Issuu

AN AUCTION OF PAST AND PRESENT MASTERWORKS OF THE AMERICAN WEST — 1 —

PREVIEWS

All artwork available for preview Monday – Friday, 9am – 5pm Saturday, 12 – 5pm Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming AUCTION

Live Auction, Lots 1 – 417 | September 19 at 11am Luncheon | September 19 at 11am Live Auction and Luncheon to be held at Center for the Arts 265 South Cache, Jackson, Wyoming BIDDING & REGISTR ATION

Absentee and phone bidding arrangements must be made by September 18. Register Absentee and Telephone bids online: jacksonholeartauction.com/buy/register-to-bid 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 refer to our online catalog for additional lot information and photos: jacksonholeartauction.com/auctions/upcoming-auctions/ Direct all inquiries to info@jacksonholeartauction.com or (307) 734-9739. ART PICKUP

Sunday, September 20 | 9am – 2pm Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming E XECUTIVE LE ADERSHIP Kevin Doyle, Managing Director Christina Frey, Chief Operating Officer JACK SON HOLE ART AUCTION, LLC OWNERSHIP Lodgepole Art Partners, LLC, Member & Manager, Jackson Hole Art Auction, LLC Terry Winchell & Claudia Bonnist, Fighting Bear Antiques; Member, Lodgepole Art Partners, LLC Keith B. Ohnmeis, Member, Lodgepole Art Partners, LLC Phillip J. Harrington, Resilience Advisors, LLC; Member, Lodgepole Art Partners, LLC Kevin Doyle, Member, Jackson Hole Art Auction, LLC — 2 —

LOT 269 WALTER UFER 1876-1936

The Bake Oven, 1922, Estimate: $500,000 – $700,000 — 3 —

LOT 169 CHARLES M. RUSSELL 1864-1926

Buccaroos from the N–N Outfit on the Big Dry in Montana, 1902, Estimate: $300,000 – $500,000 — 4 —

20TH ANNUAL LIVE SALE SATURDAY, SEPTEMBER 19 11 AM MDT: LOTS 1 – 417 — 5 —

1 MARK MAGGIORI b.1977

The Meeting, 2019 conte crayon on paper 10 1/2 x 15 inches signed and dated lower right: MARK MAGGIORI 2019 Provenance: From a Private Collection $6,000 – $10,000

2 MARK MAGGIORI b.1977

Wrangling Five, 2019 graphite on paper 10 1/2 x 15 inches signed and dated lower right: MARK MAGGIORI 2019 Provenance: From a Private Collection $6,000 – $10,000

3 MARK MAGGIORI b.1977

Two Riders, 2019 graphite on paper 10 1/2 x 10 inches signed and dated lower right: MARK MAGGIORI 2019 Provenance: From a Private Collection $6,000 – $10,000

4 MARK MAGGIORI b.1977

Making a Splash, 2019 graphite on paper 10 1/2 x 10 inches signed and dated lower left: MARK MAGGIORI 2019 Provenance: From a Private Collection $6,000 – $10,000

5 MARK MAGGIORI b.1977

Cowboying, 2019 graphite on paper 11 x 10 3/4 inches signed and dated lower left: MARK MAGGIORI 2019 Provenance: From a Private Collection $5,000 – $8,000

6 MARK MAGGIORI b.1977

The Ascent, 2019 graphite on paper 10 1/2 x 14 inches signed and dated lower right: MARK MAGGIORI 2019 Provenance: From a Private Collection $6,000 – $10,000

7 MARK MAGGIORI b.1977

Six Lane Highway, 2019 graphite on paper 10 1/2 x 15 inches signed and dated lower right: MARK MAGGIORI 2019 Provenance: From a Private Collection $6,000 – $10,000

8 MARK MAGGIORI b.1977

Faces of the Old West, 2020 graphite on paper 13 1/4 x 14 3/4 inches signed and dated lower center: M.M 2020 Provenance: From a Private Collection $4,000 – $6,000

9 MARK MAGGIORI b.1977

All Gold Canyon, 2019 marker and conte crayon on paper 14 x 10 inches signed and dated lower left: MM 2019 Provenance: From a Private Collection $4,000 – $6,000 — 8 —

10 MARK MAGGIORI b.1977

A Good Day, 2019 graphite on paper 10 1/2 x 14 inches signed and dated lower left: MARK MAGGIORI 2019 Provenance: From a Private Collection $6,000 – $10,000

11 MARK MAGGIORI b.1977

Awaiting the Signal, 2022 graphite on paper 13 x 9 3/4 inches signed and dated lower left: MARK MAGGIORI 2022 Provenance: From a Private Collection $7,000 – $10,000

12 CHLOE MARIE b.1984

The Eagle Watches Over, c. 2021 mixed media on paper 14 1/4 x 8 inches signed lower right: (artist cipher) C.M.BURK Provenance: Sage to Saddle, Pine Ridge Reservation, Oglala, SD, 2021 From a Private Collection $3,000 – $5,000 — 9 —

13 CHLOE MARIE b.1984

14 DAVID CHETHLAHE PALADIN 1926-1984

A Warm Summer Morning, 2022

Emergence of the Female Gods

oil on canvas panel 12 x 16 inches signed lower right: (artist cipher) C.MBURK verso: titled, signed and dated

acrylic on canvas 42 x 40 inches signed lower right: CHETHLAHE © verso: titled

Provenance: Parsons Gallery of the West, Taos, NM (label verso) From a Private Collection

Provenance: From a Private Collection $2,000 – $4,000

$4,000 – $6,000

15 DAVID CHETHLAHE PALADIN 1926-1984

16 DAVID CHETHLAHE PALADIN 1926-1984

Kiva for the Star People

Red Sun Conversational, 1975

acrylic on canvas 35 x 35 inches signed lower right: CHETHLAHE © verso: titled

acrylic on canvas 24 x 36 inches signed and dated lower left: CHETHLAHE © 75

Provenance: From a Private Collection

Provenance: From a Private Collection $1,500 – $2,500

$2,000 – $4,000 — 10 —

17 DAN NAMINGHA b.1950

Mesa #2, 1999 acrylic on canvas 11 3/4 x 71 3/4 inches signed lower right: Namingha verso: titled, dated and signed Provenance: From a Private Collection $8,000 – $12,000

18 DAN NAMINGHA b.1950

19 BILLY SOZA WARSOLDIER 1949-2014

Ceremonial Symbols #1, 1992

There Is Life in Survival, 1994

oil on canvas 17 1/2 x 23 1/2 inches verso: signed, dated and titled

Provenance: Niman Fine Art, Santa Fe, NM (label verso) Larsen Gallery, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ

Provenance: Private Collection, Scottsdale, AZ $5,000 – $7,000

$3,000 – $5,000 — 11 —

20 NOCONA BURGESS b.1969

American Minotaur: The Chairman, 2024 acrylic on canvas 30 x 30 inches signed lower left: Nocona Burgess verso: titled, signed and dated Provenance: From the Artist $4,000 – $6,000

21 NOCONA BURGESS b.1969

Quanah in Trade Silver, 2023 acrylic on canvas 36 x 36 inches signed lower left: Nocona Burgess verso: titled, dated and signed Provenance: From the Artist $5,000 – $7,000

22 DAVID BRADLEY b.1979

Kicking Bear, 1991 oil on canvas 12 x 9 x 1 3/8 inches signed and dated lower right: DB ‘91 Provenance: The Georgia and Charles Loloma Collection Santa Fe Art Auction, Summer Signature Sale, June 2022, Lot 342 (label verso) Private Collection, Scottsdale, AZ $4,000 – $6,000 — 12 —

23 JOHN NIETO 1936-2018

Sioux with Presidential Medal, 2005 acrylic on canvas 44 x 40 inches signed lower right: nieto verso: titled, signed and dated Provenance: From a Private Collection John Nieto brought a bold, unmistakable voice to contemporary Western art through his expressive portraits of Indigenous figures, rendered in electrifying color and dynamic form. Influenced by Fauvism and Expressionism, Nieto rejected naturalistic palettes in favor of vivid, saturated hues that emphasize the dignity, strength, and presence of his subjects rather than strict realism. His distinctive style earned international acclaim and placement in numerous museum and public collections. Painted in 2005, Sioux with Presidential Medal exemplifies Nieto’s mature vision. A commanding frontal portrait, the figure is adorned with a feathered war bonnet and a large presidential peace medal, symbols that evoke both Native leadership and the complex history of diplomacy between Indigenous nations and the United States. Brilliant blues, greens, violets, and golds transform the sitter into an iconic, almost monumental presence. Through fearless color and simplified form, Nieto elevates the portrait beyond likeness, creating a powerful meditation on resilience, identity, and cultural pride that remains among the defining hallmarks of his celebrated career. $30,000 – $50,000

— 13 —

24 JOHN NIETO 1936-2018

Corn Dancer stained glass 59 1/4 x 35 1/4 inches inscribed lower right: nieto estate signature verso: nieto estate signature Provenance: From a Private Collection In the early to mid-1980s, during a period of profound artistic confidence and experimentation, John Nieto pursued an ambitious evolution of his visual language. Widely celebrated for his explosive Fauvist palette and masterful acrylic compositions, Nieto sought to transcend the reflective qualities of paint on canvas. His intention was radical yet intuitive: to allow his signature color not merely to capture light, but to become light itself. This vision culminated in a rare and historically significant collaboration with master artisans Ken and John Toney of Scottsdale Stained-Glass Works. Nieto painstakingly translated his original acrylic compositions into full-scale, hand-rendered technical drawings. Each section of glass was individually selected to replicate the vibrational intensity of his brushwork—not through pigment, but through the inherent luminosity of colored glass. The process spanned months of meticulous craftsmanship. Of the five monumental stained-glass works created during this brief but extraordinary chapter, only three are known to survive today. Corn Dancer stands among these exceedingly rare works. Unlike many works that circulated through galleries during his lifetime, Corn Dancer remained within John Nieto’s private residence for approximately a decade, installed in the master bedroom of his home. Its placement speaks to the deeply personal resonance the piece held for the artist and his family. $30,000 – $50,000 — 14 —

Rodolfo Morales (Mexican, 1925-2001) was a celebrated painter from Ocotlán de Morelos, Oaxaca, whose luminous, dreamlike images helped define the region’s contemporary art scene. Born into a small rural community, Morales studied at Mexico City’s Academia de San Carlos and spent more than three decades teaching art before his work gained international recognition in the 1970s. His paintings and collages blend magic realism and surrealism, often depicting village women, animals, and everyday rituals in saturated color, creating poetic visions of Oaxaca’s communal life.

25 RODOLFO MORALES 1925-2001

Untitled, 1997 oil on canvas 39 1/8 x 31 1/8 inches signed lower right: Rodolfo Morales Provenance: Arte de Oaxaca, Oaxaca de Juarez, Mexico From a Private Collection $30,000 – $60,000

26 RODOLFO MORALES 1925-2001

Untitled, 1997 oil on canvas 31 1/4 x 39 1/8 inches signed lower right: Rodolfo Morales Provenance: Arte de Oaxaca, Oaxaca de Juarez, Mexico From a Private Collection $30,000 – $60,000 — 15 —

27 CHARLES MUENCH b.1966

28 CHARLES PABST b.1950

Solitude and Respite, Eastern Sierra

Heaven’s View

oil on canvas 30 x 24 inches signed lower right: Charles Muench verso: signed and titled

oil on canvas 24 x 48 inches signed lower right: Charles H. Pabst

Provenance: From the Artist

Provenance: From a Private Collection $4,000 – $8,000

$6,000 – $10,000

29 JOHN BYE b.1970

30 MICHAEL GODFREY b.1958

Rider on the Storm

Gold in the Highlands - Salute to Summer

oil on linen canvas 40 x 30 inches signed lower right: JBye

oil on canvas 48 x 36 inches signed lower right: Michael Godfrey

Provenance: From the Artist

Provenance: Private Collection, Jackson, WY

$10,000 – $20,000

$5,000 – $10,000 — 16 —

31 OLEG STAVROWSKY 1927-2020

Gobblers Three oil on canvas 40 x 36 inches signed lower right: Oleg Stavrowky verso: titled and signed Provenance: From a Private Collection $4,000 – $6,000

32 LUKE FRAZIER b.1970

Called from the Canyon, 2026 oil on panel 24 x 18 inches signed lower right: L. Frazier verso: titled and signed Provenance: From the Artist “Elk habitat some of the gnarliest terrain possible - they find themselves right at home in the deepest darkest canyons and windblown down fall. During the fall rut, this young stud bull seeking to gather his own harem of females has been challenged, and drawn out—hell bent on protecting what is his.” - The Artist, 2026 $10,000 – $20,000

33 DAVID CHARLES WADE 1952-2019

Pronghorn Antelope oil on masonite 30 x 48 inches signed lower right: Dave Wade Provenance: From the Estate of D. Richard Ryan, Jr. $4,000 – $6,000 — 17 —

34 CHAD POPPLETON b.1976

35 MICHAEL COLEMAN b.1946

String Lake Society

Deer in an Autumn Landscape

oil on panel 24 x 36 inches signed lower left: Chad Poppleton (Cowboy Artists of America cipher) verso: titled and signed

oil on canvas pane 40 x 60 inches signed lower right: MICHAEL COLEMAN © Provenance: From a Private Collection

Provenance: From a Private Collection

$25,000 – $45,000

$10,000 – $20,000

36 TIM SHINABARGER b.1966

37 LUKE FRAZIER b.1970

Call of the North, 2007

Moose on the Muskeg, 2021

bronze, edition 3 of 35 18 1/8 x 19 x 8 inches inscribed: © 07 Shinabarger 3/35

oil on panel 14 x 18 inches signed and dated lower right: L Frazier © 21 verso: titled, signed and dated

Provenance: From a Private Collection $4,500 – $6,500

Provenance: From a Private Collection $5,000 – $7,000 — 18 —

39 MICHAEL COLEMAN b.1946

Digging Marmots, 1982

38 DUSTIN VAN WECHEL b.1974

Ram Tough, 2016 oil on canvas panel 16 x 12 inches signed lower left: D Van Wechel verso: titled, signed and dated

oil on panel 20 x 22 1/2 inches signed and dated lower left: MICHAEL COLEMAN - © 1.9.8.2 verso: titled and dated Provenance: Mongerson Galleries, Chicago, IL (label verso) From a Private Collection $6,000 – $10,000

Provenance: From a Private Collection $3,000 – $5,000

40 MICHAEL COLEMAN b.1946

41 KEN CARLSON b.1937

Guardian of the Spirits

Bighorn Sheep

oil on panel 24 x 30 inches signed lower left: MICHAEL COLEMAN - © verso: titled

oil on board 12 x 18 inches signed lower right: CARLSON

Provenance: March in Montana, Lot 488, 2022 (label verso) From a Private Collection

Provenance: From a Private Collection $8,000 – $12,000

$10,000 – $20,000 — 19 —

42 CARL RUNGIUS 1869-1959

43 CARL RUNGIUS 1869-1959

Goats, 1926

Dall Sheep, 1928

etching and drypoint on paper 7 7/8 x 10 7/8 inches signed lower right: C. Rungius

etching and drypoint on paper 7 7/8 x 10 7/8 inches signed lower right: C Rungius

Provenance: From a Private Collection

Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 13, p. 115, another example illustrated.

Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 21, p. 131, another example illustrated. $4,000 – $6,000

$4,000 – $6,000

44 CARL RUNGIUS 1869-1959

45 CARL RUNGIUS 1869-1959

Ivan, 1931

Lord of the Canyon, 1925

etching and drypoint on paper 7 3/4 x 10 3/4 inches signed lower right: C. Rungius.

etching and drypoint on paper 7 1/4 x 9 1/4 inches signed lower right: C. Rungius.

Provenance: Jackson Hole Art Auction, September 2012, Lot 12-89B (label verso) From a Private Collection

Provenance: From a Private Collection

Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 31, p. 151, another example illustrated.

Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 2, p. 93, another example illustrated. $3,000 – $5,000

$4,000 – $6,000 — 20 —

46 CARL RUNGIUS 1869-1959

47 CARL RUNGIUS 1869-1959

Old Bull, 1926

The Wanderer, 1935

etching and drypoint on paper 10 3/4 x 8 3/4 inches signed lower right: C. Rungius

etching and drypoint on paper 8 3/4 x 11 1/2 inches signed lower right: C. Rungius.

Provenance: From a Private Collection

Literature: William J. Schadlach, Carl Rungius: Big Game Painter, The Countryman Press: West Hartford, CT, 1945, frontispiece (limited edition), another example illustrated. Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 15, p. 119, another example illustrated.

Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 35, p. 159, another example illustrated. $4,000 – $6,000

$4,000 – $6,000

48 CARL RUNGIUS 1869-1959

49 CARL RUNGIUS 1869-1959

Near Long Lake, 1926

The Challenge, 1925

etching and drypoint on paper 8 3/4 x 11 3/4 inches signed lower right: C. Rungius.

etching and drypoint on paper 7 1/4 x 9 1/4 inches signed lower right: C. Rungius.

Provenance: From a Private Collection

Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 17, p. 123, another example illustrated.

Literature: Donald E. Crouch, Carl Rungius: The Complete Prints, Mountain Press Publishing: Missoula, MT, 1989, plate 1, p. 91, another example illustrated.

$3,000 – $5,000

$4,000 – $6,000 — 21 —

50 OLAF CARL SELTZER 1877-1957

51 OLAF CARL SELTZER 1877-1957

Buck Deer Vignette

Bull Moose Vignette

watercolor and graphite on paper 7 x 6 1/2 inches unsigned

watercolor and graphite on paper 9 3/8 x 7 3/8 inches signed lower center: (artist monogram)

Provenance: Collection of Dick Flood, 1951 Trailside Galleries, Idaho Falls, ID Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Jackson, WY

Provenance: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Jackson, WY $8,000 – $12,000

$7,000 – $10,000

53 OLAF CARL SELTZER 1877-1957 52 OLAF CARL SELTZER 1877-1957

Cougar watercolor and graphite on paper 9 1/4 x 6 1/4 inches signed lower right: (artist monogram) Provenance: Santa Fe Art Auction, Santa Fe, NM (label verso) Private Collection, Jackson, WY

Montana Griz Vignette watercolor and graphite on paper 6 3/8 x 10 inches signed lower left: (artist monogram) Provenance: Charles M. Russell Benefit Auction, March, 2005, Lot 284 (partial label verso) Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Jackson, WY $6,000 – $9,000

$6,000 – $9,000 — 22 —

54 OLAF CARL SELTZER 1877-1957

55 OLAF CARL SELTZER 1877-1957

Prairie Wolf Vignette

Show Bear Standing on a Ball

watercolor, gouache and ink on paper 6 1/2 x 6 1/2 inches signed lower right: (artist monogram)

watercolor on paper 8 1/4 x 5 inches signed lower left: (artist monogram)

Provenance: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Jackson, WY

$8,000 – $12,000

$5,000 – $7,000

57 ELI HARVEY 1860-1957

Mother Bear and Cubs, 1907

56 ANNA HYATT HUNTINGTON 1876-1973

Rolling Bear bronze 3 1/8 x 4 1/4 x 3 3/8 inches inscribed: Anna V. Hyatt stamped: GORHAM CO FOUNDERS Q4 #103 Provenance: From a Private Collection $3,000 – $5,000

bronze 3 1/2 x 10 x 4 1/4 inches inscribed: Copyright.1907.by. Eli·Harvey· inscribed: Eli·Harvey·Sc·1907· stamped: CIRE PERDUE C.VALSUANI modeled in 1907 cast by Claude Valsuani Foundry, Paris Provenance: Christie’s, Los Angeles, October 2006, Lot 37 From a Private Collection $4,000 – $6,000 — 23 —

58 ALEXANDER PHIMISTER PROCTOR 1862-1950

Bear Cub and Rabbit (Cub and Rabbit), 1894 bronze 4 1/2 x 3 1/8 x 2 1/2 inches inscribed: APhimster Proctor 94 COPY RT 95 modeled in 1894 Provenance: From a Private Collection Literature: Alexander Phimister Proctor, Sculpture in Buckskin: An Autobiography by Alexander Phimister Proctor, University of Oklahoma Press: Norman, OK, 1971, p. 208. Peter H. Hassrick, Wildlife and Western Heroes: Alexander Phimister Proctor Sculptor, Amon Carter Museum: Fort Worth, TX, 2003, p. 118. $3,000 – $5,000

59 EDWIN WILLARD DEMING 1860-1942

60 JAMES LIPPITT CLARK 1883-1957

Kodiak, 1956 bronze 12 1/4 x 5 1/2 x 6 inches inscribed: ·KODIAK· inscribed: JAS·L·CLARK Sc © · 1956 stamped: ROMAN BRONZE WORKS INC. N.Y. modeled in 1956 Provenance: Hindman, May 2023, Lot 192 From a Private Collection $5,000 – $7,000 — 24 —

61 ELI HARVEY 1860-1957

62 ELI HARVEY 1860-1957

Elk, 1909

Elk, 1904

bronze 31 1/8 x 22 x 11 1/2 inches inscribed: Eli·Harvey·Sc 1909· inscribed: Copyright·1909·by· Eli·Harvey stamped: HENRI.ROUARD FONDEUR-PARIS stamped: MADE IN FRANCE

bronze 16 3/4 x 12 x 6 inches inscribed: Eli Harvey Sc. 1904 inscribed: Copyright. by Eli Harvey 1904 stamped: Q 435 GORHAM CO. FOUNDERS stamped: 17

modeled in 1909

modeled in 1904 cast in 1913

Provenance: From a Private Collection $7,000 – $10,000

Provenance: J. N. Bartfield Galleries, New York From a Private Collection $3,000 – $5,000

64 LOUIS PAUL JONAS 1894-1971 63 ANNA HYATT HUNTINGTON 1876-1973

Elk bronze 18 3/4 x 11 1/4 x 6 inches inscribed: Anna V. Huntington stamped: GORHAM C FOUNDERS Q U Q Provenance: From a Private Collection $4,000 – $6,000

Deer (Caribou), c. 1930 bronze 12 1/4 x 11 x 4 1/2 inches unsigned Provenance: Gift of the artist to Alexander Tatti Gerald Peters Gallery, Santa Fe, NM (label underside) From a Private Collection $2,500 – $4,500 — 25 —

65 JAMES LIPPITT CLARK 1883-1957

66 ALEXANDER PHIMISTER PROCTOR 1862-1950

Reclining Doe, 1902

Fawn (First Model), 1887

bronze 6 7/8 x 8 5/8 x 3 3/4 inches inscribed: © FIRST MODEL FINISHED BY A PHIMISTER 1888 PROCTOR stamped: GORHAM CO FOUNDERS (Gorham seal) Q U G

modeled in 1902

modeled in 1887 cast c. 1893

Provenance: The Reingold Collection, New Jersey Rago Auction, New Jersey, May 2007, Lot 1237 Gerald Peters Gallery, Santa Fe, NM (label underside) From a Private Collection

Provenance: From a Private Collection $4,000 – $6,000

$3,000 – $5,000

67 HARRIET WHITNEY FRISHMUTH 1880-1980

Small Spread Eagle, 1910 bronze 8 x 23 1/2 x 13 1/2 inches inscribed: Copyrighted Harriet Frishmuth stamped: GORHAM CO. FOUNDERS QEX modeled in 1910 cast c. 1910-1921 Frishmuth created a series of four eagle sculptures in the early 1910s: the present Small Spread Eagle, modeled in 1910; Large Spread Eagle and the Ruppert Eagle, both of which were modeled in 1911; and Gloucester Eagle, which she completed in 1914. Frishmuth exhibited a cast of the present Small Spread Eagle at the Pennsylvania Academy, the National Academy of Design, and the Roman Art Exposition in 1911. The following year she showed the sculpture, along with her Ruppert Eagle, at Gorham Galleries Exhibition of Sculpture by American Women in New York in 1912. It was cast in an edition of 16 between 1910 and 1921. Harriet Whitney Frishmuth is best known for her exuberant images of female nudes. She studied briefly with Auguste Rodin in Paris and trained at the Art Students League with sculptors Hermon Atkins MacNeil and Gutzon Borglum in New York. Her work achieved tremendous popularity between the 1910’s and the 1930’s, coinciding with the height of interest in collecting bronze sculptures for the home and garden. $15,000 – $25,000 — 26 —

69 SOLON HANNIBAL BORGLUM 1868-1922 68 JAMES LIPPITT CLARK 1883-1957

Ram, 1939 bronze 10 1/4 x 8 3/4 x 3 1/2 inches inscribed: JAS·L·CLARK·’39 © stamped: ROMAN BRONZE WKS. INC. modeled in 1939

Buffalo, c. 1896-1899 bronze 4 1/2 x 5 x 1 3/4 inches inscribed: S Borglum modeled and cast c. 1896-1899

Provenance: From a Private Collection

Provenance: The Reingold Collection, New Jersey Rago Auction, New Jersey, May 2007, Lot 1340 From a Private Collection

$5,000 – $7,000

71 SIMON MOSELSIO 1890-1964 70 EDWIN WILLARD DEMING 1860-1942

Buffalo with Skull bronze 6 1/4 x 8 1/4 x 3 inches inscribed: EWDEMING inscribed: AMER. ART F’DRY. N.Y. Provenance: From a Private Collection $3,000 – $5,000

Figure of a Buffalo, 1929 bronze 3 x 3 3/4 x 1 1/2 inches stamped underside: © MOSELSIO 1929 stamped on base: © MOSELSIO 1929 modeled in 1929 Provenance: Private Collection, New York From a Private Collection $1,000 – $2,000 — 27 —

72 WILHELM KUHNERT 1865-1926

Wisent (European Bison) oil on canvas 37 3/4 x 55 1/2 inches signed lower right: Willy. Kuhnert verso: signed Provenance: The Artist Private Collection by descent Christie’s London, December 2014, Lot 54 (label verso) Nagel Auktionen, February 2024, Lot 21 From a Private Collection Exhibited: Museum f. Völkerkunde, Hamburg, Germany, 1955, Catalog No. 32 This powerful painting of a lone European bison exemplifies Wilhelm Kuhnert’s gift for combining zoological accuracy with atmospheric drama. Dominating the composition, the animal is caught in a moment of wary stillness, its massive form turned three-quarters toward the viewer, hooves rooted in the stubbled grass. The careful modeling of the shaggy coat and muscular shoulders reflects Kuhnert’s training as a specialist animal painter, celebrated for his ability to render fur and anatomy with scientific precision. The bison’s dark, intelligent eye anchors the emotional tone of the work, suggesting alertness and latent power rather than aggression. Kuhnert situates the creature in a subtly desolate landscape: a thin birch tree, scrubby grasses, and distant foliage under a changeable sky of blue punctuated by drifting clouds. This spare setting recalls his practice of painting wildlife in their natural habitats, a hallmark of his career that helped define how European viewers imagined big game. The low horizon line and broad sweep of open ground heighten the sense of isolation and vulnerability, inviting reflections on the European bison’s, and indeed the North American bison’s, historical near-extinction. Overall, the painting reads as both a tribute to the majesty of wild fauna and a poignant meditation on their precarious place in the modern world. $60,000 – $90,000 — 28 —

