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AUCTION
Friday, March 30th, 2012 1:00 p.m.
SCOTTSDALE HILTON
IN THE PAVILION
6333 NORTH SCOTTSDALE ROAD, SCOTTSDALE, AZ
FOR RESERVATIONS CALL (480) 947-5400
PREVIEWS AND REGISTRATION
SELECTED WORKS WILL BE AVAILABLE FOR VIEWING IN THE SCOTTSDALE & SANTA FE GALLERIES.
THURSDAY, MARCH 29TH SCOTTSDALE
PREVIEW BEGINS 9 A.M. COCKTAIL RECEPTION 5 P.M TO 8 P.M.
FRIDAY MARCH 30TH SCOTTSDALE
PREVIEW CONTINUES AT 9 A.M.
MAP TO AUCTION LOCATION AND ALTERMANN’S SCOTTSDALE GALLERY
X
Scottsdale Hilton
State Highway 101
East Chapparral Road
North Pima Road
Scottsdale
North Granite Reef Rd.
East McDonald Drive
North Hayden Road
North Scottsdale Road
East Lincoln Drive
East Camelback Road
East Indian School Road
East First Ave
East Main Street
X
Altermann Galleries
Scottsdale
North
For additional information, please call (480) 945-0448 or info@altermann.com
1
2012 CALENDAR
SANTA FE AUCTION AUGUST 11, 2012
Now Accepting Consignments
DALLAS AUCTION OCTOBER 18, 2012
SANTA FE AUCTION NOVEMBER 18, 2012
WANTED: YOUR E-MAIL ADDRESS
As we are becoming a paperless society, Altermann Galleries is encouraging you
to provide us with your email address.
Be assured that your email address will be protected and will not be used outside
the Gallery’s secure system or used by any third party.
Also, if you wish, send us the names of artists whom you are seeking and we will
include them in our Collector Notification System.
Visit our website for more information. www.altermann.com
2
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3
1. Robert Griffing
b. 1940
Waiting Out The Heat
Signed; ‘Griffing 2002’, l/l
Oil on canvas
8 by 10 inches
Estimate; $7,000 to $9,000
4
2. Kenneth Riley
b. 1919 CAA, NAWA
Evening Glow
Signed; ‘Kenneth Riley CA’, l/r
Oil on panel
9 by 12 inches
Estimate; $9,000 to $12,000
3. James Boren
1921 - 1990 AOA, CAA, NAWA
Making Tracks for Home
Signed; ‘James Boren CA © 1989’, l/r, verso: Label; Cowboy
Artists of America Exhibition, Phoenix Museum of Art, 1986.
Watercolor on paper
21 by 29 inches
Estimate; $5,500 to $6,500
Accompanying this painting is the original Cowboy Artists of
America 1986 Exhibition Poster that illustrates “Making Tracks
for Home”.
4. Bill Nebeker
b. 1942 CAA
The Bosal Man
Signed; ‘Bill Nebeker CA © 81 16/25’, base
Bronze
17 by 19 by 7 ½ inches
Estimate; $2,500 to $3,500
5
5. David Mann
b. 1948
First Light
Signed; ‘David Mann’, l/l
Oil on canvas
30 by 40 inches
Estimate; $15,000 - $17,000
David Mann has exhibited at the Masters of the American West, Autry National Center of the American West, Wildlife Museum of
Jackson Hole, Wyoming, and in the Quest for the West exhibition sale at the Eiteljorg Museum in Indianapolis.
6
6. John Hampton
1918 - 2000 CAA
Leading The String
Signed; ‘JM Hampton (artist’s cipher), © 1977’, l/l
Oil on linen
24 by 30 inches
Estimate; $6,000 to $8,000
7. Joe Beeler
1931 - 2006 CAA
The Survivor
Signed; ‘Joe Beeler CA’, front base
Bronze, Ed. 30/35
27 by 8 by 9 inches
Estimate; $6,000 to $9,000
7
8. Doug Hall
b. 1959
Overlooking the Backtrail
Signed; ‘Doug Hall 2011 ©’, l/l
Oil on canvas
40 by 30 inches
Estimate; $13,000 to $15,000
9. David Wright
b. 1942
Northwood Trappers
Signed; ‘David Wright ©’, l/l
Acrylic on paper
10 by 16 inches
Estimate; $2,000 to $4,000
8
10. Harry Jackson
1924 - 2011 CAA, NAWA, NSS
Foreman
Signed; ‘© Harry Jackson 1974 33’, back
Bronze
18 by 13 by 12 inches (With base 21 inches high)
Estimate; $5,000 to $7,000
This sculpture is a portrait of Cal Todd, who was a lifetime
friend of the artist. Their relationship commenced when they
both worked on the Pitchfork Ranch in the late 1930’s. Todd
went on to foreman of the Pitchfork. In the 70’s, he was general
manager of the artist’s ranch and the Salty Dog Cattle Company,
which was also owned by the artist.
Source; Harry Jackson by Larry Pointer and Donald Goddard,
Harry Abrams INC. New York, NY 1981.
11. Harry Jackson
1924 - 2011 CAA, NAWA, NSS
The Trapper
Signed;
‘© Harry Jackson 1970’ Back base; ‘38’ & Thumbprint’, base
Bronze
21 by 16 by 10 1/2 inches
(Height with base 25 inches)
Estimate; $5,000 to $7,000
The Trapper was one of the principal characters Jackson chose
to sculpt as models for a mural painting depicting the French
and Indian War that was to be placed in The Fort Pitt Museum.
Due to a disagreement with the Museum, the mural was never
installed. Other characters in the mural were also made into
models that eventually became some of the artists’s most important bronze sculptures.
