2009 Signature July Art of the American West & Texas Auction

FRED DARGE (American, 1900-1978)
Fixing the Fence (Ed Love Ranch, Sierra Blanca, Texas)
Oil on artist's board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: F. Darge
Titled verso: Fixing the Fence (Ed Love Ranch, Sierra Blanca, Texas)

Fred Darge was born in Germany and immigrated to the United States in 1923. He came to Texas ten years later. He spent his summers painting on ranches in West Texas and New Mexico. This work is a rare example by the artist depicting a horse and rider. Using his ranching experience, Darge has chosen to show one of the least glamorous, most important, and time consuming aspects of ranch life - fence building and maintenance.

JULIUS WOELTZ (American, 1911-1956)
Untitled, 1930s
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)

This painting is an excellent example of early Texas Modernism. Surrealism like that found in this picture is particularly prevalent in the work of Texas modernists from this period. The rhythms found in the composition, forms, and use of line reflect those of the waves of the ocean and create a hypnotic effect. The style of abstraction, which makes use of the ambiguous form that dominates the center of the composition and dwarfs the human figure, creates the dreamlike quality and uneasy mood which characterizes Surrealism.

Julius Woeltz first studied art under Wilson K. Nixon, Jose Arpa, and Xavier Gonzalez. He then traveled to Paris for study at the Academy Julian, and later the Art Institute of Chicago, where he was awarded two scholarships. Woeltz taught in San Antonio, and in 1932, he was appointed head of the art department at Sul Ross State Teachers College. Woeltz won extensive commissions from the WPA for post offices, federal buildings, and military posts. From 1941 to 1951, he taught at the University of Texas in Austin. One of Texas's most accomplished artists (but little known today), he died a tragic death at the age of forty-five.

This unsigned painting was purchased at an estate auction of an Ohio State University professor who was friends with Julius Woeltz. At the sale it was stated that the painting was known by the family to be by Julius Woeltz. A written statement from the owner is included with the painting.

WILLIAM FREDERICK JARVIS (American, 1898-1966)
Bluebonnet Landscape
Oil on board
10 x 10-3/4 inches (25.4 x 27.3 cm)
Signed lower left: W. Frederick Jarvis

RUTH TEARS (American, 1919-1971)
Weeds of Fancy, 1959
Oil on canvas
28 x 18-1/2 inches (71.1 x 47.0 cm)
Signed and dated lower left: R. Tears '59

EMILY RUTLAND (American, 1890-1983)
Curious Calves, 1949
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed and dated lower right: Emily Rutland 1949
Fair condition-commensurate with age

BILL BOMAR (American, 1919-1991)
Orchard, New Mexico, circa 1948
Watercolor on paper
11 x 15 inches (27.9 x 38.1 cm)
Signed lower left corner with artist's stamp
Bears artist's estate stamp verso

Bill Bomar is considered to be a leader of the Fort Worth Circle. At various times, he lived in New York and New Mexico but remained an active member of the North Texas art community for many years. Orchard, New Mexico was painted in the late 1940s during a time when he was creating expressive, painterly, and colorful landscapes in watercolor.

PAUL KELPE (American, 1902-2002)
Untitled, 1930
Watercolor and ink on paper
6 x 5 inches (15.2 x 12.7 cm) widow
Signed and dated lower left: Paul Kelpe / 1930

PROVENANCE:
David Dike Fine Art, Dallas (label verso).

Paul Kelpe painted in an abstract manner that was based on Constructivism, Cubism, and geometric abstraction. He studied art in Hanover, Germany, and was influenced by the work of modernist artists such as Wassily Kandinsky, El Lissitsky, Laszlo Moholy-Nagy, Naum Gabo, and Kurt Schwitters. Kelpe developed a style of carefully applied paint, devoid of visible brush strokes, within geometric forms. This small watercolor is characteristic of his works on paper.

Kelpe is a nationally acclaimed artist who immigrated to the United States in 1925 and spent several years in New Jersey and New York City. In the early 1930s, he settled in Chicago where he was a WPA (Works Progress Administration) muralist. Kelpe returned to New York City in the 1940s and 1950s, then moved in 1969 to Austin, Texas, where he taught at East Texas Teachers College.

CHARLES SCHORRE (American, 1925-1996)
Triptych
Acrylic on canvas
60 x 84 inches (152.4 x 213.4 cm)
Signed lower right: Charles Schorre

PROVENANCE:
Meredith Long & Company, Houston (label verso).

Charles Schorre was born in Cuero, Texas. In 1948, he received a BFA degree from The University of Texas at Austin and moved to Houston shortly thereafter. Schorre became an instructor at the Museum School of the Museum of Fine Arts, Houston in 1949 and taught until 1955. Later, he served as an Assistant Professor of Fine Art at Rice University from 1960 to 1972. Schorre is most known for wildly expressive canvases, which are often large, abstract, and painted in bright colors that seem to bleed together.

DOROTHY HOOD (American, 1919-2000)
Abstract Composition
Oil on canvas
70 x 60 inches (177.8 x 152.4 cm)
Signed upper right: D. Hood

Dorothy Hood is a noted Abstract Expressionist, born in Bryan, Texas, in 1919. She spent a significant amount of time in Mexico and was influenced by her friend Jose Clemente Orozco. This prolific painter created many oversized canvases with large areas of solid and unusual colors. A poet as well as a painter, she became part of the circle of leading artists and writers of Europe and Mexico. Her life and painting has inspired two films: "From the Heart," 1982, and "Dorothy Hood: The Color of Life," 1985.

FRANK KLEPPER (American, 1890-1952)
Dunes at Padre
Oil on canvas
18 x 23-3/4 inches (45.7 x 60.3 cm)
Signed lower right: Frank Klepper
Inscribed verso: Dunes at Padre- / -Klepper

FRANK KLEPPER (American, 1890-1952)
Landscape
Oil on canvas
11 x 14 inches (27.9 x 35.6 cm)
Signed lower left: Klepper

ROLLA SIMS TAYLOR (American, 1872-1970)
Landscape with Cactus
Oil on artist's board
11 x 14 inches (27.9 x 35.6 cm)
Signed lower right: Rolla Taylor

CARL THOMAS HOPPE (American, 1897-1981)
Bluebonnets, 1969
Oil on board
17-3/4 x 26 inches (45.1 x 66.0 cm)
Signed and dated lower right: C. Hoppe / 69

OLIN TRAVIS (American, 1888-1975)
Lakeside, 1955
Oil on canvas
20-1/2 x 49 inches (52.1 x 124.5 cm)
Signed lower left and right: Olin Travis
Titled and signed verso: "Lakeside" / by Olin Travis / Dallas, TX
Artist's personal book plate applied verso

"Lakeside (1955) is most definitely a 'major' painting in Travis' body of work, probably the most stylistically representative post-1940 landscape; and when the definitive 'Olin Herman Travis Retrospective' is organized, I truly hope this piece is included." Sam Blain

There are moments in the creative life of every artist when they produce a work which distinguishes itself from the rest of their oeuvre. Lakeside, by Olin Travis, is just such a painting-a masterpiece of Texas Modernism. It is an artwork that furthers our understanding of Texas Regionalism and its place in context of the larger modernist movement. Travis, responding to a questionnaire given to him by Jerry Bywaters in 1957, chose Red and Black (1923) and Lakeside (1955) as among his best works. Travis conceived of Lakeside in order to display his skill as an artist. It was a piece he entered into a major competition, kept for many years, and was only willing to part with as a symbol of the close friendship of two families. His pride in this painting is most evident in that he signed the painting twice, in two corners, then he titled, monogrammed twice, and placed his personal bookplate/label on the back.

Born in Dallas, Olin Travis studied at the Art Institute of Chicago and after graduation, remained with the school as an instructor. In 1923, Travis moved back to Dallas, opening a studio. Three years later, he founded the Dallas Art Institute, where he would eventually teach such Texas artists as Everrett Spruce and William Lester. Over the years, Travis exhibited in local and national shows, including the Museum of Modern Art in New York City. In 1953, Travis was honored with a solo exhibition at the Dallas Museum of Art entitled "50 Years of Painting in Dallas: A Retrospective Exhibition of Paintings and Drawings by Olin Travis."

Lakeside is a painting loved by both the artist and the close friends to whom he eventually sold it. The work has never been available on the open market and, according to the artist himself, was only ever exhibited publicly in direct association with the prize it won at the "Seventeenth Annual Exhibition of Texas Painting and Sculpture" (1955). An image of the painting appeared next to a review of the exhibition in The Dallas Morning News on Friday, October 7, 1955. It was also published in the exhibition catalog, where in the forward Assistant Director of The Whitney Art Museum, New York, Lloyd Goodrich wrote of the exhibition, in general, "It is refreshing to find in Texas much art that seems to spring naturally from the soil and climate and character of the state, that has the virtues that come from the artist's identification with his surroundings and at the same time speaks in the universal language of form, color and design." Lakeside is a perfect illustration of this sentiment.

Lakeside is an extraordinary example of Texas Modernism but it also transcends any Regionalist label. Olin Travis was so much more than a "Texas artist," and Lakeside stands out as something very special in his body of work. Sam Blain has said that, "Lakeside exhibits all of Travis' skill as a mature painter. One can see, in this painting, Travis pulling out all the stops. Travis was a skilled muralist [receiving his training under Kenyon Cox, N.A.] and this is evident in Lakeside even though it is far from being a mural in its dimensions. Travis could go on-and-on in conversations about the sky and the landscape both having anatomy. He proved it in this painting; and, perhaps, there is no better example of this in Travis' body of work." As the rediscovery of American Regional Modernism, which flourished outside New York mainstreams, continues, then interest in the brightest lights of Texas Modernism will only grow. This trend should culminate with the realization and recognition that the many "Texas" artists, like Olin Travis, are American Modernists that defy the limitations that the label "Regionalist" places on their art.

Lakeside (1955) is a large and commanding canvas that creates a panoramic view of the Texas landscape. The exact location of the painting cannot be identified because it appears to be an amalgamation of several lakes in North Texas, where Travis was working during this time, most often at White Rock Lake, near Dallas. The style of the painting is crisp for the most part, if a bit hazy above the horizon in order to simulate the atmospheric qualities and luminosity of an impending sunset threatened by rainstorms. In Lakeside, the palette seems deceptively muted, but the distinctive light of the late afternoon has cast golden highlights across the land. The many variations of olive green, brown, burnt orange, and gray are highlighted by the most glorious and complex hints of vibrant but dusky pinks, yellows, blues, and lavenders, with just one clever hint of true red. The most beautiful passage of colors can be found in the upper left-hand corner where the bright yellow of the setting sun is being overtaken by a misty shower of swirling gray, lavender, and blue.

The horizontal shape of the canvas compliments a strong composition, in which bands of contained geometric forms build upon one another level by level. Each layer of this landscape appears to contain its own abstract variations on the overall formal themes, but when viewed one upon the other they form a solidly constructed scene. This sense of structure creates an iconic and timeless quality that allows Travis to break down the formal rhythms of each section. Some of these striations are fashioned from acutely triangular crop fields of many colors. These rows are interspersed with bands of organically abstracted trees, geological formations, and their reflections in the barely visible lake. The sky is created by a softer combination of the geometric and organic elements. The clouds form long rectangles with organic rhythms and rainstorms that sweep across the horizon diagonally. Beyond similarities of rhythm, shape, and color, the horizontal stripes that make up the composition are united by their geometric relationships and lines that pass diagonally through every layer of the painting. The spatial relationships in Lakeside are a brilliant dialogue between triangles and rectangles. Indeed, tiny figures, distant settlements, and even the lake itself appear as only small and inconsequential afterthoughts, completely overshadowed by the breathtaking view. The viewer is completely awed by the power and beauty of the North Texas landscape. In this painting, Travis has methodically worked through many of the formal problems of Modernism and has used them to invoke the feelings created by experiencing such grand vistas instead of just creating an accurate representation of a specific lake.

According to Travis scholar and friend, Sam Blain, "Olin held on to many of his own favorite paintings, throughout his lifetime. This painting was among Travis' personal favorites and even though he was sorry to have let it go, he expressed to me how pleased he was, with regards to whom it had passed from his hands." The current owner Mark Caldwell remembers well the close family relationship that existed between his parents, Martin and Betty Caldwell, and Josephine and Olin Travis. Both families were interested in the arts. They played music, painted, vacationed, and swam together. Mark wrote that, "Travis taught us, kids and all, weekly summer art lessons where he would hold court with his riveting cleverness, humor, and wit." Betty Caldwell absolutely adored this painting. "My mother hounded him for years, to let her buy Lakeside. He finally acquiesced and offered to give it to her. She refused it as a gift and bought it from him." Mark particularly appreciated that he never talked down to the children and was always interested in what they had to say. "Travis was a great family friend, a mentor, an extraordinary raconteur-a particularly magnetic human-interested, interesting, and giving. He is deeply missed." Lakeside has been treasured by the Caldwell family for many years. They are sad to see it go, but glad that it will now be better known to scholars, collectors, and lovers of Texas art.

STUART GENTLING (American, 1942-2006)
Parrot on a Birdfeeder
Drybrush watercolor on paper
29 x 21 inches (73.7 x 53.3 cm) window
Signed lower right: Stuart Gentling

Scott and Stuart Gentling could be called the ultimate Texas painters, especially when it comes to painting the land, flora, and fauna of the state. Born in Minnesota, the twins came to Fort Worth as young boys. After separating to attend Tulane and one year of law school at the University of Texas, Stuart joined Scott at the Pennsylvania Academy of Art. After their studies, the Gentlings came home and began painting the landscapes, people, and still-lifes of Texas. Their travels across the state from the ranches of South and West Texas to the Piney Woods of East Texas to subjects close to home in North Texas have provided them with a wealth of subject matter. Unfortunately, Stuart passed away in 2005, leaving Scott alone to continue their many ongoing projects.

The brothers are famous for their varied interests, which include but are far from limited to taxidermy, publishing studies of art and history, and composing classical music, as well as painting. Stuart was even asked to present a paper on some of their theories regarding the Aztec city of Tenochtitlan to scholars at The National Museum of Anthropology in Mexico City. The twins are proof that when a few diverse interests and vast knowledge are combined with their incredible artistic skills, the finished products are masterpieces of true modern Renaissance men.

In Parrot on a Birdfeeder and Parrot on a Stand, Stuart Gentling has shown that his interest in ornithology goes far beyond the study and painting of Texas birds. He was the skilled taxidermist of the two twin brothers and was often given dead birds by The Fort Worth Zoo to preserve and paint. These pictures are among the first in a long series of parrot paintings that he began in the mid-1970s. In contrast to the birds found in their book, Of Birds and Texas, the parrots are not depicted in their natural habitat.

These two exquisitely rendered artworks are painted in the distinctive, precise manner, heavily influenced by Tonalism and artists like Andrew Wyeth, which characterizes the styles of both brothers. Stuart has placed the parrots in front of a lush background of leaves behind a low wall. The leaves that serve as backdrops dapple shadows across the walls at the bottom of the compositions, creating beautiful abstract patterns. The two paintings make an extremely attractive pair and were originally painted and purchased to hang together.

STUART GENTLING (American, 1942-2006)
Parrot on a Stand
Drybrush watercolor on paper
29-3/4 x 22 inches (75.6 x 55.9 cm) window
Signed lower right: Stuart Gentling

Scott and Stuart Gentling could be called the ultimate Texas painters, especially when it comes to painting the land, flora, and fauna of the state. Born in Minnesota, the twins came to Fort Worth as young boys. After separating to attend Tulane and one year of law school at the University of Texas, Stuart joined Scott at the Pennsylvania Academy of Art. After their studies, the Gentlings came home and began painting the landscapes, people, and still-lifes of Texas. Their travels across the state from the ranches of South and West Texas to the Piney Woods of East Texas to subjects close to home in North Texas have provided them with a wealth of subject matter. Unfortunately, Stuart passed away in 2005, leaving Scott alone to continue their many ongoing projects.

The brothers are famous for their varied interests, which include but are far from limited to taxidermy, publishing studies of art and history, and composing classical music, as well as painting. Stuart was even asked to present a paper on some of their theories regarding the Aztec city of Tenochtitlan to scholars at The National Museum of Anthropology in Mexico City. The twins are proof that when a few diverse interests and vast knowledge are combined with their incredible artistic skills, the finished products are masterpieces of true modern Renaissance men.

In Parrot on a Birdfeeder and Parrot on a Stand, Stuart Gentling has shown that his interest in ornithology goes far beyond the study and painting of Texas birds. He was the skilled taxidermist of the two twin brothers and was often given dead birds by The Fort Worth Zoo to preserve and paint. These pictures are among the first in a long series of parrot paintings that he began in the mid-1970s. In contrast to the birds found in their book, Of Birds and Texas, the parrots are not depicted in their natural habitat.

These two exquisitely rendered artworks are painted in the distinctive, precise manner, heavily influenced by Tonalism and artists like Andrew Wyeth, which characterizes the styles of both brothers. Stuart has placed the parrots in front of a lush background of leaves behind a low wall. The leaves that serve as backdrops dapple shadows across the walls at the bottom of the compositions, creating beautiful abstract patterns. The two paintings make an extremely attractive pair and were originally painted and purchased to hang together.

STUART GENTLING (American, 1942-2006) and
SCOTT GENTLING (American, b. 1942)
Of Birds & Texas Portfolio, 1986
Lithographs
25-1/2 x 19-1/2 inches (64.8 x 49.5 cm) each
Each signed in the plate

"With these dry-brush watercolors, we have combined our personal vision of the birds and the land of Texas with our own sense of composition, line, and color to bring you a testament of our love of the people, the history, and the wildlife of Texas."-Stuart Gentling

Scott and Stuart Gentling's Of Birds and Texas is the culmination of their travels across the state and was published just in time for the 150th anniversary of the founding of The Republic of Texas. A limited edition of their forty exquisitely detailed bird portraits and ten Texas landscapes, with commentary and an essay by Texas author John Graves, received immediate praise and comparisons to John James Audubon's Birds of America. Indeed, the brothers were inspired early in their lives by the paintings of Audubon and spent more than eight years creating the life-size illustrations for their book. The birds are set against landscape backgrounds portraying the geographical regions of Texas. Texas historian A. C. Greene has praised Of Birds and Texas as "the most stunning and prodigious book in Texas history."