73 HERMANN HERZOG 1831-1932

Landscape with Hunter, 1855 oil on canvas 14 1/4 x 20 inches signed and dated lower left: H. Herzog. 55 Provenance: From a Private Collection $3,500 – $5,500

74 HERMANN HERZOG 1831-1932

Pastoral Landscape oil on canvas 8 x 12 inches signed lower left: H. Herzog. Provenance: From a Private Collection $4,000 – $6,000 — 29 —

John Fery, Jackson Hole, and the Railroad West John Fery’s images of Jackson Lake, the Tetons, elk country, and Yellowstone emerge from a formative period in the making of both the artist and the American West. Born Johann Nepomuk Levy in Austria in 1859, Fery trained in Europe before immigrating to the United States and building a reputation as a painter of dramatic mountain scenery. His first sustained encounters with the western landscape came through hunting excursions in the Northwest during the early 1890s, when he accompanied European nobles and painted along the way. By the late 1890s, Fery had made Jackson Lake, Wyoming, his base of operations. According to Peter C. Merrill’s account of the artist, he regarded Jackson Lake as the most beautiful body of water he had ever seen. He and his family lived in a cabin near the lake, at a time when Jackson Hole remained difficult to reach, thinly settled, and far removed from the tourism economy that later came to define it. At the turn of the twentieth century, he was working in an environment where travel was slow, weather was consequential, and the surrounding wildlife was a visible part of daily life. That turn-of-the-century residence helps explain the depth and familiarity of Fery’s Jackson Lake paintings. The works are not the product of a brief sightseeing stop. They reflect repeated observation of the lake, the shifting views of the Tetons, the forest margins, and the movement of elk and deer through the country. The paintings portray a landscape that Fery knew as both a hunter and a working artist: a place of changing light, seasonal weather, solitude, and immense geographic scale. His scenes of wildlife are therefore more than decorative additions to a mountain view. They suggest the rhythms of a place where animals, water, and forest were inseparable elements of the environment. Jackson Hole in Fery’s day was still in the early stages of transition. Ranchers, homesteaders, trappers, guides, and a growing number of eastern visitors all moved through the valley. Travel remained demanding. The Snake River’s braided channels could be difficult and dangerous to cross, and early crossings such as Bill Menor’s ferry were essential to movement through the region. In the first decades of the twentieth century, the area’s growing appeal to “dudes,” tourists, and sportsmen existed alongside the realities of settlement and subsistence. Fery’s work belongs to this moment before the Tetons were fully absorbed into the national-park and destination-tourism identity familiar today. Grand Teton National Park did not yet exist when he was living near Jackson Lake. The artist’s canvases consequently preserve an earlier imaginative version of the valley: not untouched in a literal sense, but still experienced as a lightly inhabited wilderness. In 1910, Louis W. Hill, president of the Great Northern Railway, recruited Fery for the company’s ambitious “See America First” campaign. Hill wanted large, dramatic paintings and photographs that could hang in ticket agencies, railroad depots, public buildings, fairs, and expositions, thereby persuading Americans to travel west to Glacier National Park. Great Northern supplied Fery with a studio, rail pass, living allowance, Glacier accommodations, and a salary. From 1910 to 1913, Fery produced large, highly finished views of Glacier’s lakes, waterfalls, glaciers, and peaks for display in Great Northern stations, offices, hotels, and promotional venues. The paintings were designed to make a distant landscape immediate and desirable: their sweeping scale, heightened color, and dramatic mountain forms promised prospective travelers an American wilderness as grand as any in Europe. Fery’s Glacier canvases did not simply illustrate the railroad’s route; they helped establish the visual identity of Glacier National Park for a national audience. The Great Northern commission was commercial, but it was also a major cultural project. Fery’s Glacier paintings carried the visual lessons he had developed in Wyoming to a far broader public, transforming remote western scenery into a compelling national destination. The railroad could deliver travelers to Glacier, but Fery’s art supplied the imaginative journey that made them want to go. The Yellowstone pictures extend the same broader railroad-era sensibility. Fery painted a Yellowstone group for the Northern Pacific Railroad, rather than for Great Northern, underscoring how railroads competed to transform western scenery into a compelling reason to travel. Taken together, these paintings reveal John Fery as both a firsthand observer of the early Jackson Hole country and a masterful architect of western aspiration. His time at Jackson Lake grounded his art in lived experience. His Great Northern work then transformed such experience into a public vision of the American West: monumental, abundant, remote, and yet—through the promise of the railroad— within reach.

— 30 —

75 JOHN FERY 1859-1934

Elk in Landscape, 1899 oil on canvas 14 1/2 x 22 1/2 inches signed and dated lower left: J. Fery 99 Provenance: Gallery Mayo, Richmond, VA (label verso) Private Collection, Jackson, WY $10,000 – $20,000

76 JOHN FERY 1859-1934

Elk on Jackson Lake, 1901 oil on canvas 22 x 36 inches signed and dated lower right: J. Fery 1901 Provenance: Turner Art Gallery, Inc., Denver, CO (label verso) March in Montana, March 2022, Lot 544 (label verso) Private Collection, Jackson, WY $12,000 – $20,000

77 JOHN FERY 1859-1934

Outlet of Jackson Lake (Wyo) Teton Mountains oil on canvas 24 x 36 inches signed lower left: J. Fery verso: titled Provenance: Private Collection, Jackson, WY Literature: Larry Len Peterson, John Fery: Artist of Glacier National Park & The American West, The Coeur d’Alene Art Auction: Hayden, ID, 2015, illustrated p. 52. $12,000 – $20,000 — 31 —

78 JOHN FERY 1859-1934

Jackson Lake, Wyoming watercolor on paper 15 x 23 inches signed lower right: J. Fery

79 JOHN FERY 1859-1934

Yellowstone Falls watercolor on paper 16 x 12 inches signed lower left: J. Fery

Provenance: Private Collection, Jackson, WY Literature: Larry Len Peterson, John Fery: Artist of Glacier National Park & The American West, The Coeur d’Alene Art Auction: Hayden, ID, 2015, illustrated p. 58.

Provenance: Private Collection, Jackson, WY

$5,000 – $7,000

$8,000 – $12,000

80 JOHN FERY 1859-1934

81 JOHN FERY 1859-1934

Jackson Lake and Tetons

Yellowstone Lake

oil on canvas 18 x 30 inches signed lower right: J. Fery

oil on board 13 1/2 x 21 1/2 inches signed lower left: J. Fery verso: titled and signed

Provenance: Private Collection, Jackson, WY $12,000 – $20,000

Provenance: W. M. McConahay, Jeweler and Art Dealer, Salt Lake City, UT (label verso) Private Collection, Jackson, WY Literature: Larry Len Peterson, John Fery: Artist of Glacier National Park & The American West, The Coeur d’Alene Art Auction: Hayden, ID, 2015, illustrated p. 38. $5,000 – $7,000 — 32 —

82 JOHN FERY 1859-1934

St. Mary’s Lake, Glacier National Park oil on canvas 36 x 72 inches signed lower right: J. Fery Provenance: Private Collection, Jackson, WY Literature: Larry Len Peterson, John Fery: Artist of Glacier National Park & The American West, The Coeur d’Alene Art Auction: Hayden, ID, 2015, illustrated p. 112. $25,000 – $45,000

83 JOHN FERY 1859-1934

Outlet of Jackson Lake with Teton Mountains, Wyoming oil on canvas 24 1/2 x 32 inches signed lower left: J. Fery verso: titled Provenance: Private Collection, Jackson, WY Literature: Larry Len Peterson, John Fery: Artist of Glacier National Park & The American West, The Coeur d’Alene Art Auction: Hayden, ID, 2015, illustrated p. 54. $12,000 – $20,000

84 JOHN FERY 1859-1934

Winter Day oil on canvas 21 3/4 x 36 inches signed lower right: J. Fery Provenance: Collection of William P. Healey, Jackson, WY Coeur d’Alene Art Auction, July 2019, Lot 23 From a Private Collection Literature: Larry Len Peterson, John Fery: Artist of Glacier National Park & The American West, The Coeur d’Alene Art Auction: Hayden, ID, 2015, illustrated p. 176. $8,000 – $12,000 — 33 —

86 TERRY BATEMAN b.1942

Pronghorn Antelope on the Move 85 TIM SHINABARGER b.1966

oil on canvas 20 x 30 inches signed lower right: T Swanton Bateman © Provenance: Private Collection, Tucson, AZ $1,500 – $2,500

Provenance: From a Private Collection $3,000 – $5,000

87 TERRY BATEMAN b.1942

88 TERRY OWEN MATTHEWS b.1931

Cape Buffalo

Buffalo Walk, 1991

oil on canvas 20 x 30 inches signed lower right: T Swanton Bateman ©

bronze, edition 31 of 100 4 1/2 x 7 1/2 x 2 3/4 inches inscribed: T.O. Matthews 31 1991 © 31 100

Provenance: Private Collection, Tucson, AZ

Provenance: From a Private Collection

$1,500 – $2,500

$2,500 – $4,500

— 34 —

89 TIM SHINABARGER b.1966

90 SHIRLEY GREENE b.1959

Coalition, 2000 oil on canvas 35 x 49 1/4 inches signed and dated lower right: Shirley Greene ‘00 © Provenance: From a Private Collection $5,000 – $8,000

91 ARTHUR WARDLE 1864-1949

Lions at Midnight oil on board 15 x 20 inches signed lower right: ARTHUR WARDLE Provenance: Bonhams Chester, United Kingdom, March 2013, Lot 684 Sheppard’s Auction House, Durrow, Ireland, February 2014, Lot 903 Bonhams Knightsbridge, United Kingdom, March 2018, Lot 104 John Nicholson’s Fine Art Auctioneers & Valuers, Haslemere, United Kingdom, October 2018, Lot 367 John Nicholson’s Fine Art Auctioneers & Valuers, Haslemere, United Kingdom, September 2023, Lot 453 From a Private Collection $4,000 – $6,000 — 35 —

92 MICHAEL COLEMAN b.1946

Elephant oil on board 20 x 24 inches signed lower left: MICHAEL COLEMAN - © Provenance: From a Private Collection $6,000 – $10,000

93 BOB KUHN 1920-2007

Elephant conte crayon on paper 13 3/4 x 15 inches signed lower left: Kuhn Provenance: Private Collection, Bozeman, MT $3,000 – $5,000

94 LINDSAY SCOTT b.1955

Maasai Women on the Savanna oil on canvas 30 x 50 inches signed lower left: LINDSAY B SCOTT $7,000 – $10,000 — 36 —

95 PAUL WAYLAND BARTLETT 1865-1925

Reclining Lion, c. 1892-1893 bronze 5 1/2 x 11 x 4 1/2 inches inscribed: Bartlett P.W inscribed: J. Arthur Limerick Co. Founders Baltimore modeled c. 1892-1893 cast after 1900 Provenance: Private Collection, Cooperstown, NY From a Private Collection Reclining Lion is a sculptural study created by Paul Wayland Bartlett as part of his proposal for the 1892 Sherman Monument competition. That year, the federal government invited artists to submit designs for a monument commemorating Union General William Tecumseh Sherman, whose leadership during the Civil War, including the famed March to the Sea, secured his place in American history. Bartlett’s design was selected as a finalist, though the commission was ultimately awarded to another sculptor. $4,000 – $6,000

96 ALEXANDER PHIMISTER PROCTOR 18621950

Seated Lion, 1914 bronze 6 3/4 x 5 3/4 x 3 inches inscribed: A PHIMIST PROCTOR 1914 stamped: PETERMANN modeled in 1914 Provenance: From a Private Collection $4,000 – $6,000 — 37 —

Anna Hyatt Huntington (1876-1973) was among the foremost American animal sculptors of the twentieth century, admired for her close observation of anatomy and her ability to convey movement, strength, and individual character. Her panther bronzes capture the great cat in a variety of natural poses—stretching, descending, reaching, or pausing in alert attention. Huntington’s compositions were based on her nearly four-decade long study of Señor Lopez, a jaguar from Paraguay who was the first feline occupant of the Lion House at the New York Zoological Park (now the Bronx Zoo).

97 ANNA HYATT HUNTINGTON 1876-1973

Reaching Jaguar (Variant), c. 1925 bronze 6 1/2 x 4 x 3 1/4 inches inscribed: Anna V. Hyatt stamped: GORHAM CO. FOUNDERS Q 493 #13 modeled c. 1925 cast c. 1925-1948 Provenance: Amiel Brown, New York From a Private Collection $5,000 – $8,000

98 ANNA HYATT HUNTINGTON 1876-1973

Reaching Jaguar (Variant), c. 1920 bronze 6 3/8 x 4 3/4 x 3 3/4 inches inscribed: Anna V. Hyatt stamped: 33 GORHAM CO Q 38 modeled c. 1920 cast c. 1920-1948 Provenance: Amiel Brown, New York From a Private Collection $5,000 – $8,000

99 ANNA HYATT HUNTINGTON 1876-1973

Jaguar Climbing a Rock, c. 1925 bronze 8 3/4 x 3 1/4 x 3 inches inscribed: Anna V. Hyatt stamped: Q 494 GORHAM CO. FOUNDERS #24 modeled c. 1925 Provenance: Amiel Brown, New York From a Private Collection $7,000 – $10,000 — 38 —

100 ALEXANDER PHIMISTER PROCTOR 1862-1950

Panther with Kill, (Cougar Feasting on Fawn), 1907 bronze 5 1/2 x 12 x 5 1/2 inches inscribed: A·PHIMISTER PROCTOR. COPY 09 modeled in 1907 cast c. 1909 Provenance: From a Private Collection The model for this bronze was a well-known cougar named Yellowstone Pete (actually a female), who had been captured in 1907 by Major John Pitcher, then the superintendent of that national park. As an admirer and former hunting friend, he sent the animal to the care of Proctor with the intention of promoting a creative result as well as donating the lioness to the Zoological Park in New York. Ultimately the sculptor borrowed “Pete” - bringing the caged animal to his studio in Westchester - in order to capture her pose, expression and musculature with closer inspection. The homage to the French animalier master Antoine-Louis Barye is obvious with similarities of composition and drama. Yet Proctor’s sculpture projects an animal that is fierce and menacing in nature. The reality and violence of the subject was not popular with Proctor’s collectors who may have preferred the single images of wildlife sculpted in a more agreeable interpretation. There are only two other known casts - one in the National Museum of Wildlife Art in Jackson, Wyoming and another at the Buffalo Bill Center of the West in Cody, Wyoming, a gift from the Proctor family. $8,000 – $12,000

101 HENRY KIRKE BUSH-BROWN 1857-1935

Panther and Cubs, 1854 bronze 9 1/2 x 17 3/4 x 7 1/2 inches inscribed: H·K Bush. Brown. SC. N-Y 1854. stamped underneath: A.M. (for Ames Manufacturing Company) modeled in 1854 cast between 1886-1898 Provenance: From a Private Collection The present work was modeled in 1854 by Henry Kirke Brown (1814-1886) and was cast between 1886 and 1898 under the direction of the artist’s nephew, Henry Kirke Bush-Brown (1857-1935). $8,000 – $12,000 — 39 —

102 ALEXANDER PHIMISTER PROCTOR 1862-1950

Stalking Panther, c. 1891-1892 bronze 9 1/2 x 38 1/4 x 6 inches inscribed: A PHIMISTER PROCTOR 1891·1902 inscribed: COPYRIGHT inscribed: CIRE PERDUE CAST. ROMAN BRONZE WORKS N3. modeled c. 1891-1892 cast c. 1902 Provenance: Private Collection, Louisville, KY From a Private Collection Alexander Phimister Proctor approached animal sculpture through close observation and formal study, developing his knowledge of anatomy through academic training and dissection. Stalking Panther also reflects his experience as a hunter and outdoorsman. He began the model in New York, drawing on panthers he had observed during an 1887 hunting trip to Colorado and at the Central Park Zoo. Proctor later continued the work in Paris, where he used a shaved domestic cat as an anatomical reference. $25,000 – $45,000

103 CHARLES CARY RUMSEY 1879-1922

Walking Puma (Stalking Panther), 1916 bronze 6 5/8 x 14 1/2 x 4 1/2 inches inscribed: C C Rumsey inscribed: ROMAN BRONZE WORKS N.Y. modeled in 1916 Provenance: From a Private Collection $8,000 – $12,000 — 40 —

104 BOB KUHN 1920-2007

Leopard, 1973 mixed media on paperboard 18 x 26 inches signed and dated lower right: Kuhn 73 Provenance: Rowland Ward Ltd., Nairobi, Kenya Acquired by the present owner from the above, circa 1985 This leopard painting by Bob Kuhn epitomizes his mature command of wildlife drama, design, and texture. Kuhn’s hallmark surfaces are everywhere: bark built from layered, knife-edged strokes and scumbled color, and a coat of rosettes rendered with just enough specificity to convince, but never so tight that the pattern deadens the form. Kuhn handles the violence in this scene with remarkable restraint, letting it register only in the quiet drama at the right edge. There, the faint form of the antelope—partially obscured by branches—suggests a recent kill without diminishing the calm demeanor of the leopard. The antelope’s pale flank and angled legs echo the diagonal thrust of the leopard’s body, visually binding predator and prey while keeping the narrative almost subliminal. Typical of his post-1970 easel work, the setting is pared back; light and space dissolve into an almost abstract pale background that pushes the leopard and tree into sharp relief, recalling the color-field influences that freed Kuhn from illustrative realism. The result is a painting that reads first as a dynamic, modern design and only second as a natural history study—an elegant fusion that helps explain Kuhn’s status as one of the great wildlife painters of the twentieth century. $100,000 – $200,000

— 41 —

105 DAVID HALBACH 1931-2022

106 FRANK C. MCCARTHY 1924-2002

Sure Shot, 1972

Taking a Bad Turn

watercolor on paper 13 1/2 x 21 1/8 inches signed and dated lower left: DAVID HALBACH 1972 ©

oil on panel 9 x 12 inches signed lower left: McCarthy © verso: titled and signed

Provenance: Out of Africa in Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT

Provenance: Private Collection, Jackson, WY

$3,000 – $5,000

$8,000 – $12,000

107 DAVE MCGARY 1958-2013

Gray Hawk’s Legacy, 2001 bronze, edition 1 of 60 19 1/2 x 36 x 6 inches inscribed: DAVE McGARY 2001 1/60 (thumbprint)

108 DAVE MCGARY 1958-2013

A Matter of Honor, 1997

Provenance: Private Collection, Jackson, WY

bronze, edition 2 of 50 23 x 17 1/2 x 10 inches inscribed: (thumbprint) DAVE McGARY 1997 2/50

$15,000 – $25,000

Provenance: Private Collection, Jackson, WY $15,000 – $25,000

— 42 —

109 FRANK C. MCCARTHY 1924-2002

110 FRANK C. MCCARTHY 1924-2002

Warriors Return #1

Warriors Return #2

oil on panel 11 x 14 inches signed lower left: McCarthy © verso: titled and signed

Provenance: Private Collection, Jackson, WY

$10,000 – $20,000

111 FRANK C. MCCARTHY 1924-2002

112 FRANK C. MCCARTHY 1924-2002

Warriors Return #3

Warriors Return #4

oil on panel 11 x 14 inches signed lower left: McCarthy © verso: titled and signed

Provenance: Private Collection, Jackson, WY

$10,000 – $20,000

— 43 —

113 FRANK C. MCCARTHY 1924-2002

114 FRANK C. MCCARTHY 1924-2002

Moving On

Two Scouts

oil on panel 18 x 24 inches signed lower left: McCarthy © verso: titled and signed

oil on panel 9 x 12 inches signed lower left: McCarthy (Cowboy Artists of America cipher) © verso: titled and signed

Provenance: The Legacy Gallery, Jackson, WY (label verso) Private Collection, Jackson, WY

Provenance: Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso) Private Collection, Jackson, WY

$15,000 – $25,000

$8,000 – $12,000

115 HARRY JACKSON 1924-2011

Dog Soldier, 1983 bronze, edition of 60 25 1/4 x 25 1/2 x 16 inches stamped: WFS ITALIA inscribed: (thumbprint) DS 26 © Harry Jackson 1983 Provenance: From a Private Collection “Dog Soldier - The most formidable light cavalry in modern history. Warriors of this Cheyenne military society rode headlong into the enemy lines, firing arrows faster than our U.S. Horse Soldiers could fire their single-action revolvers. They packed about twenty arrows, a lance 7 to 8 foot long, a war club and a large knife; and they gloried in their unfailing ability to make every one count. These feathered riders and their mounts, graceful as they were deadly, cut such a splendid figure as they raced into combat that even their sworn enemies spoke of the sight with open admiration.” - The Artist, May 1983 $4,000 – $6,000 — 44 —

116 JAMES ROBINSON 1944-2015

117 ED KUCERA b.1961

Preparing for a Parlay, 1982

Streamers, 2015

acrylic on board 23 3/4 x 36 inches signed lower left: Robinson

Provenance: Meinhard Galleries, Inc., Houston, TX (label verso) Coeur d’Alene Art Auction, July 2025, Lot 258 From a Private Collection

Provenance: From a Private Collection $10,000 – $20,000

$8,000 – $12,000

119 JOHN WALTER SCOTT 1907-1987

Piegan Scout, 1980 oil on canvas 14 1/2 x 29 1/2 inches signed and dated lower right: John Scott © ‘80 118 DON OELZE b.1965

Indians and Waterfall oil on canvas 38 x 26 inches signed lower left: Oelze

Provenance: Jim Fowler’s Period Gallery West, Scottsdale, AZ (label verso) Private Collection, Jackson, WY $4,000 – $6,000

Provenance: Private Collection, Dallas, TX Lone Star Art Auction, October 2023, Lot 62 From a Private Collection $12,000 – $18,000 — 45 —

120 CHARLES PABST b.1950

Peaceful Times oil on canvas 30 x 40 inches signed lower right: Charles H. Pabst

121 MORGAN WEISTLING b.1964

Provenance: Private Collection, Jackson, WY

The Trackers, 2006 oil on canvas 30 x 22 inches signed and dated lower right: MORGAN Weistling ‘06 ©

$4,000 – $6,000

Provenance: From a Private Collection $15,000 – $25,000

122 DAVID HALBACH 1931-2022

Taking Heed, 2012 watercolor on paper 19 x 26 inches signed and dated lower right: DAVID HALBACH (Cowboy Artists of America cipher) © ‘12 Provenance: Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso) Estate of David Halbach Jackson Hole Art Auction, September 2024, Lot 15 (label verso) From a Private Collection

123 KEN LAAGER b.1953

A Protective Mother, 2011 oil on canvas 26 x 44 inches signed and dated lower right: KEN LAAGER © ‘11 Provenance: From a Private Collection $4,000 – $6,000

$3,000 – $5,000 — 46 —

124 KENNETH BUNN 1938-2020

Striding Grizzly bronze, edition 3 of 7 29 1/2 x 50 x 18 inches inscribed: BUNN © 3/7 Provenance: Scottsdale Art Auction, April 2013, Lot 350 The Collection of Mr. Anthony Greene, Jackson, WY Jackson Hole Art Auction, September 2018, Lot 275 Scottsdale Art Auction, April 2022, Lot 367 From a Private Collection Ken Bunn’s commanding bronze of a striding grizzly immediately conveys the animal’s raw power. The bear moves forward with a deliberate, grounded stride, shoulders rolling and weight shifting through its massive frame, as if emerging from the timberline into open country. Broad, faceted hand and tool marks articulate the pelt, catching light in a way that suggests sun on thick, weathered fur. The rich, nuanced patina—moving from deep umber to warm highlights—enhances this sense of living, breathing weight. Bunn’s careful balance of anatomical accuracy and gestural modeling imbues the sculpture with both presence and personality. The grizzly’s lowered head and intent gaze convey watchfulness rather than outright menace, evoking a top predator calmly in command of its terrain. This is classic Western wildlife sculpture: bold, sculptural, and museum-worthy—a cast is included in the permanent collection of the National Museum of Wildlife Art in Jackson, Wyoming—yet intimate enough to reward close viewing. $35,000 – $55,000

— 47 —

125 TUCKER SMITH b.1940

Canadian Rams, 2004 oil on canvas 16 x 20 inches signed and dated lower right: Tucker Smith 04 Provenance: From the Collection of Curtice and Bob McCloy Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey: Dallas, TX, 2009, illustrated p. 193. $30,000 – $50,000

126 SIMON GUDGEON b.1958

Battering Rams bronze, edition 1 of 9 1) 20 3/4 x 22 1/4 x 7 1/4 inches 2) 19 3/4 x 23 x 7 inches stamped: SG I/IX (each) Provenance: From a Private Collection Proceeds from this sale of this lot will benefit the National Museum of Wildlife Art, Jackson, WY $4,000 – $6,000 — 48 —

127 RAY SEXTON 1959-1996

Deep Snow Rams, 1992 oil on canvas 20 x 30 inches signed and dated lower left: RAY SEXTON © 92 Provenance: The Artist The Gene Worrell Collection, 1993 Santa Fe Art Auction, Art of the West, May 2024, Lot 231 From a Private Collection $6,000 – $10,000

128 RAY SEXTON 1959-1996

Bighorn Sheep, 1990 oil on board 10 x 13 inches signed and dated lower left: SEXTON © 90 Provenance: Astoria Fine Art, Jackson Hole, WY (label verso) From a Private Collection $3,000 – $5,000

129 TIM SHINABARGER b.1966

130 SCOTT CHRISTENSEN b.1962

Distant Movement, 1997

High Country Lake, 2018

bronze, edition 5 of 30 20 x 18 1/2 x 18 1/2 inches inscribed: © 97 Shinabarger 5/30 “Distant Movement”

oil on canvas 20 x 24 inches signed lower left: Christensen © frame verso: dated and signed

Provenance: From the Collection of Curtice and Bob McCloy $4,000 – $6,000

Provenance: The Legacy Gallery, Scottsdale, AZ (label verso) From a Private Collection $3,500 – $5,500 — 49 —

131 CLYDE ASPEVIG b.1951

Teton Anticline oil on canvas 48 x 53 inches signed lower left: C. Aspevig verso: titled and signed Provenance: Tierney Fine Art, Bozeman, MT (label verso) Private Collection, Bozeman, MT “The Teton Anticline is a prominent geologic structure along the Rocky Mountain Front west of Choteau, Montana. This fault related fold caused the sharply elevated mountains to rise from the plains. It is topographically exposed in the upper reaches of the South and North Forks of the Teton River where I gathered reference material for this work.” - The Artist $45,000 – $65,000

— 50 —

132 KEN CARLSON b.1937

High Cliffs oil on board 10 x 13 inches signed lower right: CARLSON Provenance: From a Private Collection $8,000 – $12,000

133 TUCKER SMITH b.1940

Goats of Norway, 2004 oil on linen 20 x 24 inches signed and dated lower right: Tucker Smith 04 Provenance: Gerald Peters Gallery, Santa Fe, NM Private Collection, MT Heritage Auctions, American Art, November 2019, Lot 68092 Private Collection, Dallas, TX Lone Star Art Auction, October 2022, Lot 96 Private Collection, Wilson, WY $7,000 – $10,000

134 CHAD POPPLETON b.1976

The Crowd at the Top, 2014 oil on canvas 24 x 30 inches signed lower left: Chad Poppleton verso: signed, dated and titled Provenance: From a Private Collection $4,500 – $6,500 — 51 —