9
12. David Mann
b. 1948
Kiowa Signal
Signed; ‘David Mann’, l/l
Oil on canvas
14 by 11 inches
Estimate; $2,800 to $3,200
13. D. Edward Kucera
b. 1961
Soldier’s Hat
Signed; ‘DE Kucera © 2011’, l/r
Oil on canvas
20 by 16 inches
Estimate; $3,800 to $4,200
10
14. Jim C. Norton
b. 1953 CAA, NWR
Lining Up The Shot
Signed; ‘Jim C. Norton CA’, l/l
Oil on linen
20 by 30 inches
Estimate; $18,000 to $24,000
15. Joe Beeler
1931 - 2006 CAA
Memories of Yesterday
Signed; ‘Joe Beeler CA 19/25’, back base
Bronze
17 by 19 by 10 inches
Estimate; $9,000 to $12,000
11
16. Gary Kapp
b. 1942 NWR
Indian War Party
Signed; ‘Gary Kapp’, l/r
Oil on camvas
24 by 30 inches
Estimate; $4,000 to $6,000
17. John Coleman
b. 1949 CAA
Kokopelli
Signed; ‘John Coleman © 2001 43/50’. on base
Bronze
23 inches high
Estimate; $4,500 to $5,500
The monumental casting of Kokopelli was the reciepient of
the Silver Medal from the Cowboy Artists of America Annual Exhibition, 2002
12
18. John Coleman
b. 1949 CAA
The Rainmaker
Signed; ‘John Coleman 1/25 © 98’
Bronze
Height (including base) is 64 inches,
wood base is 4 ½ inches
Estimate; $20,000 to $25,000
John Coleman has been the recipient of numerous awards from the Cowboy Artists of
America, including multiple Gold medals and Best of Shows. The artist considers the Rainmaker as being instrumental in his acceptance into the CAA.
13
In a monograph on the artist’s work published by Kennedy Galleries, an attempt is made to describe all that is compacted into Harry
Jackson’s The Pony Express Rider;
“A man, a horse, a gun in hand, a high moment in the saga of the American Frontier.”
“You hear the beat of hooves on hard-packed dirt. You feel the surrounding air of Western heat. You share the rhythm of pulse and breathe of
man and horse riding, running, racing as a single creature across the plain from St. Joe to Sacramento. You smell the dust, the leather, the sweat
of man and beast and in the moment the acrid tang of gun smoke – and hear the single, precise report of the carefully aimed and squeezed off
round.”
Pony Express was Jackson’s first absolute statement of form in joining painting and sculpture. Some collectors were not pleased with
his use of color on bronze. Most were unaware that the Greek, Roman, and other ancient cultures painted their stone and bronze
sculpture. Harry was borrowing from the past to create living sculpture that also contained elements drawn from his earlier experiences in abstract expressionism. The authors of Jackson’s biography state that “Pony Express cannot be described simply as a joining of
color and volume. There is no doubt that the image is three dimensional, and yet it also operates as though it were part of a painting.” There
are few Western subject matter artists as complex in their thinking and execution as Harry Jackson.
Literature;
Frank Getlein, Harry Jackson, Monograph – Catalogue, Kennedy Galleries, Inc. New York 1969
Larry Pointer and Donald Goodard, Harry Jackson, Harry Abrams, Inc., New York 1981
Illustrated in Ten Years With the Cowboy Artists of America, A Complete History and Exhibition Record by James K. Howard, Northland
Press, Flagstaff, AZ 1976, p 98.
14
19. Harry Jackson
1924 - 2011 CAA, NAWA, NSS
Pony Express, edition of 20 (additional dedicated castings)
Signed; Inscribed in base; ‘Harry Jackson © 1967’, ‘For Marilyn and Jim from Harry’, at base
Painted bronze
Estimate; $40,000 to $50,000
15
20. R. Brownell McGrew
1916 - 1994 CAA, NAWA
AHT-ED-ZEE
Signed; ‘R. Brownell McGrew’, l/r
Charcoal
24 by 19 inches
Estimate; $4,000 to $7,000
Illustrated is on page 58, plate 50. R. Brownell McGrew, Laguna Beach Museum of Art. Lowell Press,
Kansas City, 1978.
21. Gerard Curtis Delano
1890 - 1972 CAA
A Navajo Girl
Signed; ‘© Delano’, l/r
Oil on canvasboard
10 by 8 inches
Estimate; $3,500 to $5,500
16
22. Frank McCarthy
1924 - 2002 AAA, AOA,
CAA, NAWA, NWR
Kiowa War Party
Signed; ‘McCarthy CA © 1985’, l/l
Oil on canvas
28 by 30 inches
Estimate; $30,000 - $45,000
A graduate of Pratt Institute, New York, NY, McCarthy studied at the Art Students League,
New York, while still a teenager. For five decades thereafter, he was renowned as an illustrator
of action scenes for paperback books, movie posters and advertisements. In 1968, he left the
commercial world to pursue his passion for subjects drawn from the taming of the American
West on horseback. His well deserved moniker was; “The Dean of Western Action Paintings”.
McCarthy immortalized the Western saga through confrontations between the lawful and
lawless, and through archetypal tension in the lives of heroes such as mountain men, Native
People, and the U.S. Calvary. Beginning in 1977, his work was featured in retrospectives at
the Museum of the Southwest, Midland TX; the R.W. Norton Museum, Shreveport, LA, the
Gilcrease Museum, Tulsa OK, and the Cowboy Artists of America Museum, Kerrville, TX. McCarthy was an active member of the CAA from 1975 to 1998. He was a subject of numerous
catalogues and monographs, including; The Western Paintings of Frank McCarthy (1974, Ballentine Books), the limited-edition Frank C. McCarthy (1992 Greenwich Workshop).
