINSON, HAROLD Cattle Drive, 377 HUGHES, BILL
The Falls, 391 HULINGS, CLARK
Donkey, 399 HUNTINGTON, ANNA HYATT
Rocky Mountain Goat Bookends (Pair), 221 Kangaroo, 228
Reaching Jaguar, 353 HURD, PETER
The Madison Mountain Fault, 72 Raven Ridge, Utah, 73 Adobe, 104 HURLEY, WILSON
Canyon de Chelly, Late Afternoon, 267 IDOL, COLT
Rose and Crimson, 319 JACKSON, HARRY Sacagawea, 142 JEPPSEN, JULIE
King of the River, 259 JORDAN, JERRY
Every Tree Is Dancing, 308a KAGAN, ROD
Abstract Totem, 18 KELSEY, T.D.
Checkin’ the Menu, 214 KNEPPER, DAN
Beckoning, 413 KOCH, FRANCOIS
The Chosen One, 225 Prepping for the Season, 397 Fall in the Dragoons, 398
KROLL, DAVID
Egret with Oranges and Lemon, 402 KUCERA, ED
His Stately Attire, 151 KUHN, BOB
Encroaching on Cape Buffalo, 220
Caribou, 232
Spooked, 251
High Country Face-off (Dall Rams), 255 Prime Time, 257 Black Bear, 288
Grizzly Illustration, 289 KUHN, BOB / NORTHUP, GEORGE River Crossing, 254 KUHNERT, WILHELM Water Buffalo, 219 LEE, LAWRENCE W.
Jd’dad Shaman, 209 LEE, TERRY
Great Northern Sanctuary, 260 LEGG, JEFF Vessel with Apricots, 401 LEIGH, WILLIAM R.
Grizzly’s End, 87 California Mountains, 99 Meeting at the Loom, 200 Bronco Buster, 376 LIPKING, JEREMY
Chelsey, 110
Quaking Aspen, 362 LORENZ, RICHARD
Chief in Profile, 343 LOUGHEED, ROBERT
Summer Home on the Kotzebue Sound, 206
Heading Home, 275 LOVELL, TOM
War Bonnet Ceremony, 80
The Earth House People, 81 Watering Horses, 82 LYNCH, MICHAEL
February Color, 128 MAASS, DAVID
Cleared for Landing, 280 MAGGIORI, MARK
High Noon, 322 MAIDU
Maidu Coiled Basketry Bowl, 49 Maidu Large Oval Coiled Basketry Bowl, 51 Maidu Basketry Bowl, 53, 54 MARCHAND, JOHN
Bucking Bronco, 97 MARTINEZ, MARIA
San Ildefonso Blackware Olla with Avanyu Design, 41
San Ildefonso Blackware Vase with Avanyu Design, 44
San Ildefonso Blackware Bear Claw Jar, 45
San Ildefonso Blackware Avanyu Plate, 46 MARTINEZ, MARIA & JULIAN
San Ildefonso Blackware Bearclaw Olla, 39
San Ildefonso Blackware Olla, 42
San Ildefonso Blackware Vase with Avanyu Design, 43
MARTINEZ, MARIA & SANTANA
San Ildefonso Blackware Olla with Feather Design, 40 MCCARTHY, FRANK
A Comanche Warrior’s Wealth, 15
By the Snow Moon, 301 War Path, 306
Forward by Two’s, 378 MCCOMAS, FRANCIS JOHN
Cliff Dwellings, 274 MCGARRY, PIP
Zebra and Egret, 227
MCGARY, DAVE
Bear Tracks, 153 Bear’s Nest, 302 MCGUIRE, JAN MARTIN
Red Rock Realm, 265 MCINTYRE, PETER
Herding Cattle, 185 Herding to Water, 186 MIEDUCH, DAN
War Clubs and Medicine Shields, 310
4 Mules and 1 Jackass, 328 MIGNERY, HERB
At the Water’s Edge, 132 Ridin’ by Range Rules, 181 Seventy Winters, 307 MORAN, THOMAS
Lake Tahoe, 352 MORGAN, JIM
Along the Firehole, 412 MOYERS, JOHN Distant Voices, 84 Pueblo Rider, 105 MOYERS, TERRI KELLY
Firewood for the Padre, 85 MUENCH, CHARLES
Deep in the Sierra Backcountry, Minaret Lake, 386 MURRAY, RICHARD
Three Cows, 427 NAMINGHA, DAN
The Jemez, 165 NAVAJO
Navajo Fringed Germantown Rug/Blanket with Classic Serape Design, 68
Navajo Germantown Child’s Blanket, 70
Navajo Pictorial Weaving, 69
Navajo Yeibichai Rug, 67 NIBLETT, GARY
Autumn Counsel, 311 NIETO, JOHN
Red Cloud, 164
General Custer, 320 NOLTE, OLSEN
Silver Mounted Saddle, Bit, Rein & Breastplate, 326 NORTHERN CALIFORNIA
Northern California Twined Basketry Bowl, 52
NORTON, JIM C.