135 GEORGE BROWNE 1918-1958

Goats, 1942 oil on canvas 20 x 18 inches signed lower left: Georg. Browne Provenance: J.N. Bartfield Galleries, New York, NY (label verso) Coeur d’Alene Art Auction, July 2007, Lot 242 From a Private Collection Literature: John T. Ordeman and Michael M. Schreiber, George & Belmore Browne, Warwick Publishing: Toronto, Canada, 2004, illustrated plate 53. George Browne possessed an uncommon ability to translate the rugged majesty of North America’s wilderness into paintings that were both scientifically convincing and emotionally resonant. The son of celebrated painter, explorer, and mountaineer Belmore Browne, George was immersed in the landscapes and wildlife of the Canadian Rockies and the American West from childhood. Under his father’s rigorous artistic training and through countless expeditions into the backcountry, Browne developed an intimate understanding of wildlife that would distinguish him as one of the finest sporting and wildlife painters of his generation. Though his career was tragically cut short by an accidental shooting at the age of forty, the remarkably small body of work he left behind has become highly prized by collectors. “Both Belmore and George were true wildlife painters. Their work is authentic because of the great deal of time they spent in the outdoors, time spent watching big game animals and birds in their natural settings. They went out and got their own reference material, and in order to be the very best, a wildlife artist has to do that,” notes Curtis Tierney, fine art dealer and owner of Tierney Fine Art in Bozeman, Montana. Goats exemplifies Browne’s extraordinary command of both animal anatomy and alpine atmosphere. Two mountain goats occupy a narrow ledge high above the clouds, their thick white coats glowing against the cool blues and slate grays of the surrounding peaks. The composition is masterfully orchestrated: one goat pauses to meet the viewer’s gaze while the second lowers its head toward the precipice, creating a quiet narrative of vigilance and survival. Rather than depicting dramatic action, Browne captures a fleeting moment of calm in an environment defined by perpetual danger. The painting’s success lies in its balance of realism and painterly expression. Browne’s confident brushwork describes the texture of dense winter fur with remarkable economy, while broad, atmospheric passages dissolve distant mountains into mist, conveying both altitude and scale. The restrained palette of icy blues, muted greens, and luminous whites reinforces the crisp mountain air and the isolation of the high country. Every element contributes to the sense that these animals belong entirely to this unforgiving landscape. The present work reflects the influence of earlier masters such as Carl Rungius while revealing Browne’s own increasingly modern sensibility – one that favored simplified forms, atmospheric unity, and a heightened emotional connection to nature. Today, Goats stands not only as a superb example of Browne’s artistic maturity but also as one of the defining images within his rare and highly sought-after oeuvre. $50,000 – $75,000

— 52 —

— 53 —

136 CARL RUNGIUS 1869-1959

Mount Assiniboine, c. 1929 oil on canvas 25 x 30 inches signed lower right: C. Rungius. Provenance: Coeur d’Alene Art Auction, July 2001, Lot 172 Coeur d’Alene Art Auction, July 2012, Lot 232 Private Collection, Jackson, WY This oil of Mount Assiniboine in British Columbia captures Carl Rungius at a mature, impressionistic peak, translating the drama of the Canadian Rockies into bold color, broad brushwork, and a surprisingly intimate sense of place. Painted circa 1929, it condenses his decades of experience as a wildlife painter and mountain sportsman into a compact, intensely felt study of rock, light, and weather. Mount Assiniboine rises like a towering pyramid above the turquoise lake, its serrated flanks articulated in planes of deep violet, slate blue, and cool white. Rungius simplifies the geology into angular masses, allowing the stark geometry of the peak to dominate, while the foreground trees and shoreline act as a dark, stabilizing base. The location on the Great Divide in the Canadian Rockies was a favorite motif for the artist, who returned repeatedly to Assiniboine and surrounding lakes such as Bow Lake and Lake O’Hara. At the lower edge of the composition, a band of spruce and fir trees anchors the scene and provides a distinctly North American wilderness signature. Their upright silhouettes, rendered in saturated greens and warm browns, lead the eye diagonally toward the luminous patch of meadow and then out across the cold, glacial water. This progression from shadowed forest to radiant alpine basin underscores the psychological journey from human-scale shelter to sublime, uninhabited grandeur. The palette is unequivocally modern for a wildlife painter often associated with realist big-game scenes. Rungius lays in broad strokes of color, using high-key contrasts to evoke crisp mountain air and shifting light rather than literal topographic detail. The snowfields are not uniformly white; instead, they fracture into patches of cream, pale blue, and lavender, catching reflections from sky and rock and emphasizing the mutable character of alpine light. His brushwork is energetic yet controlled, particularly in the sky, where clouds tumble in blocks of warm gray and off-white, suggesting unstable weather sweeping over the Divide. In the rock faces he alternates short, faceted strokes with longer, sweeping marks that follow the contour of the slopes, creating rhythm and movement in what might otherwise be static stone. This painterly language aligns with the evolution noted by historians: a shift from tight, illustrative detail toward impressionistic handling inspired by contemporary currents in North American and European art. By the late 1920s, Rungius had long been recognized as one of North America’s premier big-game and wilderness painters, traveling extensively across Canada and the American West. His repeated summer expeditions to the Rockies, combined with winter work in his New York and Banff studios, produced a large body of landscape sketches such as this, which served both as finished works and as compositional studies for larger canvases. A circa-1929 Mount Assiniboine landscape reflects this mature phase: the animal narrative is absent, yet the work remains rooted in the ethos of the sportsman-artist. The painting communicates the physical experience of being in the high country—its isolation, clarity, and latent danger—without resorting to overt drama. For collectors and historians, such landscapes are key to understanding Rungius not only as a wildlife draftsman but also as an accomplished impressionist interpreter of the Western wilderness. This work will be included in the forthcoming Carl Rungius Catalogue Raisonné, directed by Adam Duncan Harris, Ph.D., an independent project of the National Museum of Wildlife Art, Jackson, Wyoming. $50,000 – $75,000

— 54 —

— 55 —

137 W. HERBERT DUNTON 1878-1936

October Aspens oil on canvas 14 x 14 inches signed lower right: Dunton verso: titled and signed Provenance: The Artist J. F. Burshears, La Junta, CO A Private Institutional Collection, CO Property Being Sold to Benefit the Western Heritage Education Campus, La Junta, Colorado A startled herd of mule deer in a Sangre de Cristo valley bottom turns to stare at the viewer of this gem by W. Herbert Dunton. Surrounded by pines, junipers, red willows, and cottonwoods, just beginning to turn their autumn splendor, these deer – likely does, yearlings, and fawns – prick up their enormous ears to assess potential danger. W. Herbert Dunton first visited Taos in 1912 before moving there in 1915. A major Western illustrator, he gave up his successful illustration career, and a home in Ridgewood, New Jersey, in favor of easel paintings and was a founder of the Taos Society of Artists. He hunted deer for much of his life and knew them perhaps better – inside and out – than any artist in the American West. For his art, Dunton harvested animals only when he felt it was absolutely necessary. After making numerous sketches of the animal, both living and dead, he would skin the animal often allowing it to freeze in a particular position in order to study musculature. After he became head of the Taos Fish and Game Protective Association in the late nineteen-teens, and his health began to fail in the late 1920s and early 1930s Dunton preferred to only “take” big game with palette and brush, pencil and paper. He also gave a radio address in Kansas City in 1924 titled “Hunt But Don’t Kill All.” During pack-horse trips into the Sangre de Cristo Mountains, he mainly made “dry-hunts,” using a thumb-box and small canvas panels, that he called “studies.” He exhibited these small canvas panels but used them primarily to create backgrounds for his last paintings. These late paintings emphasized big-game animals – elk, deer, and bears – in simplified, stylized landscapes characterized by rich color. Moreover, with his mature style, beginning in the mid-1920s and exemplified in October Aspens, mule deer assumed prominent roles in his art. I believe October Aspens is related to a group of mule deer canvases and a lithograph Dunton did between about 1922 and his death in 1936. These also include his oils Heart of the Wilderness, Taos Canyon and Aspens in Autumn, and the 1935 lithograph, The First Snow: Mule Deer. (Dunton painted his earliest oil, a depiction of deer, in 1889 when he was about eleven years old). October Aspens is also part of a larger group of modest-sized oils of wildlife Dunton created in the mid to late 1920s, including images of elk, deer, black bears, and grizzlies. Dunton favored the standard sizes, 16 x 12 and 20 x 16, for these paintings, but also painted a number of wildlife scenes in square sizes, 14 x 14, 30 x 30, and even 48 x 48. A complete outdoorsman, Dunton produced his mature landscape and wildlife paintings in a Regionalist style late in his life as seen in October Aspens. Reducing the natural landscape and trees – cedars, willows, cottonwoods, pines – surrounding the herd of mule deer in the foreground to their most basic geometric forms (cones, pyramids, triangles) Dunton created a tapestry with almost no depth of field: a truly Modernist composition. Dunton’s late paintings such as October Aspens were part of larger movement in the United States during the second quarter of the twentieth century wherein artists relied on abstract formal devices in order to be “modern.”1 Like Grant Wood in Iowa, Thomas Hart Benton in Missouri, John Steuart Curry in Kansas, and the Lone Star Regionalists, Dunton’s mature work evolved into “a style of artificial geometries, clean surfaces, and relentless patterns . . . like the Art Deco decorators of his day.”2 However, no matter how abstract the formal devices he used, Dunton’s late canvases were always created using hard visual data including employing models, on-site sketches, and photographs. Paintings such as October Aspens exemplify Dunton’s skill with compositional design, his sensitivity to decorative pattern, and his growing confidence in using powerful color. He described his approach to scenes such as he depicted in October Aspens in a 1926 letter: “The inspiration for this canvas--as in my others – was my own trips in the hills. . . I have depicted no particular place – as I do in few of my canvases – changing the lines of those I see in nature to make a ‘composition.’ That is where the art comes in – taking what one wishes from a place or places and knowing what to discard. An artistic production is not a literal translation of nature. If it were there would be no sense in painting or paintings – because nature would be always superior to our humble product.”3 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. $200,000 – $400,000 1 2 3

James Dennis, Grant Wood: A Study in American Art and Culture, The Viking Press: New York, 1975, p. 99 Wanda Corn, Grant Wood: The Regionalist Vision, Yale University Press: New Haven and London, 1983, p. 73 W. Herbert Dunton to Alfred W. Clutter, 10 November 1926, Collection of Mr. and Mrs. Gerald Peters — 56 —

— 57 —

138 JOSEPH HENRY SHARP 1859-1953

Aspens on a Gray Day, South Fork - Hondo Canyon oil on canvas 20 1/4 x 24 1/8 inches signed lower right: JHSHARP verso: titled Provenance: Bent Gallery, Taos, NM Hindman, Western & Contemporary Native American Art, November 2022, Lot 71 (label verso) From a Private Collection Exhibited: Couse-Sharp Historic Site, Historic 1915 Sharp Studio, 2023-2025 “The blush of autumn in Hondo Canyon, near the former mining camp of Amizette, now the entrance to Taos Ski Valley resort. Foreground of burning bush and scrub oak with aspens luring the eye up the ridgeline to Frasier peak. The artists of Taos would wait all year for the arrival of autumn, and race up into the mountains, first by horse, and later by motor carriage, to document the riot of color. A “gray day” in Taos still yields vibrant fall foliage, plenty to inspire Joseph Henry Sharp.” Davison Packard Koenig, Executive Director + Curator, Couse-Sharp Historic Site, Taos, NM $18,000 – $25,000

139 BEN TURNER 1912-1966

Aspens in Autumn oil on canvas 20 x 30 inches signed lower left: BEN TURNER Provenance: Private Collection, Tucson, AZ $6,000 – $9,000 — 58 —

140 ANDREW PETERS b.1954

Aspens in the Bighorn Mountains oil on canvas 22 x 28 inches signed lower right: ANDREW PETERS verso: titled and signed Provenance: From a Private Collection $4,000 – $6,000

141 LANFORD MONROE 1950-2000

Sky Line, 1999 oil on canvas 20 x 24 inches signed and dated lower left: Lanford Monroe © 99 verso: titled Provenance: Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso) Private Collection, Jackson, WY Lanford Monroe’s Sky Line, painted the year before her untimely death, epitomizes the artist’s quiet, meditative approach to wildlife in landscape. Born in Bridgewater, Connecticut in 1950, Monroe grew up in an artistic family and later worked from a secluded studio near Taos, New Mexico, where she became known for moody wildlife and equine paintings. Here, a trio of mule deer emerges gently from a golden aspen grove, their forms softly modeled against pale sky and shadowed evergreens. Monroe’s subtle handling of light and color reflects her lifelong reverence for the natural world, inviting viewers into a moment of stillness and attentive observation. $8,000 – $12,000

— 59 —

142 ROBERT LOUGHEED 1910-1981

Mt. Rundle Beyond oil on canvas 24 x 36 inches signed lower left: ROBERT LOUGHEED (artist cipher) verso: titled and signed Provenance: Denniston Western Books and Art LTD, Jackson, WY (label verso) Thomas Nygard Gallery, Bozeman, MT (label verso) Out of Africa in Montana Gallery, Bozeman, MT (label verso) Copley Fine Art Auction, The Sporting Sale 2021 - Sessions I and II, Lot 191 (label verso) From a Private Collection Literature: B. Byron Price, Lougheed, Nygard & Elliott Publishing Company: Bozeman, MT, 1991, illustrated p. 79. Exhibited: Grand Central Art Galleries, Inc., New York, NY, Call of the Wild: The Primal Adventure, Oct. 18 - Nov. 10, 1984 (label verso) Robert Lougheed possessed a rare ability to unite the disciplines of wildlife portraiture and landscape painting into compositions that celebrate the grandeur of the North American wilderness. In Mt. Rundle Beyond, the artist presents a commanding bull elk standing alert in a snow-covered valley beneath the imposing silhouette of Mount Rundle, one of the most iconic peaks in Banff National Park. The painting captures a moment of stillness, where the quiet confidence of the animal is matched by the monumental permanence of the mountains beyond. Lougheed’s masterful handling of atmosphere, coupled with his intimate understanding of wildlife anatomy, transforms the scene into both a faithful record of nature and a stirring tribute to the Canadian Rockies. The composition demonstrates Lougheed’s exceptional sense of balance. The magnificent elk, illuminated by warm winter light, dominates the foreground, while a small herd emerges almost unnoticed among the willows in the middle distance, reinforcing the vast scale of the surrounding landscape. Beyond, the snow-clad mass of Mount Rundle rises beneath a dramatic overcast sky, its cool blues and grays contrasting beautifully with the golden browns of the animal and dormant grasses. Lougheed’s restrained palette and confident brushwork evoke the crisp air of late winter, while subtle passages of reflected light across snow and water reveal an artist committed to direct observation. Born in Massey, Ontario, in 1910, Robert Lougheed developed an early fascination with animals while growing up on his family’s farm. He studied at the Ontario College of Art before continuing his education at the École des Beaux-Arts in Montréal and later at the Art Students League of New York under celebrated instructors Frank Vincent DuMond and Dean Cornwell. Although he enjoyed an accomplished career as a commercial illustrator – producing artwork for publications including National Geographic, Reader’s Digest, and Sports Afield – his greatest passion remained painting wildlife and the landscapes of the American and Canadian West. Lougheed became one of the most respected painters of Western subjects during the twentieth century, earning admiration from fellow artists for both his technical precision and his unwavering commitment to painting from life. A founding influence of the National Academy of Western Art and an early member of the Cowboy Artists of America, he helped shape a revival of traditional representational painting while mentoring a new generation of Western artists. His work is distinguished by an academic understanding of form combined with an authentic appreciation for the natural world. $35,000 – $55,000

— 60 —

— 61 —

143 JOSEPH HENRY SHARP 1859-1953

144 KEN CARLSON b.1937

Shoshone Reservation Wind River, Wyoming

Winter Creek - Whitetails

oil on canvas laid on board 7 x 9 3/4 inches signed lower left: J.H. SHARP

oil on board 20 x 30 inches signed lower right: CARLSON

Provenance: Suder’s Art Store, Cincinnati, OH (label verso) Private Collection, Jackson, WY

Provenance: Scottsdale Art Auction, April 2013, Lot 196 (label verso) Private Collection, Livermore, CA

$15,000 – $25,000

$20,000 – $40,000

145 LANFORD MONROE 1950-2000

Deep Winter oil on canvas 29 1/2 x 39 1/2 inches signed lower left: Lanford Monroe

146 GEORGE MOLNAR b.1953

The Last Stray

Provenance: Private Collection, Jackson, WY

oil on canvas 56 x 38 inches signed lower right: George Molnar ©

Exhibited: Jackson Collects, National Museum of Wildlife Art, Jackson Hole, WY, April 5 - August 20, 2002 (label verso)

Provenance: From a Private Collection $6,000 – $9,000

$15,000 – $25,000 — 62 —

147 MARTIN GRELLE b.1954

When Winter Melts, 1999 oil on canvas 28 x 40 inches signed and dated lower right: (artist cipher) Martin Grelle (Cowboy Artists of America cipher) © *99 Provenance: Overland Gallery of Fine Art, Scottsdale, AZ (label verso) From a Private Collection Literature: Art of the West Magazine, September/October 2002, “A Glimpse of God’s Creation” by Vicky Stavig, illustrated p. 32. $20,000 – $40,000

148 CHARLES M. RUSSELL 1864-1926

Russell on Neenah (Self Portrait), c. 1925 bronze 9 1/2 x 10 3/4 x 5 inches inscribed: (artist cipher) CM Russell inscribed: ROMAN BRONZEWORKS INC N.Y. modeled c. 1925 Provenance: From a Private Collection $10,000 – $20,000 — 63 —

149 G. HARVEY 1933-2017

Thinking of Spring, 1989 oil on canvas 24 x 36 inches signed and dated lower right: G Harvey © 1989 verso: titled, signed and dated Provenance: Whistle Pik Gallery, Fredericksburg, TX Corporate Collection of Electronic Data Systems (EDS, founded by H. Ross Perot), Plano, TX Private Collection, TX, acquired from the above Private Collection, Dallas, TX Literature: G. Harvey, Randy Best, Susan Hallsten McGarry, The Golden Era: A Celebration of Light by G. Harvey, Somerset House Publishing, 1992, illustrated pp. 38-39 Born Gerald Harvey Jones in San Antonio, Texas, G. Harvey (1933-2017) became one of the most widely recognized American painters of Western history and early 20th century urban life. His interest in the past was rooted in family experience: stories of cattle drives told by his grandfather and accounts of Texas boomtowns shared by his father helped shape the historical imagination that would define his career. After graduating from North Texas State University in 1956, Harvey moved to Austin with his wife, Patty, and worked as an industrial arts teacher while painting at night. By the late 1950s, he had adopted the professional name G. Harvey, and his work began appearing in Texas galleries and art fairs. In 1964, he left teaching to pursue painting full time. Harvey initially concentrated on the landscapes, ranching traditions, and people of Texas and the greater Southwest. Over time, his subjects expanded to include bustling city streets, horse-drawn carriages, early automobiles, and lamplit avenues. Influenced by European boulevard painters, he became especially admired for his atmospheric treatment of light, whether reflected across rain-darkened pavement or glowing from windows and street lamps. Limited-edition prints introduced Harvey’s work to a broad national audience beginning in the 1970s, while his original paintings attracted an increasingly dedicated following. His exhibitions included presentations at the National Archives, the Treasury Building, and the Smithsonian Institution in Washington, D.C. In 2009, he received lifetime achievement honors from both the Booth Western Art Museum and the Dolph Briscoe Museum. Through a career spanning more than five decades, Harvey created a nostalgic yet compelling vision of American history, celebrating endurance, community, and the rapidly changing world of the late nineteenth and early twentieth centuries. $125,000 – $225,000

— 64 —

— 65 —

150 G. HARVEY 1933-2017

Morning Glow on Powder Snow, 1988 oil on canvas 26 x 41 1/2 inches signed and dated lower right: G. Harvey © 1988 verso: titled, signed and dated Provenance: Whistle Pik Gallery, Fredericksburg, TX Corporate Collection of Electronic Data Systems (EDS, founded by H. Ross Perot), Plano, TX Private Collection, TX, acquired from the above Private Collection, Dallas, TX In Morning Glow on Powder Snow, G. Harvey depicts a group of mounted riders and packhorses making their way through a snowcovered mountain landscape. The scene suggests a working journey rather than a leisurely ride: the men travel in a loose formation, accompanied by heavily laden animals carrying the supplies necessary for life in remote country. Their steady progress evokes the practical demands of ranching, hunting, or winter travel in the American West. Harvey emphasizes the riders’ endurance and familiarity with the land. They appear calm and purposeful despite the deep snow and cold conditions, guiding their horses across difficult terrain with practiced confidence. The surrounding wilderness reinforces their isolation, while the distant hills suggest that the journey will continue well beyond the moment shown. Rather than presenting the West as a place of spectacle, Harvey focuses on the discipline, resilience, and everyday labor required to move through it. Harvey arranges the procession along a gently rising diagonal, leading the eye from the rider at lower right toward the central mounted figures and then into the luminous grove at upper left. This ascending movement gives the composition both depth and momentum. The widely spaced riders allow the white hillside to remain a dominant presence, emphasizing the scale of the landscape and the physical isolation of the travelers. Their dark horses and strongly colored coats punctuate the pale terrain, creating a rhythmic progression across the canvas. Light provides the painting’s central expressive element. A warm morning glow filters through the aspens, turning their remaining leaves to gold and illuminating the snow with passages of cream, yellow, and delicate blue. The distant mountains, rendered in cool blue-gray and violet, recede beneath a muted sky, while warmer rusts and ochres emerge among the foreground trees and riders. This carefully balanced opposition of warm and cool color gives the winter atmosphere both clarity and softness. The glow does more than describe a particular hour. It introduces a sense of reassurance into an otherwise difficult landscape, suggesting warmth beyond the cold and forward movement through uncertainty. In Morning Glow on Powder Snow, Harvey combines narrative detail, atmospheric color, and controlled composition to create an image that is both distinctly Western and broadly human—a meditation on work, companionship, and perseverance within the grandeur of the natural world. $150,000 – $250,000

— 66 —

— 67 —

151 G. HARVEY 1933-2017

Rawhide and Roughnecks, 1986 oil on canvas 35 1/2 x 47 1/2 inches signed and dated lower right: G. Harvey © 1986 verso: titled, signed and dated Provenance: Connally & Altermann, Houston, TX From a Private Collection G. Harvey’s Rawhide and Roughnecks is a quintessential vision of the American West in transition, capturing that charged moment when cowboy culture meets the emerging industrial age. Set on a snow-covered street at dawn or dusk, the painting draws the viewer into a small town poised between saddle leather and steel derricks. Harvey’s composition is anchored by two mounted cowboys riding down the center of the street, their horses stepping carefully through rutted, icy tracks. Flanking them on the left is a line of tied horses outside a warmly lit storefront, while to the right, wooden buildings, telegraph poles, and the silhouettes of oil rigs recede into the distance. The result is an evocative intersection of rawhide and roughnecks—ranch hands and oilfield workers—sharing the same frozen ground. Harvey’s palette reinforces the narrative tension. The cool blues and grays of the snow and sky create a palpable chill, but they are pierced by pockets of golden light spilling from windows and doorways. These interior glows suggest community, refuge, and continuity amid change. The cowboys themselves are painted with Harvey’s signature blend of impressionistic brushwork and careful detail: worn slickers, tilted hats, and well-used tack convey lives of hard labor and quiet resilience. You can almost feel the horses’ breath rising into the cold air, a small but powerful reminder of the living, breathing heart of the West, even as machinery looms on the horizon. The oil derricks and utility poles are crucial to the story this painting tells. Rising behind the town, their stark verticals cut into the soft, atmospheric sky, symbolizing industry’s encroachment into traditional ranch country. Yet Harvey doesn’t present this as a simple conflict. The scene feels matter-of-fact, almost inevitable. The oilfield infrastructure is integrated into the landscape, painted with the same respect and attention as the clapboard storefronts and snow-laden trees. In this way, Rawhide and Roughnecks becomes a visual meditation on economic change: cowboys and roughnecks occupy the same street, their livelihoods intertwined in a new frontier of energy and opportunity. Harvey’s handling of light and atmosphere is particularly compelling. The hazy sky and diffused glow suggest either sunrise, when work is just beginning, or early evening, when a long shift winds down. That ambiguity reinforces the cyclical nature of Western labor—days that start and end in the saddle or on the rig, regardless of season. The snow, rendered in subtle variations of tone, is both obstacle and unifying element, covering the street and roofs alike. It quiets the scene, dampening sound, and allows the viewer to focus on the figures and the emotional undercurrent: endurance, camaraderie, and a stoic acceptance of the elements. For collectors and admirers of G. Harvey’s work, Rawhide and Roughnecks stands as a powerful encapsulation of his gift for storytelling. He doesn’t romanticize the West by erasing hardship; instead, he romanticizes its character—the way men and horses move through a demanding environment with purpose and dignity. The painting offers a nostalgic look at a bygone era while acknowledging the forces that transformed it, making it a resonant work on the evolution of Western towns from cattle and trail drives to oil and industry. $300,000 – $500,000

— 68 —

— 69 —

152 OLEG STAVROWSKY 1927-2020

Come and Get It oil on canvas 36 x 60 inches signed lower right: Oleg Stavrowsky verso: titled and signed Provenance: From a Private Collection $10,000 – $20,000

153 OLEG STAVROWSKY 1927-2020

154 JILL SOUKUP b.1969

Get Off There You Dip!