17
23. Shawn Cameron
b. 1950
The Dust of Wilaha
Signed; ‘Shawn Cameron’, l/r
Oil on board
30 by 40 inches
Estimate; $12,000 to $14,000
A painter of Western subjects, Shawn Cameron has ranching heritage that goes back many generations. Her family has been chronicled on the pages of Arizona history books. Her paternal grand parents drove cattle down the Oregon Trail into Arizona in the 1870’s
to establish ranches, schools, and stores in the northern part of the
state. Her maternal grandparents lived in southern Arizona during
that same period and founded cattle ranches, businesses and Indian
trading posts. Today her family continues to make their living cattle
ranching in the northern regions of Arizona.
24. Bruce Greene
b. 1953 CAA
An Old Dog and a New Trick
Signed; ‘Bruce Greene CA 60/75’, base
Bronze
Estimate; $4,500 to $5,500
18
25. Ron Stewart
b. 1941
Summer Showers
Signed; ‘Ron Stewart’, l/l
Oil on canvas
32 by 40 inches
Estimate; $3,000 to $4,000
26. John Fawcett
b. 1952 AAEA
Stop on a Dime
Signed; ‘Fawcett © [artist cipher]’, l/l
Watercolor on paper
20 by 24 inches
Estimate; $2,000 to $3,000
19
27. Jim C. Norton
b. 1953 CAA, NWR
Late November
Signed; ‘Jim C. Norton CA ©’, l/l
Oil on canvas
24 by 32 inches
Estimate; $14,000 to $16,000
20
28. Karmel Timmons
b. 1966
Ranch Hands
Signed; ‘Karmel Timmons’, l/r
Pencil on paper
20 by 27 inches
Estimate; $8,000 to $12,000
29. Gary Niblett
b. 1943 CAA
Winter Scene Taos Pueblo
Signed; ‘© Gary Niblett ‘81 CA’, l/r
Oil on canvas
36 by 60 inches
Estimate; $25,000 to $30,000
A native of New Mexico, Gary Niblett frequently depicts the Native Americans from the Land of Enchantment. The present offering is typical of his approach to his subject matter. In an interview recorded in Cowboy Artists of America, Desert Hawk Publishing,
1988, Niblett remarks;
“In my paintings, I like to reflect on the quieter moments of someone going about his daily life, the aftermath of the storm rather than the storm
itself…. More often than not, I find myself being drawn to an earlier time – a time of horse drawn wagons, small picturesque villages, quaint
and colorful clothing of bygone years. There is something very charming and aesthetically appealing in these things that can’t be found in more
modern day settings.”
Niblett is an award winning member of the Cowboy Artists of America. His art has been exhibited in China, France, Germany, Russia, and Taiwan.
Provenance;
Formerly in the collection of Burt Reynolds.
21
30. Veryl Goodnight
b. 1947 AAA, AAEA, AOA, NWR,
SAA
The Promise
Signed; ‘Veryl Goodnight 1979 ©
12/25’, front base
Bronze
8 ½ by 8 by 5 inches
Estimate; $1,000 to $1,500
32. Gerald Farm
b. 1935
The Cowboy
Signed; ‘G. Farm © ‘87’, l/r
Oil on panel
11 ½ by 9 inches
Estimate; $1,000 to $1,500
33. Truman Bolinger
b. 1944
Hell Bent For Leather
Signed; ‘‘Truman Bolinger © 1983
32/100’’, back base
Bronze
Size with Base; 14” by 11” by 7”
Estimate; $1,000 to $2,000
31. Frank McCarthy
1924 - 2002 AAA, AOA, CAA, NAWA, NWR
The Cavalry Riders
Signed; ‘McCarthy’, l/r
Gouache on board
11 by 9 inches
Estimate; $1,000 to $1,500
34. Jason Scull
B. 1958 CAA
When Riatas Come up Empty
Signed; ‘Front base; ‘Jason Scull, ‘88’, back;
‘When Riatas Come Up Empty’, ‘10 of 10’’, base
Bronze
20 by 16 inches
Estimate; $1,500 to $,3000
New Member of Cowboy Artists of America, 2011
22
35. Thom Ross
Ross is a native of California and has spent the majority of his professional career out west. He has
b. 1953
exhibited his unique interpretations of the Old West at the Buffalo Bill Art Show and Sale in Cody,
Moonlight Lawman
Wyoming since the mid-nineties. He was commissioned by the Buffalo Bill Historical Center to illustrate
Signed; ‘Ross’, l/r
the 100th anniversey publication of Owen Wister’s western classic, The Virginian. Ross also wrote and
Acrylic on canvas
illustrated Gun Fight at the O K Corral, With Words and Pictures.
36 by 36 inches
Estimate; $5,000 to $6,000
36. Gene Zesch
b. 1932
Always Tell The Truth - Even if You Have to Lie
Signed; ‘© Gene Zesch 7/50’, back
Bronze
with base; 10” high, 5” d, 6.5: w
Estimate; $1,500 to $2,500
23
37. Ray Swanson
1937 - 2004 AOA, AWS, CAA, NAWA, OPA
Going to Chinle
Signed; ‘Ray Swanson’, l/r
Oil on Canvas
40 by 30 inches
Estimate; $15,000 to $20,000
24
38. George Phippen
1916 - 1966 CAA
The Crack of Dawn on a Cow Ranch
Signed; ‘Geo. Phippen 58’, l/l
Oil on canvas
24 by 30 inches
Estimate; $18,000 - $24,000
George Phippen grew up around horses, cattle and cowboys. This early environment was to play a significant role in his development into a major western artist.Western author Don Hedgepeth stated that Phippen was called “ the cowboy artist,” because his
“cowboys” look like men we have all known. They aren’t handsome, but they sure do know cow.” He lived in Prescott, Arizona
from 1949 until 1959 when he moved to Grand Junction, Colorado, returning to Arizona in 1961. Upon his return he purchased
a ranch. Along with Joe Beeler, Johnny Hampton and Charlie Dye, he was one of the founders of the Cowboy Artists of America in
1965 and was selected as its first president. Unfortunately, he was to die of cancer before the organization’s first exhibition at the
National Cowboy Hall of Fame. Author James Howard, in Ten Years With the Cowboy Artists of America, speaks to the importance of
George Phippen when he stated, “His was a life cut short, but his example was an inspiration to fellow artists and working cowboys
alike. His position in the Cowboy Artists of America is at the head of the list.”