SCOTT GENTLING (American, b. 1942)
Harvest
Watercolor on paper
29 x 22 inches (73.7 x 55.9 cm) window
Signed lower left: Scott Gentling
Scott and Stuart Gentling could be called the ultimate Texas painters, especially when it comes to painting the land, flora, and fauna of the state. Born in Minnesota, the twins came to Fort Worth as young boys. After separating to attend Tulane and one year of law school at the University of Texas, Stuart joined Scott at the Pennsylvania Academy of Art. After their studies, the Gentlings came home and began painting the landscapes, people, and still-lifes of Texas. Their travels across the state from the ranches of South and West Texas to the Piney Woods of East Texas to subjects close to home in North Texas have provided them with a wealth of subject matter. Unfortunately, Stuart passed away in 2005, leaving Scott alone to continue their many ongoing projects.

The brothers are famous for their varied interests, which include but are far from limited to taxidermy, publishing studies of art and history, and composing classical music, as well as painting. Stuart was even asked to present a paper on some of their theories regarding the Aztec city of Tenochtitlan to scholars at The National Museum of Anthropology in Mexico City. The twins are proof that when a few diverse interests and vast knowledge are combined with their incredible artistic skills, the finished products are masterpieces of true modern Renaissance men.

Harvest was painted by Scott Gentling and is the original work for the ninth plate in their book, Of Birds and Texas. This watercolor is expertly painted in his eloquent and painstakingly accurate style, so heavily influenced by Tonalism. It is full of deeper meaning, often mystical and historical in nature, which is a hallmark of Scott's work and a byproduct of his many interests. In his book, the artist writes about Harvest, inspired while visiting his friends Eddie and Clemmie. He writes "The black people in Floyd Valley in East Texas have their own ways of dealing with creatures who threaten their crops. Many of the older people here are heirs to ancient superstitions...in one field...stood several scarecrows dressed and turbaned like voodoo priestesses celebrating some ancient ritual. Around the neck of one of these hung the body of a recently killed crow, magical and fetishlike. Even though they were not really needed at this time of year, these specter figures appeared to be well maintained, the dead crow more an offering to mysterious field totems than a warning to crop raiders."

PAUL RICHARD SCHUMANN (American, 1876-1946)
Gulf Coast Scene, 1922
Oil on canvas
11-1/2 x 16 inches (29.2 x 40.6 cm)
Signed and dated lower right: Paul R. Schumann / 1922

Paul Schumann has been called the interpreter of the true Texas gulf coast. He was well known for impressionistic paintings of boats, recalling the works of Claude Monet. He worked with bright colors and often used a palette knife to add texture and depth to his canvases. Both of these paintings are fine examples of Schumann's quintessential style.

Born in Germany, Schumann came to Galveston as a child. He studied painting in New York and elsewhere on the East Coast. His Galveston studio was destroyed in the 1900 hurricane, but Schumann rebuilt it on the same site. Just as his contemporary Julian Onderdonk immortalized the Texas Hill Country, Schumann captured the beauty and essence of the Texas Coast at the beginning of the twentieth century.

PAUL RICHARD SCHUMANN (American, 1876-1946)
Gulf Coast Sail Boats
Oil on canvas board
13-1/2 x 16-1/2 inches (34.3 x 41.9 cm)
Signed lower right: Paul R. Schumann

Paul Schumann has been called the interpreter of the true Texas gulf coast. He was well known for impressionistic paintings of boats, recalling the works of Claude Monet. He worked with bright colors and often used a palette knife to add texture and depth to his canvases. Both of these paintings are fine examples of Schumann's quintessential style.

Born in Germany, Schumann came to Galveston as a child. He studied painting in New York and elsewhere on the East Coast. His Galveston studio was destroyed in the 1900 hurricane, but Schumann rebuilt it on the same site. Just as his contemporary Julian Onderdonk immortalized the Texas Hill Country, Schumann captured the beauty and essence of the Texas Coast at the beginning of the twentieth century.

GEORGE ZIMBEL (American, b. 1929)
Mr. & Mrs. Chester Bonn Take a Ride, 1955
Silver gelatin, printed 2000
8-1/4 x 12-1/4 inches (21.0 x 31.1 cm) image
Ed. 2/3
Signed and dated lower right: George S. Zimbel
Inscribed verso: Mr & Mrs Chester Bonn Take a Ride. Fredericksburg Texas, 1955 / © George S. Zimbel 1955/2000 Printed by GSZ 2000 / All Rights Reserved Ref # 2642-2 / 2/3

PROVENANCE:
From the artist.

In an era of increased manipulation of the photographic image by computer technology, George Zimbel's commitment to the straight photograph has become stronger. His photographs range from the 1940s to the present and are always printed by himself. Mr. and Mrs. Chester Bonn Take a Ride, 1955 and We Deliver-Houston Texas, 2000 represent the span of his work in Texas over the course of his career. Beyond their excellent formal qualities, these photos document the great changes that the Texas landscape and road culture has undergone in the last half century. They were not conceived of as a pair, but one cannot help but see the interesting dialogue invoked when viewed together.

Documentary photographer George S. Zimbel spent his early career in New York, working for national magazines, as well as self-initiated projects. His work in Texas began in 1950 and extended through 2006. Among other things, Zimbel was a noted photographer of Marilyn Monroe and was featured in the 2001 PBS American Master's production, "Marilyn Monroe: Still Life." His photographs are included in many collections from The Museum of Modern Art, New York to The Museum of Fine Arts, Houston.

GEORGE ZIMBEL (American, b. 1929)
We Deliver - Houston Texas, 2000
Silver gelatin
8-1/4 x 13 inches (21.0 x 33.0 cm) image
Ed. 1/3
Signed and dated lower right: George S. Zimbel / 2000
Inscribed verso: We Deliver, Houston Texas 2000 / © George S. Zimbel 2000 / All Rights Reserved GSZ Log 2629 / 1/3

PROVENANCE:
From the artist.

In an era of increased manipulation of the photographic image by computer technology, George Zimbel's commitment to the straight photograph has become stronger. His photographs range from the 1940s to the present and are always printed by himself. Mr. and Mrs. Chester Bonn Take a Ride, 1955 and We Deliver-Houston Texas, 2000 represent the span of his work in Texas over the course of his career. Beyond their excellent formal qualities, these photos document the great changes that the Texas landscape and road culture has undergone in the last half century. They were not conceived of as a pair, but one cannot help but see the interesting dialogue invoked when viewed together.

Documentary photographer George S. Zimbel spent his early career in New York, working for national magazines, as well as self-initiated projects. His work in Texas began in 1950 and extended through 2006. Among other things, Zimbel was a noted photographer of Marilyn Monroe and was featured in the 2001 PBS American Master's production, "Marilyn Monroe: Still Life." His photographs are included in many collections from The Museum of Modern Art, New York to The Museum of Fine Arts, Houston.

SHARON KOPRIVA (American, b. 1948)
Figure in Waiting, 1984
Mixed media on paper
28 x 19-3/4 inches (71.1 x 50.2 cm)
Signed and dated lower right: Kopriva '84
Signed and titled verso: Kopriva / "Figure In Waiting"

PROVENANCE:
Gerald Peters Gallery, Dallas (label verso).

Houston artist Sharon Kopriva has gained accolades and provoked strong reactions throughout the world for her paintings and sculptures, which exhibit the influences of her Catholic background and a trip to Peru in 1981. These experiences, cultural, political, and religious, have contributed much to the development of her iconic and often humorous images of expressionistic mummy-like figures. Studying with New York painter John Alexander, as well as Texas sculptor James Surls, Kopriva is one of those rare artists who are equally comfortable producing paintings, sculpture, and prints. Her work has been shown in a solo exhibition at the Menil Collection, Houston, a major group exhibition at the Smithsonian Museum, Washington, D.C., and numerous group exhibitions in Asia, Europe, and North and South America.

Figure in Waiting (1984) and Contemplation (1984) are ostensibly dark in subject matter, which stands in contrast to the brilliantly expressionistic use of color and line. Like many of her works, these images confront the viewer with superbly rendered images of death, but the subject is life. The cocoons that hold the skeletons resemble a human egg, or womb, and the lizards, a common symbol of male sexuality in cultures around the world, swim around them like sperm. The titles imply that these skeletons will soon be thrust back into the world once again-animated by the life forces that gather around them. An explicit representation of the life cycle, it forces the viewer to confront the utter necessity of death in order for life to be created again. As an artist, Kopriva celebrates life on the most fundamental level, in its relationship to death. Through her work, she tries to help the viewer confront their fears and understand their own mortality. In these two paintings, Kopriva has shown a willingness to address some of the most disturbing and elemental aspects of the human condition without having to sacrifice her inherent talent for making exquisite art-it is this ability that has made her such a compelling and successful artist.

SHARON KOPRIVA (American, b. 1948)
Contemplation, circa 1984
Mixed media on paper
27-3/4 x 21-1/4 inches (70.5 x 54.0 cm)
Signed lower left: Kopriva
Signed and titled verso: Kopriva / "Contemplation"

PROVENANCE:
Gerald Peters Gallery, Dallas (label verso).

Houston artist Sharon Kopriva has gained accolades and provoked strong reactions throughout the world for her paintings and sculptures, which exhibit the influences of her Catholic background and a trip to Peru in 1981. These experiences, cultural, political, and religious, have contributed much to the development of her iconic and often humorous images of expressionistic mummy-like figures. Studying with New York painter John Alexander, as well as Texas sculptor James Surls, Kopriva is one of those rare artists who are equally comfortable producing paintings, sculpture, and prints. Her work has been shown in a solo exhibition at the Menil Collection, Houston, a major group exhibition at the Smithsonian Museum, Washington, D.C., and numerous group exhibitions in Asia, Europe, and North and South America.

Figure in Waiting (1984) and Contemplation (1984) are ostensibly dark in subject matter, which stands in contrast to the brilliantly expressionistic use of color and line. Like many of her works, these images confront the viewer with superbly rendered images of death, but the subject is life. The cocoons that hold the skeletons resemble a human egg, or womb, and the lizards, a common symbol of male sexuality in cultures around the world, swim around them like sperm. The titles imply that these skeletons will soon be thrust back into the world once again-animated by the life forces that gather around them. An explicit representation of the life cycle, it forces the viewer to confront the utter necessity of death in order for life to be created again. As an artist, Kopriva celebrates life on the most fundamental level, in its relationship to death. Through her work, she tries to help the viewer confront their fears and understand their own mortality. In these two paintings, Kopriva has shown a willingness to address some of the most disturbing and elemental aspects of the human condition without having to sacrifice her inherent talent for making exquisite art-it is this ability that has made her such a compelling and successful artist.

EVERETT FRANKLIN SPRUCE (American, 1908-2002)
After the Rainstorm, 1990
Acrylic on masonite
20 x 24 inches (50.8 x 61.0 cm)
Signed lower right: Spruce
Inscribed verso: Everett Spruce / After the Rainstorm 1990 / Everett Spruce

Everrett Spruce is one of the best known artists of the "Dallas Nine," a group of regional modernists who helped define the Texas Art scene beginning in the 1920s. Spruce's subjects are often scenes from nature. His style is characterized by richly textured surfaces, expressive use of color, and resonant moods.

After the Rainstorm is a superbly abstracted landscape with wonderfully expressive surfaces. In contrast to the softly glowing background, he paints the foreground with powerful style, which manages to be simultaneously frenzied and ordered. Spruce creates dynamic yet barely restrained energy, which is moody, hypnotic, and lyrical. Lush colors, especially the reds and lavenders, make this painting compelling and seductive.

FLORENCE ELLIOTT MCCLUNG (American, 1896-1994)
Volcanic Cone at Fort Davis, Texas, 1930
Oil on artist's board
16 x 19-3/4 inches (40.6 x 50.2 cm)
Signed lower right: E. McClung
Inscribed verso: 1930 Volcanic Cone at Ft. Davis Texas in Town

Florence McClung began painting in the early 1920s, when she studied with Frank Reaugh, Olin Travis, Frank Klepper, Alexandre Hogue, and Thomas M. Stell before training at several institutions across the country. Often following an urge to romanticize the rural landscape, McClung embraced Regionalist subject matter. She largely followed her own stylistic tendency toward the idealization, instead of the abstraction, of rural settings in the manner of many of her contemporaries and teachers. Volcanic Cone at Fort Davis Texas, 1930 is just such an example of her work. This charming painting captures the scenery in a most eloquent style and invokes feelings of peace and awe that can be simultaneously inspired by the dramatic Texas landscape.

FRANZ STRAHALM (American, 1879-1935)
Landscape with Cactus and Trees
Oil on canvas
25 x 32 inches (63.5 x 81.3 cm)
Signed lower right: Franz Strahalm

Born in Austria, Franz Strahalm studied painting in Vienna, Italy, England, France, and Mexico City, before coming to San Antonio, where he founded the San Antonio School of Fine Painting. He later settled in Dallas. Strahalm is best known for his landscapes, but also painted portraits and still lifes. This work is an excellent example of his large landscapes, characterized by vivid colors that invoke atmospheric qualities, like misty mornings or late afternoon light, and richly textured surfaces. The combination of impressionistic qualities and the rough, granular surface create a unique vision of the Texas landscape.

FRANZ STRAHALM (American, 1879-1935)
Landscape with Arroyo
Oil on canvas
30-1/4 x 40 inches (76.8 x 101.6 cm)
Signed lower right: F. Strahalm

FRANZ STRAHALM (American, 1879-1935)
Misty Morning
Oil on board
8 x 10 inches (20.3 x 25.4 cm)
Signed lower right: Franz Strahalm

FRANZ STRAHALM (American, 1879-1935)
Landscape
Oil on board
7 x 12 inches (17.8 x 30.5 cm)
Signed lower right: Franz Strahalm

JO LEMAY RUTLEDGE (American, 20th Century)
The American Barditch I, 2008
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: Jo LeMay Rutledge 08
Signed and titled verso: Jo LeMay Rutledge / The American Barditch

In The American Barditch I, Rutledge has taken a new approach to the Texas landscape. Instead of a classic image of open vistas or fenced ranchland, she has placed the viewer in the ditch around the fence. The barbed wire becomes the horizon line, and the grasses, wildflowers, and birds are all crowded around and caught in the ditch, safe from destruction outside the reach of hungry stock. Even in the title Trailer Trash, the artist displays her clever sense of humor by depicting the trash, debris, and old equipment that inevitably piles up around the barn of a working ranch. Rutledge paints in a compelling and contemporary style, but the most interesting aspect of these paintings may be the fact that she captures the realities of the modern Texas ranch free from the idealization of previous artists. Jo LeMay Rutledge is a mostly self-taught artist, who began painting after taking a class with well known landscape artist Dennis Blagg. After some success selling her work privately, she recently made her debut at ArtSpace 111, Fort Worth, and has received critical acclaim in the local media. Her repertoire is wide but has settled on the local genre of Texas themes for the time being.

JO LEMAY RUTLEDGE (American, 20th Century)
Trailer Trash, 2009
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: Jo LeMay Rutledge 09
Titled, signed, and dated verso: Trailer Trash / Jo LeMay Rutledge / 2009
In The American Barditch I, Rutledge has taken a new approach to the Texas landscape. Instead of a classic image of open vistas or fenced ranchland, she has placed the viewer in the ditch around the fence. The barbed wire becomes the horizon line, and the grasses, wildflowers, and birds are all crowded around and caught in the ditch, safe from destruction outside the reach of hungry stock. Even in the title Trailer Trash, the artist displays her clever sense of humor by depicting the trash, debris, and old equipment that inevitably piles up around the barn of a working ranch. Rutledge paints in a compelling and contemporary style, but the most interesting aspect of these paintings may be the fact that she captures the realities of the modern Texas ranch free from the idealization of previous artists. Jo LeMay Rutledge is a mostly self-taught artist, who began painting after taking a class with well known landscape artist Dennis Blagg. After some success selling her work privately, she recently made her debut at ArtSpace 111, Fort Worth, and has received critical acclaim in the local media. Her repertoire is wide but has settled on the local genre of Texas themes for the time being.

PORFIRIO SALINAS (American, 1910-1973)
Landscape with Flowering Cactus
Oil on canvas laid on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: Porfirio Salinas

PORFIRIO SALINAS (American, 1910-1973)
Landscape with Tree and Rocks
Oil on canvas laid on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: Porfirio Salinas

PORFIRIO SALINAS (American, 1910-1973)
Landscape with Cactus
Oil on canvas laid on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: Porfirio Salinas

PORFIRIO SALINAS (American, 1910-1973)
River with Snowcapped Mountains (New Mexico)
Oil on canvas
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left: Porfirio Salinas

PROVENANCE:
Altermann Galleries, Santa Fe (label verso);
The Duffy and Tina Oyster Foundation, Dallas.

PORFIRIO SALINAS (American, 1910-1973)
Landscape
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower left: Porfirio Salinas

PORFIRIO SALINAS (American, 1910-1973)
Bullfighter
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower left: Porfirio Salinas

PORFIRIO SALINAS (American, 1910-1973)
Four Roses
Oil on canvas laid on board
15 x 19-1/4 inches (38.1 x 48.9 cm)
Signed lower left: Porfirio Salinas

BOB "DADDY-O" WADE (American, b. 1943)
Daisy Belle, 1983
Bronze with patina
11 x 7 x 12 inches (27.9 x 17.8 x 30.5 cm)
Ed. A/P
Signed, numbered, and dated on base: Bob Wade A/P 1983

Bob "Daddy-O" Wade, Austin native and resident, is a modern Texas art legend. The Chicago Tribune called him a "legendary free spirit" who is "larger than life." Known for sculpture and photo-realistic painting, his large sculptures are seen across Texas from San Antonio to Dallas to Abilene. Daisy Belle is an example of his unique, amusing, and, in the words of the artist, "weird" approach to his art, especially when it comes to his sculpture. The bucking armadillo and rider are an iconoclastic parody of emblematic symbols of Art of the American West, the bronze sculptures by Charles M. Russell and Frederick Remington. Wade has been the recipient of three grants from the National Endowment of the Arts and has had his work exhibited in Biennials in Paris, New Orleans, and The Whitney Museum of Art in New York.