Black Hat, Jacket & Horse, 2023

oil on canvas 24 x 30 inches signed lower right: Oleg Stavrowsky verso: titled and signed

oil on board 34 3/8 x 15 inches signed lower right: © Soukup verso: signed, dated and titled

Provenance: From a Private Collection

$4,000 – $6,000

$5,000 – $7,000 — 70 —

155 G. HARVEY 1933-2017

156 EDWARD BOREIN 1872-1945

The Trail Driver, 1973

Bucking Horse / Bronco

bronze, edition 4 of 30 13 3/4 x 18 3/4 x 13 inches inscribed: 4/30 G. Harvey 1973 ©

graphite and ink on paper 9 1/4 x 10 1/2 inches signed lower right: Borein

Provenance: Altermann Galleries, Houston, TX From a Private Collection

Provenance: Arlington Gallery, Santa Barbara, CA (label verso) Out of Africa in Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT

$5,000 – $8,000

$2,000 – $4,000

157 FRANCOIS KOCH b.1944

Reporting to the Boss, 1987 oil on canvas 20 x 36 inches signed and dated lower right: Francois Koch 87 Provenance: From a Private Collection $8,000 – $12,000 — 71 —

158 JASON RICH b.1971

Cheyenne Deep, 2004 oil on canvas 12 x 16 inches signed lower left: J.RICH verso: titled, dated and signed Provenance: From a Private Collection $4,000 – $6,000

159 BILL ANTON b.1957

Arroyo Rider oil on board 12 x 16 inches signed lower right: Bill Anton verso: titled and signed Provenance: From a Private Collection $4,000 – $6,000

160 JIM C. NORTON 1953-2023

Wyoming Range, 1998 oil on masonite 18 x 26 inches signed lower left: Jim C. Norton (Cowboy Artists of America cipher) verso: titled, signed and dated Provenance: From a Private Collection $4,000 – $6,000 — 72 —

161 JIM C. NORTON 1953-2023

Working the 6666’s (Ranch) oil on board 9 x 12 inches signed lower left: Jim C. Norton (Cowboy Artists of America cipher) © verso: titled and signed Provenance: From a Private Collection $3,000 – $5,000

162 JAMES REYNOLDS 1896-1996

Eatin’ Dust, 1978 oil on board 24 x 36 inches signed and dated lower left: James Reynolds (Cowboy Artists of America cipher) 1978 © Provenance: The Legacy Gallery, Jackson, WY (label verso) From a Private Collection $15,000 – $25,000

163 GRAY PHINEAS BARTLETT 1885-1951

Hope Springs Eternal, 1947 oil on canvas 30 x 40 inches signed and dated lower right: Gray Bartlett (artist cipher) 47 Provenance: Scottsdale Art Auction, April 2017, Lot 142 (label verso) From a Private Collection $6,000 – $10,000 — 73 —

164 WILLIAM R. LEIGH 1866-1955

Looking for Bighorn oil on canvas 24 1/4 x 18 inches signed lower right: W. R. LEIGH Provenance: Morgan Walker, LLC, New York The William I. Koch Collection, acquired from the above, 2011 Christie’s New York, Visions of The West: The William I. Koch Collection Day Sale, January 2026, Lot 102 (label verso) Private Collection, Nashville, TN Looking for Bighorn combines narrative suspense with meticulous observation of landscape and animal life. It is a meditation on risk, pursuit, and the harsh beauty of high-country sheep hunting. Leigh places a lone hunter on a rocky ridge, poised above a sweeping mountain valley that suggests the rugged terrain of Wyoming or the broader northern Rockies. The figure scans the distant slopes for bighorn sheep while his horse struggles for secure purchase on the steep terrain. Below and beyond him, the land drops away into a cascade of cliffs, talus, and timber, emphasizing how precarious and exposed the hunter’s position truly is. Leigh orchestrates the composition so that the horse and rider form a dark, diagonal silhouette against a lighter sky and distant peaks, creating a visual anchor that immediately draws the eye. The ridge itself cuts across the canvas like a jagged ramp, heightening the sensation that a single misstep could send horse and rider tumbling into the canyon below. Small details—the angle of the horse’s head, the tilt of the hunter’s hat, the careful placement of rifle and gear—reinforce a tense narrative moment: the instant of searching just before a decision is made. A hallmark of Leigh’s Western work is his use of high-altitude light, and Looking for Bighorn is no exception. Cool, crystalline blues and grays define the far mountains and sky, while warmer ochres and earth tones articulate the foreground, giving the painting a bracing, almost wind-scrubbed clarity. Subtle shifts in value separate near and far forms, creating a convincing sense of depth and atmosphere that places the viewer right on the edge of the precipice with the hunter. Beyond its descriptive accuracy, the painting speaks to the psychology of the Western hunter, suspended between danger and desire. Bighorn sheep, notoriously elusive and inhabiting brutal vertical country, symbolize both the ultimate trophy and the extreme demands of the chase; Leigh’s hunter is portrayed as small but stubborn against the immensity of the land. The work captures that solitary moment when skill, experience, and judgment must converge—a pause that seasoned sheep hunters and Western sportsmen recognize intimately. William Robinson Leigh, often called the “Sagebrush Rembrandt,” built his reputation on highly finished, dramatic scenes of the American frontier, from bucking broncos to big-game pursuits. Looking for Bighorn fits squarely within this tradition, melding narrative Western subject matter with academic drawing and polished surface. Today, the painting is valued not only for its technical mastery but also for the way it encapsulates a mythic vision of the Mountain West—where human ambition is dwarfed, yet defined, by unforgiving mountains and the wild creatures that inhabit them. $130,000 – $180,000

— 74 —

— 75 —

165 WILLIAM GOLLINGS 1878-1932

Spooked, 1906 oil on canvas 24 x 19 inches signed and dated lower right: Gollings . 06 (artist cipher) Provenance: Private Collection, Denver, CO 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 though Iowa, Nebraska, South Dakota, and Montana, making his way as a cowboy, trapper, sheepherder and gold prospector. Influenced by the magazine illustrations of Frederick 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 painitng 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 Russel Butler, William P. Henderson, Charles M. Russell, W. H. D. Koerner, Joseph Henry Sharp, and Frederic Remington. $25,000 – $45,000 — 76 —

166 JOE BEELER 1931-2006

Hidin’ Out oil on canvas 24 x 18 inches signed lower left: JOE BEELER © Provenance: From a Private Collection $5,000 – $8,000

167 RAPHAEL LILLYWHITE 1891-1958

Hard Day at the Office oil on canvas 13 3/4 x 21 3/4 inches signed lower left: Raphael / Lillywhite Provenance: Private Collection, Denver, CO $3,000 – $5,000

168 RAPHAEL LILLYWHITE 1891-1958

Roundup Collision oil on canvas 13 3/4 x 23 3/4 inches signed lower right: Raphael / Lillywhite Provenance: Private Collection, Denver, CO $3,000 – $5,000 — 77 —

169 CHARLES M. RUSSELL 1864-1926

Buccaroos from the N–N Outfit on the Big Dry in Montana, 1902 watercolor on paper 19 3/4 x 28 5/8 inches signed and dated lower right: CM Russell (artist cipher) 1902 Provenance: Private Collection, Vancouver, Canada Coeur d’Alene Art Auction, July 28, 2001, Lot 180 Thomas Nygard, Inc., Bozeman, MT (label verso) From a Private Collection Literature: Scribner’s Magazine: New York, February, 1905, “Some Incidents of Western Life” by C.M. Russell, illustrated. Catalogue Raisonné: CR.UNL.61 Charles M. Russell’s 1902 watercolor Buccaroos from the N–N Outfit on the Big Dry in Montana captures the breathless immediacy of a Western roundup with a lightness of touch that belies its technical sophistication. Set on the steep, sun‑baked slopes above a wide, eroded coulee, the scene shows two cowboys in full pursuit of a bolting, red‑and‑white steer. Russell uses watercolor’s transparency to great advantage, flooding the composition with high‑plains light that conveys big sky and vast distance, while reserving his richest, most saturated color for the central actors: the bucking steer and the lead rider’s chestnut horse. The title anchors the image in a very specific ranching reality. “Buccaroos” evokes the working cowhands of the northern ranges, while the “N–N” brand and the reference to the Big Dry place the action in the open, rugged country of eastern Montana, where Russell himself cowboyed and absorbed the visual vocabulary of the range. In this watercolor, that experience translates into a convincing understanding of motion and terrain. The hillside tilts sharply from upper right to lower left, and Russell aligns the steer’s plunging body, the lead horse’s stretched stride, and the trailing rider’s forward drive along that diagonal, orchestrating a dynamic descent that feels perilously fast. Dust kicks up in pale washes at the animals’ feet, and small, scrubby sage clumps dot the slope, giving just enough foothold to suggest both danger and skill in negotiating this ground at speed. Russell’s handling of the figures shows his characteristic blend of accuracy and empathy. The lead cowboy leans slightly forward, torso twisted as his right arm whips the lariat into the air; his left hand braces against the bridle as the horse surges downhill, ears pinned, nostrils flared. The rider’s chaps, hat, and neckerchief are rendered in economical strokes, yet read instantly as authentic gear. Behind him, the second rider urges his mount on, his raised arm mirroring the first, echoing the communal effort and teamwork inherent in a roundup. Color and composition together emphasize both drama and openness. The steer’s patchy hide, modeled in warm sienna and creamy white, forms the foreground focal point, anchoring the viewer’s eye before it races up the slope along the line of the cowboys’ pursuit. Beyond them, the land falls away into a succession of soft ochres, muted blues, and lavender grays, indicating distant breaks and ridges under a vast, nearly cloudless sky. Russell leaves the upper portion of the sheet almost bare, a wash of pale yellow and blue that conveys the blaze of midday sun and the unbounded scale of the northern plains. This generous sky not only balances the busy, kinetic lower half, but also underscores the isolation and independence of the “buccaroos,” tiny human figures working in a monumental landscape. Although watercolor is often associated with delicacy, Russell proves it an ideal vehicle for Western action. His brushwork shifts from loose, atmospheric sweeps in the distance to quick, decisive lines in the horse’s legs and the coiled ropes, capturing both the fleeting nature of the moment and the enduring patterns of ranch life. In Buccaroos from the N–N Outfit on the Big Dry in Montana, Russell offers more than a picturesque cowboy vignette: he delivers an insider’s vision of the northern range, where dust, sun, and speed define the day’s work, and where the partnership of rider, horse, and land is rendered with both affection and unsentimental clarity. $300,000 – $500,000

— 78 —

— 79 —

170 HAROLD VON SCHMIDT 1893-1982

Roundup, 1936 oil on canvas 22 x 58 inches signed and dated lower right: HAROLD VON SCHMIDT 1936 Provenance: Private Collection, NY Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, WY Jackson Hole Art Auction, September 2009, Lot 103 From a Private Collection $45,000 – $65,000

171 OLAF WIEGHORST 1899-1988

Drifting Cowboy, 1959 oil on canvas 28 x 38 inches signed lower left: O-Wieghorst (artist cipher) inscribed lower right: © verso: titled, signed and dated

172 ROBERT MCGINNIS 1926-2025

The Scout egg tempera on masonite 22 1/2 x 16 inches signed lower right: R McGinnis

Provenance: Coeur d’Alene Art Auction, July 2002, Lot 18 Coeur d’Alene Art Auction, July 2016, Lot 184 Scottsdale Art Auction, April 2025, Lot 87 (label verso) Private Collection, San Francisco, CA

Provenance: Husberg Fine Art, Scottsdale, AZ Private Collection, Carmel, IN

$20,000 – $40,000

$3,000 – $5,000 — 80 —

173 FRANK C. MCCARTHY 1924-2002

174 ALFREDO RODRIGUEZ b.1954

Buckskin Brigade, 1987

The Trader, 2005

Provenance: Husberg Fine Arts Gallery, Scottsdale, AZ (label verso) Scottsdale Art Auction, March 2007, Lot 106 Coeur d’Alene Art Auction, July 2021, Lot 345 From the Collection of Robert Ballard

$8,000 – $12,000

$15,000 – $25,000

175 OLAF WIEGHORST 1899-1988

Past Glory oil on canvas 27 3/4 x 38 inches signed lower right: O - Wieghorst (artist cipher) verso: titled and signed Provenance: Mark Sublette Medicine Man Gallery Inc., Tucson, AZ (label verso) From a Private Collection $15,000 – $25,000 — 81 —

176 JONATHAN NOON b.1985

My Way oil on panel 24 x 48 inches signed lower right: JN Provenance: From a Private Collection $12,000 – $18,000

177 ROBERT MCGINNIS 1926-2025

First Move oil on board 20 1/2 x 32 inches signed lower right: R McGinnis verso: signed Provenance: Private Collection, Calgary, Canada Jackson Hole Art Auction, September 2010, Lot 205 (label verso) From a Private Collection $10,000 – $20,000 — 82 —

178 W. H. D. KOERNER 1878-1938

Bunch Quitters, 1927 oil on canvas 24 x 42 1/8 inches signed and dated lower left: W. H. D Koerner 1927 Provenance: Ruth Koerner Oliver, Santa Barbara, CA (label verso) Fenn Galleries, Ltd., Santa Fe, NM (label verso) Private Collection, Sun Valley, ID Thomas Nygard, Bozeman, MT (label verso) From a Private Collection Literature: The Saturday Evening Post, April 16, 1927, “Lost Ecstasy” by Mary Roberts Rinehart, illustrated. W. H. D. Koerner’s 1927 painting Bunch Quitters captures the high drama of the Western range with cinematic immediacy. A lone cowboy, intent and urgent, drives his mount hard as a knot of horses breaks away from the main herd, their muscles taut and manes whipping in the dust-laden air. The title hints at disorder—a bunch of animals quitting the line—yet Koerner turns that moment of chaos into an emblem of grit and control hard-won on the open range. Koerner’s palette of sun‑struck tans, greys, and soft blues anchors the action in a rugged mountain landscape, where steep slopes and shifting light amplify the sense of risk. The cowboy’s red neckerchief and pale horse create a focal point, contrasting against the mass of brown horses surging forward, their bodies overlapping in a powerful rhythm. Brushwork is loose yet descriptive, suggesting speed and motion rather than static detail. In Bunch Quitters, Koerner celebrates not only the beauty of horseflesh and the sweep of the Rockies, but the working cowboy’s split‑second response to trouble on the trail—a quintessential Western narrative distilled into one electrifying chase. $50,000 – $75,000

— 83 —

179 W. H. D. KOERNER 1878-1938

Showin’ the Trail oil on board 29 x 36 inches signed lower left: W H D K verso: titled Provenance: Fenn Galleries Ltd., Santa Fe, NM (label verso) Christie’s Los Angeles, November 2005, Lot 154 (label verso) Private Collection, Denver, CO $6,000 – $9,000

180 OLEG STAVROWSKY 1927-2020

Mountain Power oil on canvas 30 x 64 inches signed lower right: Oleg Stavrowsky verso: titled and signed Provenance: From a Private Collection $20,000 – $40,000 — 84 —

181 OLEG STAVROWSKY 1927-2020

182 ALFREDO RODRIGUEZ b.1954

Colorado Professional

California Miners, 2006

oil on canvas 30 x 40 inches signed upper right: Oleg Stavrowsky verso: titled and signed

Provenance: From a Private Collection

$5,000 – $7,000

$7,000 – $10,000

184 ALFREDO RODRIGUEZ b.1954

Think We’ll Eat Before Dark?, 2004 oil on canvas 30 x 40 inches signed and dated lower right: A. Rodriguez © 04 verso: titled, signed and dated

183 ALFREDO RODRIGUEZ b.1954

No Gold, Now What?, 2005 oil on canvas 36 x 24 inches signed lower left: A. Rodriguez © ‘05 verso: titled, signed and dated

Provenance: From a Private Collection $8,000 – $12,000

Provenance: From a Private Collection $4,000 – $6,000 — 85 —

185 DAN STOVALL b.1987

The American Icon, 2023 oil on canvas 24 x 18 inches signed lower left: Dan Stovall verso: signed and dated Provenance: Parsons Gallery of the West, Taos, NM (label verso) From a Private Collection $8,000 – $12,000

186 G. HARVEY 1933-2017

West of Pecos, 1977 oil on linen 16 x 20 inches signed and dated lower right: G. Harvey © 1977 Provenance: Trailside Americana Galleries, Scottsdale, AZ, Jackson, WY & Carmel, CA (label verso) Altermann Galleries & Auctioneers, November 2011, Lot 260 (label verso) Private Collection, Denver, CO $30,000 – $50,000

187 G. HARVEY 1933-2017

Coming in to Trade, 1967 oil on canvas 23 3/4 x 36 inches signed and dated lower left: G. Harvey - 1967 verso: titled and signed Provenance: Private Collection, Denver, CO $25,000 – $35,000 — 86 —

188 G. HARVEY 1933-2017

Winter Supplies, 1967 oil on canvas 20 x 24 inches signed and dated lower left: G Harvey 1967 Provenance: Altermann Galleries, Dallas & Houston, TX & Santa Fe, NM, June 2000, Lot 139 (label verso) From a Private Collection $15,000 – $25,000

189 ROBERT MCGINNIS 1926-2025

Scent of Danger egg tempera on board 18 1/4 x 41 1/4 inches signed lower right: R McGinnis Provenance: Husberg Fine Art, Scottsdale, AZ Private Collection, Carmel, IN $4,000 – $6,000

190 ROBERT MCGINNIS 1926-2025

The Midnight Stage, 1999 oil on board 17 x 32 1/2 inches signed lower right: R. McGinnis verso: signed, titled and dated Provenance: Husberg Fine Art, Scottsdale, AZ Private Collection, Carmel, IN $4,000 – $6,000 — 87 —

191 OLIVER KEMP 1887-1934

192 MARJORIE REED 1915-1996

The Scout, Buffalo Bill

When Day Is Done

oil on linen canvas laid on board 17 x 14 inches signed lower right: Oliver Kemp verso: titled and inscribed “Reproduced and exhibited by American Art Works, Coshocton, Ohio”

oil on canvas 24 x 30 1/4 inches signed lower right: Marjorie Reed verso: titled and signed

Provenance: Mr. & Mrs. Fred L. Shelor, Richmond, VA, 1960s Private Collection, by descent Coeur d’Alene Art Auction, July 2019, Lot 85 Private Collection, San Francisco, CA

Provenance: Private Collection, Bozeman, MT Jackson Hole Art Auction, September 2016, Lot 74 (label verso) Private Collection, San Francisco, CA $5,000 – $7,000

$8,000 – $12,000

193 VIC PAYNE b.1960

Restless in Santa Fe, 2002 bronze, edition 8 of 50 34 x 81 x 24 1/2 inches inscribed: 8/50 Vic Payne © Provenance: From a Private Collection $10,000 – $20,000 — 88 —

194 OLEG STAVROWSKY 1927-2020

South of Leadville oil on canvas 38 x 64 inches signed lower left: Oleg Stavrowsky verso: titled and signed Provenance: From a Private Collection $15,000 – $25,000

195 MARK MAGGIORI b.1977

Study for ‘Outlaw Canyon’, 2019 oil on canvas 18 x 30 inches signed and dated lower right: MARK MAGGIORI 2019 Provenance: From a Private Collection $25,000 – $45,000 — 89 —

196 ED MELL 1942-2024

Valley Tower oil on canvas 60 x 48 inches signed lower right: Ed Mell Provenance: Maxwell Alexander Gallery, Pasadena, CA (label verso) From a Private Collection Mell described his painting style as “desert modernism. Not cubism but with cubism’s straight lines to add strength.” His landscapes convey both the reality and the romance of desert vistas, but though some places are immediately recognizable, Mell’s preoccupation was in capturing mood. “Think of driving through an era like Monument Valley. Later … you won’t remember details, but you will have a lasting impression of the forms, colors, and, especially the mood.” Valley Tower is minimal and modernist, imposing in scale. The architectural rendering of the rocks carries hints of a cityscape – perhaps an oblique nod to Georgia O’Keeffe’s cityscapes of the 1920s – and reflects both Mell’s appreciation of art deco style and his technical art education. Maynard Dixon’s influence is apparent in Mell’s dramatic use of light and shadow in rendering awe-inspiring rock formations that seemingly project off the canvas. Today, Ed Mell’s work is included in the permanent collections of many museums, including Denver Art Museum, Phoenix Art Museum, Booth Western Art Museum, Scottsdale Museum of Contemporary Art, and Eiteljorg Museum of American Indians and Western Art. He passed away on February 21, 2024. $55,000 – $85,000 — 90 —

197 BILL SCHENCK b.1947

Drive to Coyote Creek, 1991 oil on canvas 46 1/2 x 54 1/2 x 1 1/2 inches signed and dated lower right: SCHENCK 91 verso: signed, dated and titled Provenance: Elaine Horwitch Galleries, Scottsdale, AZ & Santa Fe, NM (label verso) Ratliff-Williams Gallery, Sedona, AZ Private Collection, Carmel, IN Exhibited: Eiteljorg Museum of American Indian and Western Art, Indiana Collects the West, Indianapolis, IN, July 16 - November 6, 1994 (label verso) $15,000 – $25,000

198 BILL SCHENCK b.1947

Many Cows Ranch, 2019 oil on canvas 22 x 28 inches signed and dated lower right: SCHENCK 19 verso: signed, dated and titled Provenance: From a Private Collection $7,000 – $10,000 — 91 —

199 LOGAN MAXWELL HAGEGE b.1980

The Call of the Canyon, 2019 oil on linen mounted to board 43 x 32 inches signed lower right: LMH verso: titled, signed and dated Provenance: From a Private Collection The Call of the Canyon, painted in 2019, exemplifies Logan Maxwell Hagege’s distinctive “stylized realism,” in which the people and landscapes of the American Southwest are distilled into bold geometric forms, luminous color, and monumental design. Towering cloud formations echo the sculptural silhouettes of the figures below, creating a visual harmony that heightens the painting’s quiet narrative. Cloaked riders pause amid a desert landscape of rounded sage and distant mountains, evoking themes of journey, community, and enduring connection to place. Classically trained yet unmistakably contemporary, Hagege has emerged as one of today’s leading interpreters of the American West, with works held in major museum collections across the country, including the Autry Museum of the American West in Los Angeles, California, the Booth Western Art Museum in Cartersville, Georgia, the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma and the Scottsdale Museum of the West in Arizona, among others. $60,000 – $90,000 — 92 —

200 ERIC BOWMAN b.1960

Western Blue, 2020 oil on linen laid on board 24 x 30 inches signed lower left: Bowman verso: titled and signed Provenance: Maxwell Alexander Gallery, Pasadena, CA From a Private Collection Exhibited: Maxwell Alexander Gallery, Indigenous Suite, Pasadena, CA, November 2020 (label verso) $20,000 – $40,000

201 GLENN DEAN b.1976

The Rise, 2019 oil on canvas 24 x 24 inches signed lower left: G Dean verso: signed, dated and titled Provenance: Legacy Gallery, Jackson, WY, 2019 From a Private Collection Literature: Southwest Art Magazine, September 2019 issue, “Show Preview | Glenn Dean & Greg Beecham,” illustrated. Exhibited: Legacy Gallery, Glenn Dean & Greg Beecham, Jackson, WY, September 5-22, 2019 $15,000 – $25,000 — 93 —

202 GLENN DEAN b.1976

The Cowhand, 2019-2020 oil on canvas 30 x 30 inches signed lower right: G Dean verso: signed, dated and titled Provenance: From a Private Collection Literature: Southwest Art Magazine, March/April 2021 issue, “Glenn Dean | The Call of the Horizon” by Gussie Fauntleroy, illustrated. $20,000 – $40,000

203 ERIC BOWMAN b.1960

After the Rain oil on panel 12 x 16 inches signed lower left: Bowman verso: signed and titled Provenance: Astoria Fine Art, Jackson Hole, WY From a Private Collection $10,000 – $20,000 — 94 —

204 TIM SOLLIDAY b.1952

Shady Pastures, 2016 oil on canvas 28 x 30 inches signed lower left: T. Solliday Provenance: Maxwell Alexander Gallery, Pasadena, CA, 2016 From a Private Collection Exhibited: Maxwell Alexander Gallery, Ranch Life, Pasadena, CA, December 10 - January 7, 2016 In this evocative canvas, Tim Solliday channels the meditative stillness of Harry Jackson’s celebrated bronze, Cowboy Meditation. Where Jackson captured the introspective cowboy in sculptural form, Solliday translates that quiet dignity into paint—using luminous color, classical composition, and a Taos-inspired palette to evoke a moment of inner reflection. The result is a work that honors the legacy of Western art while reaffirming the timeless humanity of its subject. $30,000 – $50,000

— 95 —

205 PHIL EPP b.1946

Gray Skies acrylic on board 40 x 30 in inches signed lower left: PHIL EPP (Cowboy Artists of America cipher) verso: titled and signed Provenance: From the Artist $15,000 – $25,000

206 HOWARD POST b.1948

Sortin’ oil on canvas 36 x 36 inches signed lower left: H E POST © Provenance: Private Collection, Tucson, AZ $10,000 – $20,000 — 96 —

207 MATEO ROMERO b.1966

Tunyo, 2021 oil on canvas 24 x 36 inches signed upper left: (artist cipher) verso: titled, dated and signed Provenance: Private Collection, Colorado Santa Fe Art Auction, Art of the West, May 2022, Lot 357 (label verso) Private Collection, Scottsdale, AZ $4,000 – $6,000

208 LEON GASPARD 1882-1964

Market Scene, 1914 oil on canvas laid on board 7 1/4 x 7 inches signed and dated lower right: Leon Gaspard 1914 Provenance: Charlotte, North Carolina Estate Charlton Hall Galleries, November 2023, Lot 433 Private Collection Jackson Hole Art Auction, September 2025, Lot 403 From a Private Collection $5,000 – $7,000

209 ARTHUR HADDOCK 1895-1980

Little Colorado at Cameron, AZ, 1976 oil on canvas 11 1/2 x 15 1/2 inches dated and signed lower left: 1976 ARTHUR HADDOCK verso: dated and titled Provenance: Private Collection, Scottsdale, AZ $3,000 – $5,000 — 97 —

211 KEVIN RED STAR b.1943

Woodpecker 210 KEVIN RED STAR b.1943

mixed media on paper 22 1/2 x 30 1/2 inches signed lower right: Kevin Red Star titled lower left: WOODPECKER

The War Party oil on canvas 36 x 48 inches signed upper right: Kevin Red Star verso: titled

Provenance: Sutton West Gallery, Missoula, MT (label verso) From a Private Collection

Provenance: From a Private Collection

$4,000 – $6,000

$10,000 – $20,000

212 ALLAN HOUSER 1914-1994

213 ALLAN HOUSER 1914-1994

Drama on the Plains

Man and Dog, 1992

bronze, edition 19 of 100 13 1/4 x 16 1/2 x 8 inches inscribed: ALLAN HOUSER 19/100 Buffalo Bill Historical Center stamped: S

bronze, edition 2 of 15 21 3/4 x 7 1/2 x 5 1/2 inches inscribed: © 92 Allan Houser Haozous stamped: 2/15 S

Provenance: Private Collection, Tucson, AZ

Provenance: From a Private Collection

$4,000 – $6,000

$7,000 – $10,000 — 98 —

214 OLAF CARL SELTZER 1877-1957

The Horn Seller - Full-Length Portrait gouache and graphite on paper 7 x 3 7/8 inches signed lower left: O.C.SELTZER. Provenance: Gerald Peters Gallery, Santa Fe, NM (label verso) Private Collection, Jackson, WY $8,000 – $12,000

215 MAYNARD DIXON 1875-1946

Osage Indian, 1939 charcoal, colored pencil and conte crayon on paper 23 x 18 inches signed and dated lower right: MD 1939 verso: titled Provenance: Mark Sublette Medicine Man Gallery Inc., Tucson, AZ (label verso) Zaplin Lampert Gallery, Santa Fe, NM (label verso) From a Private Collection Exhibited: Tucson Museum of Art, Desert Dreams: The Art of Maynard Dixon (Supplementary Art Work), Tucson, AZ, November 12, 1983 - January 2, 1984 (label verso) $25,000 – $45,000

216 GERALD CASSIDY 1879-1934

Navajo Medicine Man oil on canvas 18 1/4 x 14 inches signed lower right: Gerald Cassidy verso: titled and signed Provenance: Zaplin Lampert Gallery, Santa Fe, NM (label verso) From a Private Collection $25,000 – $45,000 — 99 —

217 MICHAEL DUDASH b.1952

Hunters, Trackers and Scouts, 2025 oil on linen laid on board 36 x 40 inches signed lower right: C M DUDASH (artist cipher) (Cowboy Artists of America cipher) verso: titled, signed and dated Provenance: The Legacy Gallery, Scottsdale, AZ Private Collection, Phoenix, AZ $25,000 – $35,000