25
39. Frederic Remington
1861 - 1909 ANA, NIAL
An Equine Freight Car and A Point of View
Signed; ‘Remington, An Equine Freight Car’, l/l & ‘Remington, A Point of View’, l/r
Pen and ink on paper
Ink on paper
10 ½ by 13 ½ inches
Estimate; $25,000 to $35,000
Executed in 1889.
Literature;
Harper’s Weekly, November 30, 1889 p 960 illustrated (as two separate illustrations)
Peter Hassrick and Melissa Webster, Frederic Reminton; A Catalogue Raisonne of Paintings, Watercolors, and Drawings. Vol. 1. Cody
Wyoming. No 539,1996 p 196 illustrated.
26
40. William Herbert Dunton
1878 - 1936 TSA
Cisco Kid
Signed: ‘W. Herbert Dunton ‘07’, l/r
Oil on canvas
30 by 20 inches
Estimate; $15,000 - $20,000
“He shot up a saloon, killed the town marshal and then rode away.” Illustration for “The Caballero’s Way” by O. Henry, July 1907.
Provenance:
Illustration House, Inc. May 6, 1995
Present owner
27
Delano was born in Massachusetts and took full advantages of excellent art education offered in the east. He studied at the Art Students League and the Grand Central School of Art. The remarkable list of instructors who helped
build his career included George Bridgeman, Dean Cornwell, Harvey Dunn, Frank Vincent Du Mond, and N.C. Wyeth.
Delano’s successful commercial career included illustrations for Collier’s, Cosmopolitan, Western Story and a variety of other magazines. His knowledge of the West was bolstered by travels to Colorado where he worked as a ranch hand. In the early 1920’s, he
established a home/studio in Summit County, Colorado, on Cataract Creek and in 1933 he moved to Denver, Colorado permanently.
Delano dedicated himself to easel painting by the early 1940s. Many of the paintings documented the Navajo people, with whom
Delano became familiar in 1943 when he made his first trip to Arizona. These works received local accolades as illustrations in the
Empire sections of the Denver Post from 1947 to 1970.
Sometimes romantic, at other times narrative, Delano simplified his compositions, using soft, atmospheric pastels with brilliant accents. Design was his forte. He exercised his skills in historic tableaux featuring Plains and Northwest Indians and in contemporary
landscapes with flaming sunsets or approaching storms. His work was more stylized than most of his fellow artists. The Hunter is a
prime example of his singular technique and use of vibrant colors that pushed the boundaries of realistic art of the time. In recent
years there has been a revitalized interest in his art. As a result, numerous paintings by Delano have sold well into the six figures.
One of his paintings sold publicly in 2008 for $1,247,000.
Delano was a member of the Cowboy Artists of America, showing with the organization in 1968 and 1969. His biographer, Richard
D. Bowman, published the monograph Walking with Beauty – The Art and Life of Gerald Curtis Delano in 1990 in conjunction with
a major retrospective of 70 Works at The Colorado History Museum, Denver Co. Delano’s works are found in numerous museums,
including the Eiteljorg Museum, Indianapolis, IN., The Wooloroc, Bartlesville OK, and The American Art Museum, Smithsonian
Washington D.C.
Provenance:
Cy Pennie 1950s
Mont Green, Caspar Wyoming
Descendants or Mort Green
The Coeur D’ Alene Art Auction
Reno Nevada June 26, 2008
Present Owner
28
41. Gerard Curtis Delano
1890 - 1972 CAA
The Hunter
Signed; ‘Delano’, l/r
Oil on canvas board
22 by 40 inches
Estimate; $200,000 to $300,000
29
1861 - 1909 ANA, NIAL
The Charge of the Rough Riders
Signed; ‘Frederic Remington
Remarque of horse and rider, in margin
Also signed in print; ‘Frederic Remington ‘98’
Print on paper
17 ¼ by 29 ¼ inches
Estimate; $6,000 - $8,000
The Charge of The Rough Riders, 1899, signed ‘Frederic Remington’ in pencil
in lower left margin, with a remarque of rider and horse printed in margin.
Despite Remington’s unwillingness to depict the Cuban war, he agreed to do
The Charge to illustrate Roosevelt’s 1899 article “The Rough Riders.”
Illustrated in Remington The Complete Prints by Peggy and Harold Samuels,
page 51.
43. James Earle Fraser
1876 - 1953 NA, NIAL, NSS
The Roosevelt Bas-Relief
Metal
13 by 10 by ½ inches
EStimate; $3,000 - $4,000
The following quote is cast on the bottom of the plaque, “Aggressive fighting for the rightis the nobelest sport the world affords.”
Dated 1920
Sticker on back that states, “The Roosevelt Bas-Relief” by James
Earle Fraser. Copyrighted. Patent Applied for. All Rights reserved
by Decorative Arts League. 175 Fifth Ave, New York, NY Trade
(indistcinct).
‘DecArts & C’, cast on the back.