BEN CARLTON MEAD (American, 1902-1986)
Santa Ynez Mission
Oil on linen
36 x 60 inches (91.4 x 152.4 cm)
Signed lower left: Ben Carlton Mead

Ben Carleton Mead was born in Bay City, Texas, but spent most of his childhood in Amarillo. He studied at the Art Institute of Chicago from 1923-1926, was a staff artist for the Witte Museum in San Antonio, and taught art at Amarillo Junior College. During the Great Depression, Mead was commissioned by the WPA to do several murals throughout the Southwest, most notably in the Tucumcari County courthouse. Santa Ynez Mission has a strong narrative quality similar to Mead's Depression-era murals and portrays life in the wide-open spaces of the American Southwest.

BEN CARLTON MEAD (American, 1902-1986)
Storm over Palo Duro
Oil on masonite
16-1/4 x 22 inches (41.3 x 55.9 cm)
Signed lower left: Ben Carlton Mead

Ben Carleton Mead was born in Bay City, Texas, but spent most of his childhood in Amarillo. He studied at the Art Institute of Chicago from 1923-1926, was a staff artist for the Witte Museum in San Antonio, and taught art at Amarillo Junior College. During the Great Depression, Mead was commissioned by the WPA to do several murals throughout the Southwest, most notably in the Tucumcari County courthouse. Santa Ynez Mission has a strong narrative quality similar to Mead's Depression-era murals and portrays life in the wide-open spaces of the American Southwest.

Storm over Palo Duro Canyon is a stunning landscape painting of the famous West Texas canyon, where Mead lived on a ranch during most of the 1930s. The bright, expressive colors of the landscape, a vivid interpretation of the naturally colorful canyon, contrast beautifully with the gray-blue sky. Mead has captured the beauty, mood, power, and feeling of anxiety invoked by the vision of a distant thunderstorm sweeping across West Texas.

DAVID BROWNLOW (American, 1915-2006)
Portrait of Pitchers, 1958
Oil on board
24 x 32 inches (61.0 x 81.3 cm)
Signed and dated lower left: David Brownlow / 58

David Brownlow, a self-taught painter, is a member of the Fort Worth Circle. He is popular among Texas art collectors for his use of trowels and putty knives to create thickly painted surfaces. Architectural structures were the frequent subject of his abstract imagery. However, in the case of Portrait of Pitchers, he uses geometric forms, interesting surfaces, and subdued colors to create a still life instead of an edifice. Brownlow has a talent for depicting structures like cathedrals that almost become sympathetic characters, just as he has anthropomorphized this group of pitchers and titled the painting as a portrait instead of a still life.

XAVIER GONZÁLES (American, 1898-1993)
Eight Peonies, 1977
Oil on canvas
30 x 22 inches (76.2 x 55.9 cm)
Initialed and dated lower right: X. G. 77
Titled verso: Eight Peonies

BLANCHE MCVEIGH (American, 1895-1970)
Flagship Austin - Navy of the Republic of Texas, 1840-41.
Etching on paper
Image: 7 x 9 inches (17.8 x 22.9 cm)
Ed: 5/50
Signed in graphite lower right: Blanche McVeigh
Titled in graphite lower left: Flagship Austin - Navy of the Republic of Texas, 1840-41

JULIAN ONDERDONK (American, 1882-1922)
Evening Near Jackson, Southwest Texas
Oil on canvas
16 x 24 inches (40.6 x 61.0 cm)
Signed lower left: -Julian Onderdonk-
Inscribed verso: Evening near Jackson Gulch- / -South West Texas- / Julian Onderdonk-

Julian Onderdonk was a native of San Antonio and the son of the artist, Robert Jenkins Onderdonk. In 1901, at the age of nineteen, he moved to New York City and attended several art schools. He also studied plein-air painting with William Merritt Chase at his summer school in Shinecock, New York. After returning home to Texas in 1909, Onderdonk enjoyed considerable success during his lifetime. He became best known for his paintings of bluebonnets, but he also loved to depict the Texas Hill Country in all its many incarnations. Unfortunately, he suffered an early death at the age of forty. In 2008, the Dallas Museum of Art held an exhibition entitled Bluebonnets and Beyond: Julian Onderdonk, American Impressionist which has further established his work as the most admired and sought after of any Early Texas artist.

A road curving over the hills of southwest Texas is a common subject in Onderdonk's work. Evening Near Jackson, Southwest Texas is just such a painting. This example of his work is interesting because it contains elements that are unusual, though not unheard of, in his work, including the figures and wagon under the trees on the left and the treatment of the evening sky.

CLEMENTINE HUNTER (American, 1886-1988)
Cotton Pickers and Fisherman
Oil on artist's board
18 x 24 inches (45.7 x 61.0 cm)
Monogrammed center right

In 1900, Clementine Hunter moved with her family to the Melrose Plantation on the Cane River, outside Natchitoches, Louisiana. Melrose soon became a haven for many artists and writers including Alberta Kinsey, Francois Mignon, and Lyle Saxon. At the age of 54, Clementine Hunter was encouraged by visiting artists to try painting artworks herself. She used leftover paints and began "marking pictures" on any surface she could find - old bottles, cardboard scraps, and even brown paper bags. Her works told the story of plantation life from daily activities to special occasions. One of Louisiana's most celebrated folk artists, Clementine Hunter's paintings can be seen in the Smithsonian Institute in Washington, D.C., the Museum of American Folk Art in New York, the Dallas Museum of Fine Arts, the Oprah Winfrey Collection in Chicago, and the New Orleans Museum of Art.

CLEMENTINE HUNTER (American, 1886-1988)
Saturday Night at the Honky Tonk
Oil on board
23 x 23-1/2 inches (58.4 x 59.7 cm)
Monogrammed lower right

In 1900, Clementine Hunter moved with her family to the Melrose Plantation on the Cane River, outside Natchitoches, Louisiana. Melrose soon became a haven for many artists and writers including Alberta Kinsey, Francois Mignon, and Lyle Saxon. At the age of 54, Clementine Hunter was encouraged by visiting artists to try painting artworks herself. She used leftover paints and began "marking pictures" on any surface she could find - old bottles, cardboard scraps, and even brown paper bags. Her works told the story of plantation life from daily activities to special occasions. One of Louisiana's most celebrated folk artists, Clementine Hunter's paintings can be seen in the Smithsonian Institute in Washington, D.C., the Museum of American Folk Art in New York, the Dallas Museum of Fine Arts, the Oprah Winfrey Collection in Chicago, and the New Orleans Museum of Art.

Dancing, playing cards, and socializing at the local honky tonk were all parts of regular Saturday nights on the plantation. Here, the drunken revelers have moved outside the honky tonk; drinking has continued under the trees; and, in some cases, bloody fighting has ensued.

CLEMENTINE HUNTER (American, 1886-1988)
Nativity Scene with Angels, Virgin Mary, and the Three Wise Men
Oil on artist's board
18 x 24 inches (45.7 x 61.0 cm)
Monogrammed lower right

In 1900, Clementine Hunter moved with her family to the Melrose Plantation on the Cane River, outside Natchitoches, Louisiana. Melrose soon became a haven for many artists and writers including Alberta Kinsey, Francois Mignon, and Lyle Saxon. At the age of 54, Clementine Hunter was encouraged by visiting artists to try painting artworks herself. She used leftover paints and began "marking pictures" on any surface she could find - old bottles, cardboard scraps, and even brown paper bags. Her works told the story of plantation life from daily activities to special occasions. One of Louisiana's most celebrated folk artists, Clementine Hunter's paintings can be seen in the Smithsonian Institute in Washington, D.C., the Museum of American Folk Art in New York, the Dallas Museum of Fine Arts, the Oprah Winfrey Collection in Chicago, and the New Orleans Museum of Art.

In this work, Clementine Hunter has depicted the pregnant Virgin Mary being led to the manger by an angel. To the right, three field workers represent the Three Wise Men bringing presents to the impending birth of the Savior, including a cake under cellophane, a wrapped box of chocolates, and a green pineapple.

CLEMENTINE HUNTER (American, 1886-1988)
Baptism
Oil on artist's board
18 x 24 inches (45.7 x 61.0 cm)
Monogrammed center right edge
In 1900, Clementine Hunter moved with her family to the Melrose Plantation on the Cane River, outside Natchitoches, Louisiana. Melrose soon became a haven for many artists and writers including Alberta Kinsey, Francois Mignon, and Lyle Saxon. At the age of 54, Clementine Hunter was encouraged by visiting artists to try painting artworks herself. She used leftover paints and began "marking pictures" on any surface she could find - old bottles, cardboard scraps, and even brown paper bags. Her works told the story of plantation life from daily activities to special occasions. One of Louisiana's most celebrated folk artists, Clementine Hunter's paintings can be seen in the Smithsonian Institute in Washington, D.C., the Museum of American Folk Art in New York, the Dallas Museum of Fine Arts, the Oprah Winfrey Collection in Chicago, and the New Orleans Museum of Art.

As well as scenes of everyday life on the plantation, Clementine Hunter was particularly interested in spiritual themes including baptisms, funerals, and weddings. The church depicted in this work is the St. Augustine Catholic Church on Cane River, which is believed to be the first Catholic Church in the United States constructed and supported by free African-Americans for their own use.

ROBERT WILLIAM WOOD (American, 1889-1979)
Bluebonnets, 1933
Oil on canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed and dated lower left: Robert Wood 1933

ROBERT WILLIAM WOOD (American, 1889-1979)
Texas Dreams
Oil on canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed lower left: Robert Wood
Inscribed verso: Texas Dreams

ROBERT WILLIAM WOOD (American, 1889-1979)
Bluebonnet Landscape with Road
Oil on board
13 x 20 inches (33.0 x 50.8 cm)
Signed in the varnish lower right: Robt. Wood

ROBERT WILLIAM WOOD (American, 1889-1979)
Spanish Mission
Oil on canvas laid on board
12-1/2 x 14-1/2 inches (31.8 x 36.8 cm)
Signed lower left: G. Day

ROBERT WILLIAM WOOD (American, 1889-1979)
Autumn Landscape, 1955
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed and dated lower right: Robert Wood / '55

PROVENANCE:
J.J. Gillespie, Pittsburgh (label verso).

PALMER CHRISMAN (American, 20th Century)
April in the Hill Country
Oil on canvas
32 x 48 inches (81.3 x 121.9 cm)
Signed lower right: Palmer Chrisman
Signed verso: Palmer Chrisman

EMILY GUTHRIE SMITH (American, 1909-1986)
Landscape with Tree
Oil pastel on paper
27-1/2 x 21-1/2 inches (69.9 x 54.6 cm)
Signed lower right: Emily Guthrie Smith

In Landscape with Tree, Emily Guthrie Smith shows herself to be an artist who has mastered the pastel medium. It comes as no surprise that Smith was a lifetime member of the Pastel Society of America and was inducted into its Hall of Fame in 1984. She was a contemporary and friend of the Fort Worth Circle, but she did not join them in experimentations with Modernism or abstraction beyond her Impressionistic style. This work on paper is a spectacular example of her pastel work in at least two ways. First, the pasture, its flowers, and the tree are created in a beautiful painterly style. Second, the small steer, bird, and building are remarkably clear for the pastel medium, where detail work is extremely difficult. Stylistically, the vivid colors are used in a way similar to the Impressionists, but her composition and subject are even more traditional. In this work, Smith has created an extraordinary pastel which is different from the portraits for which she is best known.

KELLY FEARING (American, b. 1918)
Country Church, 1941
Watercolor on paper
13-3/4 x 20 inches (34.9 x 50.8 cm) window
Signed and dated lower right: Kelly Fearing ' 41

MICHAEL ETIE (American, b. 1948)
Storm Coming - Crawford Texas Ranch and Crawford Texas Ranch
Pastel on panel
10 x 13 inches (25.4 x 33.0 cm) window
Signed: Mike Etie

Austin artist Mike Etie's primary medium is soft pastel on board with sanded surfaces. His use of dramatic, brilliant colors brings the landscape to emotional life. These two pairs of pastels are lovely examples of contemporary Texas scenes. Etie eschews the tendency of living Texas artists to create artworks which rely too heavily on traditional approaches to the Texas landscape in favor of a fresh and beautiful style.

MICHAEL ETIE (American, b. 1948)
Scenic Overlook - Lost Maple Trail
Pastel on panel
10 x 13 inches (25.4 x 33.0 cm)
Austin artist Mike Etie's primary medium is soft pastel on board with sanded surfaces. His use of dramatic, brilliant colors brings the landscape to emotional life. These two pairs of pastels are lovely examples of contemporary Texas scenes. Etie eschews the tendency of living Texas artists to create artworks which rely too heavily on traditional approaches to the Texas landscape in favor of a fresh and beautiful style.

WILLIAM ROBERT THRASHER (American, 1908-1997)
Bluebonnet Landscape
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower left: W.R. Thrasher

WILLIAM ROBERT THRASHER (American, 1908-1997)
Bluebonnets with Cactus
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower left: W.R. Thrasher

JERRY RUTHVEN (American, b. 1947)
Autumn Brilliance
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed lower right: Ruthven

MANUEL GREGORIO ACOSTA (American, 1921-1989)
La Ventana Amarilla
Oil on canvas
48 x 36 inches (121.9 x 91.4 cm)

LEWIS TEEL (American, 1883-1960)
Spring in the Desert
Oil on panel
21 x 28 inches (53.3 x 71.1 cm)
Signed lower left: Lewis Teel

LEWIS TEEL (American, 1883-1960)
Desert Landscape
Oil on board
21 x 28 inches (53.3 x 71.1 cm)
Signed lower left: Lewis Teel

WILLIAM A. SLAUGHTER (American, 1923-2003)
Wildflowers, 1976
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower left: W.A. Slaughter '76

WILLIAM A. SLAUGHTER (American, 1923-2003)
Texas Autumn
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: W.A. Slaughter

WILLIAM A. SLAUGHTER (American, 1923-2003)
The Live Oak
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: W.A. Slaughter

A. D. GREER (American, 1904-1998)
Landscape
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower right: A.D. Greer

A. D. GREER (American, 1904-1998)
Autumn Landscape
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower right: A.D. Greer

A. D. GREER (American, 1904-1998)
Red Roses
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Signed lower right: A.D. Greer

A. D. GREER (American, 1904-1998)
Vase of Roses
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed upper left: A.D. Greer

KARL BODMER (Swiss, 1809-1893)
Wahk-Ta-Ge-Li, a Sioux Warrior., 1839-1841
Tableau 8 from Travels in the Interior of North America, 1832-34
First state aquatint, etching, and roulette on chine collé paper; hand-colored
Plate: 20-1/4 x 14-1/2 inches (51.4 x 36.8 cm)
Paper: 27 x 22 inches (68.6 x 55.9 cm)
Blind Stamp: C Bodmer / Direct
Signed in plate: Ch. Bodmer pinx ad. nat.

KARL BODMER (Swiss, 1809-1893)
Pachtüwa - Chta, An Arrikkara Warrior, 1939-1940
Vignette XXVII from Travels in the Interior of North America, 1832-34

First state aquatint, etching, and roulette on chine collé paper with gum arabic highlights; hand-colored
Plate: 12-1/2 x 9 inches (31.8 x 22.9 cm)
Paper: 18 x 12-1/4 inches (45.7 x 31.1 cm)
Blind Stamp: C Bodmer / Direct
Signed in plate: Ch. Bodmer pinx ad. nat.

KARL BODMER (Swiss, 1809-1893)
Massika, Saki Indian and Wakusasse, Musquake Indian, 1839-1841
Tableau 3 from Travels in the Interior of North America, 1832-34
First state aquatint, mezzotint, etching, and stipple on chine collé paper with gum arabic highlights; hand-colored
Plate: 14 x 18 inches (35.6 x 45.7 cm)
Paper: 18 x 24-1/2 inches (45.7 x 62.2 cm)
Blind Stamp: C Bodmer / Direct
Signed in plate: Ch. Bodmer pinx ad. nat.

KARL BODMER (Swiss, 1809-1893)
Mehkskeme-Sukahs, Blackfoot-chief and Tatsicki-Stomick, Piekann chief, 1839-1841
Tableau 45 from Travels in the Interior of North America, 1832-34
First state aquatint, mezzotint, etching, and stipple on chine collé paper with gum arabic highlights; hand-colored
Plate: 14 x 18 inches (35.6 x 45.7 cm)
Paper: 18 x 24-1/2 inches (45.7 x 62.2 cm)
Blind Stamp: C Bodmer / Direct
Signed in plate: Ch. Bodmer pinx ad. nat.

KARL BODMER (Swiss, 1809-1893)
Encampment of the Travellers, 1839-1840
Vignette XXIII from Travels in the Interior of North America, 1832-34
First state engraving and etching on chine collé; hand-colored

Plate: 10-1/2 x 14 inches (26.7 x 35.6 cm)
Paper: 11-1/2 x 17 inches (29.2 x 43.2 cm)
Blind Stamp: C Bodmer / Direct
Signed in plate: Ch. Bodmer pinx ad. nat.

KARL BODMER (Swiss, 1809-1893)
Dog-Sledges of the Mandan Indians, 1839-1840
Vignette XXIX from Travels in the Interior of North America, 1832-34
First state aquatint, etching, and stipple on chine collé paper with gum arabic highlights; hand-colored
Plate: 10 x 13-1/2 inches (25.4 x 34.3 cm)
Paper: 12 x 15-1/2 inches (30.5 x 39.4 cm)
Blind Stamp: C Bodmer / Direct
Signed in plate: Ch. Bodmer pinx ad. nat.