219 DON OELZE b.1965

218 JOHN COLEMAN b.1949

Mato-Tope, 1883, 2021

Of a Brave People

bronze, edition 18 of 20 31 x 14 x 11 inches inscribed: “MATO-TOPE” 1883 JOHN COLEMAN 2021 (Cowboy Artists of America cipher) 18/20

oil on canvas 28 x 20 inches signed lower left: OELZE Provenance: The Legacy Gallery, Scottsdale, AZ (label verso) From a Private Collection

Provenance: Coeur d’Alene Art Auction, July 2023, Lot 266 Private Collection, Nashville, TN

$10,000 – $20,000

$15,000 – $25,000 — 100 —

220 DON OELZE b.1965

Tracking oil on canvas 42 1/4 x 36 inches signed lower left: OELZE Provenance: From a Private Collection $25,000 – $45,000

221 ROY ANDERSEN 1930-2019

Dust on the Trail oil on panel 8 x 12 inches signed lower left: Roy Andersen Provenance: Private Collection, Prescott, AZ Jackson Hole Art Auction, September 2012, Lot 95 From a Private Collection $20,000 – $40,000 — 101 —

223 DAVE MCGARY 1958-2013

When Lightning Strikes, 1993 bronze, edition 36 of 50 16 1/4 x 28 x 10 1/4 inches inscribed: (thumbprint) DAVE McGARY 1993 36/50 Provenance: Feathers Gallery, Scottsdale, AZ Private Collection, Carmel, IN

222 FRANK C. MCCARTHY 1924-2002

Hostiles oil on panel 12 x 9 inches signed lower left: McCarthy © verso: titled and signed

Literature: Michael Duty, Dave McGary: American Realism in Bronze - A Twenty Year Retrospective, McGary Studios: Ruidoso, NM, 1997, p. 122. $10,000 – $20,000

Provenance: Private Collection, Jackson, WY $8,000 – $12,000

225 FRANK C. MCCARTHY 1924-2002

After the Battle

224 DAVE MCGARY 1958-2013

Last Stand Hill, 2004

oil on canvas 12 x 10 inches signed lower right: McCarthy © verso: titled and signed

bronze, edition 56 of 60 22 1/4 x 36 x 12 1/2 inches inscribed: DAVE McGARY (thumbprint) 2004 56/60

Provenance: The Legacy Gallery, Scottsdale, AZ & Jackson, WY (label verso) Private Collection, Jackson, WY

Provenance: Private Collection, Stillwater, OK $15,000 – $25,000

$8,000 – $12,000 — 102 —

226 Z. S. LIANG b.1953

227 DAVE MCGARY 1958-2013

Protectors of the Lakota, 2021

Point of No Return, 2000

oil on canvas 40 x 30 inches signed lower right: Z.S. LIANG verso: titled, signed and dated

bronze, edition 45 of 60 25 3/4 x 15 1/2 x 10 1/2 inches inscribed: DAVE McGARY 2000 (thumbprint) 45/60

Provenance: Scottsdale Art Auction, April 2024, Lot 342 (label verso) Private Collection, Nashville, TN

Provenance: Private Collection, Jackson, WY $15,000 – $25,000

$30,000 – $50,000

229 TOM LOVELL 1909-1997

The Earth House People, 1986

228 DAVE MCGARY 1958-2013

Four Bears, 1991 bronze, edition 28 of 30 38 1/2 x 26 x 13 inches inscribed: (thumbprint) DAVE McGARY 28/30 Provenance: Private Collection, Jackson, WY $15,000 – $25,000

oil on canvas 34 x 26 inches signed and dated lower right: Tom Lovell NAWA © 1986 verso: titled, signed and dated Provenance: National Cowboy Hall of Fame, National Academy Western Art Show, 1986 Coeur d’Alene Art Auction, July 1997, Lot 234 Acquired by KSA Industries, Inc. from the above Exhibited: National Cowboy & Western Heritage Museum, National Academy Western Art Show, Oklahoma City, OK, 1986 $40,000 – $60,000 — 103 —

230 WILLIAM GOLLINGS 1878-1932

Set of Six Portraits watercolor and pencil on paper 5 1/2 x 3 1/2 (each) inches signed lower left (each): Gollings (artist cipher) Provenance: Private Collection, Texas Private Collection, Scottsdale, AZ Jackson Hole Art Auction, September 2014, Lot 60 (label verso) Private Collection, Dayton, WY $20,000 – $40,000

231 HENRY CORNELIUS BALINK 1882-1963

Chief Soaring Eagle oil on canvas 15 x 16 inches signed lower left: HENRY. C. BALINK. Provenance: Christie’s Los Angeles, October 2007, Lot 53 Zaplin | Lampert Gallery, Santa Fe, NM (label verso) Coeur d’Alene Art Auction, July 2019, Lot 108 From a Private Collection $10,000 – $20,000

232 FRANK TENNEY JOHNSON 1874-1939

Squaw Man, 1920 oil on board 7 1/2 x 10 1/2 inches signed and dated lower right: Frank Tenney Johnson 1920 Provenance: The Hardy Family, Scottsdale, AZ J. F. Burshears, La Junta, CO A Private Institutional Collection, CO Property Being Sold to Benefit the Western Heritage Education Campus, La Junta, Colorado $8,000 – $12,000 — 104 —

233 WILLIAM GOLLINGS 1878-1932

Indian on Horseback (Winter Country) oil on canvas 34 x 24 inches signed lower left: Gollings (artist cipher) signed lower right: Gollings (artist cipher) Provenance: Private Collection, Cincinnati, OH Gerald Peters Gallery, Santa Fe, NM (label verso) Jackson Hole Art Auction, September 2007, Lot 137 Scottsdale Art Auction, April 2014, Lot 202 Private Collection, Dayton, WY $100,000 – $150,000

— 105 —

234 ERNEST MARTIN HENNINGS 1886-1956

Watering Their Horses, c. 1950 oil on canvas 30 x 30 inches signed lower left: E. Martin Hennings Provenance: The Artist La Fonda Gallery, Taos, NM, 1951 J. F. Burshears, La Junta, CO, 1951 A Private Institutional Collection, CO Property Being Sold to Benefit the Western Heritage Education Campus, La Junta, Colorado Exhibited: Museum of Fine Arts, Museum of New Mexico, Santa Fe, NM, E. Martin Hennings: The Influence of New Mexico, Sept 20, 1986 - Jan 4, 1987 (label verso) Fine Arts Center, Colorado Springs, CO, The Way West: Tourism and the Marketing of the West, Oct 4 - Dec 31, 2003 (label verso) In Watering Their Horses, Ernest Martin Hennings presents a subject closely associated with his celebrated images of northern New Mexico: riders and horses moving through a landscape shaped by the rhythms of daily life. Rather than treating the scene as a simple record of ranching or travel, Hennings transforms the moment into a poetic vision of the Southwest. The quiet pause implied by the title allows horse, rider, and landscape to become part of a unified composition, reflecting the artist’s enduring interest in the relationship between people and place. Born in Penns Grove, New Jersey, in 1886 and raised in Chicago, Hennings studied at the School of the Art Institute of Chicago before continuing his education at the Royal Academy in Munich under the distinguished painter Franz von Stuck. He first visited Taos in 1917 at the encouragement and sponsorship of former Chicago mayor and arts patron Carter H. Harrison Jr.. Captivated by the region’s dramatic light, mountainous terrain, and cultural traditions, Hennings settled there permanently in 1921 and became a member of the Taos Society of Artists in 1924. Hennings became particularly admired for compositions that combine elegantly arranged figures, decorative patterns, warm color, and the luminous atmosphere of the New Mexican landscape. In his Taos works, Hennings’ stylized lines create poetic visual connections between the people and the stunning high desert where they lived, conveying a deep, soulful connection to the region. Hennings wrote: “New Mexico has almost made a landscape painter out of me, although I believe my strongest work is in figures.” (El Palacio, August 1946). Although Hennings largely considered himself a figure painter, it was when he brought together his uniquely stylized vision of the landscape and the people of New Mexico that Hennings reached the pinnacle of his artistic achievement. Hennings would render the background first and then consider where the figures in the piece would go. Once the figures were placed, any foliage that might obscure them was added on top of that. Because of the lengthy periods required to let pieces dry, he would work on multiple canvases at a time, finishing a stage and then setting the piece aside. Hennings would never sign his name until he was completely satisfied with his work. Watering Their Horses embodies this distinctive vision, elevating an everyday encounter into a timeless expression of life in the American Southwest. To learn more about Hennings’ 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, 2026. $200,000 – $400,000

— 106 —

— 107 —

235 GERARD CURTIS DELANO 1890-1972

The Riders, 1938 watercolor and pencil on paper 19 x 17 inches signed lower left: (artist cipher) Delano (artist cipher) verso: titled, signed and dated Provenance: From the Estate of Terence D. Evans $15,000 – $25,000

236 ALEXANDER STIRLING CALDER 1870-1945

237 (AFTER) CHARLES SCHREYVOGEL 1861-1912

Kill an Enemy, c. 1907

White Eagle, 1899

bronze 6 1/2 x 9 x 4 inches inscribed: Calder

bronze 20 3/8 x 18 3/4 x 10 inches inscribed: White Eagle by Chas Schreyvogel Copyright 1899 stamped: #9 MODERN ART FDRY. N.Y.

Provenance: From a Private Collection Literature: National Academy of Design: Winter Exhibition 1907, The Knickerbocker Press: New York, 1907, p. 59, no. 397. $8,000 – $12,000

Provenance: From a Private Collection $8,000 – $12,000

— 108 —

238 CYRUS EDWIN DALLIN 1861-1944

239 PHILIP SHELTON SEARS 1867-1953

Archery Lesson, 1907

Pumananqwet (He Who Shoots the Stars), 1929

bronze 18 7/8 x 11 x 6 1/2 inches inscribed: C.E.Dallin 07stamped: H·B·B·Co.

bronze 15 3/8 x 10 x 5 3/4 inches inscribed: © Philip Sears Sc 1929

Provenance: Private Collection, New Jersey Rago Auction, New Jersey, May 2018, Lot 5 From a Private Collection

modeled in 1929

$15,000 – $25,000

$8,000 – $12,000

Provenance: From a Private Collection

241 HENRY FARNY 1847-1916 240 CHARLES HUMPHRISS 1867-1934

Appeal to the Great Spirit, 1906 bronze 30 x 17 x 19 1/2 inches inscribed: CH Humphriss 1906 GORHAM Co. FOUNDERS Provenance: From the Collection of Al & Carol-Ann Olson $15,000 – $25,000

After the Hunt pen and ink on paper 8 x 6 7/8 inches signed lower right: Farny Provenance: George Stern Fine Arts, Beverly Hills, CA (label verso) Private Collection, Moose, WY Coeur d’Alene Art Auction, Reno, NV, July 2013, Lot 110 Altermann Galleries & Auctioneers, Santa Fe, NM, December 2014, Lot 432 (label verso) Private Collection, Denver, CO $5,000 – $7,000 — 109 —

242 KENNETH RILEY 1919-2015

243 DAVE MCGARY 1958-2013

The Bride

Stronghearts, 1997

acrylic on paper 5 1/4 x 4 1/4 inches signed lower right: KR titled and inscribed right: ‘THE BRIDE’ 52.46

bronze, edition 9 of 30 39 x 28 1/2 x 12 1/2 inches inscribed: (thumbprint) DAVE McGARY 9/30 Provenance: Private Collection, Jackson, WY

Provenance: From a Private Collection

$15,000 – $25,000

$3,500 – $5,500

244 DAVE MCGARY 1958-2013

245 RAY SWANSON 1937-2004

Bear’s Nest, 1994

Nez Perce Pals

bronze, edition 71 of 75 18 1/4 x 10 3/4 x 13 inches inscribed: DAVE McGARY 1994 (thumbprint) 71/75

watercolor and gouache on board 29 1/2 x 35 1/2 inches signed lower right: Ray Swanson (Cowboy Artists of America cipher) ©

Provenance: Legacy Gallery, Scottsdale, AZ & Santa Fe, NM Private Collection, Carmel, IN

Provenance: From a Private Collection $7,000 – $10,000

$10,000 – $20,000 — 110 —

246 EANGER IRVING COUSE 1866-1936

The Artist (Painting of the Skin), 1916 oil on board 16 x 20 inches signed lower left: E-I-COUSE-NAProvenance: Blue Door Gallery, Santa Fe, NM, 1949 J. F. Burshears, La Junta, CO A Private Institutional Collection, CO Property Being Sold to Benefit the Western Heritage Education Campus, La Junta, Colorado Literature: Nicholas Woloshuk, E. Irving Couse: 1866-1936, Santa Fe Village Art Museum, 1976, illustrated p. 80, as Painting of the Skin. Exhibited: Fine Arts Center, Colorado Springs, CO, The Way West: Tourism and the Marketing of the West, Oct 4, - Dec 31, 2003 (label verso) Panhandle-Plains Historical Museum, Canyon, TX, Green Mountain: E. I. Couse in Taos, May - Aug 1998 (label verso) Catalogue Raisonné: 0063 / id # 63 In The Artist (Painting of the Skin), Eanger Irving Couse depicts a young Native artist carefully applying a narrative design to a hide. Seated on the ground with his brush extended, the figure is shown fully absorbed in his work. Small bowls of pigment rest nearby, while the painted hide rises prominently at the left of the composition. Couse uses the figure’s outstretched arm to connect artist and artwork, directing attention toward the colorful image taking shape. The dark, restrained background further emphasizes the pale hide, the warm tones of the figure, and the measured accents of red, blue, and yellow. Throughout his career, Couse became best known for paintings of Native figures engaged in domestic, artistic, and ceremonial activities. The Artist (Painting of the Skin) is characteristic of his preference for quiet, concentrated subjects rather than overt action. The painting also has a self-referential quality: Couse, an academically trained painter, presents another artist engaged in the deliberate process of creating an image. Through its balanced composition, controlled color, and close attention to the figure’s pose, the work reflects the technical skill and thoughtful observation that defined Couse’s mature career. 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, 2026. $80,000 – $120,000 — 111 —

247 WILLIAM ACHEFF b.1947

A Moment for Reflection, 1994 oil on canvas 16 x 20 inches signed and dated lower right: © Wm Acheff 1994 verso: signed, dated and titled Provenance: Altermann Galleries, Santa Fe, NM Private Collection, Carmel, IN Featuring an image of a portrait by Joseph Henry Sharp of Crucita Mondragon, a favorite Taos Pueblo model of the artist, executed in 1924. $6,000 – $9,000

248 MARK MAGGIORI b.1977

The Trackers oil on canvas 20 x 20 inches signed lower left: MM TAOS Provenance: From a Private Collection $25,000 – $45,000

— 112 —

249 KENNETH RILEY 1919-2015

Autumn (Horse) acrylic on board 7 1/2 x 11 5/8 inches signed lower right: Kenneth Riley (Cowboy Artists of America cipher)

250 JONATHAN NOON b.1985

Provenance: From a Private Collection

oil on aluminum 48 x 41 inches signed lower right: JN

As Above, So Below

$3,500 – $5,500

Provenance: From the Artist “As an artist, my work is a reflection of my deep appreciation for the masters who have come before me as well as modern masters – their excellence has been a wellspring of inspiration, guiding my creative journey. In every carefully crafted detail, I strive to capture the essence of human emotion and experience. My paintings are a celebration of all that is virtuous about us - our beauty, vulnerability, and strength. Through my work, I aim to transport the audience to a world where history meets the present, where classical meets contemporary. I hope you find as much joy in experiencing my paintings as I do in creating them.” - The Artist, 2026 $15,000 – $25,000

251 MICHAEL COLEMAN b.1946

Indian Camp at Golden Hour oil on board 7 1/2 x 12 1/2 inches signed lower left: MICHAEL COLEMAN - © Provenance: From a Private Collection $3,000 – $5,000

252 NICHOLAS COLEMAN b.1978

Buffalo Run oil on canvas 36 x 48 inches signed lower left: Nicholas Coleman © Provenance: Private Collection, St. George, UT $8,000 – $12,000 — 113 —

253 MICHAEL COLEMAN b.1946

An Old Traveler bronze, edition 14 of 30 16 x 27 x 9 inches inscribed: MICHAEL COLEMAN © 14/30 Provenance: Private Collection, St. George, UT Literature: Peter H. Hassrick, Under Eagles’ Wings: The Art of Michael Coleman, Judson C. Ball: Jackson, WY, and Coleman Studios, LLC: Provo, UT, 2009, p. 178, another example illustrated. $8,000 – $12,000

254 KEN CARLSON b.1937

Bison oil on board 12 x 18 inches signed lower right: CARLSON Provenance: From a Private Collection $10,000 – $15,000

255 BRUCE LAWES b.1962

The Defiant One oil on canvas 26 x 36 inches signed lower left: © B. K. Lawes Provenance: Trailside Galleries Private Collection, La Cañada-Flintridge, CA $15,000 – $25,000 — 114 —

256 BOB KUHN 1920-2007

August Afternoon: Bison, 2002 acrylic on board 18 x 28 inches signed lower right: Kuhn verso: signed and dated Provenance: From a Private Collection Few artists can capture the majesty and raw power of wild animals in vivid detail. Far fewer can leave a lasting legacy. Bob Kuhn did both. His love for wildlife and art inspired generations of artists, hunters and anglers. Born in Buffalo, New York, Bob Kuhn attended the Pratt Institute in Brooklyn, New York, where he studied design, anatomy, and life-drawing. For the next 30 years, he was one of the most popular wildlife illustrators in America before turning to easel painting full time in 1970. Kuhn traveled around the world to obtain inspiration and made countless trips to Africa, six trips to Alaska, and numerous forays into Canada and the American West. There is inexplicable magic in a Kuhn painting. It never grows tired. With every viewing, there are new discoveries. He is considered by patrons and art historians alike to be the pre-eminent wildlife artist of his generation. It has often been said he was simply without peer. Kuhn was a member of the Society of Animal Artists in New York, and his works are featured in permanent museum collections from coast to coast, including The John I. Wehle Gallery of Sporting Art at the Genesee Country Museum in Mumford, New York, The National Cowboy Hall of Fame in Oklahoma City, Oklahoma, with the largest body of work on display at the National Museum of Wildlife Art in Jackson Hole, Wyoming. $100,000 – $150,000

— 115 —

257 FRANCOIS KOCH b.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 $7,000 – $10,000

258 TERRI KELLY MOYERS b.1954

Summer’s Passing, 2020 oil on board 12 x 12 inches signed and dated lower right: Terry Kelly Moyers © 2020 verso: titled, signed and dated Provenance: Maxwell Alexander Gallery, Pasadena, CA (label verso) From a Private Collection $3,000 – $5,000

259 G. RUSSELL CASE b.1966

Colors of Fall oil on canvas 24 x 36 inches signed lower right: G. Russell Case verso: titled Provenance: From a Private Collection $7,000 – $10,000 — 116 —

260 JERRY JORDAN b.1944

Tranquil Solitude, 2015-2020 oil on canvas 14 x 14 inches signed lower left: Jerry Jordan © T.a.o.s. verso: dated, signed and titled Provenance: From a Private Collection $6,000 – $10,000

261 G. RUSSELL CASE b.1966

Galena Pass, 2017 oil on panel 12 x 16 inches signed lower right: + G. Russell Case verso: titled, signed and dated Provenance: Private Collection, Arizona $3,000 – $5,000

262 MICHAEL DUDASH b.1952

A Man of Stature, 2023 oil on linen laid on board 32 x 20 inches signed lower left: C M Dudash (artist cipher) (Cowboy Artists of America cipher) verso: titled, signed and dated Provenance: From a Private Collection $8,000 – $12,000 — 11 7 —

263 LOUISA MCELWAIN 1953-2013

Desert View - Cloud Shadow oil on canvas 20 x 24 inches signed lower left: McELWAiN verso: titled and signed Provenance: From a Private Collection $7,000 – $10,000

264 LOUISA MCELWAIN 1953-2013

Desert View - Early Morning oil on canvas 24 x 24 inches signed lower left: McELWAiN verso: titled and signed Provenance: From a Private Collection $8,000 – $12,000

265 LOUISA MCELWAIN 1953-2013

Desert View - Morning oil in canvas 24 x 24 inches signed lower right: McELWAiN verso: titled and signed Provenance: From a Private Collection $8,000 – $12,000 — 118 —

266 G. RUSSELL CASE b.1966

On the Rim - Little Colorado, 2023 oil on panel 16 x 20 inches signed lower right: + G. Russell Case verso: titled, signed and dated Provenance: Private Collection, Arizona $5,000 – $8,000

267 RON RENCHER b.1952

A Song to the Setting Sun, 2021 oil on linen mounted on board 12 x 9 inches signed lower right: © R. Rencher (artist cipher) verso: titled, dated and signed Provenance: From a Private Collection $2,000 – $4,000

268 TUCKER SMITH b.1940

Canyonlands, 1994 oil on canvas 20 x 24 inches signed and dated lower right: Tucker Smith 94 Provenance: From the Collection of Curtice and Bob McCloy Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey: Dallas, TX, 2009, illustrated p. 211. $20,000 – $40,000 — 119 —

269 WALTER UFER 1876-1936

The Bake Oven, 1922 oil on linen 25 x 30 inches signed lower left: wufer Provenance: The Owings Gallery, Santa Fe, NM (label verso) From a Private Collection The Bake Oven is a superb example of Walter Ufer’s mastery of light, color, and subject matter, qualities that established him as one of the leading members of the Taos Society of Artists. Throughout his career, Ufer captured both the beauty and the hardships of everyday life, imbuing his paintings with remarkable emotional depth and humanity. Born in Germany, Walter Ufer grew up in Louisville, Kentucky where he apprenticed as a lithographer before pursuing formal artistic training in Hamburg, Dresden, and Munich. During his seven years in Europe, he met fellow artists Joseph Henry Sharp and Ernest Leonard Blumenschein. After returning to the United States in 1914, Ufer settled in Taos, becoming a leading member of the Taos Society of Artists. Known for his spirited personality, he once humorously volunteered to serve simultaneously as both the Society’s president and secretary when both offices became vacant. Although often described as irascible and flamboyant, Ufer was also deeply compassionate and committed to his community. During the devastating influenza pandemic of 1918, he and his wife, Mary, volunteered as night nurses, assisting Taos physician J. W. Bergman while another local doctor was away caring for military personnel. A dedicated socialist, Ufer also supported striking miners in Madrid by raising funds on their behalf. The woman depicted in The Bake Oven is believed to be Mercedes Mirabal, sister of Jim Mirabal, Ufer’s close friend, trusted assistant, and frequent model from Taos Pueblo. While the subject is Pueblo, the setting is thought to be the historic Capilla de Nuestra Señora de Dolores in Ranchos de Taos rather than Taos Pueblo itself. In this intimate scene, a Pueblo woman tends a traditional outdoor bread oven, or horno, pausing in the quiet rhythm of daily life. Ufer’s luminous handling of light and atmosphere elevates an ordinary task into a timeless tribute to the enduring traditions of rural New Mexico – customs that continue to be practiced throughout the region today. To learn more about Ufer’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, 2026. $500,000 – $700,000

— 120 —

— 121 —

270 ROSETA SANTIAGO b.1946

In the Taos Foothills, 2021 oil on board 12 x 12 inches signed lower left: SANTIAGO verso: titled, signed and dated Provenance: From a Private Collection $3,000 – $5,000

271 ROSETA SANTIAGO b.1946

Wrangler II, 2018 oil on board 12 x 12 inches signed lower left: SANTIAGO verso: titled, signed and dated Provenance: From a Private Collection $3,000 – $5,000

272 JOHN MOYERS b.1958

In the Mountains of Mexico, 2019 oil on canvas 40 x 30 inches signed lower left: John Moyers verso: titled, dated and signed Provenance: From a Private Collection $15,000 – $25,000 — 12 2 —

273 BRUCE CHEEVER b.1958

Borrowed Light, 2026 oil on panel 36 x 28 inches signed lower left: - Bruce · Cheever Provenance: From the Artist “The Paiute Indians of the Great Southwest held a deep relationship with the land they inhabited. Their rich heritage and spiritual connection to their surroundings, shaped the way they lived their lives. The land gave them life, it was their living teacher, protector and provider. This painting is about their story. Two young Paiute men navigate a deep canyon of ever-moving light and swift water, etched in centuries of constant change.” - The Artist, 2026 $10,000 – $20,000

274 G. RUSSELL CASE b.1966

Desert Country, 2020 oil on board 9 x 12 inches signed lower right: + G. Russell Case verso: titled, signed and dated Provenance: From a Private Collection $2,000 – $4,000 — 123 —

275 G. RUSSELL CASE b.1966

276 G. RUSSELL CASE b.1966

Juniper Shadows, 2024

Clay Basin, 2013

oil on panel 18 x 24 inches signed lower left: + G. Russell Case verso: titled, signed and dated

oil on panel 12 x 16 inches signed lower right: + G. Russell Case verso: titled, signed and dated

Provenance: Private Collection, Arizona

Provenance: From a Private Collection

$6,000 – $10,000

$3,000 – $5,000

277 CONRAD SCHWIERING 1916-1986

Chesler Park oil on board 30 x 36 inches signed lower left: Schwiering (artist cipher) © verso: titled Provenance: Estate of Conrad Schwiering From the Collection of Stephen Strand $10,000 – $20,000 — 124 —

278 CONRAD SCHWIERING 1916-1986

Teton Majesty in Autumn oil on board 25 x 30 inches signed lower left: Schwiering (artist cipher) © Provenance: From a Private Collection $10,000 – $20,000

279 HARRISON CRANDALL 1887-1970

280 HARRISON CRANDALL 1887-1970

Branding Calves - Turner Ranch

Fishing in Grand Teton National Park

hand-colored photograph on paper 27 x 39 inches signed and inscribed lower right: CRANDALL © Teton Park verso: titled and signed

hand-colored photograph on paper 19 x 27 inches signed lower right: CRANDALL

Provenance: Private Collection, Jackson, WY

Provenance: Private Collection, Jackson, WY $5,000 – $7,000

$5,000 – $7,000 — 125 —

281 FRANK B. HOFFMAN 1888-1958

282 DAN OSTERMILLER b.1956

Three Bears

Bear, 1989

oil on canvas panel 10 x 14 inches signed lower right: Hoffman

bronze, edition 10 of 20 12 x 8 3/4 x 9 inches inscribed: © Dan Ostermiller 89 10/20

Provenance: Robert L. Parsons Fine Art, LLC., Taos, NM (label verso) From a Private Collection

Provenance: From a Private Collection $2,500 – $4,500

$6,000 – $9,000

283 MICHAEL COLEMAN b.1946

284 KEN CARLSON b.1937

Across the Tundra, 1986

California Quail

oil on panel 14 x 20 inches signed and dated lower right: MICHAEL COLEMAN - © 1.9.8.6 verso: titled and dated

watercolor on paper 12 3/4 x 18 1/8 inches signed lower right: K CARLSON

Provenance: Gerald P. Peters, Santa Fe, NM (label verso) From a Private Collection $5,000 – $7,000

Provenance: Private Collection, CA Copley Fine Art Auctions, The Winter Sale 2024, February 2024, Lot 322 (label verso) Private Collection, Bozeman, MT $2,000 – $4,000 — 126 —

285 OGDEN MINTON PLEISSNER 1905-1983

286 WALTER MATIA b.1953

Windfall Pond, 1958

Molly the Working Girl, 2005

watercolor on paper 17 3/4 x 28 inches titled, signed and dated lower right: Windfall Pond 1958 Pleissner

bronze, edition 25 of 36 20 1/2 x 12 1/4 x 13 1/2 inches inscribed: © MATIA 25/36 05 (artist cipher)

Provenance: From a Private Collection

Provenance: Private Collection, Denver, CO

$25,000 – $45,000

$3,000 – $5,000

288 FRANCOIS KOCH b.1944 287 GEORGE NORTHUP 1940-2017

Big Bugs in the Box Canyon (Lamp), 1999

Lines Cast, Time Paused

bronze and wood, edition Artist’s Cast 2 of 35 33 x 27 x 14 3/4 inches inscribed: 1999 Northup AC 2/35

oil on canvas 24 x 30 inches signed lower right: Francois Koch verso: signed and titled.