Wind in His Hair, 16
Riders in Goshen Canyon, 20 Rustling Leaves, 304
The Platts Farm - Wyoming, 396 OBERG, RALPH
Wyoming Moose, 237 Pass Lake, 388
OELZE, DON
Trail Marker - Pointing the Way, 270 ONDERDONK, JULIAN
On the San Antonio River, 76 ORE, ROGER
The Good Life, 5 OSTERMILLER, DAN
Apres la Danse, 231 Dinner Bell, 235
The Bonding, 238
Jugar, 248
Bella Donna, 282
Tres Osos, 339 Redondo, 340
Charlie Russell Rider Empty Saddle, 369
Pedicure, 393
Camille, 394
OWEN, BILL
Watering Hole, 366
PAIUTE
Paiute Digikup, 50 PALADIN, DAVID CHETHLAHE
Cantata for Ancient Gods, 315 Sun God, 316 PALENSKE, LOUIS
Blackfeet Chiefs at the Dedication of Haskell Stadium, 160 PANAMINT
Panamint Coiled Bowl, 65
Panamint Coiled “Bottleneck” Basket, 66 PARADE SADDLE
Parade Saddle, 327 PAXSON, EDGAR SAMUEL
Portrait, 95 Rain in the Face, 342 PELLETIER, A. JOHN
Bulls on the Move (Elephants), 217 PELOKE, KENNETH
Horse and Rider, 321 PETERS, ANDREW
Taggart Lake, 414 PETERS, ROBERT
Autumn Solitude, 115 PIRNIE, LARRY
Racin’ for the Red Eye Special, 313 Leavin’ Heaven, 314 PLETKA, PAUL
Pentetetuch, 201 POMO
Pomo Coiled Gift Basketry Bowl, 48 POST, HOWARD
Empty Buckets, 276 POULSEN, M. C. Solitude, 300 PRICE, CLARK KELLEY
Almost Home, 182 Southfork Crossing, 184 REDDEN, GRANT
Trailing Home, 381 RENSHAW, ARTHUR
The Campbells at Work, 22 REYNOLDS, JAMES East Vail, 146 Whitetail, 239 Lonely Lake, 417 RIDDICK, R.S.