KARL BODMER (Swiss, 1809-1893)
Bellvue: Mr. Dougherty's Agency on the Missouri, 1839-1840
Vignette XXXI from Travels in the Interior of North America, 1832-34
First state aquatint and etching on chine collé paper; hand-colored
Plate: 10 x 13-1/2 inches (25.4 x 34.3 cm)
Paper: 12 x 15-1/2 inches (30.5 x 39.4 cm)
Blind Stamp: C Bodmer / Direct
Signed in plate: Ch. Bodmer pinx ad. nat.

PETER RINDISBACHER (Swiss, 1806-1834)
War Dance of the Sauks and Foxes, 1837
from McKinney & Hall's History of the Indian Tribes of North America
Hand-colored lithograph
13-1/2 x 19-3/4 inches (34.3 x 50.2 cm)

CHARLES BIRD KING (American, 1785-1862)
Esh-ta-hum-Leah, a Sioux Chief, 1836
from McKinney & Hall's History of the Indian Tribes of North America
Hand-tinted lithograph on paper
16-1/2 x 11-1/2 inches (41.9 x 29.2 cm)

CHARLES BIRD KING (American, 1785-1862)
Red Jacket, a Seneca War Chief, 1836
from McKinney & Hall's History of the Indian Tribes of North America
Hand-tinted lithograph on paper
16-1/2 x 11-1/2 inches (41.9 x 29.2 cm)

JAMES OTTO LEWIS (American, 1799-1858)
Chat-O-Nis-See, Pottowattomie Chief; Weesh-Cub, or the Sweet; Ker-O-Menée, a Celebrated Winnegabo Chief
from The Aboriginal Portfolio, 1835-1836
Hand-colored lithographs on paper
Paper: 19 x 11-1/4 inches (48.3 x 28.6 cm)

EDWARD SHERIFF CURTIS (American, 1868-1952)
On the Canadian River, Plate 659, 1927
Photogravure
Paper: 18 x 14 inches (45.7 x 35.6 cm)
Image: 15-1/2 x 11-1/2 inches (39.4 x 29.2 cm)
Recto: titled and dated in the plate
State: framed

EDWARD SHERIFF CURTIS (American, 1868-1952)
A Mountain Fastness - Apsaroke, Plate 140, 1905
Photogravure
Paper: 15 x 18 inches (38.1 x 45.7 cm)
Image: 12 x 15-3/4 inches (30.5 x 40.0 cm)
Recto: titled and dated in the plate
State: framed

EDWARD SHERIFF CURTIS (American, 1868-1952)
A Mountain Camp - Yakima, Plate 224, 1910
Photogravure
Paper: 14-1/2 x 18 inches (36.8 x 45.7 cm)
Image: 12 x 15-3/4 inches (30.5 x 40.0 cm)
Recto: titled and dated in the plate
State: framed

EDWARD SHERIFF CURTIS (American, 1868-1952)
In a Piegan Lodge, Plate 188, 1910
from The North American Indian
Portfolio photogravure on Holland Van Gelder paper
Paper: 18 x 22 inches (45.7 x 55.9 cm)
Image: 12 x 15-1/2 inches (30.5 x 39.4 cm)
Recto: titled and dated in the plate
State: unframed

EDWARD SHERIFF CURTIS (American, 1868-1952)
Two Moons Cheyenne, Plate 213, 1910
from The North American Indian
Portfolio photogravure on Holland Van Gelder paper
Paper: 22 x 18 inches (55.9 x 45.7 cm)
Image: 15-1/2 x 11 inches (39.4 x 27.9 cm)
Recto: titled and dated in the plate
State: unframed

EDWARD SHERIFF CURTIS (American, 1868-1952)
Old Person - Piegan, Plate 204, 1911
from The North American Indian
Portfolio photogravure on Holland Van Gelder paper
Paper: 22 x 18 inches (55.9 x 45.7 cm)
Image: 15-1/2 x 9 inches (39.4 x 22.9 cm)
Recto: titled and dated in the plate
State: unframed

OSCAR EDWARD BERNINGHAUS (American, 1874-1952)
and CARL WIMAR (American, 1828-1862)
A Complete Set of Anheuser-Busch Chromolithographs, 1912
Attack on an Emigrant Train
A Fight for the Overland Mail (signed in plate: O.E. Berninghaus)
Westward Ho! (signed in plate: O.E. Berninghaus)
The Relief Train (signed in plate: O.E. Berninghaus)
The Father of Waters
Chromolithographs on paper
Image: 7-1/4 x 16 inches (18.4 x 5,120.6 cm)
Paper: 11-1/2 x 20 inches (29.2 x 50.8 cm)

This lot includes the original artist biography sheet, five postcards depicting each of the original compositions in miniature, and the original brown paper mailing envelope addressed to the original owner bearing the Anheuser-Busch logo.

FREDERIC SACKRIDER REMINGTON (American, 1861-1909)
Old Ramon
from the 1901 Buckskin Portfolio
Chromolithograph on paper
19-1/2 x 14 inches (49.5 x 35.6 cm) window
Signed lower right: Frederic Remington
Inscribed lower left: Copyright 1901, by Robert Howard Russell.

PROVENANCE:
George F. Meno, St. Clair, Michigan (verso).

FREDERIC SACKRIDER REMINGTON (American, 1861-1909)
Half-Breed
from the 1901 Buckskin Portfolio
Chromolithograph on paper
19-1/2 x 14-1/2 inches (49.5 x 36.8 cm)
Signed and dated lower right: Frederic Remington / 1901

Inscribed lower left: Copyright 1901, by Robert Howard Russell.

CHARLES SCHREYVOGEL (American, 1861-1912)
My Bunkie
Chromolithograph
13 x 19 inches (33.0 x 48.3 cm)
Signed in plate lower right: Chas Schreyvogel
Signed in pencil lower left: To Mrs. P.W. Hagerty / compliments of / Chas. Schreyvogel

W.I. Swain's Western Spectacular Production
Jesse James
"This Money Belongs to Me"
Lithograph
26 x 40 inches (66.0 x 101.6 cm)

The Greatest Show of the Plains
A Texas Ranger
"Stop! Move a Muscle and I'll Kill You"
Lithograph
26 x 40 inches (66.0 x 101.6 cm)

FRANK EARLE SCHOONOVER (American, 1877-1972)
Indian with Squaw in Canoe, 1927
Oil on canvas
38 x 26 inches (96.5 x 66.0 cm)
Signed and dated lower left: Schoonover / 27

From the Estate of Charles Martignette

PROVENANCE:
Kennedy Galleries, New York (label verso);
Private collection, Bangor, Maine.

LITERATURE:
C.L. Skinner, "Rosele of the North", American Girl Magazine, April 1927, p. 29.

FRANK EARLE SCHOONOVER (American, 1877-1972)
Return of the Ancient Otter, 1918
Oil on canvas
38 x 27 inches (96.5 x 68.6 cm)
Signed and dated lower right: F.E. Schoonover / 9-18
Label verso: Illustration for 2nd. / Schultz Indian Serial / Second Installment / "The Stranger made no use to use his bow, but remained just within the doorway." / Chapter III Page 1

From the Estate of Charles Martignette

PROVENANCE:
Midwestern Galleries, Cincinnati (label verso).

EXHIBITED:
Brandywine River Museum, Chadds Ford, Pennsylvania, January 18-May 18, 1975 (label verso);
Brandywine River Museum, Chadds Ford, Pennsylvania, September 7-November 18, 1979 (label verso).

LITERATURE:
J.W. Schultz, "The Whit Blackfoot", American Boy, July 1918;
C. Schoonover, Frank Schoonover: Illustrator of the North American Frontier, New York, 1976, p. 114.

FRANK EARLE SCHOONOVER (American, 1877-1972)
Breakfast Coca - Walter Backer & Co., 1905
Oil on canvas
24 x 21 inches (61.0 x 53.3 cm)
Signed and dated lower right: Schoonover / '05
Inscribed verso: Painted for the Walter Backer & Co. / by / Frank Schoonover in 1905

From the Estate of Charles Martignette

HARVEY T. DUNN (American, 1884-1952)
The Plowman, 1907
Oil on canvas
36 x 24 inches (91.4 x 61.0 cm)
Signed lower right: H.T. Dunn

From the Estate of Charles Martignette

PROVENANCE:
Private collection, California;
Christies, Los Angeles,California, Western and American Paintings, Drawings and Sculpture, October 26, 2006, lot 20.

LITERATURE:
Outing Magazine, May 1908, front cover.

Harvey Thomas Dunn was born in 1814 to homesteader parents in the Red Stone Valley in South Dakota. Raised in a sod house as a child he was required to work on the farm but despite these humble beginnings, Dunn desired a life as an artist. At an early age he earned his art tuition by "sod-busting" for neighboring homesteaders. By the age of 17 he left the farm to enroll in the South Dakota Agricultural College, and in 1902 enrolled in the Art Institute of Chicago. Dunn is best known as an illustrator but was also a teacher and a graphic reporter on the front lines of World War I.

The Plowman featured here by Heritage is only one of a handful of known examples of Dunn's early work from 1906-1910 and is the artist's earliest prairie field and oxen painting known to exist. It was also the front cover for Outing Magazine, May 1908. In this piece, Dunn has captured the true realism of prairie life as he knew it. Created only a few years after leaving South Dakota, these pieces best echo the memories of his childhood. Although Dunn spent the last few years of his life creating a body of paintings that captured his then distant memories of his childhood experiences, it is his earlier paintings that truly captured his most vivid and accurate memories of those days. Mr. Dunn's extremely rare paintings from 1907 to 1909 captured the essence of life on the prairie as only someone who lived it could.

HARVEY T. DUNN (American, 1884-1952)
The Pony Express Rider and Road-Agent, 1908
Oil on canvas
28 x 22 inches (71.1 x 55.9 cm)
Initialed and dated lower right: H.T.D. / '08.

From the Estate of Charles Martignette

PROVENANCE:
Judy Goffman American Paintings, Fort Washington, Pennsylvania (label verso);
Private collection, Montana;
Scottsdale Art Auction, Scottsdale, Arizona, March 31, 2007, lot 40 (label verso);
J.N. Barfield Galleries, New York (label verso);
Private collection, Palm Beach, Florida.

LITERATURE:
O. Wister, "Extra Day", Saturday Evening Post, February 27, 1909.

HARVEY T. DUNN (American, 1884-1952)
A Game of Chance, 1947
Oil on canvas
28-1/2 x 38 inches (72.4 x 96.5 cm)
Monogrammed lower left: HD
Inscribed verso: To Don Hewitt / To Have & To Hold / Harvey Dunn / Feb - 10 - 1947

From the Estate of Charles Martignette.

LITERATURE:
V.E. Roe, "The Love of Cactus Carrie", McCall's, November 1925.

HARVEY T. DUNN (American, 1884-1952)
Prairie Homesteaders Coming Home, 1909
Oil on canvas
24-1/2 x 36-1/4 inches (62.2 x 92.1 cm)
Signed and dated lower left: H.T. Dunn / 1909

From the Estate of Charles Martignette

PROVENANCE:
J.N. Bartfield Galleries, New York (label verso).

WILLIAM HENRY DETHLEF KOERNER (American, 1878-1938)
Riding the Range, 1909
Oil on canvas
30 x 24 inches (76.2 x 61.0 cm)
Signed and dated lower left: Koerner / 09
Inscribed verso: The Gunfighter / Koerner
From the Estate of Charles Martignette

PROVENANCE:
Private collection, Jackson Hole, Wyoming;
Private collection, Phoenix;
Private collection Santa Fe;
Altermann Galleries, Santa Fe (label verso).

LITERATURE:
G. Patullo, "The Gunfighter: Padden Meets His Match", Saturday Evening Post, June 5, 1909.

This was Mr. Koerner's first assignment for the Saturday Evening Post, and was published June 5, 1909. The story itself had a variant of what became a basic plot in this genre: a cold-eyed Texan was hired to eliminate a homesteader in the the middle of a large ranch's unknown range, but succumbed to the blandishments of the delectable daughter. Mr. Koerner's illustration was marked by the fact that the heroine's face no longer resembled that of his wife Lillian (who had been his model for many of his early illustrations) and the horses were tremendously alive.

WILLIAM HENRY DETHLEF KOERNER (American, 1878-1938)
The Phoenix -- Her Negatives, 1915
Oil on canvas
36 x 26 inches (91.4 x 66.0 cm)
Signed and dated lower right: W.H.D. Koerner / 1915
Inscribed label verso: "#2688 "The Phoenix -- Her Negatives", by Richard Washburn Child; appeared in Saturday Evening Post, June 19, 1915 / CAPTION: "Cora nearly killed him. She walked, rode and ran him nearly over two states."

From the Estate of Charles Martignette

PROVENANCE:
Fenn Galleries Ltd., Santa Fe, (label verso);
Gerald Peters Gallery, Santa Fe, (label verso).

EXHIBITED:
Utah Museum of Fine Arts, Salt Lake City, "Paintings of the American West: William Henry David Koerner", September 24-November 5, 1978 (label verso).

WILLIAM HENRY DETHLEF KOERNER (American, 1878-1938)
Cowboy Unlocking Door
Oil on board
30 x 22 inches (76.2 x 55.9 cm)

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

WILLIAM HENRY DETHLEF KOERNER (American, 1878-1938)
Story Illustration of a Cowgirl
Oil on artist's board
34 x 27-1/2 inches (86.4 x 69.9 cm)
Initialed lower right: WHDK

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

JOSEPH CHRISTIAN LEYENDECKER (American, 1874-1951)
Two O'Clock
Oil on canvas
23-1/4 x 18-1/2 inches (59.1 x 47.0 cm)

From the Estate of Charles Martignette.

EXHIBITED:
Phoenix Art Museum, Phoenix, "The Popular West-American Illustrators 1900-1940", April 2-May 30, 1982;
Palm Springs Desert Museum, Palm Springs, "The Popular West-American Illustrators 1900-1940", September 21-November 21, 1982.

LITERATURE:
J.K. Ballinger and S.P. Gordon, The Popular West-American Illustrators 1900-1940, Phoenix, 1982, no. 42.

This piece was an ad illustration for Howard Watch, E. Howard Watch Company, Boston, Massachusetts, that ran in The Century, Scribner's, McClure's, and the Saturday Evening Post.

DEAN CORNWELL (American, 1892-1960)
The Stick-up, 1924
Oil on canvas
28-1/2 x 44-1/4 inches (72.4 x 112.4 cm)
Initialed and dated center right: DC / 24

From the Estate of Charles Martignette

PROVENANCE:
Gerald Peters Gallery, Santa Fe (label verso).

VICTOR COLEMAN ANDERSON (American, 1882-1937)
Girl on Horseback
Oil on board
16 x 11-1/2 inches (40.6 x 29.2 cm) window
Signed lower right: Victor C. Anderson
Titled verso: Girl on Horseback

From the Estate of Charles Martignette

Attributed to JOHN NORVAL MARCHAND (American, 1875-1921)
Riders in the West, 1912
Oil on canvas
36 x 24 inches (91.4 x 61.0 cm)
Signed and dated lower right: J.N. Marchand / 1912

From the Estate of Charles Martignette

Under ultraviolet light, signature and date has been added later. An image similar to this piece sold at Sotheby's New York on March 30, 1999.

MEAD SCHAEFFER (American, 1898-1980)
Golden Boys -- Lumberjacks
Oil on canvas
34 x 22-1/2 inches (86.4 x 57.2 cm)
Signed lower right: Mead Schaeffer
Titled verso: Golden Boys / Lumberjacks

From the Estate of Charles Martignette

FRANK STICK (American, 1884-1966)
The Hunters
Oil on canvas
36 x 27-3/4 inches (91.4 x 70.5 cm)
Signed lower left: Frank Stick

From the Estate of Charles Martignette

COURTNEY ALLEN (American, 1896-1969)
Calling the Buck
Oil on board
30 x 22 inches (76.2 x 55.9 cm)
Signed lower right: Courtney Allen

From the Estate of Charles Martignette

OLIVER KEMP (American, 1887-1934)
Canoeing
Oil on canvas
30 x 20 inches (76.2 x 50.8 cm)
Signed lower right: Oliver Kemp

From the Estate of Charles Martignette

REMINGTON SCHUYLER (American, 1884-1955)
Indians Paddling a Canoe
Oil on canvas
20 x 38 inches (50.8 x 96.5 cm)
Signed lower right: Remington Schuyler

From the Estate of Charles Martignette

GAYLE PORTER HOSKINS (American, 1887-1962)
Cowboy
Oil on canvas
34-1/2 x 25 inches (87.6 x 63.5 cm)
Signed lower left: Gayle Hoskins
Titled verso: Cowboy

From the Estate of Charles Martignette

AMERICAN ILLUSTRATOR (20th Century)
Drawing His Gun
Gouache on board
19-1/2 x 13-1/2 inches (49.5 x 34.3 cm)
Inscribed on plate: Presented by Fawcett Publications, Inc.

From the Estate of Charles Martignette

PERCY VAN EMAN IVORY (American, 1883-1960)
Story Cover Illustration: Trail's End
Oil on canvas
30 x 21 inches (76.2 x 53.3 cm)
Signed lower right: P.V.E. Ivory

From the Estate of Charles Martignette

LITERATURE:
G.W. Ogden, Trail's End, Chicago, 1921, cover.

HAROLD WINFIELD SCOTT (American, 1895-1975)
The Hanging, Pulp Magazine cover, 1939
Oil on canvas
28-1/2 x 20 inches (72.4 x 50.8 cm)
Inscribed verso: Western/ 439-344/ August 5, 1939

From the Estate of Charles Martignette

MAYNARD DIXON (American, 1875-1946)
Western Story Illustration
Oil on board, 1917
24 x 18 inches (61.0 x 45.7 cm)
Signed lower right: Maynard Dixon

This painting was published in Sunset Magazine, March 1917, as a full page illustration for the story "Over the Border" by Herman Whitaker.

We are grateful to Don Hagerty for his research assistance on this work of art.

MAURICE GEORGE LOGAN (American, 1886-1977) and
MAYNARD DIXON (American, 1875-1946)
Western Scene
Watercolor on paper
14-3/4 x 17-3/4 inches (37.5 x 45.1 cm) window
Signed lower right: Maurice Logan / Maynard Dixon / CBC ?