Provenance: From a Private Collection

Provenance: From the Artist

$6,000 – $10,000

$4,000 – $6,000 — 127 —

289 ROBERT PETERS b.1960

October’s Realm oil on canvas 40 x 72 inches signed lower left: ROBERT PETERS verso: signed and titled Provenance: The Legacy Gallery, Jackson, WY (label verso) From a Private Collection $20,000 – $30,000

290 GILBERT DAVIS MUNGER 1837-1903

Glimpse of the Pacific from Mount Tamalpais, c. 1870 oil on canvas 24 x 42 inches unsigned Provenance: Robert Hall Fine Arts, Long Island, NY Alexander Gallery, New York, NY Gerald Peters Gallery (label verso) Santa Fe Art Auction, Signature Annual Auction, November, 2021, Lot 320 (label verso) Private Collection, Jackson, WY $25,000 – $45,000

291 HENRY ARTHUR ELKINS 1847-1884

Colorado Mountain Scene oil on canvas 36 x 54 inches signed lower left: H. A. Elkins Provenance: Kennedy Galleries Inc., New York, NY (label verso) Gerald Peters Gallery, New York, NY (label verso) Private Collection, Jackson, WY $5,000 – $7,000 — 128 —

292 MICHAEL COLEMAN b.1946

Ermine and Pheasant oil on panel 24 x 30 inches signed lower right: MICHAEL COLEMAN - © Provenance: From a Private Collection $8,000 – $12,000

293 RAY SEXTON 1959-1996

Dall Sheep, 1986 oil on panel 9 x 12 inches signed and dated lower left: RAY SEXTON © 86 Provenance: From a Private Collection $2,500 – $4,500

294 DEAN MITCHELL b.1957

Yellowstone Steam, 2026 watercolor on paper 22 x 30 inches signed and dated lower left: DEAN MITCHELL AWS, NWS © 2026 Provenance: From the Artist “Where there’s smoke, there’s fire - and a mist. This remarkable natural phenom possesses an uncanny beauty, shrouded in mystery that leaves a lasting sense of awe.” - The Artist, 2026 $10,000 – $20,000 — 129 —

296 KEN CARLSON b.1937

Bugling Elk 295 NANCY GLAZIER b.1947

Crown of Kings, 1986 oil on masonite 10 x 12 inches signed lower right: N. GlAZiER © verso: titled, signed and dated

oil on board 8 x 16 inches signed lower left: CARLSON Provenance: From the Collection of Curtice and Bob McCloy $9,000 – $12,000

Provenance: Trailside Galleries, Scottsdale, AZ & Jackson, WY (label verso) From a Private Collection $2,000 – $4,000

297 DUSTIN VAN WECHEL b.1974

Respite for the Weary, 2014

298 PACO YOUNG 1958-2005

oil on canvas panel 28 x 22 inches signed lower left: D Van Wechel verso: titled, signed and dated

oil on canvas 36 x 48 inches signed lower left: Paco Young ©

Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) From a Private Collection

$5,000 – $7,000

$7,000 – $10,000

Autumn Crossing

— 130 —

300 EWOUD DE GROOT b.1969

Pronghorn Antelope 299 EWOUD DE GROOT b.1969

Moose, 2010 oil on canvas 47 1/4 x 47 1/4 inches signed lower left: Ewoud dated lower right: 2010

oil on canvas 35 1/4 x 59 1/8 inches signed lower left: Ewoud Provenance: Private Collection, Jackson, WY $8,000 – $12,000

Provenance: Private Collection, Jackson, WY $8,000 – $12,000

301 EWOUD DE GROOT b.1969

302 EWOUD DE GROOT b.1969

Pheasant, 2012

Loons

oil on canvas 43 3/8 x 43 1/4 inches signed and dated lower right: Ewoud 12

oil on canvas 43 1/4 x 43 1/4 inches signed lower right: Ewoud

Provenance: Private Collection, Jackson, WY

$8,000 – $12,000

$8,000 – $12,000 — 131 —

303 TIM SHINABARGER b.1966

Track of the Silvertip 304 KEN CARLSON b.1937

bronze, edition 3 of 24 14 x 26 1/2 x 10 inches inscribed: (artist cipher) © Shinabarger 3/24

Black Bear oil on board 9 x 12 inches signed lower left: CARLSON

Provenance: From a Private Collection

Provenance: From the Collection of Curtice and Bob McCloy

$5,000 – $7,000

Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey: Dallas, TX, 2009, illustrated p. 62. $6,000 – $9,000

305 BONNIE MARRIS b.1951

306 TIM SHINABARGER b.1966

Waiting for Mom

Curious

oil on canvas 12 x 12 inches signed lower right: BKMarris

bronze, edition 35 of 35 18 5/8 x 12 1/2 x 6 1/2 inches inscribed: 35/35 © Shinabarger

Provenance: From a Private Collection

$4,000 – $6,000

$4,000 – $6,000 — 132 —

307 BONNIE MARRIS b.1951

308 CARL BRENDERS b.1937

Two Amigos - Coyotes, 2001 mixed media on paper 8 x 15 inches signed and dated lower right: © CBrenders 01 Provenance: National Museum of Wildlife Art, Western Visions, Jackson, WY, 2001 Haub Family Collection, WY Private Collection, Duxbury, MA $10,000 – $15,000 — 133 —

309 BOB KUHN 1920-2007

Prince or Prey, 2001 acrylic on board 10 1/2 x 14 inches signed lower left: Kuhn verso: titled, signed and dated Provenance: Scottsdale Art Auction, April 2015, Lot 158 Coeur d’Alene Art Auction, July 2020, Lot 183 From a Private Collection $50,000 – $75,000

310 BOB KUHN 1920-2007

Bugling Elk acrylic on board 9 x 12 inches signed lower left: Kuhn Provenance: The Artist James Codding, Santa Rosa, California Private Collection, by descent Coeur d’Alene Art Auction, July 2025, Lot 77 From a Private Collection $30,000 – $50,000

— 134 —

311 KEN CARLSON b.1937

Pronghorn on Alert oil on board 12 x 18 inches signed lower left: KEN CARLSON Provenance: From the Collection of Curtice and Bob McCloy $12,000 – $20,000

312 BOB KUHN 1920-2007

Stepping Lively acrylic on board 10 x 12 inches signed lower left: Kuhn verso: titled Provenance: From a Private Collection $25,000 – $45,000

— 135 —

313 BOB KUHN 1920-2007

Cacophony - Cougar & Hounds, 2002 acrylic and pencil on board 24 x 24 inches signed lower right: Kuhn verso: signed and dated Provenance: From the Collection of Curtice and Bob McCloy Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey: Dallas, TX, 2009, illustrated p. 135. $80,000 – $120,000

— 136 —

314 BOB KUHN 1920-2007

On the Prod - Moose, 1984 acrylic on masonite 14 1/2 x 18 1/2 inches signed and dated lower left: Kuhn 84 verso: signed Provenance: From the Collection of Curtice and Bob McCloy Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey: Dallas, TX, 2009, illustrated p. 115. $60,000 – $90,000

— 137 —

315 KEN CARLSON b.1937

316 KEN CARLSON b.1937

Caribou

Bighorn Sheep at Dusk

oil on board 12 x 18 inches signed lower right: CARLSON

Provenance: From a Private Collection

$7,000 – $10,000

317 MICHAEL COLEMAN b.1946

Camp at Dusk oil on board 12 x 24 inches signed lower right: MICHAEL COLEMAN ©

River Encampment

Provenance: From a Private Collection

oil on board 20 x 30 inches signed lower left: MICHAEL COLEMAN - ©

318 MICHAEL COLEMAN b.1946

$3,500 – $5,500

Provenance: Private Collection, Sun Valley, ID Coeur d’Alene Art Auction, July 2018, Lot 266 Private Collection, San Francisco, CA $10,000 – $20,000 — 138 —

319 JEREMY WINBORG b.1979

Guardian of the Tetons, 2026 oil on board 30 x 45 inches signed lower left: J. Winborg verso: titled, signed and dated Provenance: From the Artist $20,000 – $40,000

320 COLT IDOL b.1992

Approaching Dusk, 2026 oil on canvas 36 x 48 inches signed lower right: Colt Idol verso: titled, dated and signed Provenance: From the Artist $10,000 – $20,000

321 HEINIE HARTWIG b.1937

Indian Camp oil on board 30 x 45 inches signed lower left: Heinie Hartwig © Provenance: Private Collection, Jackson, WY $4,000 – $6,000 — 139 —

323 JOHN FALTER 1910-1982

Man’s Work to be Done, 1977

322 RUSSELL CHATHAM 1939-2019

The Absarokas After a Late Fall Snowfall, 1998 oil on canvas 36 x 30 inches signed and dated lower right: (artist cipher) 1998 verso: titled, signed and dated Provenance: From a Private Collection

oil on canvas 12 x 16 inches signed and dated lower left: J. Falter © 77 verso: titled, signed and dated Provenance: Private Collection, TX Fredericksburg Art Auction, May 2015, Lot 180 (label verso) Jackson Hole Art Auction, September 2021, Lot 342 From a Private Collection $5,000 – $8,000

$15,000 – $25,000

324 JOHN CLYMER 1907-1989

325 ROBERT LOUGHEED 1910-1981

Summer Shadows

The Intruder (Red Fox) Near Kotzabeau, Alaska, c. 1978

oil on board 8 x 10 inches signed lower right: John Clymer verso: titled

oil on board 12 x 16 inches signed lower left: RE LOUGHEED Provenance: Kennedy Galleries, Inc., New York, NY (label verso) Nedra Matteucci Galleries, Santa Fe, NM (label verso) From a Private Collection

Provenance: Coeur d’Alene Art Auction, July 2019, Lot 46 Private Collection, Houston, TX Lone Star Art Auction, October 2023, Lot 141 From a Private Collection

$8,000 – $12,000

$12,000 – $18,000 — 140 —

326 BONNIE MARRIS b.1951

327 JOHN BYE b.1970

Barn Cats, 1989

Heading Home

oil on canvas 12 x 16 inches signed lower right: JBye

Provenance: From a Private Collection

Provenance: From the Artist

$3,000 – $5,000

328 RICK TERRY b.1957

329 RICHARD D. THOMAS 1939-2019

Trail Break, 2020

Cowboy Rendezvous, 2000

oil on canvas 24 x 36 inches signed lower right: RICHARD D. THOMAS verso: titled, signed and dated

Provenance: Private Collection, Lafayette, CO $5,000 – $8,000

Provenance: Colorado Historical Society, Denver, CO (label verso) From a Private Collection $5,000 – $8,000

— 141 —

330 RICHARD D. THOMAS 1939-2019

Line Camp Supplies, 1993 oil on canvas 24 x 30 inches signed and dated lower left: RICHARD D. THOMAS ‘93 © verso: titled, signed and dated Provenance: Hindman, Western & Contemporary Native American Art, November 2022, Lot 121 From a Private Collection $5,000 – $8,000

331 TUCKER SMITH b.1940

Drift Fence Study 2, 2007 oil on canvas 19 3/4 x 17 3/4 inches signed and dated lower left: Tucker Smith 07 Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) Private Collection, Wisconsin Scottsdale Art Auction, April 2025, Lot 366 From a Private Collection $20,000 – $30,000 — 142 —

332 ALEXANDER PHIMISTER PROCTOR 1862-1950

American Horse, 1895 bronze 11 7/8 x 11 3/4 x 3 inches inscribed: PHIMISTER PROCTOR 1899 COPY RIGHT stamped: GORHAM CO FOUNDERS QRC modeled in 1895 cast c. 1913 Provenance: From a Private Collection $5,000 – $8,000

333 SOLON HANNIBAL BORGLUM 18681922

Horse Grazing, 1905 bronze 11 7/8 x 13 5/8 x 4 1/2 inches inscribed: S.H.BORGLUM. inscribed: Roman Bronze Works N.Y. 1905. modeled in 1905 Provenance: From a Private Collection $10,000 – $20,000

334 KATHARINE WARD LANE WEEMS 1899-1989

Colt Standing (Week-Old Colt), 1926 bronze 10 1/2 x 9 x 2 3/4 inches inscribed: KATHARiNE. W. LANE. inscribed: KUNST F’DRY-N-Ymodeled in 1926 cast in 1941 Provenance: From a Private Collection Literature: Louise Todd Ambler, Katharine Lane Weems: Sculpture and Drawings, Boston Athenaeum: Boston, MA, 1987, p. 19, another example illustrated. $4,000 – $6,000 — 143 —

335 ROGER ORE b.1950

A Teton Afternoon oil on canvas 40 x 60 inches signed lower right: © R. E. Ore Provenance: Buffalo Trail Fine Art Galleries, Jackson Hole, WY (label verso) Property from The Valley Ranch, Jackson, Wyoming: Residence of Laurance S. Rockefeller and John D. Rockefeller IV $10,000 – $20,000

336 DOUGLAS VAN HOWD b.1935

Wings of Freedom (Maquette) bronze with 24k gold-plated beak and feet, nickel-plated head and tail wing, edition 2 of 50 35 1/2 x 22 x 27 inches inscribed: Van Howd 2 (stamped) / 50 Provenance: From a Private Collection $4,000 – $8,000

337 LANNY GRANT b.1953

Summer Solitude, 1992 oil on board 40 x 60 inches signed lower right: LANNY GRANT © verso: titled, dated and signed Provenance: Trailside Galleries, Jackson, WY, Scottsdale, AZ & Carmel, CA (label verso) Property from The Valley Ranch, Jackson, Wyoming: Residence of Laurance S. Rockefeller and John D. Rockefeller IV $8,000 – $12,000 — 144 —

338 ANDREW BOLAM b.1971

Grizzly in the Tetons oil on canvas 48 x 60 inches signed lower right: Bolam Provenance: Private Collection, Jackson, WY $7,000 – $10,000

339 BONNIE MARRIS b.1951

Cold Comfort oil on canvas 24 x 48 inches signed lower right: BKMarris © Provenance: Private Collection, Jackson, WY $15,000 – $25,000 — 145 —

340 TUCKER SMITH b.1940

341 MICHAEL COLEMAN b.1946

Elk, 1989

Elk

oil on canvas 10 x 12 inches signed and dated lower left: Tucker Smith 89

oil on board 30 x 40 inches signed lower right: MICHAEL COLEMAN - ©

Provenance: Private Collection Jackson Hole Art Auction, February 2024, Lot 202 From a Private Collection

Provenance: From a Private Collection $12,000 – $20,000

Literature: Tom Davis, Patrons Without Peer: The McCloy Collection, Collectors Covey: Dallas, TX, 2009, illustrated p. 205. $15,000 – $25,000

342 TIM SHINABARGER b.1966

343 STEVE BURGESS b.1960

Into the Wind, 2006

Hitchin’ a Ride

bronze, edition 3 of 35 19 7/8 x 29 7/8 x 9 7/8 inches inscribed: © 06 Shinabarger 3/35

oil on board 24 x 36 inches signed lower right: Steve Burgess

Provenance: From a Private Collection

Provenance: From the Artist

$6,000 – $9,000

$8,000 – $12,000 — 146 —

344 SCOTT CHRISTENSEN b.1962

Deep Lake oil on canvas 60 x 72 inches signed lower right: Christensen © Provenance: The Artist From the Collection of Charles Iossi and Christine Culman Exhibited: Prix de West Invitational, National Cowboy & Western Heritage Museum, Oklahoma City, OK, 2012 “It takes time to get back into the rhythm of nature...” – The Artist Scott Christensen’s Deep Lake captures the majesty and solitude of Wyoming’s Wind River Mountain Range with luminous restraint. Towering granite walls rise sharply from the still, glassy water, their faceted planes articulated in confident, economical brushwork that suggests both mass and movement. Snowfields drift between the peaks, cooling the palette and drawing the eye toward the distant pass, where sky and stone quietly meet. In the foreground, sun‑struck evergreens and warm rocks provide a counterpoint of texture and color, anchoring the viewer at the water’s edge and inviting a slow, contemplative gaze. Christensen’s nuanced handling of light—soft sky, crisp reflections, and atmospheric blue shadows— conveys both grandeur and quiet intimacy, evoking the timeless calm of an alpine morning. $30,000 – $50,000

— 147 —

“Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space. I know of no sculpture, painting or music that exceeds the compelling spiritual command of the soaring shape of granite cliff and dome, of patina of light on the rock and forest, and of thunder and whispering of the falling, flowing waters. At first the colossal aspect may dominate; then we perceive and respond to the delicate and persuasive complex of nature... Who can define the moods of the wild places, the meaning of nature in domains beyond those of material use? Here are words of experience beyond the world of the aggressive man, beyond history and beyond science. The moods and qualities of nature and the revelations of great art are equally difficult to define; we can grasp them only in the depths of our perceptive spirit. Perhaps age must remember the clear perceptions of youth and return to the sensing of freshness, of strength and of wonder; perhaps age needs to recall the comprehension of mood and meaning and to rekindle an appreciation of the marvelous, of being in resonance with the world.” - Ansel Adams, Introduction to Portfolio III, Sierra Club; San Francisco, 1960

345 ANSEL ADAMS 1902-1984

Merced River, Cliffs of Cathedral Rocks, Autumn, 1939 gelatin silver print on paper 7 1/4 x 9 inches signed lower right: Ansel Adams Provenance: From a Private Collection This silver gelatin print is signed in ink and numbered ‘2’ in pencil on the mount recto. Numbered ‘2’ in red ink with the Portfolio copyright credit stamp mount verso. $8,000 – $12,000

346 ANSEL ADAMS 1902-1984

Trees and Cliffs, 1954 gelatin silver print on paper 11 x 8 inches signed lower right: Ansel Adams Provenance: From a Private Collection This silver gelatin print is signed in ink and numbered ‘15’ in pencil on the mount recto. Numbered ‘15’ in red ink with the Portfolio copyright credit stamp mount verso. $8,000 – $12,000 — 148 —

347 ANSEL ADAMS 1902-1984

Trees and Snow, 1933 gelatin silver print on paper 11 x 8 3/4 inches signed lower right: Ansel Adams Provenance: From a Private Collection This silver gelatin print is signed in ink and numbered ‘4’ in pencil on the mount recto. Numbered ‘4’ in red ink with the Portfolio copyright credit stamp mount verso. $8,000 – $12,000

348 ANSEL ADAMS 1902-1984

Branches in Snow, c. 1932 gelatin silver print on paper 8 1/2 x 6 3/8 inches signed lower right: Ansel Adams Provenance: From a Private Collection This silver gelatin print is signed in ink and numbered ‘5’ in pencil on the mount recto. Numbered ‘5’ in red ink with the Portfolio copyright credit stamp mount verso. $8,000 – $12,000 — 149 —

349 ANSEL ADAMS 1902-1984

Leaves, Mt Rainier National Park, 1942 gelatin silver print on paper, printed c. 1962-1963 15 1/2 x 19 1/2 inches signed lower right: Ansel Adams verso: titled Provenance: Bonham’s, Los Angeles, December 2023, Lot 61 Private Collection, CA From a Private Collection This early silver gelatin print is signed in ink mount recto, with Adams’s Carmel studio stamps (BMFA 5 and 6) with title and numbering in ink mount verso. Likely printed in 1962-63. This image is typically oriented vertically, but some larger prints of the image, such as this one, were oriented horizontally. Restored by Gawain Weaver Art Conservation. $20,000 – $30,000

350 ANSEL ADAMS 1902-1984

351 ANSEL ADAMS 1902-1984

Rapids Below Vernal Fall, Yosemite, CA, 1948

Clearing Storm, Sonoma County Hills, 1951

gelatin silver print on paper 7 1/2 x 9 5/8 inches signed lower right: Ansel Adams stamped verso: Anne Adams Helms collection stamp

gelatin silver print, printed early 1960s 8 7/8 x 11 3/8 inches signed lower right: Ansel Adams verso: titled

Provenance: From the Collection of Anne Adams Helms Seagrave Gallery, CA, 2020 Private Collection, CA, 2022 From a Private Collection

Provenance: From the Collection of Anne Adams Helms Thence by descent to the present owner

This vintage silver gelatin contact print is signed in pencil mount recto, with Portfolio One stamp and numbering in red crayon verso. Dedicated to Alfred Stieglitz, the father of modern photography, Portfolio One was produced by Ansel Adams in 1948 in a small edition of 75. Drawing from images made after Stieglitz’s passing in 1946, this selection exemplifies the light and contemplative quietude of Stieglitz’s later imagery. $8,000 – $12,000 — 150 —

This silver gelatin print is signed in ink mount recto with title in pencil mount verso. Prints of this image at this size were made for Portfolio IV (published 1963), and this example was likely made around that time -- possibly a prototype or an extra, making it especially rare and unique. $8,000 – $12,000

352 ANSEL ADAMS 1902-1984

The Abode of Snow, from Glacier Point, Yosemite, c. 1925 gelatin silver print, printed c. 1927 5 3/4 x 7 3/4 inches signed lower right: Ansel Adams numbered lower left: 373 Provenance: Collection of Virginia Best Adams Collection of Anne Adams Helms From a Private Collection 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. This silver gelatin print on Kodak Vitava Athena paper is signed and numbered in pencil beneath the image. 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. $8,000 – $12,000

— 151 —

353 ANSEL ADAMS 1902-1984

The Teton Range and Snake River, Grand Teton National Park, Wyoming, 1942 gelatin silver print, print 16, printed 1962 7 3/4 x 9 3/8 inches signed lower right on mat: Ansel Adams signed recto with printed black ink stamp verso: “SPECIAL EDITION OF FINE PRINTS / PHOTOGRAPHS OF/ GRAND TETON NATIONAL PARK / AND / YELLOWSTONE NATIONAL PARK / by / ANSEL ADAMS / Print No. 16 of S.E.G.T & Y. No 7 / Tetons and Snake River (in Ansel’s hand ink) / Printed especially for the / Grand Teton Lodge Company Provenance: Grand Teton Lodge Company (Jenny Lake Climbing Museum), September 1963 From the Collection of Byron Dudley In the summer of 1953, sixteen-year-old Byron Dudley travelled alone by bus from Chicago to Jackson Hole. “For twenty-two days during that summer of wonder in the Tetons, I camped at Jenny Lake Campground and swam in String Lake in the afternoons,” Dudley noted. “Immediately to the west rose the sawtooth summit of Mt. Teewinot. I spent days hiking into the heart of the Tetons by way of Cascade Canyon, Paintbrush Canyon, Garnet Canyon, and Granite Canyon, discovering the stunning alpine landscape. I hiked over the Paintbrush Divide to Lake Solitude. I enjoyed the impressive view of the west side of the Tetons—the Grand, Middle, and South Tetons—the view first observed by John Colter in 1808. “By late August, it was time to break camp at Jenny Lake and start the fifteen-hundred-mile journey hitchhiking home to La Grange Park, Illinois… I arrived home with rolls of Kodachrome film to be processed and journal notes to be edited. I arrived home a changed person.” Byron Dudley’s lifelong connection to the American West was shaped by youthful adventure, a developing passion for photography, and a deep admiration for the work of Ansel Adams. The photograph at the center of Dudley’s recollections is this rare contact print of Ansel Adams’s celebrated view of the Grand Tetons, produced for a special edition commissioned by the Grand Teton Lodge Company in the early 1960s. The collaboration was short-lived, leaving relatively few examples of these Special Edition Grand Tetons and Yellowstone prints. “In September 1962, before my senior year at Michigan State University, my father and I were camping at Jenny Lake and hiking in the Tetons. We stood at the Snake River Overlook where Ansel Adams photographed the Tetons and Snake River. “Grand Teton National Park in late September 1962 was a quiet place after the summer season, with autumn colors along the Snake River and the first snows on the Tetons. The small mountain-climbing museum at Jenny Lake was open. I was surprised to see the Yellowstone and Teton photographs atop the tall display cases. There were eight 8 x 10 black-and-white prints mounted on 11 x 14 white cardboard that I immediately recognized as the work of Ansel Adams. On display was the stunning, iconic photograph he made in 1942, The Tetons and the Snake River. “I asked the curator about the photographs, how he happened to have them, and whether they were for sale. He said Ansel Adams had brought them to the museum the previous day. I told him of my admiration for Adams’s photography and my desire to purchase the Teton and Snake River photograph. He said it was for sale. That is where I discovered and acquired this classic Ansel Adams photograph on a quiet September day at the Climbing Museum at Jenny Lake in the Tetons.” In 1964, Byron Dudley visited Adams in Carmel: “My visit with Ansel Adams began with a walk up a rising, curving, sandy brick sidewalk to his half-hidden home, which overlooked the Pacific Ocean at Carmel Highlands. At his front door, there was a small metal sign: VISITS BY APPOINTMENT ONLY. Hesitant to ring the doorbell but reluctant to leave, I decided to ring and seek an appointment with Ansel Adams. “Mrs. Adams opened the door, introduced herself, and greeted me with a smile. “Ansel strode through the studio and toward the front door with heavy steps that echoed from the bare dark wooden floor. He was not a tall man but rather rotund with a large round head, full beard and broad smile. His sharp, clear, hazel-brown eyes were separated by a sharp, misshapen, slightly off-center nose that was broken during the San Francisco earthquake in 1906 when he was four years old. He wore a gray flannel shirt, a plain blue tie with a simple silver clasp, dark gray pants and Wellington boots. He greeted me warmly as we shook hands and welcomed me into his home. “We talked of his work: of teaching, of photography, of printing, and of the Sierra Club. He expressed concern for the problems of our cities and the plight of our planet Earth. He was a personable man with interesting and interested eyes. More youthful in energy than most men half his age, he spoke with intensity and a passion for photography. We discussed photography as an art form for the humanization of others, an art form for the development of more sensitive, positive people who might become more responsive to and more caring for the environment and for each other. “Time became the dominant element of our talk: time for action, time remaining for preserving the environment, time for writing, time for teaching, time for talking, and time to meet the many demands of the day. All too soon, it was nearly noon, and we were out of time. I thanked him for the time we had shared, the time he had given me. He smiled, shook my hand, and asked me to come again. As I thanked him for his time with me, he handed me a gift, a portfolio of black-and-white prints from an exhibit in San Francisco. I thanked him for his kindness and for his photographs as we stood looking at the ocean below. “We walked to the front door, where I said goodbye to Ansel Adams.” $25,000 – $35,000 — 152 —