My Grandfather’s Shield, 14 White Man’s Footbell, 133 Sisters of the Sunlit Sage, 271 RILEY, DAVID FREDERICK Chief, 425
Ropin’ Ready, 426 RILEY, KENNETH
Fresh Sign, 75 Welcome Shade, 92 Chiricahua Warrior, 135 Seated Warrior, 207
Split Horn Bonnet, 208 Gathering Horses, 360 Maiden of the Aspens, 361 RIPLEY, AIDEN LASSELL Springers and Pheasants, 279 RIPPEL, MORRIS Ranch House on the Rio Grande, 400 RISHELL, ROBERT CLIFFORD Canyon Warriors, 187 Road to the Sing, 188 ROBERTS, RAY Desert Vision, 203 ROCKWELL, NORMAN
Courting Couple at Midnight, 175
ROGERS, JULIA
King of the Savanna, 210 ROGERS, SCOTT Stampede, 189 ROTERS, CARL
Land of the Shoshone, 1 Wild Horses in Teton Valley, 2 Wyoming Wild Horses, 3 RUNGIUS, CARL Alaskan Wilderness, 242 Morning Mist, 243 The Stranger, 244 Mountain Caribou, 245 Silvertip, 249 Elk in the High Country, 261 Pronghorn Antelope, 296 RUSSELL, CHARLES M. Buffalo Coat, 94 Start of the Roundup, 96 Pronghorn Antelope, 350 SANDER, SHERRY
Narcissus at the Pool, 241
The Fishing Hole, 290 Young Bulls, 293 SANTO DOMINGO
Santo Domingo Storage Jar, 36, 37 Santo Domino Black-on-Red Olla, 38 SCHENCK, BILL
The Longest Day, 17 On the Trail to Santa Fe, 325 SCHMID, RICHARD
San Francisco de Asis Mission Church, Taos, New Mexico, 408 Nude (Helga), 409 Bettina, 410
SCHWIERING, CONRAD Market Day, 24 Turquoise Lake, 124 SCOTT, SANDY
Sleepy Fox, 291a Eat More Beef (Maquette), 402a SEEREY-LESTER, JOHN Lion Pair - Ngorongoro Crater, 212 Simba, 213 SELTZER, OLAF CARL The Lookout, 93
Piegan Brave / Blackfoot Warrior, 103 Mule Deer in the Valley, 298 Bronc on a Frosty Morn, 374 SESSIONS, JAMES MILTON Train Robbery, 336 SHARP, JOSEPH HENRY
Grand Canyon, 77 Contemplation, 88 Rabbit Hunters in Roundup, 89 Peonies, 109 Montana, 345
Leaf Down – Taos Indian Girl, 346 SHEN, HAN WU
Mother and Child, 424 SHEPHERD, DAVID
Lion Under a Thorn Bush, 215 Elephant, 222 Bull Elephant, 224 SHINABARGER, TIM Seeking Passion and Glory, 256 Into the Wind, 421 SLOANE, ERIC Grand Canyon, 379 SMITH, DANIEL
Solitary Snow Goose, 418 Winter Passage, 419
SMITH, GARY ERNEST
Potato Digger, 113 Autumn Tree, 278 SMITH, TUCKER
Early Snow, 246 Plains Bison, 292
Union Park Gather, 364
Big Sky, 383 Wind River Rams, 384 SNIDOW, GORDON
Laughter Is the Best Medicine, 422 SOLLIDAY, TIM
Desert Moon, 273 SPEED, GRANT
The Apache Wars, 190 STANLEY, JOHN MIX
Valley of the Mimbres, 348 STARKE, PHIL
Summer Skies, 380 STAVROWSKY, OLEG
Wild Encounter, 106 Goober and Son, 121 Loggers, 329
The Tally, 334 Train’s Late, 335 Just Cruisin’, 367 STRAIN, JOHN PAUL
Bears of Yellowstone, 258
SWENTZELL, ROXANNE
Modern Pueblo Woman, 202 SWINNERTON, JAMES
Navajo Home, 395 TAIT, ARTHUR FITZWILLIAM
A Soft Mouth, 281 THOMAS, RICHARD D. River Reconnaissance, 7 Desert Chieftain, 8
The Highground, 10 Headcount, 118
Her Trusty Steed, 131 Eatin’ Dust ‘n Wranglin’, 180 TULARE
Tulare Coiled Bottleneck Basket, 56 ULLBERG, KENT
Herdmaster, 172 VAN RIJN, REMBRANDT HARMENSZOON
The Good Samaritan, 407 VICKERS, RUSS
The Prophecy, 12 VOGEL, JIM
Full Cord: Blocked, Split, Dry, 337 WADE, DAVID CHARLES Mountain Lion, 263 WALKER, JAMES Artillery Maneuvers, 370 WALTERS, CURT
Moran After the Storm, 148 WARREN, MELVIN
The Last of His Kind, 74 A Life Struggle, 268 Moon Lighting, 333 WEISTLING, MORGAN
Katy’s Straw Hat, 111 WHORF, JOHN
Early Morning, East Harbor, 284 Morning Hunt, 285 WIEGHORST, OLAF
Navajo Corral, 100 Meditate, 101
Indian on Horseback, 102 Blackfoot Chief, 176
Smoking Side Saddle, 177 Taking a Break, 178
Cowboy on Horse, 179 WILCOX, JIM
Receding Winter at Taggart Lake, 147 WINBORG, JEREMY
She Rides a Pale Horse, 141 WOLFE, WAYNE
Hayden Gorge, 385 WYSOCKI, CHARLES
Where the Buffalo Roam, 171 YAVAPAI
Yavapai Coiled Basketry Bowl, 64 Yavapai Coiled Basket, 61 YOKUTS
Yokuts Gambling Tray, 62 YOKUTS-TULARE