EDWIN WILLARD DEMING (American, 1860-1942)
Indian on Horseback
Oil on canvas
28 x 22 inches (71.1 x 55.9 cm)
Signed lower left: E.W. Deming

From the Estate of Charles Martignette

HAROLD VON SCHMIDT (American, 1893-1982)
The Wreck, 1951
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed and dated lower left: Harold / von / Schmidt / 1951

PROVENANCE:
Lockwood's Midwestern Galleries, Cincinnati (label verso).

FRANK B. HOFFMAN (American, 1888-1958)
The Homesteader
Oil on canvas
34 x 34 inches (86.4 x 86.4 cm)
Signed lower right: Hoffman

From the Estate of Charles Martignette

WILLIAM ROBINSON LEIGH (American, 1866-1955)
A Family Reunion in Virginia, circa 1895
Gouache on paper
25 x 16-1/2 inches (63.5 x 41.9 cm)
Signed lower left: W.R. Leigh

Label verso: Painting from an article found in Scribner's Magazine, July-Dec. 1895, p. 566. / Article entitled "Some Thanksgiving Day -- Time Fancies" by Pyle, Clinedinst, McCarter, Gleeson and Leigh. / Picture entitled "A Family Reunion in Virginia."

From the Estate of Charles Martignette

FLETCHER C. RANSOM (American, 1870-1943)
Forgotten Heroes; Captain Taylor, Troop C, 9th Calvary, Leading a Charge up the San Juan Hill in the Battle of Cuba, 1898
Gouache on paper
22-1/2 x 34-1/2 inches (57.2 x 87.6 cm) window
Signed and dated lower left: Fletcher C. Ransom '98

WILLIAM HERBERT DUNTON (American, 1878-1936)
The Badger Hole (The Spill), 1906
Oil on canvas
28 x 19 inches (71.1 x 48.3 cm)
Signed lower right: W. Herbert Dunton / '06

From the Estate of Charles Martignette.

EXHIBITED:
Phoenix Art Museum, Phoenix, "The Popular West-American Illustrators 1900-1940", April 2-May 30, 1982;
Palm Springs Desert Museum, Palm Springs, "The Popular West-American Illustrators 1900-1940", September 21-November 21, 1982;
National Cowboy Hall of Fame, Oklahoma City.

LITERATURE:
A.H. Lewis, "The Lecture in Lady Gray", Cosmopolitan, March 1908, p. 52;
J.K. Ballinger and S.P. Gordon, The Popular West-American Illustrators 1900-1940, Phoenix, 1982;
J. Schimmel, The Art and Life of Herbert W. Dunton 1878-1936, Austin, 1984, p. 54.

William Herbert "Buck" Dunton was born in Maine in 1878. Largely self taught as a child, Dunton sold his first illustrative work to a newspaper at the young age of sixteen. It was at that time that he quit school to pursue a career as an illustrator and later enrolled in classes at the Cowles Art School in Boston and the Art Students League in New York. Following his education, Dunton became a well respected and successful illustrator in New York but in 1896 found his true calling when he traveled to Montana. It was on that trip that he fell deeply in love with the nostalgia of the Old West, and that would remain his subject of choice for the remainder of his life.

Heritage is pleased to offer such a great example of Dunton's work as The Badger Hole (Spill) which was painted just six years before his relocation to Taos. During this time in Dunton's career he had become one of the best known American illustrators working with such publications as Harper's Weekly, Cosmopolitan, Woman's Home Companion, and Zane. He was most notably recognized for his lively western outdoor scenes which often depicted dramatic episodes such as galloping cowboys avoiding a cloudburst, or a cowboy and his horse taking a dramatic spill. Despite his successful illustration career, Dunton grew tired of the pressures and demands of New York and moved to Taos in 1912 where he became one of the founding members of the Taos Society of Artist. Once in New Mexico, he accepted very few illustration commissions and focused more on preserving the life of the Old West through his art.

FRANK MCCARTHY (American, 1924-2002)
By the Snow Moon, 1978
Oil on canvas laid on board
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: McCarthy CA 1978
Inscribed verso: "By the Snow Moon" / Frank McCarthy


EXHIBITED:
Gilcrease Rendez-Vous, Tulsa (1984).

LITERATURE:
Kelton, Elmer. Frank McCarthy: The Old West (Greenwich Press Ltd: Trumbull, CT) 1981, p 88-89 (illus).

A native of New York City, Frank McCarthy's fascination with the American West began with an assignment to produce a western image for a book cover. At the time, McCarthy was a successful illustrator whose works had appeared in such leading publications as Collier's, Cosmopolitan, Redbook, Reader's Digest, Outdoor Life, and American Magazine. In addition he was frequently asked to provide illustrations for the leading book publishers of the day and for most of the major movie studios. He had attained status and as of the leading American illustrators at a relatively early age. His first western illustration assignment came in 1950 when he was only 26. He studied at the Art Students League as well as the Pratt Institute in Brooklyn and had trained under the tutelage of Reginald Marsh. While his career as an illustrator led him to research a wide variety of historic periods and subjects, he often returned to western subject s and by 1968, he was ready to make the transition from painting for magazines, books, and the movie studios, to a full time pursuit of painting western canvases for gallery representation.
He quickly established his reputation as one of the top western painters in the country and was eventually inducted into the Cowboy Artists of America. He moved to Sedona, Arizona in 1974 and remained there until his death in 2002. Throughout his career as a western artist, McCarthy depicted several historical eras and subjects, but his greatest affinity perhaps was for the native cultures of the American West. Although his easel paintings, need not be tied to a specific incident in western American history, he frequently used his research into that subject as the basis for his art. The scenes that he painted sprang from his imagination, but they were grounded in his reading of history and often are based on well documented events. One such event is depicted in By the Snow Moon, a haunting winter nocturnal that shows a band of Cheyenne warriors moving across a snow covered mountainous landscape. The warriors are moving across the canvas from left to right leading the viewer's eye toward a trackless expanse. It is a beautiful, yet desolate scene, rich in detail, skillfully painted, evoking a sense of both the severity of the winter weather and the mystery of what lies ahead for this band. McCarthy based the painting on the 1878 attempt by a group of Cheyenne under the leadership of Little Wolf and Dull Knife to flee the confines of Fort Reno in present day Oklahoma. Both leaders had participated in the Battle of Little Big Horn that resulted in the death of General George Custer and his entire command. A year later their followers were captured and confined to a reservation far from their homeland. Their hope was to return to their hunting grounds in the Northern plains but almost all of the three hundred men, women, and children were eventually caught or killed. McCarthy used this tragic story to create a timeless scene pitting his subjects against a harsh winter environment. His fidelity to historical accuracy is evident in the many authentic details of dress and other items. Beyond this authenticity, however, is McCarthy's ability to impart to the viewer a sense of the environment and the determination of his subjects to return home.
McCarthy's works are found in many private and public collections and his work has been featured in museums such as the Gilcrease in Tulsa, Oklahoma.

This lot is accompanied by a limited edition copy of the book Frank McCarthy: the Old West signed by the artist.

NICK EGGENHOFER (American, 1897-1985)
Free Trapper
Gouache on paper
13 x 11 inches (33.0 x 27.9 cm)
Signed lower right: N. Eggenhofer

NICK EGGENHOFFER (American, 1895-1985)
Horses with Colt
Watercolor on paper
8-1/2 x 11 inches (21.6 x 27.9 cm) window
Signed lower right: Nick Eggenhoffer

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

FRED HARMAN (American, 1902-1982)
Sunday Morning , 1941
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed and dated lower right: Fred / Harman 41

Fred Harman was an illustrator for Disney and later created the Red Ryder comics. Sunday Morning is an image that has been reproduced on the Harman Gallery's most popular Christmas card entitled Christmas Morning.

HARVEY WILLIAM JOHNSON (American, 1921-2005)
Wagon Trail, 1963
Oil on artist's board
18 x 24 inches (45.7 x 61.0 cm) window
Signed and dated lower right: HW Johnson / '63

JAMES ERWIN BOREN (American, 1921-1990)
Windmill, 1960
Watercolor on paper
17 x 27 inches (43.2 x 68.6 cm) window
Signed and dated lower right: James Boren / 1960

JAMES ERWIN BOREN (American, 1921-1990)
Glare on Snow
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: James E. Boren
Titled verso: Glare on Snow

RAY SWANSON (American, 1937-2004)
Shishmariff Eskimo, 1990
Oil on canvas laid on board
26 x 38 inches (66.0 x 96.5 cm)
Signed lower right: Ray Swanson
Titled, signed, and dated verso: "Shishmariff Eskimo" Ray Swanson CA '90

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

Primarily known for his sensitive portrayal of the native people of the American Southwest, Ray Swanson spent his artistic career in far-ranging travels to depict everyday scenes in an extraordinary manner. He held a deep fascination for the many ways in which people from different cultures shared common concerns. Swanson grew up on a farm in South Dakota and developed an appreciation and respect for hardworking people who went about their daily tasks of providing for their families with little fanfare or recognition. He translated that respect into the many portraits he produced of the daily lives of people from a wide variety of cultures. In 1976, he made his first trip to the Arctic Circle, drawn there by his interest in the centuries-old connection between the Navajo and the people of the Far North. Of that trip, he said, "All the evidence seems to indicate that the Eskimos and the Navajos were connected in the past. I was intrigued with the opportunity to paint the primitive and difficult Eskimo lifestyle that was rapidly giving way to modernization." Swanson traveled extensively in the region, including the remote Bering Sea island of Little Diomede where he painted several people in the village of Shishmaref. His painting Shishmariff Eskimo is typical of the paintings developed from this trip. Known for his meticulous attention to detail, as evidenced by the precise rendering of the fur collar worn by his subject in this painting, Swanson has said that he carefully emphasized the many textures of the fur to draw a vivid contrast with the barren landscape.

RAY SWANSON (American, 1937-2004)
Cowboy
Gouache on paper
14-1/2 x 20 inches (36.8 x 50.8 cm)
Signed lower left: Ray Swanson

RAY SWANSON (American, 1937-2004)
Molly Weaving Baskets
Oil on canvas
36 x 24 inches (91.4 x 61.0 cm)
Signed lower right: Ray Swanson

MARTIN GRELLE (American, b. 1954)
Winter's Blanket, 2002
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed lower left: +Martin Grelle / CA / © *02


Growing up in Clifton, Texas, where he still resides, Martin Grelle had the opportunity at an early age to benefit from the guidance of two important figures in Western and Texas art, James Boren and Melvin Warren. Both of those artists were early inductees into the prestigious Cowboy Artists of America and both had made Clifton their home. As a teenager and aspiring artist, Grelle approached Boren for a critique of his work. Boren and Warren became mentors of sorts to the young artist and he credits their guidance to this day as a primary factor in his success. Like those artists, Grelle is a student of history who does meticulous research to prepare for each painting. A visual story teller with a strong narrative impulse, Grelle is also able to capture the details and nuances of the natural world. He frequently focuses on the lives of the Plains Indians of the nineteenth century and is intent on presenting their culture with historical accuracy and sensitivity. Winter's Blanket is an excellent example of his ability to evoke as sense of being present in a particular place and time. The portrait of a young woman wrapped in a colorful trade blanket standing in a snow covered landscape also is evidence of his skill in capturing the unique quality of winter light. In fact, he has said that one of his primary goals for each painting, "is to give the viewer the feeling of light. When they look at my work, I want them to feel like they are there. I also try to execute it in a way that leaves parts of the painting up to the viewer's imagination, so they can enjoy the process of inventing the painting, along with me.1.
Grelle was inducted into the Cowboy Artists of America in 1995. He is an award winning artist and includes the prestigious Prix de West prize awarded by the National Cowboy and Western Heritage Museum in Oklahoma City among his many honors.

1M. Duty, The Cowboy Artists of America (Greenwich, CT.,2002), p. 58-61.

JIM C. NORTON (American, b. 1953)
A Few Good Days Left
Oil on canvas
15 x 22 inches (38.1 x 55.9 cm)
Signed lower left: Jim C. Norton CA / ©
Inscribed verso: "A Few Good Days Left" / Jim C. Norton CA / ©

PROVENANCE:
Sotheby's, New York, American Paintings, March 6, 2008, lot 164;
The Duffy and Tina Oyster Foundation, Dallas.

JIM C. NORTON (American, b. 1953)
Man, 1979
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower left: Jim C. Norton © / "79"

PROVENANCE:
Altermann Galleries, Santa Fe (label verso).

JIM C. NORTON (American, b. 1953)
Breaking Camp, 1987
Oil on canvas laid on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left: Jim C. Norton © NWR
Titled, signed, and dated verso: Breaking Camp / Jim C. Norton / © 1987

In Breaking Camp, Norton has captured a cowboy breaking down his campsite and packing up his gear. The specific details that Norton has included demonstrate his insider knowledge of trail life and cowboy culture. Having worked as a ranch hand in his teens, Norton acquired firsthand experience of the cowboy life and is a master of his subject matter. A cast iron pot cooks over the smoking campfire, and a coffee pot sits at the ready. The shelter tarps have been cut down and are waiting to be stored away in the pack horses' saddle bags. Norton painted en plein air in order to give his compositions the most authenticity, which has become a trademark of the artist.

NICHOLAS S. FIRFIRES (American, 1917-1990)
Sage Brush Buddies
Oil on canvas
11 x 14 inches (27.9 x 35.6 cm)
Signed upper right: Nicholas S. Firfires

NICHOLAS S. FIRFIRES (American, 1917-1990)
Ducks
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower left: Nicholas S. Firfires

WAYNE BAIZE (American, b. 1943)
Cowboy, 1968
Oil on canvas
22 x 28 inches (55.9 x 71.1 cm)
Signed and dated lower left: Wayne Baize / 1968

PROVENANCE:
Studio Gallery, Stillwater, Oklahoma (stamp verso).

BRUCE GREENE (American, b. 1953)
Woman with Sticks
Oil on canvas
12 x 9 inches (30.5 x 22.9 cm)
Signed lower right: BR Greene

HARRY ANDREW JACKSON (American, b. 1924)
Safe and Sound, 1982
Bronze with patina
22 x 23 x 10-1/2 inches (55.9 x 58.4 x 26.7 cm)
Ed. SAS 37
Signed, dated, and numbered on base: Harry Jackson / 1982 / SAS 37

This lot is accompanied by a letter of authenticity provided by the artist.

HARRY ANDREW JACKSON (American, b. 1924)
Washakie II, 1981
Bronze with patina
21 x 16 x 6-1/2 inches (53.3 x 40.6 x 16.5 cm)
Ed. 11/21, Second State
Signed, dated, titled, and numbered on base: Harry Jackson 1981 / WA II 11/21

This lot is accompanied by a letter of authenticity provided by the artist.

OLAF WIEGHORST (American, 1899-1988)
Palomino Mare and Colt
Oil on canvas
20 x 16-1/4 inches (50.8 x 41.3 cm)
Signed and monogrammed lower left: O-Wieghorst
Titled and signed verso: Palomino Mare and Colt by Olaf Wieghorst

"Horses have been my life," Olaf Wieghorst once wrote. "I try to paint the little natural things, the way a horse turns his tail to the wind on cold nights, the way he flattens his ears in the rain . . . and the psychology of his behavior." Palomino Mare and Colt exemplifies such attention to detail: with her mane blowing fiercely in the wind, a mare presses her body close to her colt in order to shield him from an oncoming storm. Born in Denmark in 1899, Wieghorst rode horses on a stock farm as a youth and, shortly after arriving in New York in 1918, enlisted in the fifth U.S. Cavalry. Following his military post, where he learned rodeo trick riding, he worked as a ranch hand in Arizona and in 1925 joined the mounted division of the New York City Police Academy. A move to California in 1945 prompted Wieghorst to pursue full-time the painting and sculpting he had begun in New York. Although equine portraits dominate his oeuvre, Wieghorst also painted western landscapes and realist portraits of Native Americans and cowboys.

OLAF WIEGHORST (American, 1899-1988)
Roping
Watercolor on paper
12 x 18-1/2 inches (30.5 x 47.0 cm) window
Signed lower left: O. Wieghorst

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

OLAF C. SELTZER (American, 1877-1957)
Indian Pony, circa 1900
Ink on paper
11 x 14 inches (27.9 x 35.6 cm)
Signed lower right: OC SELTZER

EXHIBITED:
Springfield Art Association, Ohio, 1980.

CARL HANTMAN (American, b. 1935)
Chuck Wagon at Night, 1973
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed and dated lower right: Carl Hantman / 73

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

JACK TERRY (American, b. 1952)
Christmas Eve, 1977
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed and dated lower right: Jack / Terry / 1977 / ©
Titled verso: Christmas Eve

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

SHERRY HARRINGTON (American, Late 20th Century)
How 'Bout the Dog, 1998
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed and dated lower left: Sherry Harrington 1998 ©

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

BARBARA R. GARVIN (American, b. 1936)
Rain Break, 1973
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower right: Garvin / B.R.
Inscribed verso: R-63 / Rain Break / B.R. Garvin / 1973

PROVENANCE:
Country Store Gallery, Austin (label verso);
The Duffy and Tina Oyster Foundation, Dallas.