30
44. Charles Marion Russell
1864 - 1926
Watcher of the Plains
Signed; ‘C.M Russell © (Buffalo Skull Symbol) 1901, Stamped Calif. Art Bronze Fnry.”, at base
Bronze
Estimate; $70,000 to $90,000
Watcher of the Plains depicts a Piegan Blackfeet warrior named White Quiver. The same Indian, in every detail appears in the artist’s painting Horse Thieves that pre-dates the sculpture. White Quiver, who lived during Russell’s time, was noted for his daring
exploits on horse stealing expeditions. In Charles M. Russell Sculpture, Nancy Russell’s the artist’s wife describes the Indian seated
on a high point looking for game or enemies;
“You can tell the wind is blowing softly…He has a sawed off flintlock gun or fewk. In his belt is a medicine bag. The Buffalo robe that he wore
has slipped from his body and he is seated on it. From his wrist hangs an elk horn quirt. He is wearing a wolf cap.”
Watcher of the Plains was created as a plaster model in 1901; however, it was not until 1926 that the sculpture was cast in bronze.
There were approximately fourteen castings made, of which about six castings are in public collections.
Literature;
Rick Stewart, Charles M. Russell, Sculpture, Among Carter Musuem, Fort Worth Texas, page 336, example illustrated.
31
Remington was also a skilled writer and aptly described in words what he was attempting to accomplish in his first sculpture The
Bronco Buster (aka Broncho Buster).
“Only those who have ridden a bronco the first time it was saddled, or have lived through a railroad accident, can form any conception of the
solemnity of such experiences. Few Eastern people appreciate the sky rocket bounds, and grunts and stiff-legged striking…”
Based upon the number of castings produced, Bronco Buster can be considered the artist’s most popular sculpture. The source
of his composition for The Bronco Buster came from Remington’s illustration, A Pitching Bronco, published by Harper’s Weekly in
1882. Approximately seventy castings were made by Bonnard Foundry, before Remington switched to Roman Bronze Works in
1900.
Literature;
Brian Dippie, The Frederic Remington Art Museum Collection, Ogdensburg, New York. Harry Abrams INC. New York 2005
Michael Greenbaum, Icons of the West; Frederic Remington Sculpture, Frederic Remington Art Museum, Ogdensburg, New York 1996.
Michael Shapiro, Cast and Re-Cast; The Sculpture of Frederic Remington, Washington, D.C. 1981
32
45.
Frederic Remington
1861 - 1909 ANA, NIAL
The Bronco Buster, # 25, Bonnard Foundry
Signed; Inscribed on base; ‘Frederic Remington’, Back of base; ‘Copyrighted by Frederic Remington, 1895’, ‘Cast By The Henry
Bonnard Co, N-Y 1895’, Stamped underside; ‘No.25’
Bronze
Estimate; $450,000 to $500,000
This sculpture has been placed on a wooden base, made especially for the sculpture by the present owner. The base will accompany the lot
33
46. (pages 34 & 35)
Frederic Remington
(1861-1909 ANA, NIAL)
Sketchbook Leatherbound
Paper
11 by 8.25 inches.
Estimate; $20,000 to $30,000
A leatherbound book of thirty-six pages (both sides counted), including a handwritten illuminated
title page, two pages of photographs, and twenty-five blank pages.
Provenance;
From John Howard (executor of Eva Remignton’s estate) to Francis Wilson the Board of Standard
Brands.
Descended through family, great-grandson of Thomas L. Smith
Present owner.
Signed ‘F.R’, l/r
This image appears in the catalog raisonné by Peter Hasrick
34
Signed “Frederic Remington 1907’, l/r
35
47. Raphael Lillywhite
1891 - 1958
Catching The Wild One
Signed; ‘Raphael Lillywhite 1940’, l/l
Oil on board
30 by 36 inches
Estimate; $4,000 to $6,000
36
48. Raphael Lillywhite
1891 - 1958
Close To Home
Signed; ‘Raphael Lillywhite’, l/l
Oil on board
30 by 36 inches
Estimate; $4,000 to $6,000
49. Oscar Edmund Berninghaus
1874 - 1952 ANA, TSA
Sangre de Cristos
Signed; ‘O.E. Berninghaus’, l/r
Oil on canvas
25 by 30 inches
Estimate $70,000 to $90,000
Berninghaus was a St. Louis illustrator who, after a trip out west to Taos, New Mexico, became captivated by the Native American
way of life. Gordon E. Sanders, author of the artist’s biography Oscar Berninghaus: Master Painter of American Indians and the Frontier
West, speaks to the challenges faced by Berninghaus in learning to paint the high desert;
“In Taos he had seen a special light- a kind of atmospheric light between him and the mountains that was indeed puzzling. It was
as though the air itself was filled with pigment, floating in tiny particles everywhere. Perhaps it was dust that had blown from the
mountain slopes - from the plains, the sage brush, the trees or whatever. But it was there, and it was good. Taos was an independent
universe of color. As an artist, he was fascinated with the way the sun and sky along with the mountains and buildings all seemed to
blend together harmonious. Even the Indians appeared to be made of the same pigments as their Pueblo, their horses, their fields of
corn and pumpkins- it was glorious, and he promised he would return next year. “
Bernighaus did return and quickly mastered the technique necessary to capture in oil the ethereal atmosphere. The present offering
is a good example of what many artists, attempting to capture the environment of Taos, although skilled and talented, could never
achieve.
37
Nicolai Fechin, with his wife and daughter, immigrated to America in 1923 .They settled in New York City where there was an
immediate demand for his art. In addition to financial success, he was invited to participate in major art institutions. In 1924 he
won the Thomas Proctor Award for the best portrait at the National Academy Exhibition. Major galleries in New York City, Boston and Chicago held exhibitions of his art. After three years he developed tuberculosis and his doctor advised him to seek a dry
climate. Fellow artist John Young-Hunter made him aware of the art colony in Taos, a small village in the high desert of northern
New Mexico. Taos resident and art patron Mabel Dodge Luhan also encouraged him to come to Taos and offered the Fechin family
accommodations in one of her guest houses.