— 153 —

354 WILLIAM HENRY JACKSON 1843-1942

Ice Palace at Leadville, 1896 hand-colored silver print 21 x 38 1/2 inches inscribed lower right: 1685. Ice Palace at Leadville Colo.Copyrighted 1896 By W.H. Jackson & Co. Phot. Denver Colo Provenance: From a Private Collection Before the winter of 1895, the townspeople of Leadville, Colorado proposed a mammoth ice castle to draw sightseers, create jobs, and rescue the town’s flagging economy. Anticipating trains full of tourists, the project began by hiring Charles E. Jay, an architect who had designed an ice palace in St. Paul, Minnesota. Tingley S. Wood was hired to build the ice palace and the Leadville Ice Company got the contract to produce the ice. Construction began November 1, 1895 with a crew of 250 men working day and night. Day laborers were paid $2.50 per day and skilled laborers were paid $3.00 per day. The palace was more than 58,000 square feet – 325 x 180 feet, utilizing 180,000 board feet of lumber and 5,000 tons of ice. The palace was supported by a complex framework of trusses, girders, and timber, with the ice for appearance only. The ice was trimmed to size and placed in forms, then sprayed with water, which served as mortar to bind the blocks together. The towers reached 90 feet high by 40 feet wide, and the palace encompassed 5 acres of ground. Just 36 days later, the Ice Palace, between Seventh and Eighth Streets on top of Capitol Hill, was opened on January 1, 1896. Visitors from far and wide were amazed by the spectacular castle with its impressive size, electric lights casting a glow through the translucent walls, and American Beauty roses and 18-inch trout frozen in blocks of clear ice decorating the inside walls. Outside, the castle was adorned with gleaming searchlights with prismatic colors and when visitors arrived at night, they were awe-struck. The Ice Palace was a fairyland come true to the children who visited, overwhelmed by the popcorn machines, the merry-go-round, and the skating rink. For three months, the Crystal Carnival entertained more than 250,000 visitors until an early thaw in mid-March. The winter of 1895 and 1896 was the grandest Leadville had ever known. The visitors said that when the sun shone through the ice, it looked like 1,000 sparkling lights. Finally, the Ice Palace began to melt and the building was condemned on March 28, though skaters continued to skate on the ice rink until June. It remained standing for some time after that, as 5,000 tons of ice takes a while to melt. The Ice Palace’s last formal event was May Day’s maypole skating party. The ice was in excellent shape and many ladies and gentlemen spent an evening skating instead of dancing around the maypole. $10,000 – $15,000

— 154 —

— 155 —

Thomas Molesworth and the Brinkerhoff Legacy: Mid-Century Western Design at the Bear River Duck Club My first introduction to the furniture of Thomas Molesworth’s Shoshone Furniture Company was in 1988 when I purchased the contents of Hunter Hereford Ranch, located on Antelope Flats Road in Grand Teton National Park. We opened Fighting Bear Antiques in 1981, and I had already grown to appreciate the rustic furniture design of Jackson’s early furniture makers—such as the Kranenberg brothers, who built the Cowboy Bar on Jackson’s town square—as well as the furnishings at many of the area’s dude ranches. I immediately fell in love with Molesworth Furniture and realized it was something special and sophisticated but distinctly Western. Thomas Canada Molesworth (1890-1977) was born in Topeka, Kansas to a wealthy family. At an early age, his family moved to a ranch near Forsyth, Montana. Molesworth, an aspiring artist, attended the Art Institute of Chicago; however, due to the family financial difficulties, his father told him he was “no Charlie Russell” and so he returned to Montana. On returning from Chicago, Molesworth managed the Rowe Furniture Company in Billings, Montana from 1923 to 1930. In 1931 Molesworth moved to Cody, Wyoming and opened the Shoshone Furniture Company. The business was a general line furniture store; they even sold coffins. However, as the United States was in the height of the Depression, business was very slow. Out of desperation, Molesworth built a set of simple rustic furniture and put it in his front window. Shortly thereafter, Moses Annenberg, who had just purchased a ranch on Sand Creek, near Beulah, Wyoming, came into the store and ordered over 245 pieces of furniture for his extensive property, Ranch A. His time at the Art Institute played a pivotal role in the creation of his style of furniture for the Shoshone Furniture Company. Annenberg’s financial boost started the Shoshone Furniture Company on a very successful path that would last until 1961. Molesworth furnished many hotels, including the Plains Hotel in Cheyenne and the Wort Hotel in Jackson, Wyoming. This exposure let to many important commissions for clients such as W. R. Coe (Coe Lodge), Robert Woodruff (TE Ranch on the South Fork), George Summers (for his lodge in Glenwood Springs, Colorado) and Zach Brinkerhoff (for his lodge in Grand Teton National Park and his residence at Bear River Duck Club in Brigham City, Utah). Zach Brinkerhoff (1913-2011) grew up in Grand Bayou, Louisiana, to a wealthy family with ties to early oil discoveries in Louisiana. After attending the University of Texas in Austin (1931-1935), he worked as an oil roughneck. Around 1940, he started Brinkerhoff Drilling with his father in Illinois. When Wyoming experienced an oil boom in the 1940s, Brinkerhoff moved to Rock Springs, and he soon became Wyoming’s largest independent oil producer. Zach Brinkerfoff most likely learned about Tom Molesworth from a hunting acquaintance. He had Molesworth furnish The Brinkerhoff Lodge on Jackson Lake in 1947 as well as his residence at the Bear River Duck Club. The Brinkerhoff Lodge was sold to the US Government in the 1950s, but Zach retained the furniture in the Duck Club until his death in 2011. The Duck Club furniture is a great suite reflecting Molesworth’s Postwar style. The Couch with built-in side tables displays the modernism and functionality of his contemporary vision. The Gun Cabinet, with its three-dimensional ducks in flight and painted leather details, is an artistic masterpiece, as are the card table and sling seat chairs. The Desk is large and befitting an executive, with great original leather. Terry Winchell is the author of the book, Thomas Molesworth: The Pioneer of Western Design. We are grateful to him for writing this essay.

— 156 —

357

359 356

360

358

361 355

355 THOMAS MOLESWORTH 1890-1877

356 THOMAS MOLESWORTH 1890-1877

359 THOMAS MOLESWORTH 1890-1877

360 THOMAS MOLESWORTH 1890-1877

Sofa with Built-in End Tables, c. 1950s

Pair of Leather-Wrapped Lamps with Brass Tack Decoration and Rawhide Shades, c. 1950s

Leather-Wrapwped Gun Cabinet with Applied Pole Trim and Antler Pulls, c. 1950s

Game Table with Leather Top and Brass Tack Decoration, c. 1950s

maple plywood, leather, brass tacks, rawhide 22 x 12 x 12 inches (each)

inland fir, leather, antler, brass tacks 76 1/2 x 49 1/2 x 20 1/2 inches

maple plywood, leather, brass tacks 35 3/4 x 25 x 25 inches

Provenance: Zach Brinkerhoff, Bear River Duck Club, Brigham City, UT From a Private Collection

tulip poplar, inland fir, leather, Chimayo weavings, brass tacks 34 x 104 3/4 x 38 1/2 inches Provenance: Zach Brinkerhoff, Bear River Duck Club, Brigham City, UT From a Private Collection $20,000 – $30,000

$7,000 – $10,000

$15,000 – $25,000

357 THOMAS MOLESWORTH 1890-1877

358 THOMAS MOLESWORTH 1890-1877

361 THOMAS MOLESWORTH 1890-1877

Wrought Iron Floor Lamp with Rawhide Shade, c. 1950s

Office Desk with Applied Pole Trim and Original Tan Leather, En Suite with Contemporary Lester Santos Office Chair, c. 1950s

Set of Four Sling Seat Armchairs with New Leather and Brass Tacks, c. 1950s

wrought iron, rawhide 64 1/4 x 19 x 19 inches Provenance: Zach Brinkerhoff, Bear River Duck Club, Brigham City, UT From a Private Collection $7,000 – $10,000

inland fir, leather, brass tacks, applied copper and brass insignia 29 x 70 1/2 x 37 1/4 inches

inland fir, tulip poplar, leather, brass tacks 33 x 30 x 27 inches (each) Provenance: Zach Brinkerhoff, Bear River Duck Club, Brigham City, UT From a Private Collection

Provenance: Zach Brinkerhoff, Bear River Duck Club, Brigham City, UT From a Private Collection

$15,000 – $20,000

$10,000 – $15,000

— 157 —

362 THOMAS MOLESWORTH 1890-1877

Burled Loveseat with Routed Side Panels, c. 1947 inland fir, tulip poplar, Chimayo wavings, leather, brass tacks 32 1/2 x 57 x 38 inches Provenance:w Ryan’s Cerro Ranch, Cerro, New Mexico From a Private Collection $15,000 – $25,000

363 THOMAS MOLESWORTH 1890-1977

Coffee Table with Burled Stretcher and Applied Half Pole Trim, c. 1945 inland fir, leather, tulip poplar 18 1/4 x 34 x 18 inches Provenance: Double A Bar A Ranch, Cody, WY From a Private Collection $5,000 – $8,000

364 THOMAS MOLESWORTH 1890-1977

Wrought Iron Fire Screen, c. 1950 wrought iron 32 3/4 x 47 x 10 3/4 inches Provenance: From a Private Collection $10,000 – $15,000 — 158 —

365 ZAPOTEC CONTEMPORARY RUG IN TRADITIONAL NAVAJO CHIEF’S BLANKET PATTERN, c. 1990

wool with natural and aniline dyes 153 1/2 x 176 inches Provenance: From a Private Collection $3,000 – $5,000

366 NAVAJO KLAGETOH WEAVING, c. 1940

wool with natural and aniline dyes 86 3/4 x 135 inches Provenance: Private Collection, Bozeman, MT $8,000 – $12,000

367 RAY ADAKAI b.1965

Navajo Stamped Sterling Silver Tray, c. 1990 sterling silver 1 1/2 x 19 1/2 x 11 3/4 inches stamped: Sterling Ray Adakai 1,857 g Provenance: From a Private Collection $6,000 – $8,000 — 159 —

368 MACPHERSON SADDLERY & SUNSET TRAILS

Sterling Silver Parade Saddle with Serapes, c. 1950 With Custom Stand: 71 1/2 x 47 1/2 x 30 inches saddle inscribed: MACPHERSON MAKER LOS ANGELES Silverwork by Sunset Trails, Hollywood, CA Restored by Carney Custom Creations, Vichy, MO Provenance: Collection of D. M. Wardle From a Private Collection It is rare to find a brown parade saddle, as most examples are black The quality of the leather tooling and the engraving on the sterling silver is impeccable—a beautiful example in excellent condition. $30,000 – $50,000

369 CARTIER SILVER FLATWARE SERVICE SET, 20TH CENTURY

Service Set Chest: 11 x 21 1/4 x 20 1/4 inches engraved: EBG selectively stamped: cipher selectively stamped: sterling two hundred and forty-three silver pieces total weight: 13,939 g Provenance: Private Collection, Scottsdale, AZ $80,000 – $120,000 — 160 —

370 ATTRIBUTED TO PETER TRAUFFER

Swiss Carved Bear Chair, c. 1890-1910 linden wood 43 1/4 x 23 x 24 inches label underside: PAINE FURNITURE COMPANY BOSTON MASS Provenance: Private Collection, Jackson, WY $15,000 – $25,000

371 ATTRIBUTED TO PETER TRAUFFER

Swiss Carved Bear Chair, c. 1890-1910 linden wood 42 3/4 x 22 1/4 x 24 3/4 inches label underside: PAINE FURNITURE COMPANY BOSTON MASS Provenance: Private Collection, Jackson, WY $15,000 – $25,000

372 ATTRIBUTED TO PETER TRAUFFER

Swiss Carved Bear Piano Stool, c. 1890-1910 linden wood with adjustable rotating carved seat 20 x 12 x 12 inches Provenance: Private Collection, Jackson, WY $8,000 – $12,000 — 161 —

373 CHARLES WYSOCKI 1929-2002

Vermont Picnickers oil on canvas 26 x 30 inches signed lower left: © Charles Wysocki verso: titled and signed Provenance: The Artist From a Private Collection $20,000 – $40,000

374 CHARLES WYSOCKI 1929-2002

Hometown Rally oil on canvas 26 x 30 inches signed lower left: © Charles Wysocki verso: titled and signed Provenance: The Artist From a Private Collection $20,000 – $40,000 — 162 —

375 EYVIND EARLE 1916-2000

Gardner Ranch, 1969 acrylic on board 20 x 30 inches signed and dated lower right: Eyvind Earle 1969 Provenance: From the Estate of Terence D. Evans $8,000 – $12,000

376 ANDY WARHOL 1928-1987

Space Fruit: Apples, 1979 screenprint on Lenox Museum board, edition 42 of 150 30 x 40 inches signed and editioned lower left: Andy Warhol 42/150 Provenance: From a Private Collection Literature: Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, D.A.P/Ronald Feldman Fine Arts/Andy Warhol Foundation for the Visual Arts: New York, 2003, II.200. $10,000 – $15,000

377 ROBERT INDIANA 1928-2018

HELIOTHERAPY LOVE, 1995 screenprint on Lenox Museum board, edition 75 of 300 40 x 40 inches signed and dated lower right: Robert Indiana ‘95 editioned lower left: 75/300 Published by Donald J. Christal, Los Angeles and printed by Brand X Editions. Provenance: From a Private Collection $18,000 – $25,000 — 163 —

378 LYNNE DREXLER 1928-1999

Summer, 1995 oil on canvas 26 x 24 inches verso: signed, titled and dated Provenance: Greenhut Galleries, Portland, ME From a Private Collection Lynne Drexler (1928-1999) was an American painter whose luminous, color-rich compositions placed her among the second generation of Abstract Expressionists. Born in Newport News, Virginia, she studied at the Richmond Professional Institute and the College of William and Mary before moving to New York City in 1955. There, she attended Hans Hofmann’s School of Fine Arts and later studied with Robert Motherwell at Hunter College, who encouraged her to pursue painting professionally. “I could not stop painting once I got started,” Drexler recalled. Immersed in the Greenwich Village art scene, Drexler frequented the influential 8th Street Club and Cedar Tavern and received a solo exhibition at the Tanager Gallery in 1961. Her distinctive paintings combine bold color, rhythmic form, and patch-like brushwork, often suggesting landscapes and organic forms. In her later years, Drexler settled on Monhegan Island, Maine, where the rugged coastal environment inspired an increasingly personal synthesis of abstraction and representation. $30,000 – $50,000 — 164 —

379 EMIL BISTTRAM 1895-1976

Untitled, 1963 oil on board 23 3/8 x 29 1/2 inches signed and dated lower right: (artist cipher) BISTTRAM 63 Provenance: From a Private Collection $10,000 – $20,000

380 EMMI WHITEHORSE b.1956

Mt. Taylor Series #661 charcoal and pastel on paper 29 3/4 x 22 inches signed lower right: (artist cipher) Provenance: Mark Sublette, Medicine Man Gallery, Tucson, AZ (label verso) Private Collection, Scottsdale, AZ $25,000 – $45,000 — 165 —

381 FRITZ SCHOLDER 1937-2005

Mystery with White Dress, 1987 acrylic on paper 29 3/4 x 22 3/8 inches signed: center right verso: titled and dated Provenance: Private Collection, Scottsdale, AZ $6,000 – $12,000

382 FRITZ SCHOLDER 1937-2005

Posing Cat monotype on paper 36 1/2 x 27 1/2 inches signed lower right: Fritz Scholder Provenance: Larsen Gallery, Scottsdale, AZ (label verso) Santa Fe Art Auction, Prints + Works On Paper, March 2021, Lot 233 (label verso) Private Collection, Scottsdale, AZ $4,000 – $6,000 — 166 —

383 JAMES HAVARD 1937-2020

Zuni, 1977 acrylic on canvas 60 x 48 x 2 inches signed and dated upper right: Havard ’77 verso: titled, signed and dated Provenance: Sotheby’s New York, Arcade, Old Masters to Contemporary, June 2006, Lot 471 Irving Galleries Fine Arts, Palm Beach, FL (label verso) Berry Campbell, New York, NY (label verso) Private Collection, Scottsdale, AZ $8,000 – $12,000

384 THEODORE WADDELL b.1941

Angus #32, 1982 oil on canvas 36 x 48 inches signed and dated lower right: T.J. WADDELL 82 verso: titled, dated and signed Provenance: Stremmel Galleries, Ltd., Reno, NV (label verso) From the Collection of Erica Stewart $8,000 – $12,000 — 167 —

385 THOM ROSS b.1953

The Bank Job acrylic on illustration board 23 1/2 x 32 inches signed upper right: Ross Provenance: From a Private Collection $4,000 – $6,000

386 BILL SCHENCK b.1947

Cowboy on Horse, 1979 oil on canvas 28 1/2 x 40 1/2 inches verso: signed and dated Provenance: Larsen Gallery, Scottsdale, AZ (label verso) Private Collection, Scottsdale, AZ $10,000 – $20,000 — 168 —

387 BILL SCHENCK b.1947

Rodeo Queen No. 3, 1977 oil on canvas 72 1/4 x 58 3/4 inches verso: signed, dated and titled Provenance: From a Private Collection $8,000 – $12,000

388 BILL SCHENCK b.1947

The Blanket Trader, 1992 oil on canvas 42 1/2 x 35 1/2 inches signed and dated lower right: SCHENCK 92 verso: signed, dated and titled Provenance: Larsen Gallery, Scottsdale, AZ (label verso) Mark Sublette Medicine Man Gallery Inc., Tucson, AZ (label verso) Private Collection, Scottsdale, AZ $10,000 – $20,000

389 DONNA HOWELL-SICKLES b.1949

Singing Songs of the River, 1997 mixed media on paper 29 x 43 1/4 inches signed and dated upper left: © 97 Donna Howell·Sickles Provenance: Big Horn Galleries, Cody, WY (label verso) From a Private Collection $3,000 – $5,000 — 169 —

390 GEORGE GOGAS 1929-2025

Judith Basin Encounter: When Charlie and Pablo Sipped a Little Wine and Shared a Few Thoughts, 1998 acrylic on canvas 40 x 48 inches signed and dated lower right: © GOGAS ‘98 verso: titled, signed and dated Provenance: From a Private Collection $8,000 – $12,000

391 KIM WIGGINS b.1960

Morning Star Over Canyon Road, 1992 oil on canvas 22 x 28 inches signed and dated lower center: KD Wiggins 92 Provenance: Altermann & Morris Galleries, Dallas & Houston, TX (label verso) Private Collection, Dallas, TX $6,000 – $9,000

392 J. BRADLEY GREENWOOD b.1961

Buffalo Hunter / Mechanical Target Shooting Gallery, 2005 mixed media Arcade: 55 1/2 x 34 x 24 inches Stool: 27 1/2 x 16 1/4 x 18 inches signed, dated and inscribed: BRAD GREENWOOD © 2005 #695 BECKWOURTH, CA Provenance: From a Private Collection Brad Greenwood transforms the nostalgia of early twentieth-century mechanical shooting galleries into a remarkable work of functional art. Fully operational and powered entirely by mechanical ingenuity - without electricity or computerized components - this handcrafted game incorporates restored, heavy-duty vintage amusement parts similar to those once found in iconic public play lands such as Coney Island. The result is a collectible furniture piece that is as entertaining as it is enduring. $15,000 – $25,000 — 1 70 —

393 FRANK C. MCCARTHY 1924-2002

394 DOUG LEVITT b.1964

The Hostiles

Buffalo Skeletons Litter the Plains, 2019

oil on panel 12 x 9 inches signed lower right: McCarthy © verso: titled and signed

oil on canvas 24 x 36 inches signed lower left: Levitt verso: titled, signed and dated

Provenance: Private Collection, Jackson, WY

Provenance: The Russell: Sale to Benefit the CM Russell Museum, March 2020, Lot 198 From a Private Collection

$8,000 – $12,000

$3,500 – $5,500

395 DOUG LEVITT b.1964

The Buffalo Longing, 2018 oil on canvas 36 x 24 inches signed lower left: Levitt verso: titled, signed and dated Provenance: The Russell: Sale to Benefit the CM Russell Museum, March 2019, Lot 58 From a Private Collection $3,500 – $5,500

396 NICHOLAS COLEMAN b.1978

Crow Scout oil on panel 42 x 42 inches signed lower left: Nicholas Coleman verso: signed and titled Provenance: Private Collection, St. George, UT $8,000 – $12,000 — 171 —

398 OLEG STAVROWSKY 1927-2020

Gettin’ Home Is Half the Fun 397 DAN BODELSON b.1949

Fall Fades Away oil on canvas 30 x 32 inches signed lower left: Bodelson verso: titled and signed Provenance: From the Artist

oil on canvas 30 x 40 inches signed lower right: Oleg Stavrowsky verso: titled and signed Provenance: From a Private Collection $8,000 – $12,000

$7,000 – $14,000

400 RICHARD LORENZ 1858-1915

Winter Sleigh Ride, c. 1890 oil on canvas 26 1/4 x 34 1/2 inches signed lower right: R. Lorenz 399 KENNETH RILEY 1919-2015

Captivity - 1755 watercolor and gouache on paper 10 x 10 1/4 inches signed lower left: Kenneth Riley Provenance: From a Private Collection $8,000 – $12,000

Provenance: A. J. Schrager Kennedy Galleries, Inc., New York, NY (label verso) From a Private Collection Literature: Milwaukee Art Center, Richard Lorenz, Milwaukee Art Center: Milwaukee, WI, 1966, no. 43, illustrated (titled Sleigh Ride) p. 16. Exhibited: Milwaukee Art Center, Richard Lorenz, May 26 - July 5, 1966 (label verso) $8,000 – $12,000 — 1 72 —

401 PINO DANGELICO 1939-2010

402 MIAN SITU b.1953

A Long Time Ago

Market Bundles

oil on canvas 30 x 20 inches signed lower right: Pino

oil on panel 16 x 12 inches signed lower right: Mian Situ

Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) From a Private Collection

Provenance: From a Private Collection $2,000 – $4,000

$4,000 – $6,000

403 MIAN SITU b.1953

404 MIAN SITU b.1953

Friends

Feeding Time

oil on canvas 36 x 30 inches signed lower left: Mian Situ verso: titled and signed

oil on canvas 40 x 48 inches signed lower right: Mian Situ verso: titled and signed

Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) From a Private Collection

Provenance: From a Private Collection $8,000 – $12,000

$5,000 – $7,000 — 1 73 —

405 ALEXANDER PHIMISTER PROCTOR 1862-1950

406 LOUIS MCCLELLAN POTTER 1873-1912

Dog with Bone, 1894

Dog, 1905

bronze 8 3/4 x 8 1/2 x 5 1/4 inches inscribed: Phimister Proctor 94 COPY RT 95

modeled in 1894 cast in 1895 Académie Julien, Paris, France, Medal and Prize, Dog with Bone, 1894

modeled in 1905

Provenance: From a Private Collection

Provenance: The Reingold Collection, New Jersey Rago Auction, New Jersey, May 2007, Lot 1232 From a Private Collection

Literature: Peter H. Hassrick, Wildlife and Western Heroes: Alexander Phimister Proctor, Sculptor, Third Millennium Pub Ltd.: Fort Worth, TX, 2003, p. 116, plate 9, another example illustrated.