A. KELLY PRUITT (American, 1924-2009)
Wells Fargo King of the Highway
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed lower right: A. Kelly Pruitt

A. KELLY PRUITT (American, 1924-2009)
Earth Sky & Cattle
Oil on canvas
48-1/2 x 72 inches (123.2 x 182.9 cm)
Signed lower right: A. Kelly Pruitt

WAYNE JUSTUS (American, b. 1952)
Untitled (Cowboy at Rest)
Watercolor and gouache on paper
8-1/4 x 12 inches (21.0 x 30.5 cm)
Signed lower center: AICA* / W Justus
(* American Indian and Cowboy Artist Association)

RAY G. ELLIS (American, b. 1921)
Cowboys
Watercolor on paper
18-1/2 x 28-1/4 inches (47.0 x 71.8 cm) window
Signed lower left: Ray C. Ellis AWS

OLEG STAVROWSKY (Russian/American, b. 1927)
Let's Go
Oil on masonite
26 x 38 inches (66.0 x 96.5 cm)
Signed lower right: Oleg Stavrowsky
Signed and titled verso: Let's Go / Oleg Stavrowsky ©

OLEG STAVROWSKY (Russian/American, b. 1927)
The Last Shot, 1972
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed and dated lower left: Oleg Stavrowsky / '72

KIM DOUGLAS WIGGINS (American, b. 1960)
El Domingo, 2005
Oil on canvas
48 x 60 inches (121.9 x 152.4 cm)
Signed lower left: Kim Wiggins
Titled on stretcher: El Domingo

CYRUS AFSARY (American, b. 1940)
New Shoes
Oil on canvas
24 x 18 inches (61.0 x 45.7 cm)
Signed lower left: Cyrus Afsary ©

JOSEPH STEPHEN BOHLER (American, b. 1938)
Maiden
Watercolor on paper
15-1/2 x 15-1/2 inches (39.4 x 39.4 cm)
Signed lower right: Joseph Bohler

DANNY D. EDWARDS (American, b. 1947)
Run to Silver City, 1991
Bronze with patina and paint
25 x 62 x 10 inches (63.5 x 157.5 x 25.4 cm)
Ed. 9/29
Signed, titled, dated, and numbered on base: Danny D. Edwards / "Run to Silver City" / c. 1991 / 9/29

JOHN MCCREA (20th Century)
Harper's Ferry, 1995
Bronze with patina
42 x 15 x 15 inches (106.7 x 38.1 x 38.1 cm)
Ed. 1/10
Signed, dated, and numbered on base: J. McCrea / c. 95 / 1/10

JOHN MCCREA (20th Century)
Glory, 1998
Bronze with patina
19 x 49 x 10 inches (48.3 x 124.5 x 25.4 cm)
Ed. 1/10
Signed, dated, and numbered on base: J. McCrea / c. 98 / 1/10

FREDERICK VOLCK (American, 1833-1891)
Robert E. Lee, 1863
Bronze with patina
21 x 11 x 8 inches (53.3 x 27.9 x 20.3 cm)
Signed and dated on base (verso): Frederick Volck / 1863 / Richmond Virginia
Titled on base: Robert E. Lee

FREDERICK VOLCK (American, 1833-1891)
U.S. Grant, 1869
Bronze with patina
20 x 12 x 10 inches (50.8 x 30.5 x 25.4 cm)
Signed and dated on base (verso): U.S. President / Frederick Volck / 1869 / Richmond, Virginia
Titled on base: U.S. Grant

RAMON KELLEY (American, b. 1939)
The Best Polisher of Taxco Mexico, 1979
Oil on canvas laid on board
13-1/2 x 9-1/2 inches (34.3 x 24.1 cm)
Signed and dated lower left: Ramon K / © 79
Inscribed verso: The Best Polisher / of Taxco / Mexico / Ramon Kelley 79

RAMON KELLEY (American, b. 1939)
The Mexican Shawl, 1980
Pastel on paper
20 x 19 inches (50.8 x 48.3 cm)
Signed and dated lower left: Ramon K / © 1980
Inscribed bottom center: 75 A

HARLEY BROWN (Canadian, b. 1939)
Portrait of a Man
Pastel on paper
22 x 17 inches (55.9 x 43.2 cm)
Signed lower right: Harley Brown

G. HARVEY (American, b. 1933)
Powell Street Cable Cars
Oil on canvas
20 x 16 inches (50.8 x 40.6 cm)
Signed lower right: G. Harvey ©
Titled and signed verso: KDGE / Powell Street / Cable Cars / San Francisco / G. Harvey
Titled on stretcher: KDGE / Powell Street Cable Cars (San Francisco)

PROVENANCE:
Legacy Gallery, Scottsdale (label verso);
The Duffy and Tina Oyster Foundation, Dallas.
G. Harvey (Gerald Harvey Jones) was born in the Hill Country north of San Antonio and grew up with strong western traditions. His grandfather had been a trail boss who had pushed cattle along the Texas trails to northern rail heads. His stories of those adventurous, as well as arduous, days informed the early days of the artist and helped inspire his early artistic leanings. After graduating with honors from the University of North Texas and a short tenure teaching at the University of Texas at Austin, Harvey turned his attention to painting on a full time basis. He has established himself as one of the most successful and versatile artists in America today. His subjects range from the landscapes of his native Texas to the cattle drives and ranch life of the Old West to contemporary cityscapes. He has been honored with exhibitions at such major museums as the Gilcrease Museum in Tulsa, Oklahoma, and the Smithsonian Institution.
One of his most popular themes is the depiction of life at the turn of the 19th and 20th centuries in major American cities, such as New York, Washington, D.C., San Francisco, and Dallas. These scenes depict either early morning or evening rain slicked streets which gives Harvey ample opportunity to show his skill at depicting light, shadow, reflection, and atmosphere. A common motif is the juxtaposition of symbols of an earlier day, such as mounted cowboys wearing their rain slickers against the emerging urbanism of modern America as represented by bustling street scenes complete with such new modes of transportation as automobiles and street cars. Occasionally, he departs from a purely historical motif and presents his impression of a contemporary city. In Powell Street Cable Car, Harvey presents modern day San Francisco, but in a way that is evocative of its historic past. The scene presented was inspired by a recent trip to that city. The painting with its blend of colors, textures, and different sources of light, also blends the old and the new. The figures here are modern city dwellers and visitors, but by focusing on the cable cars that wind their way up and down San Francisco streets, Harvey evokes an earlier time when these historic modes of transportation were brand new.

DAVE MCGARY (American, b. 1958)
Four Bears, 1991
Bronze with patina and paint
28-1/2 x 17 x 10 inches (72.4 x 43.2 x 25.4 cm)
Ed. 10/30
Signed, numbered, and dated on base: Dave McGary 10/30 1991

One of the premiere living artists of the American West, Wyoming native Dave McGary has brought to life the history of the Plains Indians through his realistic and humanistic painted bronze sculptures. The noted Western art scholar Michael Duty summarizes McGary's acclaim:

As a visual historian, McGary succeeds very well. Compared to his contemporaries and in fact to past artists of this century and the last, his work provides more information and is more accurate than many other examples of historically based art in the marketplace. Even without the detailed stories provided on the people behind each work, the viewer can gain a wealth of knowledge about the actual lives of these individuals, even down to their day to day activities, by looking at the clues and details provided in dress and possessions. McGary knows his subjects well and he presents that knowledge in a straightforward and factual style. In terms of casting precision, in the technology used to produce his work, he has no contemporary equal.¹

McGary's training in realist techniques dates to his teens, when he won a scholarship to travel to Italy and study anatomy and the Renaissance technique of lost-wax casting with the American sculptor Harry Jackson. During the 1980s, while working at a Santa Fe foundry, McGary befriended several students at the Institute of American Indian Arts, who invited him to a Sun Dance ceremony on a Lakota Sioux reservation, the first of many experiences exposing him Native American culture. McGary interprets his subjects with the understanding of an "insider" and with exacting craftsmanship - modeling the human form from a skeletal armature, casting multiple pieces for each sculpture, shaping historically accurate costumes and accessories, and applying paints and patinas to accentuate textures.

McGary has received numerous awards and commissions: during the 1990s, he executed a portrait of the founder of Santa Fe; participated in a one-man show at the Russell Senate Rotunda in Washington, D.C.; exhibited by selection at the United Nations' "Art and the Earth" program; and completed a monumental sculpture of eight running horses for the Hubbard Museum of the American West in Ruidoso Downs, New Mexico. More recent notable works include three portraits of the legendary Shoshone warrior and peacemaker Chief Washakie (installed in the U.S. Capitol; Wyoming State Capitol; and Arapaho Complex, Fort Washakie) and Emergence of the Chief, depicting a Mohawk clan mother instructing a new chief on his future duties (Concordia University, Montreal). McGary's sculptures are featured in numerous other permanent collections, such as those of the Smithsonian Institution, Washington, D.C.; Eiteljorg Museum of American Indians and Western Art, Indianapolis; Buffalo Bill Historical Center, Cody; Autry National Center, Los Angeles; and Musée McCord, Montreal.

Four Bears, a portrait of the famous nineteenth-century Mandan chief and member of the elite Dog Society, exemplifies McGary's virtuoso handling of different realist techniques. Employing his usual painstaking sculpting process - before casting, building an armature onto which clay layers of skeleton, muscle and skin, and clothing are added - McGary positions Four Bears in a contrapposto stance reminiscent of the classical sculpture he studied in Italy. In addition, he references period images of Four Bears, both Karl Bodmer's prints and George Catlin's paintings, which depicted the chief in his ceremonial garments and ermine headdress with split buffalo horns. Here, Four Bears's proud yet dejected expression suggests a far more complex persona than the noble savage stereotype advanced by these early Western artists. Indeed, it is McGary's unique perspective - viewing Native American life as a historian and a participant in tribal ceremonies - that best allows him to "make real" figures from the past.

¹M. Duty, Dave McGary: American Realism in Bronze, Ruidoso, 1997, p. 79.

DAVE MCGARY (American, b. 1958)
Bear's Nest, 1993
Bronze with patina and paint
25 x 15 x 10 inches (63.5 x 38.1 x 25.4 cm)
Ed. 42/50
Signed, numbered, and dated on base: Dave McGary 42/50 1993

The fierce Oglala Sioux warrior Bear's Nest fought in the 1876 Battle of the Little Bighorn, which culminated in the dramatic victory of the Lakota and Northern Cheyenne, led by Sitting Bull, over the U.S. Army's 7th Cavalry Regiment. McGary here captures the aggression of Bear's Nest, who defiantly plants his foot on a tangle of wood and wards off the viewer with a snarling expression and a leather shield. Paints and patinas heighten the realism of Bear's Nest, as do his period costume, accessories, and artifacts, some based on McGary's own personal collection. Bear's Nest wears as a sign of his battle prowess his characteristic bear headdress, fringed with eagle feathers, and bear-claw necklace. His weaponry includes a Spencer rifle encased in a beaded Sioux case, a bow with arrows, and a dramatic shield decorated with feathers and a painted bear. Art historian Michael Duty has praised McGary's insistence upon realistic details:

For the student of history and the collector of historical work, McGary's sculptures are among the most authentic on the market simply because McGary shares their concern for authenticity. . . . His studio contains items from nineteenth- and early twentieth-century Indian culture. His bookshelves are lined with reference books. . . . He is careful to be a good visual historian and in many ways exceeds the accuracy of earlier artists, who did not have access to as much information or who did not care to branch beyond a romanticized and largely false image of historic Indian culture.¹

Both the Leanin' Tree Museum of Western Art, Boulder, and the 10th Circuit Court of Appeals, Denver, own masterworks of Bear's Nest.

¹M. Duty, Dave McGary: American Realism in Bronze, Ruidoso, 1997, pp. 74-75.

DAVE MCGARY (American, b. 1958)
American Horse, 1993
Bronze with patina and paint
27 x 13 x 8 inches (68.6 x 33.0 x 20.3 cm)
Ed. 42/50
Signed, dated, and numbered on base: Dave McGary 1993 42/50

American Horse was renowned as a spokesman for the Oglala Sioux during the 1860s-1880s, as white settlers continued encroaching upon Indian lands. The members of the American Horse clan reputedly maintained a peaceful relationship with their white neighbors and a local trading post. A proponent of non-resistance, American Horse signed a treaty in 1887 with the U.S. government which secured the Pine Ridge Reservation in the Dakotas for his people, while reducing their land by half. In addition, in 1891 he traveled to Washington, D.C., to advocate for improved conditions on the reservation.

Michael Duty, the author of Dave McGary: American Realism in Bronze, notes that, "With the threat of Indian opposition to . . . settlement nonexistent, many artists returned to the theme of the Native American as a heroic citizen of nature. A new treatment also appeared, that of the Indian in noble defeat. The treacherous villains of a few years back were now seen as elegiac victims of inevitable progress."¹ McGary invokes this same treatment in American Horse, where the Sioux chief, wearing a white man's cotton shirt - perhaps acquired at the trading post - bows his head dejectedly, his horseshoe face markings almost resembling tears. Further symbolizing his family are the horse-headed war club as well as horse pictographs on his beaded vest. His demeanor of graceful resignation belies his purportedly witty and shrewd personality.

The Hubbard Museum of the American West in Ruidoso owns a life-size version of American Horse.

¹M. Duty, Dave McGary: American Realism in Bronze, Ruidoso, 1997, p. 35.

DAVE MCGARY (American, b. 1958)
Rain in the Face, 1990
Bronze with patina and paint
17-1/2 x 8-1/2 x 8 inches (44.5 x 21.6 x 20.3 cm)
Ed. 4/75
Signed, dated, and numbered on base: Dave McGary 1990 4/75

A Lakota Sioux leader in the Battle of the Little Bighorn, Rain in the Face acquired his name by warring fearlessly during a rainstorm that streaked his face paint. McGary alludes to this defining moment not merely in the chief's smudged paint, but also in the timber wolf headdress that he traditionally wore in battle. The bust format of Rain in the Face focuses attention on the wolf-human head, where the warrior's intense gaze appears to channel the power of his wolf counterpart. McGary's participation in a Sun Dance ceremony on a Lakota Sioux reservation made him especially aware of the nature-based spirituality of Native American culture: "Strength of character, bravery and valor in the face of overwhelming odds, a reverence of and attachment to nature, a respect for the wisdom of elders, and strong connection to the mystic or spiritual realm are all themes that are explored and personified in [his] work."¹

A life-size version of Rain in the Face stands at the Hubbard Museum of the American West, Ruidoso Downs, New Mexico.

¹M. Duty, Dave McGary: American Realism in Bronze, Ruidoso, 1997, pp. 45-48.

DAVID MANN (American, b.1948)
Prairie Warrior
Oil on canvas
24 x 18 inches (61.0 x 45.7 cm)
Signed lower right: David Mann

PROVENANCE:
Altermann Gallery, Santa Fe (label verso);
The Duffy and Tina Oyster Foundation, Dallas.

MICHAEL COLEMAN (American, b. 1946)
Winter Camp
Gouache on paper
9-1/2 x 8-1/2 inches (24.1 x 21.6 cm)
Signed lower left: Michael Coleman / ©

HENRY FRANÇOIS FARNY (American, 1847-1916)
Portrait of an Indian, 1902
Gouache on paper
10-1/2 x 8 inches (26.7 x 20.3 cm)
Signed lower right: Farny '02
Inscribed on verso: From Farny Christmas 1902

PROVENANCE:
Joe Scheuerle (label verso);
Mannados Bookshop (label verso).

Few late nineteenth-century artists of the American West better evoked the humanistic spirit of the Indian than Henry Farny. His family moved in 1847 from Alsace, France, to western Pennsylvania, where as a six-year-old he observed his mother caring for members of a local Seneca tribe. This fascination with Native American culture remained with Farny as he initiated his career in Cincinnati as an illustrator, receiving early commissions from Harper's Weekly and Century Magazine. During the 1880s, Farny made four major trips to the West, most on magazine assignments, each time sketching and photographing reservation life and gathering materials for compositions he assembled back in his Cincinnati studio. After 1890, painting replaced illustration as Farny's preferred medium. Working primarily in gouache, he rendered moving portraits of Comanche, Sioux, and Zuni leaders in native dress, as well as Indian genre scenes. Farny distinguished himself from fellow illustrators Frederic Remington and Charles Russell by depicting his subjects engaged in tranquil everyday pastimes rather than in violent combat with enemies - a strategy for heroizing what he considered a deeply intelligent people.

After his trip to Fort Yates, North Dakota, in 1881, Farny began painting bust portraits of both identifiable and unknown Indians, a practice he continued for the rest of his career. Of these, his most famous was that of Sitting Bull from 1899, which posed the Little Bighorn warrior in full regalia. The later Portrait of an Indian, by contrast, shows an anonymous sitter whose clothing - denim shirt, canvas vest, and brimmed hat - signals the encroachment of white civilization. Here, Farny demonstrates the lessons of his early 1870s academic training in Düsseldorf and Munich, both in his realistic treatment of the Indian's facial features and in his masterful handling of gouache. Included with his signature is the special emblem given to him by the Sioux from Fort Yates, a circle with a dot in the center.

Portrait of an Indian represents one of the few paintings that Farny dedicated to a friend. On the verso, an inscription, "From Farny Christmas 1902," specifies the context of his gift to fellow Indian artist Joseph Scheuerle, also from Cincinnati.

WINOLD REISS (American, 1886-1953)
Portrait of an Indian Chief
Oil on canvas laid on board
24 x 18 inches (61.0 x 45.7 cm)

GRACE CARPENTER HUDSON (American, 1865-1937)
Landscape
Oil on board
11 x 8-1/4 inches (27.9 x 21.0 cm)
Signed lower left: G. Hudson
Inscribed verso: Sketched by Grace Hudson / authenticated by her nephew Mark A. Carpenter / The Sun House / Ukiah, California

GRACE CARPENTER HUDSON (American, 1865-1937)
Woman in Field
Oil on artist's board
12 x 10 inches (30.5 x 25.4 cm)
Signed lower right: G. Hudson
Inscribed verso: Sketched by Grace Hudson / authenticated by her nephew / Mark A. Carpenter / Ukiah, Calif.

PROVENANCE:
Texas Art Gallery, Dallas (label verso);
The Duffy and Tina Oyster Foundation, Dallas.

GEORGE WINTER (American, 1810-1876)
Spotted Faun
Oil on canvas
30-1/2 x 26 inches (77.5 x 66.0 cm)

PROVENANCE:
Gerald Peters Gallery, New York (label verso).

JOSEPH HENRY SHARP (American, 1859-1953)
Indian Portrait
Monotype
11-1/4 x 7-1/4 inches (28.6 x 18.4 cm) window
Signed lower right: J H Sharp
Inscribed verso: Pueblo of Taos N. Mex

GORDON COUTTS (American, 1880-1937)
Indian Scouts
Oil on board
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: Gordon Coutts

A native of Glasgow, Scotland, Gordon Coutts was an enormously versatile painter who specialized in Impressionist and Tonalist styles and diverse subjects ranging from California landscapes and Indian genre scenes to boudoir nudes and portraits of North Africans. He received classical art training in London and at the Académie Julian in Paris before teaching from 1896-1899 at the Art Society of New South Wales in Melbourne, Australia. Respiratory health problems forced Coutts to search out warmer climates, and during the 1920s he divided his time between Tangiers and Palm Springs.