The Taos landscape and its people appealed to the artist. He particularly had rapport with the inhabitants of Taos Pueblo. In her
biography of the artist, Mary Balcomb comments that Fechin “appreciated the Indian’s great dignity and somber nobility which is apparent in his portrayal of them.” These elements are to be found in the portrait of “Albidia”, even though her job was that of a cook
maid for Mabel Dodge Luhan.
A master of color,“it was the underlying structure of drawing” that placed him above most of his contemporaries. While watercolor
or mixed media was not the artist’s usual medium, Forest Fenn, author of The Genius of Nicolai Fechin, recalled that while in Russia,
he had seen works in watercolor by the artist. A large oil painting of the same subject and identical pose of “Albidia” was also created by the artist and is in the permanent collection of the Gilcrease Institute, Tulsa, Oklahoma, a gift from the legendary western
art collector Eugene B. Adkins.
How the painting of “Albidia” made its way to the present owner is related to a fascinating chapter in Oklahoma history. Richard
Gordon Matzene was a well-known British photographer, art dealer, and world traveler with studios throughout his career in New
York, Chicago, Los Angeles and India. While on a cruise, he had a conversation with an oilman who told him of the oil boom
and new wealth in Oklahoma. In 1926, Matzene, made his way to the Sooner state and took up residence in Ponca City, where he
remained, except for intermittent around-the-world junkets, until his death in 1950. He soon became confidante and art advisor
to numerous oil barons including Frank Phillips (Phillips Petroleum) of Bartlesville, and E. W. Marland (Conoco) and Lew Wentz,
both of Ponca City. Matzene spent his years in Ponca City living on the property of pioneer merchant Charles Calkins who, with
his wife, were both major art collectors. Matzene brought many artists to Ponca City, including Nicolai Fechin who drew portraits
of the Calkins and Matzene. The portraits presently hang in the Ponca City Library. Both Calkins and Matzene bequeathed to the
library, extensive portions of their collections, which included numerous important Taos related artists, including Fechin, Berninghaus, Ufer, Hennings, Sandzen and Dunton. Matzene’s oriental art collection was divided between the library and the School of
Art at the University of Oklahoma.
Dr. Thomas McElroy was physician to many of the leading citizens in Ponca City. He and his wife were friends of Matzene . They
also collected art, including works by Fechin. Matzene was also a patient of Dr. McElroy and, for services rendered, gave the doctor
the portrait of “Albidia”, which is the present offering
The present owner of the painting is the daughter of the late Dr. and Mrs. McElroy. She was present in Ponca City, during the exciting period of great wealth and cultural activity.
Literature:
Mary N. Balcomb, Nicolai Fechin, Northland Press,Flagstaff, Arizona , 1975
Forest Fenn, The Genius of Nicolai Fechin: Recollections by Forest Fenn, One Horse Land and Cattle Company and Nedra Matteucci
Galleries, Santa Fe, NM 2001.
The Art of Nicolai Fechin: From the Eugene B. Adkins Collection, Northern Arizona Society of Science and Art, Inc., August 1972.
The Richard Gordon Matzene Collection, Ponca City Library, Ponca City, Oklahoma, 1963
Ponca City Library Benefits From Matzene Gifts, the Ponca City News, Sunday,October 16, 1963, p.14-c
38
50. Nicolai Fechin
1881 to 1955
Albidia
Signed; ‘N.F.’, l/r
Watercolor on paper
17 by 13 inches
Estimate; $40,000 to $60,000
39
Adolph A. Weinman was born in Germany. He immigrated with his mother to the United States when he was ten years old. At age
fifteen, he served as an apprentice to a carver of wood and ivory. Working in the medium of ivory most assuredly helped him to
develop his highly detailed and precise technique. He attended evening classes at the Cooper Union and later studied at The Art
Students League under Augustus Saint-Gaudens. He assisted numerous important artists including Charles Neihaus, Olin Levi
Warner, Daniel Chester French, and his former teacher, Saint-Gaudens. He developed his interest in Indians for the 1904 Louisiana
Purchase Exposition in St. Louis. In preparation for the commission, he extensively researched the manners, customs, and artifacts
of Indians. In 1902, he received permission to make studies of Indians who were participants in Colonel Cumming’s Wild Life Show
in New York City. Among the models was the Sioux Chief Blackbird, subject of the present offering, which was to become his best
known sculpture. In commenting on his model, the artist described Chief Blackbird as “a stoic if there ever was one”.
Patricia Broder in Bronzes of the American West stated;
“The portrait of Blackbird in his elaborate headdress is totally formal and stylized. The details follow intricate linear patterns which give the
work a rhythmic quality. Chief Blackbird is a decorative and aesthetically pleasing sculpture.”
There are two versions of the sculpture, one which has a decorative bas-relief bronze base that supports the portrait. This has proven
to be of greatest value and is the version of the present offering. It is an elaborate bas-relief depicting several animals of the West
including, lions, eagles, snakes, and porcupine
Literature;
Patricia Broder, Bronzes of the American West. Harry N. Abrams, Inc. New York 1974.
Peggy and Harold Samuels, The Illustrated Biographical Encyclopedia of the American West. Doubleday & Company, Inc. Garden City,
New York 1976
40
51. Adolph Weinmann
1870 - 1952
Chief Black Bird, Ogalalla Sioux
Signed; ‘Inscribed base back; ‘Chief Black Bird Ogallala Sioux - A.A. Weinman’,
Incised base back; ‘Roman Bronze Works N-Y-’ Incised underside; 108 463x -67
Bronze
Estimate; $125,000 to $175,000
41
52. Benton Henderson Clark
1895 - 1964
Pike’s Peak or Bust
Signed: ‘Benton Clark’, l/r
Oil on canvas
24 by 36 inches
Estimate: $6,000 - $9,000
Exhibitions with Labels, verso
Harmsen Museum of Fine Art, Golden Colorado.