$1,000 – $2,000

$3,000 – $5,000

407 JOFFA KERR b.1935

408 KENNETH RILEY 1919-2015

Her Royal Hindness

Three Deer

acrylic on paper 4 5/8 x 6 inches signed lower right: Kenneth Riley

Provenance: Private Collection, Jackson, WY

Provenance: From a Private Collection

$2,500 – $4,500

$3,500 – $5,500 — 1 74 —

409 JULIE JEPPSEN b.1960

410 THOMAS DEDECKER b.1951

Nightstalkers

Red and White Pond Flowers, 2026

oil on canvas 30 x 40 inches signed lower left: Thomas deDecker verso: titled, dated and signed

Provenance: Out of Africa in Montana Gallery, Bozeman, MT (label verso) Private Collection, Bozeman, MT

Provenance: From the Artist

$7,000 – $10,000

$3,000 – $5,000

411 CARL RUNGIUS 1869-1959

Glacial Landscape oil on canvas laid on board 15 x 23 1/2 inches signed lower right: C. Rungius Provenance: From a Private Collection $8,000 – $12,000 412 JEREMY LIPKING b.1975

Solitude, 2004 oil on canvas 30 x 20 inches signed lower right: Lipking Provenance: Arcadia Fine Arts, Inc. New York, NY (label verso) From a Private Collection $5,000 – $7,000 — 1 75 —

413 RICHARD SCHMID 1934-2021

Bavarian Doll, 2004 oil on canvas 14 x 11 3/4 inches signed and dated lower right: Schmid 2004 verso: titled, signed and dated Provenance: Coeur d’Alene Art Auction, July 2018, Lot 21 Private Collection, Dayton, WY $7,000 – $10,000

414 GUY CARLETON WIGGINS 1883-1962

The Library in Winter, 1957 oil on canvas 23 x 19 inches signed lower left: Guy Wiggins ·N.Averso: titled, signed and dated Provenance: From a Private Collection $10,000 – $20,000

415 SCOTT CHRISTENSEN b.1962

Bluffs oil on canvasboard 30 x 36 inches signed lower right: Christensen © Provenance: From a Private Collection $4,500 – $6,500 — 1 76 —

416 EMILE ALBERT GRUPPE 1896-1978

The Blue Deep, 1968 oil on canvas 30 x 36 inches signed lower right: Emile A. Gruppe verso: titled, signed and dated Provenance: Emile A. Gruppe Gallery, East Gloucester, MA, May 1969 J. F. Burshears, La Junta, CO A Private Institutional Collection, CO Property Being Sold to Benefit the Western Heritage Education Campus, La Junta, Colorado $12,000 – $18,000

417 JOHN CLYMER 1907-1989

Winsome Winn oil on board 15 3/8 x 23 3/4 inches signed lower right: J. Clymer Provenance: Doyle New York, American Paintings / American Silver, October 2025, Lot 112 (label verso) From a Private Collection $7,000 – $10,000

— 17 7 —

INDEX ACHEFF, WILLIAM

Bison, 254 California Quail, 284 Bugling Elk, 296 Black Bear, 304 Pronghorn on Alert, 311 Caribou, 315 Bighorn Sheep at Dusk, 316

A Moment for Reflection, 247

ADAKAI, RAY

Navajo Stamped Sterling Silver Tray, 367

ADAMS, ANSEL

Merced River, Cliffs of Cathedral Rocks, Autumn, 345 Trees and Cliffs, 346 Trees and Snow, 347 Branches in Snow, 348 Leaves, Mt Rainier National Park, 349 Rapids Below Vernal Fall, Yosemite, CA, 350 Clearing Storm, Sonoma County Hills, 351 The Abode of Snow, from Glacier Point, Yosemite, 352 The Teton Range and Snake River, Grand Teton National Park, Wyoming, 353

CARTIER

Cartier Silver Flatware Service Set, 369

CASE, G. RUSSELL

Colors of Fall, 259 Galena Pass, 261 On the Rim - Little Colorado, 266 Desert Country, 274 Juniper Shadows, 275 Clay Basin, 276

ANDERSEN, ROY

Dust on the Trail, 221

CASSIDY, GERALD

Arroyo Rider, 159

CHATHAM, RUSSELL

Teton Anticline, 131

CHEEVER, BRUCE

Chief Soaring Eagle, 231

CHRISTENSEN, SCOTT

ANTON, BILL

ASPEVIG, CLYDE

BALINK, HENRY CORNELIUS BARTLETT, GRAY PHINEAS

Navajo Medicine Man, 216 The Absarokas After a Late Fall Snowfall, 322 Borrowed Light, 273

High Country Lake, 130 Deep Lake, 344 Bluffs, 415

Hope Springs Eternal, 163

BARTLETT, PAUL WAYLAND

Reclining Lion, 95

BATEMAN, TERRY

CLARK, JAMES LIPPITT

Kodiak, 60 Reclining Doe, 65 Alaskan White Ram, 68

Pronghorn Antelope on the Move, 86 Cape Buffalo, 87

BEELER, JOE

Hidin’ Out, 166

CLYMER, JOHN

Summer Shadows, 324 Winsome Winn, 417

BISTTRAM, EMIL

Untitled, 379

COLEMAN, JOHN

Fall Fades Away, 397

COLEMAN, MICHAEL

BODELSON, DAN BOLAM, ANDREW

Mato-Tope, 218

Deer in an Autumn Landscape, 35 Digging Marmots, 39 Guardian of the Spirits - Bison, 40 Elephant, 92 Indian Camp at Golden Hour, 251 An Old Traveler, 253 Alaskan Grizzly, 283 Ermine and Pheasant, 292 Camp at Dusk, 317 River Encampment, 318 Elk, 341

Grizzly in the Tetons, 338

BOREIN, EDWARD

Bucking Horse / Bronco, 156

BORGLUM, SOLON HANNIBAL

Buffalo, 69 Horse Grazing, 333

BOWMAN, ERIC

Western Blue, 200 After the Rain, 203

BRADLEY, DAVID

Kicking Bear, 22

BRENDERS, CARL

COLEMAN, NICHOLAS

Buffalo Run, 252 Crow Scout, 396

Two Amigos - Coyotes, 308

BROWNE, GEORGE

Goats, 135

BUNN, KENNETH

Striding Grizzly, 124

COUSE, EANGER IRVING

The Artist (Painting of the Skin), 246

CRANDALL, HARRISON

Branding Calves - Turner Ranch, 279 Fishing in Grand Teton National Park, 280

BURGESS, NOCONA

American Minotaur: The Chairman, 20 Quanah in Trade Silver, 21

BURGESS, STEVE

Hitchin’ a Ride, 343

BUSH-BROWN, HENRY KIRKE

Panther and Cubs, 101

DALLIN, CYRUS EDWIN

Archery Lesson, 238

DANGELICO, PINO

A Long Time Ago, 401

DE GROOT, EWOUD

Moose, 299 Pronghorn Antelope, 300 Pheasant, 301 Loons, 302

BYE, JOHN

Rider on the Storm, 29 Heading Home, 327

CALDER, ALEXANDER STIRLING

Kill an Enemy, 236

DEAN, GLENN

The Rise, 201 The Cowhand, 202

CARLSON, KEN

Bighorn Sheep, 41 High Cliffs, 132 Winter Creek - Whitetails, 144

DEDECKER, THOMAS

Red and White Pond Flowers, 410 — 1 78 —

INDEX DELANO, GERARD CURTIS

HALBACH, DAVID

The Riders, 235

Sure Shot, 105 Taking Heed, 122

DEMING, EDWIN WILLARD

Bear and Turtle, 59 Buffalo with Skull, 70

DIXON, MAYNARD

HARTWIG, HEINIE

Indian Camp, 321

HARVEY, ELI

Osage Indian, 215

Mother Bear and Cubs, 57 Elk, 61 Elk, 62

DREXLER, LYNNE

Summer, 378

DUDASH, MICHAEL

Hunters, Trackers and Scouts, 217 A Man of Stature, 262

HARVEY, G.

Thinking of Spring, 149 Morning Glow on Powder Snow, 150 Rawhide and Roughnecks, 151 The Trail Driver, 155 West of Pecos, 186 Coming in to Trade, 187 Winter Supplies, 188

DUNTON, W. HERBERT

October Aspens, 137

EARLE, EYVIND

Gardner Ranch, 375

ELKINS, HENRY ARTHUR

Colorado Mountain Scene, 291

HAVARD, JAMES

Gray Skies, 205

HENNINGS, ERNEST MARTIN

Man’s Work to be Done, 323

HERZOG, HERMANN

EPP, PHIL

FALTER, JOHN

FARNY, HENRY

Zuni, 383

Watering Their Horses, 234 Landscape with Hunter, 73 Pastoral Landscape (Shepherd and Cattle), 74

After the Hunt, 241

FERY, JOHN

Elk in Landscape, 75 Elk on Jackson Lake, 76 Outlet of Jackson Lake (Wyo) Teton Mountains, 77 Jackson Lake, Wyoming, 78 Yellowstone Falls, 79 Jackson Lake and Tetons, 80 Yellowstone Lake, 81 St. Mary’s Lake, Glacier National Park, 82 Outlet of Jackson Lake with Teton Mountains, Wyoming, 83 Winter Day, 84

HOFFMAN, FRANK B.

Three Bears, 281

HOUSER, ALLAN

Drama on the Plains, 212 Man and Dog, 213

HOWELL-SICKLES, DONNA

Singing Songs of the River, 389

HUMPHRISS, CHARLES

Appeal to the Great Spirit, 240

HUNTINGTON, ANNA HYATT

Rolling Bear, 56 Elk, 63 Reaching Jaguar (Variant), 97 Reaching Jaguar (Variant), 98 Jaguar Climbing a Rock, 99

FRAZIER, LUKE

Called from the Canyon, 32 Moose on the Muskeg, 37

FRISHMUTH, HARRIET WHITNEY

Small Spread Eagle, 67

IDOL, COLT

Market Scene, 208

INDIANA, ROBERT

Crown of Kings, 295

JACKSON, HARRY

Gold in the Highlands - Salute to Summer, 30

JACKSON, WILLIAM HENRY

Judith Basin Encounter: When Charlie and Pablo Sipped a Little Wine and Shared a Few Thoughts, 390

JEPPSEN, JULIE

GASPARD, LEON

GLAZIER, NANCY

GODFREY, MICHAEL GOGAS, GEORGE

GOLLINGS, WILLIAM

Spooked, 165 Set of Six Portraits, 230 Indian on Horseback (Winter Country), 233

GRANT, LANNY

Summer Solitude, 337

GREENE, SHIRLEY

Coalition, 90

GREENWOOD, J. BRADLEY

Buffalo Hunter / Mechanical Target Shooting Gallery, 392

GRELLE, MARTIN

Approaching Dusk, 320 HELIOTHERAPY LOVE, 377 Dog Soldier, 115

Ice Palace at Leadville, 354 Nightstalkers, 409

JOHNSON, FRANK TENNEY

Squaw Man, 232

JONAS, LOUIS PAUL

Deer (Caribou), 64

JORDAN, JERRY

Tranquil Solitude, 260

KEMP, OLIVER

The Scout, Buffalo Bill, 191

KERR, JOFFA

Her Royal Hindness, 407

KOCH, FRANCOIS

When Winter Melts, 147

Reporting to the Boss, 157 Fall in the Dragoons, 257 Lines Cast, Time Paused, 288

GRUPPE, EMILE ALBERT

The Blue Deep, 416

GUDGEON, SIMON

Battering Rams, 126

KOERNER, W. H. D.

Bunch Quitters, 178 Showin’ the Trail, 179

HADDOCK, ARTHUR

Little Colorado at Cameron AZ, 209

HAGEGE, LOGAN MAXWELL

KUCERA, ED

Streamers, 117

The Call of the Canyon, 199

— 1 79 —

INDEX KUHN, BOB

Elephant, 93 Leopard, 104 August Afternoon: Bison, 256 Prince or Prey, 309 Bugling Elk, 310 Stepping Lively, 312 Cacophony - Cougar & Hounds, 313 On the Prod - Moose, 314

KUHNERT, WILHELM

Two Scouts, 114 Buckskin Brigade, 173 Hostiles, 222 After the Battle, 225 The Hostiles, 393

MCELWAIN, LOUISA

Desert View - Cloud Shadow, 263 Desert View - Early Morning, 264 Desert View - Morning, 265

MCGARY, DAVE

Gray Hawk’s Legacy, 107 A Matter of Honor, 108 When Lightning Strikes, 223 Last Stand Hill, 224 Point of No Return, 227 Four Bears, 228 Stronghearts, 243 Bear’s Nest, 244

Wisent (European Bison), 72

LAAGER, KEN

A Protective Mother, 123

LAWES, BRUCE

The Defiant One, 255

LEIGH, WILLIAM R.

Looking for Bighorn, 164

LEVITT, DOUG

Buffalo Skeletons Litter the Plains, 394 The Buffalo Longing, 395

MCGINNIS, ROBERT

The Scout, 172 First Move, 177 Scent of Danger, 189 The Midnight Stage, 190

LIANG, Z. S.

Protectors of the Lakota, 226

LILLYWHITE, RAPHAEL

Hard Day at the Office, 167 Roundup Collision, 168

LIPKING, JEREMY

Solitude, 412

LORENZ, RICHARD

Winter Sleigh Ride, 400

MELL, ED

Valley Tower, 196

MITCHELL, DEAN

Yellowstone Steam, 294

MOLESWORTH, THOMAS

Sofa with Built-in End Tables, 355 Pair of Leather-Wrapped Lamps with Brass Tack Decoration and Rawhide Shades, 356 Wrought Iron Floor Lamp with Rawhide Shade, 357 Office Desk with Applied Pole Trim and Original Tan Leather, En Suite with Contemporary Lester Santos Office Chair, 358 Leather-Wrapped Gun Cabinet with Applied Pole Trim and Antler Pulls, 359 Game Table with Leather Top and Brass Tack Decoration, 360 Set of Four Sling Seat Armchairs with New Leather Brass Tacks, 361 Burled Loveseat with Routed Side Panels, 362 Coffee Table with Burled Stretcher and Applied Half Pole Trim, 363 Wrought Iron Fire Screen, 364

LOUGHEED, ROBERT

Mt. Rundle Beyond, 142 The Intruder (Red Fox) Near Kotzabeau, Alaska, 325

LOVELL, TOM

The Earth House People, 229

MACPHERSON SADDLERY & SUNSET TRAILS

Sterling Silver Parade Saddle with Serapes, 368

MAGGIORI, MARK

The Meeting, 1 Wrangling Five, 2 Two Riders, 3 Making a Splash, 4 Cowboying, 5 The Ascent, 6 Six Lane Highway, 7 Faces of the Old West, 8 All Gold Canyon, 9 A Good Day, 10 Awaiting the Signal, 11 Study for ‘Outlaw Canyon’, 195 The Trackers, 248

MARIE, CHLOE

The Eagle Watches Over, 12 A Warm Summer Morning, 13

MARRIS, BONNIE

Waiting for Mom, 305 Cops and Robbers, 307 Barn Cats, 326 Cold Comfort, 339

MATIA, WALTER

Molly the Working Girl, 286

MOLNAR, GEORGE

The Last Stray, 146

MONROE, LANFORD

Sky Line, 141 Deep Winter, 145

MORALES, RODOLFO

Untitled, 25 Untitled, 26

MOSELSIO, SIMON

Figure of a Buffalo, 71

MOYERS, JOHN

In The Mountains of Mexico, 272

MOYERS, TERRI KELLY

Summer’s Passing, 258

MUENCH, CHARLES

Solitude and Respite, Eastern Sierra, 27

MUNGER, GILBERT DAVIS

Glimpse of the Pacific from Mount Tamalpais, 290

NAMINGHA, DAN

Mesa #2, 17 Ceremonial Symbols #1, 18

MATTHEWS, TERRY OWEN

Buffalo Walk, 88

NAVAJO (DINÉ)

Taking a Bad Turn, 106 Warriors Return #1, 109 Warriors Return #2, 110 Warriors Return #3, 111 Warriors Return #4, 112 Moving On, 113.

NIETO, JOHN

MCCARTHY, FRANK C.

Klagetoh Weaving, 366 Sioux with Presidential Medal, 23 Corn Dancer, 24

— 180 —

INDEX NOON, JONATHAN

ROMERO, MATEO

My Way, 176 As Above, So Below, 250

ROSS, THOM

Tunyo, 207

Big Bugs in the Box Canyon (Lamp), 287

RUMSEY, CHARLES CARY

Wyoming Range, 160 Working the 6666’s (Ranch), 161

RUNGIUS, CARL

NORTHUP, GEORGE

The Bank Job, 385

NORTON, JIM C.

Walking Puma (Stalking Panther), 103 Goats, 42 Dall Sheep, 43 Ivan, 44 Lord of the Canyon, 45 Old Bull, 46 The Wanderer, 47 Near Long Lake, 48 The Challenge, 49 Mount Assiniboine, 136 Glacial Landscape, 411

OELZE, DON

Indians and Waterfall, 118 Of a Brave People, 219 Tracking, 220

ORE, ROGER

A Teton Afternoon, 335

OSTERMILLER, DAN

Bear, 282

PABST, CHARLES

Heaven’s View, 28 Peaceful Times, 120

RUSSELL, CHARLES M.

Emergence of the Female Gods, 14 Kiva for the Star People, 15 Red Sun Conversational, 16

SANTIAGO, ROSETA

Russell on Neenah (Self Portrait), 148 Buccaroos from the N–N Outfit on the Big Dry in Montana, 169

PALADIN, DAVID CHETHLAHE

In the Taos Foothills, 270 Wrangler II, 271

PAYNE, VIC

SCHENCK, BILL

Restless in Santa Fe, 193

Drive to Coyote Creek, 197 Many Cows Ranch, 198 Cowboy on Horse, 386 Rodeo Queen No. 3, 387 The Blanket Trader, 388

PETERS, ANDREW

Aspens in the Bighorn Mountains, 140

PETERS, ROBERT

October’s Realm, 289

PLEISSNER, OGDEN MINTON

SCHMID, RICHARD

Windfall Pond, 285

Bavarian Doll, 413

POPPLETON, CHAD

SCHOLDER, FRITZ

String Lake Society, 34 The Crowd at the Top, 134

Mystery with White Dress, 381 Posing Cat, 382

POST, HOWARD

SCHREYVOGEL, (AFTER) CHARLES

Sortin’, 206

White Eagle, 237

POTTER, LOUIS MCCLELLAN

SCHWIERING, CONRAD

Dog, 406

Chesler Park, 277 Teton Majesty in Autumn, 278

PROCTOR, ALEXANDER PHIMISTER

Bear Cub and Rabbit (Cub and Rabbit), 58 Fawn (First Model), 66 Seated Lion, 96 Panther with Kill, (Cougar Feasting on Fawn), 100 Stalking Panther, 102 American Horse, 332 Dog with Bone, 405

SCOTT, JOHN WALTER

Piegan Scout, 119

SCOTT, LINDSAY

Maasai Women on the Savanna, 94

SEARS, PHILIP SHELTON

Pumananqwet (He Who Shoots the Stars), 239

SELTZER, OLAF CARL

RED STAR, KEVIN

Buck Deer Vignette, 50 Bull Moose Vignette, 51 Cougar, 52 Montana Griz Vignette, 53 Prairie Wolf Vignette, 54 Show Bear Standing on a Ball, 55 The Horn Seller - Full-Length Portrait, 214

The War Party, 210 Woodpecker, 211

REED, MARJORIE

When Day Is Done, 192

RENCHER, RON

A Song to the Setting Sun, 267

REYNOLDS, JAMES

SEXTON, RAY

Eatin’ Dust, 162

Deep Snow Rams, 127 Bighorn Sheep, 128 Dall Sheep, 293

RICH, JASON

Cheyenne Deep, 158

RILEY, KENNETH

SHARP, JOSEPH HENRY

The Bride, 242 Autumn (Horse), 249 Captivity - 1755, 399 Three Deer, 408

Aspens on a Gray Day, South Fork - Hondo Canyon, 138 Shoshone Reservation Wind River, Wyoming, 143

SHINABARGER, TIM

Call of the North, 36 The Mirage, 85 Bushland King, 89 Distant Movement, 129 Track of the Silvertip, 303 Curious, 306 Into the Wind, 342

ROBINSON, JAMES

Preparing for a Parlay, 116

RODRIGUEZ, ALFREDO

The Trader, 174 California Miners, 182 No Gold, Now What?, 183 Think We’ll Eat Before Dark?, 184 — 181 —

INDEX SITU, MIAN

Market Bundles, 402 Friends, 403 Feeding Time, 404

SMITH, TUCKER

Canadian Rams, 125 Goats of Norway, 133 Canyonlands, 268 Drift Fence Study 2, 331 Elk, 340

WIGGINS, KIM

Morning Star Over Canyon Road, 391

WINBORG, JEREMY

Guardian of the Tetons, 319

WYSOCKI, CHARLES

Vermont Picnickers, 373 Hometown Rally, 374

YOUNG, PACO

Autumn Crossing, 298

ZAPOTEC

Contemporary Rug in Traditional Navajo Chief ’s Blanket Pattern, 365

SOLLIDAY, TIM

Shady Pastures, 204

SOUKUP, JILL

Black Hat, Jacket & Horse, 154

SOZA WARSOLDIER, BILLY

There Is Life in Survival, 19

STAVROWSKY, OLEG

Gobblers Three, 31 Come and Get It, 152 Get Off There You Dip!, 153 Mountain Power, 180 Colorado Professional, 181 South of Leadville, 194 Gettin’ Home Is Half the Fun, 398

STOVALL, DAN

The American Icon, 185

SWANSON, RAY

Nez Perce Pals, 245

TERRY, RICK

Trail Break, 328

THOMAS, RICHARD D.

Cowboy Rendezvous, 329 Line Camp Supplies, 330

TRAUFFER, PETER, ATTRIBUTED TO

Swiss Carved Bear Chair, 370 Swiss Carved Bear Chair, 371 Swiss Carved Bear Piano Stool, 372

TURNER, BEN

Aspens in Autumn, 139

UFER, WALTER

The Bake Oven, 269

VAN HOWD, DOUGLAS

Wings of Freedom (Maquette), 336

VAN WECHEL, DUSTIN

Ram Tough, 38 Respite for the Weary, 297

VON SCHMIDT, HAROLD

Roundup, 170

WADDELL, THEODORE

Angus #32, 384

WADE, DAVID CHARLES

Pronghorn Antelope, 33

WARDLE, ARTHUR

Lions at Midnight, 91

WARHOL, ANDY

Space Fruit: Apples, 376

WEEMS, KATHARINE WARD LANE

Colt Standing (Week-Old Colt), 334

WEISTLING, MORGAN

The Trackers, 121

WHITEHORSE, EMMI

Mt. Taylor Series #661, 380

WIEGHORST, OLAF

Drifting Cowboy, 171 Past Glory, 175

WIGGINS, GUY CARLETON

The Library in Winter, 414

— 182 —

DESIGN STUDIO AND INTERIORS 255 E. SNOW KING AVENUE | JACKSON, WY — 183 —

•

SAVE THE DATE March 18-20, 2027

THE RUSSELL

Join us for The Russell: A Western Art Experience, one of the most prestigious and exhilarating Western art events in the world. This dynamic gathering showcases significant works by renowned and contemporary Western artists, all set within a spirited and competitive bidding atmosphere. Don’t miss the opportunity to experience the legacy and artistry of the American West firsthand!

LOWEST BUYERS PREMIUM IN THE INDUSTRY. TheRussellSale.org

Walk Festival Hall, transformed Jackson Hole’s premier performance venue has been at the heart of our community for 50 years. Now, the Grand Teton Music Festival has embarked a once-in-a-generation effort to reimagine this beloved space for our musicians, audiences and the entire community.

reopening summer 2027

join us

34th ANNUAL WESTERNDESIGNCONFERENCE.COM BOZEMAN, MONTANA • AUG. 6-9, 2026

TICKETS + INFO

WesternDesignConference.com Bozeman, Montana • Aug 2027 BRICK BREEDEN FIELDHOUSE

scan for tickets and event info

E X HIBIT + S A LE • AU C TION • FA SHION SHOW

PR EV IEW PA RT Y • E X HIBIT + S A LE • DESIGN ER SHOW HOUSE

E X HIBIT + S A LE • AU C TION • FA SHION SHOW

T E RMS A N D CO N D I T I O NS The following Terms and Conditions of Sale constitute Jackson Hole Art Auction, LLC’s (“Jackson Hole Art Auction”) and its agents’ and consignors’ entire agreement with prospective bidders, bidders and purchasers relative to the property listed in this catalog. These Terms and Conditions of Sale and all other contents of this catalog are subject to amendment during or before the sale. The property will be offered by Jackson Hole Art Auction as agent for the consignors, unless the catalog indicates otherwise. 1. Jackson Hole Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. Jackson Hole Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein. a. All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. Jackson Hole Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalog or description, including, but not limited to, the authenticity, physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalog, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalog are subject to change or supplementation before or during the sale, including the sale of any lot. 2. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored. Note, primary (unframed) catalog images should be used for color matching. 3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying Jackson Hole Art Auction directly by cash, check or bank wire, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price of each lot up to and including $1,000,000 and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, there is a credit card processing fee on the total purchase price including any applicable sales tax, shipping and handling charges. Bids placed through online platforms may incur additional buyer’s premium and service fees, which will be listed in the terms & conditions on the respective website. 4. Jackson Hole Art Auction reserves the right to withdraw any property before or during the sale and shall have no liability whatsoever for such withdrawal. 5. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalog. 6. Jackson Hole Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or to reoffer and resell the article in dispute. If any dispute arises after the sale, Jackson Hole Art Auction’s sale record shall be final and conclusive. Jackson Hole Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, Jackson Hole Art Auction is not responsible for any errors or omissions in connection therewith. 7. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the article offered, he or she may reject the same and withdraw the article from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance. 8. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all the terms and conditions set forth herein and is immediately obligated to pay the full purchase price or such parts thereof as Jackson Hole Art Auction may then require. All sales are final, and there shall be no exchanges or returns. Payment shall be made by cash, check, bank wire, Visa, MasterCard, Discover, or American Express. (See, paragraph 3 above: “If paying by credit card . . .”) In addition to other remedies available to us by law, Jackson Hole Art Auction reserves the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth. a. All property must be removed by the purchaser at his or her expense not later than (10) business days following the sale, and if it is not so removed, (i) a handling charge of 1% of the total purchase price per month from the tenth day after the sale (until its removal) will be payable to us by the purchaser, with a minimum of 5% of the total purchase price due for any property not so removed within 60 days after the sale, and (ii) we may send the purchased property to a public warehouse for the account, at the risk and expense of the purchaser. b. If any applicable conditions herein are not complied with by the purchaser, the purchaser will be in default, and in addition to any and all other remedies available to Jackson Hole Art Auction and its agents and consignors by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, including all fees, charges, and expenses set forth herein, Jackson Hole Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser, or (ii) resell the purchased property, whether at auction or by private sale, or (iii) effect any combination thereof. The purchaser will be liable for any deficiency, any and all costs, handling charges, late charges, expenses, and commissions of both sales, legal fees, and expenses, collection fees, and incidental damages. In addition, a defaulting purchaser will be deemed to have granted and assigned the property or money to Jackson Hole Art Auction or its agents and consignors or any of their affiliated companies, and Jackson Hole Art Auction may retain and apply such property or money as collateral security for the obligations due. Jackson Hole Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the Wyoming Uniform Commercial Code. The purchaser of each lot agrees that each lot is unique and that Jackson Hole Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such purchaser fail to pay the total purchase price. Payment will not be deemed to have been made in full until Jackson Hole Art Auction shall have collected good funds. Jackson Hole Art Auction reserves the right to hold all purchases pending collection of the total purchase price. 9. All lots are subject to a reserve, which is the confidential minimum price acceptable to the consignor. In such instances, Jackson Hole Art Auction may implement the reserve by bidding on behalf of the consignor. In instances where Jackson Hole Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. Jackson Hole Art Auction, or its agents or consignors, may also bid upon other property listed in this catalog.

— 188 —

10. Jackson Hole Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by Jackson Hole Art Auction. 11. Unless exempted by law, the purchaser will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. It is the purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price. 12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Wyoming, without regard to Wyoming rules concerning conflicts of law. 13. Prospective bidders and purchasers agree that, in the event of any controversy or claim arising out of or relating to a sale of property, the party asserting such controversy or claim shall provide written notice thereof to the other party, and that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including any controversy or claim arising from or relating to the sale, or to these Terms and Conditions of Sale, including the terms of this paragraph, shall be resolved and settled by binding arbitration in Jackson Hole, Wyoming, or such other place upon which the parties may agree, in writing; such arbitration shall be pursuant to the commercial arbitration rules of the American Arbitration Association then in effect; the award, which shall include costs of arbitration and an award of reasonable attorneys’ fees to the prevailing party, shall be final, and the judgment on the award may be entered in any court having jurisdiction. 14. Jackson Hole Art Auction may, in its discretion and at a purchaser’s request, package and ship items as directed by the purchaser. In such event, purchaser agrees to the following conditions: a. All such packaging, handling and shipping is at the sole risk of the purchaser, and Jackson Hole Art Auction shall have no liability for any loss or damage to such items. b. Please allow 4-6 weeks for shipping. 15. Auction Results are posted on the various bidding platforms. 16. Bidding on any item indicates your acceptance of these terms and all other terms announced at the time of sale, whether bidding in person, by phone, absentee, online, or through a representative. 17. Bidding increments are as follows 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

S A LE S TA X 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. — 189 —

CREDITS

Auction Director: Kevin Doyle Chief Operating Officer: Christina Frey Auction Registrar: Laura Marturano Photography: Alex Wells Catalog Design: Gary Lidman Catalog Layout: Laura Marturano & Kevin Doyle Catalog Essays: Rachel Daley Brown and Christina Frey, with contributions from the Couse-Sharp Foundation, Michael Grauer, Andrew Smith, and Terry Winchell Printer: O’Neil Printing, Phoenix, AZ PREVIEWS

All artwork available for preview Monday – Friday, 9am – 5pm Saturday, 12pm – 5pm Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming AUCTION

Live Auction, Lots 1-417 | September 19 at 11am Live Auction and Luncheon to be held at Center for the Arts 265 South Cache, Jackson, Wyoming BIDDING & REGISTR ATION

Absentee and phone bidding arrangements must be made by September 18. Register Absentee and Telephone bids online: jacksonholeartauction.com/buy/register-to-bid/ 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 refer to our online catalog for additional lot information and photos: jacksonholeartauction.com/auctions/upcoming-auctions/ Direct all inquiries to info@jacksonholeartauction.com or (307) 734-9739. ART PICKUP

Sunday, September 20 | 9am – 2pm Jackson Hole Art Auction Showroom 130 East Broadway, Jackson, Wyoming