The exquisite Indian Scouts typifies a number of paintings of Native Americans that Coutts added to his repertoire after settling in northern California. Underscoring man's relationship to nature, this series depicts one or two Indians, usually on horseback, expertly navigating the Sierra Nevada mountain range. Here, Coutts demonstrates his hallmark coupling of Tonalism and Impressionism, where a shadowed riverbank sweeps the viewer's gaze toward two scouts emerging into a luminous clearing of blues and greens.

ALICE COUTTS (American, 1879-1973)
Young Sports
Oil on board
9-3/4 x 11-3/4 inches (24.8 x 29.8 cm)
Signed lower right: Alice Coutts
Titled verso: Young Sports

PROVENANCE:
From the estate of the artist (stamp verso).

VIC PAYNE (American, b. 1960)
Edge of the Black Sea
Bronze with patina and paint
16 x 32 x 12 inches (40.6 x 81.3 x 30.5 cm)
Ed. 19/27
Signed and numbered on base: Vic Payne 19/27

VIC PAYNE (American, b. 1960)
The Sentinel
Bronze with patina
19 x 11 x 6 inches (48.3 x 27.9 x 15.2 cm)
Ed. 11/30
Signed and numbered on base: Vic Payne / 11/30

JOSEPH STEPHEN BOHLER (American, b. 1938)
Indian Dancer, 1983
Watercolor on paper
15 x 10-3/4 inches (38.1 x 27.3 cm) window
Signed and dated lower right: Joseph Bohler - A.W.S / © 83

WILLIAM FOSTER REESE (American, b. 1938)
Elaine, 1979
Oil on artist's board
24 x 16 inches (61.0 x 40.6 cm)
Signed lower right: Wm. F. Reese ©1979
Signed and titled verso: Elaine (Elaine Martinez) / oil / Wm. F. Reese

DAVID MANUEL (American, b. 1940)
Chief Joseph "Destiny", 1995
Bronze with patina and paint
41 x 22 x 12 inches (104.1 x 55.9 x 30.5 cm)
Ed. 5/50
Titled, signed, dated, and numbered on base: Chief Joseph "Destiny" / David Manuel 1995 / AP3 5/50

RAY G. ELLIS (American, b. 1921)
Indians
Watercolor on paper
11-1/4 x 15-1/4 inches (28.6 x 38.7 cm) window
Signed lower right: Ray G. Ellis

KEVIN RED STAR (American, b. 1943)
Two Irons, 1976
Acrylic on canvas
17-3/4 x 23-1/4 inches (45.1 x 59.1 cm)
Signed and dated lower right: Kevin Red Star 1976

MIKE LARSEN (American, b. 1945)
First Glance
Acrylic on canvas
22 x 30 inches (55.9 x 76.2 cm)
Signed lower right: Larsen
Signed verso: Mike Larsen

TONY ABEYTA (American, b. 1965)
Abstract Indian Figure
Oil on canvas
28 x 22 inches (71.1 x 55.9 cm)
Signed upper right: Tony Abeyta

TONY ABEYTA (American, b. 1965)
Abstract Figure, 1997
Monotype with gold leaf
37 x 22 inches (94.0 x 55.9 cm) window
Ed. 1/1
Signed lower right: Tony Abeyta
Dated lower left: 1991

EDITH HOWLANE (American, 20th Century)
Calgary - March 20th 1918, 1918
Graphite and watercolor on paper
12-1/4 x 9-1/2 inches (31.1 x 24.1 cm)
Monogrammed lower right
Inscribed verso: Calgary - March 20th 1918 / Old Sarcee Indians / & Squaws with sacks after shopping

NARCISO PLATERO ABEYTA (American, 1918-1998)
Untitled
Gouache on paper
23 x 15 inches (58.4 x 38.1 cm) window
Signed lower right: Ha-So-De

HARLEY BROWN (Canadian, b. 1939)
Wolf Robe Blackfoot
Pastel on paper
16 x 22 inches (40.6 x 55.9 cm)
Signed and titled lower right: Wolf Robe / Blackfoot / Harry Brown

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas.

HARLEY BROWN (Canadian, b. 1939)
Group of Three Drawings

Orlanie Findlay, Flathead, 1970
Black ink on paper
10 x 8 inches (25.4 x 20.32 cm) window
Signed, titled, and dated lower right: "Orlanie Findlay" / "Flathead" / Harley Brown '70

Woman with Infant, 1970
Black ink on paper
10 x 8 inches (25.4 x 20.32 cm) window
Signed and dated lower right: Harley Brown '70

Mexican Hat Maker, 1970
Black ink on paper
11-1/2 x 8-1/2 inches (29.1 x 21.6 cm) window
Signed, titled, and dated lower right: Mexican Hat Maker / Harley Brown '70

PAUL DYCK (American, 1917-2006)
Girl with Black Bowl, 1980
Oil on board
40 x 30 inches (101.6 x 76.2 cm)
Signed lower left: Paul Dyck
Inscribed verso: "Girl with Black Bowl" / Paul Dyck 1980

PAUL DYCK (American, 1917-2006)
Girl with Black Bowl, Study
Oil on board
7 x 5 inches (17.8 x 12.7 cm) window
Signed upper right: Paul Dyck w/s

KIM DOUGLAS WIGGINS (American, b. 1960)
Flute Players
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed lower left: Kim Wiggins

PATRICIA DOBSON (American, b. 1947)
Zuni Olla, 1986
Oil on board
17 x 22-1/2 inches (43.2 x 57.2 cm)
Signed and dated lower right: Patricia Dobson / '86

NED YOUNG (American, b. 1954)
Pow Wow in the Woods, 1983
Gouache on paper
16 x 10 inches (40.6 x 25.4 cm)
Signed and dated lower right: Ned Young 1983

NED YOUNG (American, b. 1954)
Indian Sitting on Rock in Woods, 1983
Gouache on paper
14 x 10 inches (35.6 x 25.4 cm)
Signed and dated lower right: Ned Young 1983

NED YOUNG (American, b. 1954)
Indian Boy on Horse, 1983
Gouache on paper
10 x 14 inches (25.4 x 35.6 cm)
Signed and dated lower right: Ned Young 1983

PROPERTY FROM A PRIVATE COLLECTION

ALBERT BIERSTADT (American, 1830-1902)
Study of Rocky Mountains
Oil on paper laid on board
8-1/4 x 10-1/2 inches (21.0 x 26.7 cm)
Monogrammed lower right: AB

PROVENANCE:
By descent through the Stewart family, Portland, Oregon;
Purchased from the Stewart estate by Charles Wentworth of Boston, 1970;
Thence by descent to Donna King;
Acquired by the current owner in 2006.

In 1859, Bierstadt embarked on an epic journey that would forever change his career. He was invited to join Colonel F.W. Lander's Wagon Road Survey Party and made his first trip west. Lander's army expedition had been sent by horseback to survey as far west as the Rocky Mountains, and Bierstadt accompanied the group in order to document the untamed wilderness. He also photographed the Native Americans and immigrants they encountered along the way. When Bierstadt returned to his Tenth Street studio, he began reworking his sketches and filling them out to create his famous panoramic canvases of the American West. The culmination of Bierstadt's western journey became one of the best examples of his artistic talent, The Rocky Mountains, Lander's Peak (1863), which now hangs in the Metropolitan Museum. The painting is a compilation of various sketches and preliminary works, such as Study of Rocky Mountains, that Bierstadt executed during and immediately after Lander's expedition. The jagged peaks are shrouded in thick misty clouds, and the specific details of the terrain rush toward the viewer in increasing clarity. Bierstadt has captured the pristine and rugged natural beauty of a young America.

WILLIAM WENDT (American, 1865-1946)
California Mountains
Oil on canvas
27-1/2 x 35 inches (69.9 x 88.9 cm)
Signed lower right: Wm. Wendt

William Wendt is one of California's best known landscape painters and aptly named the "Dean of California Artists." Active in California after 1906, Wendt was a founding member of the California Art Club which promoted the plein-air style of painting that lent itself so well to the rugged landscape of the west coast. Having embraced Impressionism in the 1890s, Wendt's style progressed from an early feathery brushstroke to what some critics have termed a bold "masculine" interpretation of Impressionism. His mature work is characterized by strong brushwork and boldness of line, qualities evident in his canvas California Mountains. Wendt was recognized in 1912 for his immense talent and elected an Associate of the National Academy of Design in New York.

HEINIE HARTWIG (American, b. 1939)
Yosemite of Old
Oil on masonite
32 x 47 inches (81.3 x 119.4 cm)
Signed lower left: Heinie Hartwig
Titled verso: Yosemite of Old

HEINIE HARTWIG (American, b. 1939)
Meadow Camp
Oil on board
8 x 13-1/2 inches (20.3 x 34.3 cm)
Signed lower left: Heinie Hartwig
Titled verso: Meadow Camp

HEINIE HARTWIG (American, b. 1939)
Meadow Encampment
Oil on board
8 x 13-1/2 inches (20.3 x 34.3 cm)
Signed lower right: Heinie Hartwig
Titled verso: Meadow Encampment

CARL OSCAR BORG (American, 1879-1947)
Mexico
Oil on canvas
30 x 22 inches (76.2 x 55.9 cm)
Signed lower right: Carl Oscar Borg

CARL OSCAR BORG (American, 1879-1947)
Landscape
Watercolor on paper
24-1/2 x 16-1/2 inches (62.2 x 41.9 cm) window
Signed lower left: Carl Oscar Borg

FREDERICK MELVILLE DU MOND (American, 1867-1927)
Laguna Pueblo, 1906
Oil on canvas
30-1/4 x 36 inches (76.8 x 91.4 cm)
Signed and dated lower right.

GUNNAR MAURITZ WIDFORSS (Swedish, 1879-1934)
A View of the Grand Canyon
Watercolor on paper
10 x 13-1/2 inches (25.4 x 34.3 cm)
Signed upper left: Widforss

PROVENANCE:
Thomas Nygard Galleries , Bozeman, Montana (label verso).

Widforss is best known for his breathtaking watercolors of America's National Parks; primarily Yosemite, Yellowstone, Zion, Mesa Verde and of course his beloved Grand Canyon. His luminous watercolors capture the unfiltered light and wide open spaces of the American west, believably creating a vastness of scope in his compositions despite the diminutive scale of the canvas. After studying to be a muralist at the Swedish Institute of Technology (1896-1900), Widforss traveled extensively before permanently settling in the United States. His eye for murals made him the perfect candidate to tackle the scale and grandeur of the west. The Director of National Parks, Stephen Mather, convinced Widforss that a career could be made painting America's relatively new national park land. Widforss's epic landscapes were published in the 1923 book Songs of Yosemite and used as cover illustrations for the major American magazines of the time.

Towards the end of his life, Widforss lived alone and worked primarily from his studio which he built on the rim of the Grand Canyon. He studied the geology of the Grand Canyon from numerous vantage points, and painted it from various perspectives. The canyon became his muse and companion, and his depictions of it are delicately rendered yet powerful. Widforss exhibited at the National Gallery in Washington, and in 1969 a retrospective of his work was held at the Museum of Northern Arizona in Flagstaff.

JULES BERNARD DAHLAGER (American, 1884-1952)
Deer Mountain (Ketchikan, Alaska)
Oil on artist's board
4 x 5 inches (10.2 x 12.7 cm) window
Signed lower left: Jules

EANGER COUSE (American, 1866-1933)
Aspen Symphony, 1902
Oil on board
12 x 9 inches (30.5 x 22.9 cm)
Signed lower right: Couse

JOSEPH HENRY SHARP (American, 1859-1953)
La Jolla Breakers
Oil on canvas
16-1/2 x 16 inches (41.9 x 40.6 cm)
Signed lower left: JH Sharp

JOSEPH HENRY SHARP (American, 1859-1953)
Green Algae
Oil on artist's board
9-3/4 x 13-3/4 inches (24.8 x 34.9 cm)
Signed lower right: JH Sharp

DENNIS M. DOHENY (American, b. 1956)
Rock Creek Basin, 2006
Oil on linen
9 x 12 inches (22.9 x 30.5 cm)
Signed and dated lower left: Dennis M. Doheny 2006
Signed, titled, and dated verso: Dennis Doheny 2006 / Rock Creek Basin / 9" x 12" / oil on linen

CLYDE ASPEVIG (American, b. 1951)
Zion National Park, Utah
Oil on canvas
10-1/2 x 20-1/4 inches (26.7 x 51.4 cm)
Signed lower left: C. Aspevig

ERIC WATERS GIBBERD (American, 1897-1972)
Big Horn Range, 1967
Oil on canvas
37 x 37 inches (94.0 x 94.0 cm)
Signed and dated lower left: Gibberd 67
Titled verso: Big Horn Range

PROVENANCE:
Gallery A, Taos, New Mexico (label verso).

FREDERICK DEBOURG RICHARDS (American, 1822-1903)
Western Mountains
Oil on canvas
21-1/2 x 13-1/2 inches (54.6 x 34.3 cm)
Signed lower right: F. DeB. Richards

PROVENANCE:
Gimbel Brothers (label verso).

WALT GONSKE (American, b. 1942)
Along the Rio Chiquito
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower right: Gonske
Signed and titled verso: Gonske / Along the Rio Chiquito

TONY EUBANKS (American, b. 1939)
Gail's Pond
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed and monogrammed lower left: Eubanks

KEVIN MACPHERSON (American, b. 1956)
Dessert Arroyo
Oil on canvas
16 x 16 inches (40.6 x 40.6 cm)
Signed lower left: Kevin MacPherson

JAMES EVERETT STUART (American, 1852-1941)
Olympic Range from Skokomis River, Washington, 1891
Oil on canvas
14 x 22 inches (35.6 x 55.9 cm)
Signed and dated lower left: 117 / J.E. Stuart / May-10-1891
Inscribed verso: No. 117 / Original Sketch - / Olympic Range. / From Skokomis River - Washington. / J.E. Stuart May 10 - 1891.

LEWIS A. RAMSEY (American, 1873-1941)
Mountain Landscape, 1928
Oil on canvas board
18 x 12 inches (45.7 x 30.5 cm)
Signed and dated lower right: L. A. Ramsey / 1928

GRANT MACDONALD (American, b. 1944)
Silent Visitors
Acrylic on board
34 x 48 inches (86.4 x 121.9 cm)
Signed lower right: Grant Macdonald

PROVENANCE:
Altermann Galleries, Santa Fe (label verso).

HOWARD RUSSELL BUTLER (American, 1856-1934)
Wyoming
Watercolor on paper
9-1/4 x 12-3/4 inches (23.5 x 32.4 cm) window
Signed lower left: H.R. Butler

WILLIAM FREDERICK JARVIS (American, 1898-1966)
Landscape with Cactus
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed twice lower left: Frederick W Frederick Jarvis

WILLIAM FREDERICK JARVIS (American, 1898-1966)
Untitled
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower left: W. Frederick Jarvis

HAMILTON IRVING MARLATT (American, 1867-1929)
Pike's Peak from the Garden of the Gods, circa 1885
Oil and gouache on board
28 x 22 inches (71.1 x 55.9 cm)
Signed lower right: H.I. Marlatt

PROVENANCE:
Purchased from the artist as a wedding gift in 1923;
Thence by descent in the same family until the present.

CHARLES JOHN FRITZ (American, b. 1955)
Winter Woodlot
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower right: C. Fritz

ROBERT HOGG NISBET (American, 1879-1961)
Ten Mile River
Oil on board
19-1/2 x 24 inches (49.5 x 61.0 cm)
Signed lower right: R.H. Nisbet

ALBERT LOREY GROLL (American, 1866-1952)
Arizona Desert
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed lower right: A.L. Groll
Inscribed verso: Arizona Desert / A.L. Groll

HELEN FARR SLOAN (American, 1911-2005)
Mountain Ridges, 1945
Oil on canvas laid on board
12 x 18 inches (30.5 x 45.7 cm)
Signed and dated lower left: Helen Farr ' 45

JES WILHELM SCHLAIKJER (American, 1897-1982)
Dakota Ranch
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower right: Schlaikjer

WARD LOCKWOOD (American, 1894-1963)
Landscape
Watercolor and pastel on paper
13 x 20 inches (33.0 x 50.8 cm) window
Signed lower right: Lockwood

THEODORE WADDELL (American, b. 1941)
Roscoe Sheep #2, 1992
Oil on canvas
54 x 54 inches (137.2 x 137.2 cm)
Signed, titled, and dated verso: Roscoe Sheep #2 / Theodore Waddell / © 1992

Both Montana rancher and artist, Theodore Waddell depicts the land and animals that he sees and works with on a daily basis. His work is striking evidence that the Art of the American West has evolved to include a very wide range of subjects, styles, and techniques. Waddell is a third generation Montanan who trained in the art academies far from his family roots only to return to first teach other art students and then to manage and eventually own a ranch of his own. His day is typically split between the rigors of managing a ranch in all seasons and weather conditions and then depicting many of the scenes he has noted during that work in his studio. Both pursuits are most often solitary ones involving long hours of hard work and dedication. Waddell finds his subjects in his everyday pursuits. The animals that he paints, horses, cows, dogs, and in the case of this painting, sheep, are the animals that he works with each day. He knows each one and even though his technique of representation is more abstract than realistic, his intent is to reproduce the individual personality of each. Those animals are placed in seasonal references. Waddell is intimately familiar with changes in color, light, even texture that come with the change in seasons. He may return repeatedly to the same subjects, but each painting reflects a different aspect of a year on the ranch.
Like his Montana artist predecessors, Charles M. Russell and Olaf Seltzer, Waddell paints what he sees. Ironically given the great differences in style and technique, all three of these artists share a common ground. Each drew their artistic inspiration in large measure from ranching. Russell and Seltzer produced paintings that were reflective of earlier times and were successful in creating a body of work that offers a glimpse into the origins of ranching in Montana. Their work has come to be synonymous with the term western art. Waddell has pushed beyond those artistic boundaries to create singular vision of the Modern West.