Colorado Historical Society, Denver , Colorado.
Colorado Springs Fine Art Center, Colorado Springs, Colorado,. October 6 - November 6, 1972.
Colorado State University, Fort Collins, Colorado, September 22 - October 14, 1973.
The Museum, Texas Tech University, Lubbock, Texas, Jan-March,1976.
National Cowboy Hall of Fame and Western Heritage Center, Oklahoma City, Okla. The Pulps and the Slicks: The Golden Age of
Western Illustration, November 22,1991 - March 15, 1992.
Phippen Museum of Western Art, The Harmsen Collection of Western Art, Celebrating the Taos Influence, April 22 - August 2,
1994.
Provenance;
Harmsen Museum of Fine Art, Golden Colorado.
Denver Art Museum, Denver, Colorado.
Illustration House, NYC
Present Owner
42
53. Arthur Mitchell
1889-1977
Heading for the Chuck Wagon
Signed; ‘Arthur Mitchell’, l/r
Oil on canvas
24 by 30 inches
Estimate; $5,000 - $7,000
On verso; Labels:
Harmsen Museum of Art, Golden, Colorado
Colorado Historical Society, Denver, Colorado
The Foothills Art Center, Golden, Colorado
Provenance:
Harmsen Museum of Art, Golden, Colorado
Denver Art Museum, Denver, Colorado
Illustration House, Inc., NYC
Present owner
54. Edmund F. Ward
1892-1990
John Rover
Signed; ‘E.F. Ward - 23’ l/r, Label dated 1-24-34 from Woman’s
Home Companion (Magazine) Illustration
Department (and illegible faint writing in graphite on back of
linen).
Oil on linen
24 by 30 inches
Estimate: $2,000 - $3,000
55. Benton Henderson Clark
1895 - 1964
Shooting The Rapids
Signed; ‘Benton Clark’, l/l
Oil on canvas
30 by 22 inches
Estimate; $3,500 - $4,500
Illustrated Outdoor Recreation Magazine, 1925
43
56. William Acheff
A Pipe For Peace
Signed; ‘WM Acheff 1980’, l/r
Oil on canvas
40 by 20 inches
Estimate; $30,000 to $40,000
44
Acheff is the two time recipient of the
Prix de West Award from The National
Cowboy Museum and Western Heritage
Center
57. Howard Terpning
b. 1927 CAA, NAWA, OPA
The Cynic
Signed; ‘© Terpning 2002 CA,’ l/l, Verso; ‘All Reproduction rights reserved by the artist Howard Terpning. (Artist’s
Signature). In Artits’s Handwriting; ‘The Cynic’.
Oil on board
12 by 9 inches
Estimate; $70,000 to $90,000
45
58. Ron Riddick
b. 1952 CAA, PAPA
One Last Cup
Signed; ‘R. Riddick CA 2001 ©’, l/r
Oil on canvas
56 by 30 inches
Estimate; $40,000 to $50,000
46
Riddick is the receipient of numerous
awards from the Cowboy Artists of
America & The Prix de West.
59. David Mann
b. 1948
Spirit Brothers
Signed; ‘D. Mann’, l/r
Oil on canvas
30 by 24 inches
Estimate; $9,000 to $12,000
60. Ray Swanson
Little Umatilla
Oil on canvas
36 by 24 inches
Estimate; $12,000 to $16,000
47
61. Paul Kethley
b. 1952
Marks of the Ancestors
Signed; ‘Paul Kethley’, l/r
Oil on linen
30 by 40 inches
Estimate; $8,000 to $9,000
48
62. John Jarvis
b. 1946, CAA
Red Mesa
Signed; ‘John Jarvis 2008’, l/r
Gouache on paper
10 by 18 ½ inches
Estimate; $3,000 to $4,000
b. 1961
Water Break
Signed; ‘DE Kucera © 2011’
Oil on canvas
40 by 60 inches
Estimate; $26,000 to $28,000
David Edward Kucera was born in San Jose, California. At the age of ten, his family moved to Nebraska, and while most of the kids
his age were helping with farm work, he spent most of his time painting and drawing. He enrolled at the Colorado Institute of Art
(now the Art Institute of Colorado). There he gained a reputation by winning illustration contests and earning a Merit Scholarship,
and in June 1991, he graduated with honors, including Best Portfolio.
After graduation, Ed came to a crossroad and decided to go into a career in fine art instead of the commercial field. His work now
adorns the walls of many collectors internationally and is on display in a U.S. Embassy overseas.
Kucera finds people of the Old West to be visually and spiritually fascinating subject matter. Through a colorfully rich palette, clever
composition, and perspective his work comes alive.
Among his recent recognitions is the Award of Excellence received at the Oil Painters of America National Exhibition & Sale in May
2006. In 2007, Ed also won an Award of Excellence for a painting entitled “Her Grandson” at the Oil Painters of America National
Show and Exhibition. He is a Signature Member of the Oil Painters of America.