Yokuts-Tulare Bottleneck Basket, 55 YUROK
Yurok Basketry Bowl, 47 ZHOU, JIE WEI
The Rehearsal, 144 Giraffes, 216 ZIA
Zia Polychrome Olla, 31 ZUNI
Zuni Polychrome Olla, 35
DESIGN STUDIO AND INTERIORS 255 E. SNOW KING AVENUE | JACKSON, WY
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17. Bidding increments are as follow but may vary at the auctioneer’s discretion:
Under $1,000: $50
$1,000 - $2,000: $100
$2,000 - $5,000: $250
$5,000 - $10,000: $500
$10,000 - $20,000: $1,000
$20,000 - $50,000: $2,500
$50,000 - $100,000: $5,000
$100,000 - $200,000: $10,000
$200,000 - $500,000: $25,000
$500,000 - $1,000,000: $50,000
$1,000,000 and up: $100,000
SALES TAX
Jackson Hole Art Auction has met the threshold for an economic nexus, and is therefore required to collect sales tax, in the following states: Alabama, Arizona, Colorado, Florida, Georgia, Idaho, Illinois, Iowa, Kansas, Louisiana, Maryland, Massachusetts, Michigan, Nebraska, New Mexico, North Carolina, Oklahoma, South Dakota, Tennessee, Texas, Utah, Washington, Wisconsin, and Wyoming. If the purchaser is shipping to any of these states, Jackson Hole Art Auction is required by law to add the appropriate state and local sales tax to the purchaser’s invoice.
The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result Jackson Hole Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon.
Due to the variable nature of auction sales, and the small window in which they occur, Jackson Hole Art Auction does not yet know if the states not listed above will require sales tax collection, as that will be determined by the total dollar amount sold into each state—which cannot be predicted. Jackson Hole Art Auction will strive to inform the purchaser at the time of invoicing if sales tax collection is required; however, it may be necessary to invoice for sales tax post-sale if the threshold for an economic nexus in the purchaser’s state is met after the purchaser has paid.
Even if Jackson Hole Art Auction is not required to collect sales tax from the purchaser’s state, unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax per the terms and conditions.
If the purchaser has a valid resale certificate, the purchaser will not be required to pay sales tax. Please provide a copy of this certificate at the time of registration for tax compliance.
CREDITS
Auction Director: Kevin Doyle
Auction Coordinator: Christina Frey
Auction Registrar: Laura Marturano
Photography: Elizabeth Frates
Catalog Design: Gary Lidman
Catalog Layout: Laura Marturano & Kevin Doyle
Catalog Essays: Christina Frey, with contributions from the Couse-Sharp Foundation, Michael Grauer, and Andrew Smith Printer: O’Neil Printing, Phoenix, AZ
PREVIEWS
All artwork available for preview Monday – Friday, 9am – 5pm Saturday, 11am – 6pm
Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming
AUCTION
Morning Session, Lots 1–70 | September 13 at 10am Luncheon | September 13 at 11am
Afternoon Session, Lots 71–427 | September 13 at 12:30pm
Live Auction and Luncheon to be held at Center for the Arts
265 South Cache, Jackson, Wyoming
BIDDING & REGISTRATION
Absentee and phone bidding arrangements must be made by September 12. Register Absentee and Telephone bids online: jacksonholeartauction.com/registration
Telephone bidders are encouraged to leave absentee bids in the event of technical difficulties.
Online bidding is available through: Jackson Hole Art Auction Live Auctioneers
Invaluable
Please direct all inquiries to (307) 734-9739 and visit jacksonholeartauction.com for more information
ART PICKUP
Sunday, September 14 | 9am – 2pm
Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming
Jackson Hole Art Auction, LLC
130 East Broadway, Jackson WY 83001 | Post Office Box 1568
Tel (307) 734-9739 | jacksonholeartauction.com
2025 Jackson Hole Art Auction Limited Co.