VERYL GOODNIGHT (American, b. 1947)
Sprite, 2004
Bronze with patina
65 x 72 x 24 inches (165.1 x 182.9 x 61.0 cm)
Ed. 11/21
Signed, dated, and numbered on base: Veryl Goodnight 2004 11/21

One of the world's leading equine sculptors, Veryl Goodnight has said of her work, "I was born loving animals and the American West, [and] this has been the focus of my art for decades." As a child growing up in the 1950s near Denver, Goodnight dreamed about having her own horse, a yearning she translated into horse drawings and sculptures out of snow. Today, an entire menagerie - not merely horses, but bison, deer, elk, goats, sheep, coyotes, and bears - live on her property near Santa Fe and serve as live models. Goodnight possesses the uncanny ability to render animal "personalities," such as this exuberant colt, Sprite, as well as the communion between animals and people. Her equine bronzes, ranging from miniature to monumental, grace numerous public institutions, including the National Cowboy and Western Heritage Museum in Oklahoma City and the Old West Museum in Cheyenne. The Day the Wall Came Down, her most celebrated piece, depicts five horses jumping over the ruins of the Berlin Wall; one casting resides at the George Bush Presidential Library and the other, at the Allied Museum in Berlin.

HARRY HERMAN WICKEY (American, 1892-1968)
Charging Bull, 1937
Bronze with patina
11-1/2 x 18 x 8-1/2 inches (29.2 x 45.7 x 21.6 cm)
Signed and dated on base: Wickey / 37

PROPERTY FROM THE DUFFY AND TINA OYSTER FOUNDATION

KEN CARLSON (American, b. 1937)
Tiger
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed lower right: K Carlson

Ken Carlson attributes his love of wildlife to his childhood and cannot remember a time when he thought of being anything other than an artist. At the age of 15, Carlson won a "Draw Me" contest that awarded him a two-year scholarship to the Art Instruction School in Minneapolis, where he studied with noted animal illustrator Walter Wilwerding. Later he attended the Minneapolis School of Art and went on to work as a TV and newspaper illustrator. In the evenings, Carlson would visit the Como Park Zoo in St. Paul. He was so well liked by the director there that he was allowed to study and sketch the animals in the late evenings when the zoo was closed to the public. This was something that Carlson preferred since the animals were much more active, alert, and uninhibited without people around.

Carlson's painting Tiger is a wonderful example of how his studies translate into full-sized compositions. With precision, Carlson has caught a fleeting moment in the life of this beautiful and majestic animal. The tiger is gazing out of the frame and away from the viewer, as it lowers its head. Something has obviously caught the tiger's attention, and the moment before the animal responds is what Carlson has captured. This work is a wonderful example of Carlson's ability to convey the emotion in his subjects; a talent that has established him as one of the best wildlife painters of our time.

N. L. GLAZIER (American, b. 1947)
Bull's Eye, 2001
Oil on canvas
16 x 28 inches (40.6 x 71.1 cm)
Signed and dated lower right: N.L. Glazier / c. 2001

PROVENANCE:
Purchased at annual sale at the National Museum of Wildlife Art, Jackson Hole, Wyoming, 2001.

GUY JOSEPH COHELEACH (American, b. 1933)
Hooded Mergansers
Oil on canvas
12 x 24 inches (30.5 x 61.0 cm)
Signed lower right: Guy Coheleach ©
Signed verso: Guy Coheleach ©

GUY JOSEPH COHELEACH (American, b. 1933)
Trumpeter Swans
Oil on canvas
24 x 48 inches (61.0 x 121.9 cm)
Signed lower left: Guy Coheleach ©
Signed verso: Guy Coheleach ©

LITERATURE:
T. Wieland, Masters of the Wild, Camden, South Carolina, 1990, pp. 68-69, illus.

As one of the most accurate contemporary wildlife painters of today, Coheleach studies animals in their natural habitats and paints directly from life. His work has been exhibited at the White House, the Corcoran Gallery in Washington, the Carnegie Museum in Pittsburgh, the John J. Audubon Museum in Henderson, Kentucky, and the Royal Ontario Museum in Canada. In the past ten years, Coheleach has exhibited his paintings in nineteen one-man shows and been the subject of two full length PBS documentaries, not to mention numerous books.

OLEG STAVROWSKY (Russian/American, b. 1927)
From East Wenatchee
Oil on canvas
24 x 83-1/2 inches (61.0 x 212.1 cm)
Signed lower right: Oleg Stavrowsky
Titled and signed verso: From East Wenatchee / Oleg Stavrowsky / ©

OLEG STAVROWSKY (Russian/American, b. 1927)
Seattle Sunset
Oil on canvas
30 x 24 inches (76.2 x 61.0 cm)
Signed lower left: Oleg Stavrowsky
Signed and titled verso: "Seattle Sunset" / Oleg Stavrowsky ©

OLEG STAVROWSKY (Russian/American, b. 1927)
Ode to a Canyon
Oil on canvas
20 x 50 inches (50.8 x 127 cm)
Signed lower right: Oleg Stavrowsky
Signed and titled verso: Ode to a Canyon / Oleg Stavrowsky ©

OLEG STAVROWSKY (Russian/American, b. 1927)
Quiet White
Oil on canvas
30 x 24 inches (76.2 x 61.0 cm)
Signed lower right: Oleg Stavrowsky
Signed and titled verso: "Quiet White" / Oleg Stavrowsky / ©

OLEG STAVROWSKY (Russian/American, b. 1927)
A Fallen Cypress
Oil on canvas
46-1/2 x 32 inches (118.1 x 81.3 cm)
Signed lower left: Oleg Stavrowsky
Signed and titled verso: "A Fallen Cypress" / Oleg Stavrowsky

OLEG STAVROWSKY (Russian/American, b. 1927)
Untitled (Sunrise in the Forest)
Oil on canvas
34 x 26 inches (86.4 x 66.0 cm)
Signed lower left: Oleg Stavrowsky

EDWARD MUEGGE "BUCK" SCHIWETZ (American, 1898-1998)
DeWitt County April Spread, 1972
Mixed media on paper
18 x 32 inches (45.7 x 81.3 cm)
Signed and dated lower right: E.M. Schiwetz 72

PROVENANCE:
Meredith Long & Company, Houston (label verso).

WILL HICOK LOW (American, 1853-1932)
The Camp at Night, 1879
Gouache on paper
3 x 11-1/4 inches (7.6 x 28.6 cm)
Signed and dated lower left: 1879 W.H. Low
Titled along left edge: The Camp at Night

EXHIBITED:
The Arkansas Arts Center, Little Rock, "1998 Collector's Show & Sale", 1999, no. 227 (label verso).

JOAN MARRON (American, b. 1934)
Igreja Catolica, 1994
Oil on canvas
36 x 24 inches (91.4 x 61.0 cm)
Signed lower right: J. Marron
Titled verso: Igreja Catolica

TOM LOVELL (American, 1909-1997)
Waterfront Village
Oil on canvas
9 x 12 inches (22.9 x 30.5 cm)
Signed lower right: Tom / Lovell

AMERICAN SCHOOL (18th Century)
A Pair of North American Indian Portraits
Watercolor on board
10-1/4 x 8-3/4 inches (26.0 x 22.2 cm) each

LAWRENCE LOUIS BARRETT (American, 1897-1973)
Horse Wrangler
Graphite on paper
9-1/2 x 12-3/4 inches (24.1 x 32.4 cm) window
Signed lower right: Lawrence Barrett
Titled lower left: Horse Wrangler

LEONARD BASKIN (American, 1922-2000)
Helen Goes Ahead Crow, 1993
Lithograph
29 x 22-1/2 inches (73.7 x 57.2 cm)
Numbered in pencil lower left: Proof
Titled in plate upper left: Helen Goes Ahead Crow
Dated in plate lower center: 1993
Signed in plate lower right: Baskin
Signed in pencil lower right: Baskin

BILL BENDER (American, b. 1919)
Desert Landscape
Oil on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left: Bill Bender

ARTHUR W. BEST (American, 1859-1935)
Landscape
Pastel on paper
5-1/2 x 7-1/4 inches (14.0 x 18.4 cm) window
Signed lower right: A W Best

KATHLEEN BLACKSHEAR (American, 1897-1988)
Portrait of Richard Gould and Saturday Afternoon (pair)
Lithographs on paper
15-3/4 x 11-1/4 inches (40.0 x 28.6 cm)
Each signed lower right: Kathleen Blackshear
Each respectively titled lower left

KATHLEEN BLACKSHEAR (American, 1897-1988)
Rhino
Lithograph
10 x 13 inches (25.4 x 33.0 cm)
Signed lower right: Kathleen Blackshear
Titled lower left: Rhino

KATHLEEN BLACKSHEAR (American, 1897-1988)
Group of Seven Animal Prints
Woodblock on paper
11 x 8 inches (27.9 x 20.3 cm) largest
Each signed lower right: Kathleen Blackshear
Each respectively titled lower left

BILL BOMAR (American, 1919-1991)
Orb Gradations
Mixed media on paper
11 x 7-1/4 inches (27.9 x 18.4 cm)
Initialed lower left: BB
Titled verso: Orb Gradations

BILL BOMAR (American, 1919-1991)
Martinique Fantasy
Mixed media on paper
11-1/2 x 7-1/4 inches (29.2 x 18.4 cm)
Initialed lower right: BB
Titled verso: Martinique Fantasy

JOHN EDWARD BOREIN (American, 1873-1945)
Standing Herd, 1915
Ink on paper
7-1/2 x 11-1/2 inches (19.1 x 29.2 cm)

HOWARD RUSSELL BUTLER (American, 1856-1934)
Mission
Watercolor on paper
9-1/2 x 12-3/4 inches (24.1 x 32.4 cm) window
Signed lower left: H.R. Butler

GERALD WILLIAMSON "JERRY" BYWATERS (American, 1906-1989)
12 from Texas: a Portfolio of Lithographs
from the Southwest Artists Series, Number One
(Dallas: Southern Methodist University Press) 1952

GEORGE CATLIN (American, 1796-1872)
O-Jib-e-Ways
from the North American Indian Portfolio, 1844
Lithograph on paper
14 x 17-1/2 inches (35.6 x 44.5 cm)

EDWARD SHERIFF CURTIS (American, 1868-1952)
Ola-Noatak, Plate 716, 1928
Photogravure
15-1/2 x 11-1/2 inches (39.4 x 29.2 cm)

FRED DARGE (American, 1900-1978)
A Stream Through Golden Trees
Oil on artist's board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: F. Darge

FRED DARGE (American, 1900-1978)
Forested Valley
Oil on artist's board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: F. Darge

EMILY DILLARD (American, 1879-1968)
Untitled (River Scene), 1930s-1940s
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower right: Em Dillard

JIM DOOLEY (American, 20th Century)
Country Road in Autumn with Prickly Pear
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower right: Jim Dooley

PAUL DYCK (American, 1917-2006)
The Deer Dancer
Oil on board
7-1/4 x 5-1/4 inches (18.4 x 13.3 cm)
Signed lower right: Paul Dyck w/s

EVERETT MELANTHON EIGNUS (American, 1906-1966)
Magnolias, 1959
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed and dated lower right: Eignus / 1959

LLOYD LOZES GOFF (American, 1918-1982)
Forest
Oil on canvas laid on board
12 x 10 inches (30.5 x 25.4 cm)
Signed lower left: Lloyd Goff

LLOYD LOZES GOFF (American, 1918-1982)
Steam
Pastel on paper
6-1/2 x 5-1/2 inches (16.5 x 14.0 cm) window

LLOYD LOZES GOFF (American, 1918-1982)
Joan of Arc
Pastel on paper
9-1/2 x 7 inches (24.1 x 17.8 cm)
Signed lower left: Goff

UNA GRAY (American, 1873-1930)
Desert Scene
Oil on board
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: U Gray

V. E. HEATH (American, 20th Century)
Out of Austin, 1970
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed and dated lower right: V.E. Heath / 70
Inscribed verso: By - V E Heath - 1970 - Houston, Tex / Landscape - "Out of Austin"

R. J. "NANNIE" HUDDLE (American, 1795-1895)
Untitled (Still Life with Zinnias)
Oil on canvas
22 x 26 inches (55.9 x 66.0 cm)
Signed lower right: N. Huddle

WILLIAM HENRY JACKSON (American, 1843-1942)
Frozen Lake Near James' Peak
Albumen
10-1/4 x 13 inches (26.0 x 33.0 cm) window
Titled in negative lower left: Frozen Lake Near James' Peak

WILLIAM HENRY JACKSON (American, 1843-1942)
Long's Peak
Albumen
9 x 12-1/2 inches (22.9 x 31.8 cm)
Titled in negative lower left: Long's Peak

NED JACOB (American, b. 1938)
Indian Camp
Pen and ink on paper
4-1/2 x 7-1/2 inches (11.4 x 19.1 cm) window
Signed lower right: Ned Jacob

NED JACOB (American, b. 1938)
Nude
Charcoal on paper
23 x 13-1/2 inches (58.4 x 34.3 cm) window
Signed lower left: Ned Jacob

CARL KAUBA (Austrian/American, 1865-1922)
Indian
Bronze with patina
8 x 8-1/2 x 5-1/2 inches (20.3 x 21.6 x 14.0 cm)
Signed on base: C. Kauba

CARL KAUBA (Austrian/American, 1865-1922)
Buffalo
Bronze with patina
6 x 9-1/2 x 6 inches (15.2 x 24.1 x 15.2 cm)
Signed on base: C. Kauba

RAMON KELLEY (American, b. 1939)
Ranchos de Taos Church, 1975
Watercolor on paper
8-1/2 x 11-1/4 inches (21.6 x 28.6 cm)
Signed and dated lower right: Ramon K Aug 1975
Inscribed verso: Church at Ranchos / near Taos / Ramon Kelley Aug / 76

TOM LOVELL (American, 1909-1997)
Viking Scene
Mixed media on board
3-3/4 x 6-3/4 inches (9.5 x 17.1 cm) window
Signed lower center: Tom Lovell
Inscribed lower left: To Judy Schaffer

JESSE JAY MCVICKER (American, 1911-2004)
Blue Composition, circa 1973
Polymer on canvas
48 x 60 inches (121.9 x 152.4 cm)
Stamped verso: J.J. McVicker

JESSE JAY MCVICKER (American, 1911-2004)
Red Rooster, 1982
Etching
18-1/4 x 12-3/4 inches (46.4 x 32.4 cm)
Artist's Proof
Signed, titled, and dated lower margin: A/P "Red Rooster" McVicker '82

JESSE JAY MCVICKER (American, 1911-2004)
Scape #3, 1981
Etching
16-1/4 x 16-1/4 inches (41.3 x 41.3 cm)
Trial Proof
Signed, titled, and dated lower margin in graphite: Trial Proof #4, "Scape #3", McVicker '81

LANFORD MONROE (American, 1950-2000)
Morning on the Montana Plains, 1984
Cast resin
12 x 9 x 7 inches (30.5 x 22.9 x 17.8 cm)
Signed and dated on base: Lanford Monroe / 1984
Titled on label on bottom: Morning on the Montana Plains

ROI PARTRIDGE (American, 1888-1984)
Indian with Drum , 1920
Etching
6-1/2 x 4-1/4 inches (16.5 x 10.8 cm) window
Dated in the plate: 1920
Inscribed: DRAWING BY MAYNARD DIXON - / ETCHED AND PRINTED BY ROI PARTRIDGE, / TO CARL J. SMALLEY, FROM ...MCMLII,

FREDERICK DOYLE PENNEY (American, 1900-1988)
Sunset in the Desert
Oil on artist's board
8-3/4 x 11-1/2 inches (22.2 x 29.2 cm) window
Signed lower left: Fred Penney

CLARA GREENLEAF PERRY (American, 1871-1960)
Between St. Jean de Luz and Hendaye, 1932
Oil on board
14-1/2 x 18-1/4 inches (36.8 x 46.4 cm)
Signed and dated lower right: Greenleaf Perry / 1932
Inscribed verso: Between St. Jean de Luz and Hendaye

THEODORE J. RICHARDSON (American, 1855-1914)
Muir Glacier
Watercolor on paper
9 x 14 inches (22.9 x 35.6 cm) window
Signed lower left: T. Richardson

COREEN MARY SPELLMAN (American, 1905-1978)
1205 Oakland, circa 1930s
Watercolor on paper
22 x 15 inches (55.9 x 38.1 cm)
Signed lower right: Coreen Mary Spellman
Titled lower center: 1205 Oakland

PROCEEDS TO BENEFIT ACQUISITIONS AT THE MUSEUM OF FINE ARTS, HOUSTON

EARL STALEY (American, b. 1938)
Gifts from the Sun, 1976
Oil on canvas
60-1/4 x 142 inches (153.0 x 360.7 cm)
Signed, titled, and dated verso: Staley / Gifts from / the Sun / 5 / 6 / 7 - 76

PROVENANCE:
Private collection, Houston.

CLINT STOKES (American, 20th Century)
Seascape with Seagulls
Watercolor on paper
10 x 29 inches (25.4 x 73.7 cm)
Signed lower right: Clint Stokes

JAMES W. TWITTY (American, 1916-1994)
Navarra, 1969
Acrylic on canvas
60 x 60 inches (152.4 x 152.4 cm)
Signed lower right: Twitty
Artist's label verso

PROVENANCE:
Main Place Gallery, Dallas (label verso).

ARNOLD VAIL (American, 1922-1995)
Flower Composition
Oil on cardboard
36 x 8 inches (91.4 x 20.3 cm)
Signed lower right: Arnold Vail

DANIEL WALLTON (American, 20th Century)
Jumping Horse
Bronze
17 x 22-1/2 x 10 inches (43.2 x 57.2 x 25.4 cm)
Signed on base: Daniel Wallton