49
64. Ross Stefan
1934 - 1999
Jenny Running Deer
Signed; ‘Ross Stefan’, l/l
Oil on canvas
30 by 24 inches
Estimate; $4,000 to $6,000
65. Ross Stefan
1934 - 1999
Camino Real
Signed; ‘Ross Stefan’, l/r
Oil on Canvas
28 by 22 inches
Estimate; $3,500 to $5,500
66. Tom Hill
b. 1925 ANA, AWS
Taxco Market
Signed; ‘Tom Hill AWS Mexico’, l/l
Watercolor
22 by 30 inches
Estimate; $2,000 to $2,500
50
67. Cyrus Afsary
b. 1940 NAWA, NWR, OPA
Fruit & Flowers
Signed; ‘Cyrus Afsary’, l/r
Oil on linen
14 by18 inches
Estimate; $5,000 to $7,000
68. Mary Russell
b. 1947 OPA, PSA
Signed; ‘Russell’, l/r
Of Sun and Clay
Oil on canvas
24 by 30 inches
Estimate; $4,000 to $6,000
69. Mark Daily
b. 1944
Still Life with Pitcher & Cup
Signed; ‘Daily’, u/l
Oil on linen
20 by 16 inches
Estimate; $1,800 - $2,400
70. Loran Speck
1943 - 2011
Lime Among Lemons
Signed; ‘L. Speck’, l/r
Oil on masonite panel
10 by 5 inches
Estimate; $1,800 - $2,400
51
71. Gary Ernest Smith
b. 1942
Spring Water (Water of Life)
Signed; ‘Gary E Smith 1984 ©’, l/r
Oil on canvas
Estimate; $4,000 to $7,000
72. Gary Ernest Smith
b. 1942
Sweat of the Brow
Signed; ‘Stamped: Gary E Smith © 4/15’, l/r
Painted bronze
Estimate; $3,000 to $5,000
52
73. Ray Swanson
Chatting After Siesta
Signed; ‘Ray Swanson ©’, l/r
Oil on canvas
24 by 36 inches
Estimate; $10,000 to $14,000
74. Ray Swanson
The Helper
Signed; ‘Ray Swanson © 83’, l/l
Oil on board
10 by 8 inches
Estimate; $1,500 to $2,500
53
75. Mian Situ
b. 1953 OPAM
In Her Secret Garden
Signed; ‘Mian Situ’, l/l
Oil on board
16 by 12 inches
Estimate; $10,000 to $12,000
Recipient of numerous awards from the Masters of the
American West Exhibition.
76. JoAnn Peralta
Juliana
Signed; ‘J. PERALTA’, l/l
Oil on canvas on board
12 by 9 inches
Estimate; $1,400 to $2,400
A participant in the Masters of
the American West Exhibition,
she is married to the Prix de
West Award recipient Morgan
Weistling.
54
77. George Hallmark
b. 1949
Blessings of San Jose
Signed; ‘© Hallmark’, l/r
Oil on canvas
48 by 36 inches
Estimate; $24,000 to $28,000
Located in present day San Antonio Texas and founded in 1720 by Fray Antonio Margil
de Jesus, Mission San Jose became the largest Texas mission. A visitor in 1777 referred to
the structure as the “Queen of the Missions”. The church’s carvings are among its most
notable features and the famous “Rose Window” is considered one of the finest pieces of
Spanish Colonial ornamentation in the whole country. Hallmark’s distinctive depiction of
the architecture and environs of the American Southwest and Northern New Mexico are
found in leading collections around the country. The artist was selected as the 2012 Artist
of Distinction, by the Eitlejorg Museum, Indianapolis.
55
78. G. Harvey
b. 1933
Ride in Central Park
Signed; ‘‘G.Harvey - ©’’, l/l
Oil on board
12 by 9 inches
Estimate; $10,000 to $15,000
79. Clark Hulings
b. 1922 AOA, NAWA, SAI
Onions and Peppers
Signed; ‘Hulings - 1974’, l/r
Oil on canvas
20 by 24 inches
Estimate; $20,000 to $30,000
56
80. G. Harvey
b. 1933
Shadows of Jenny Lake
Signed; ‘G.Harvey © 1982’, l/l
Oil on canvas
28 by 24 inches
Estimate; $30,000 to $40,000
57
81. Elias Rivera
b. 1937
Guatemalan Women
Signed; ‘Rivera’,u/r
Oil on board
Estimate; $4,000 to $6,000
82. Elias Rivera
b. 1937
Grandfather
Signed; ‘Rivera’, l/r
Oil on board
Estimate; $2,000 to $3,000
83. Elias Rivera
b. 1937
Female Nude
Signed; ‘Rivera, u/r
Oil on canvas
Estimate; $3,000 to $4,000
58
84. Elias Rivera
b. 1937
Three Guatamaln Mothers with Children
Signed; ‘Rivera’, u/r
Oil on canvas
30 by 60 inches
Estimate; $18,000 to $24,000
Born in Bronx, NY, of Puerto Rican descent, Rivera began sculpting in clay as a child and studied painting at the Art Students
League, New York from 1953 to 1961. In 1982, encouraged by his artist friend, Albert Handel, Rivera moved to Santa Fe, NM,
where he developed an interest in Native peoples. In time he began traveling throughout Central and South America, including
Peru, Guatemala, and Oaxaca, where he became enamoured of peasantry engaged in everyday activities. Using a telephoto lens and
a practiced ability anonymous, Rivera takes photographs in marketplaces and along city streets. Back in his studio, he composes
his figures into powerful vignettes showcasing individuals or groupings of people. Set against compressed, flattened planes of color,
the figures take on a monumental quality that is articulated by the jewel-like shapes and patterns of their clothing, which seem to
glow from inside the canvas.
Rivera’s paintings are represented in the permanent collections of The Fred Jones Jr. Museum of Art, Norman, OK, The Georgia
Museum of Art, Athens, and The Museum of Fine Arts, Santa Fe.
In 2004 he was the recipient of the Governor’s Award for Excellence, New Mexico. In 2006 Rivera had one person exhibitions at The
Museum of Fine Arts, Santa Fe and the National Hispanic Cultural Center of New Mexico, Albuquerque.
Literature;
Elias Rivera by Edward Lucie-Smith, Hudson Hills Press, NY and Manchester, 2006.
59
85. Kenneth Rodney Bunn
b. 1938 NA, NSS
Running Cheetah
Signed; ‘Bunn 6/7 ©’
Bronze
Estimate; $5,000 to $7,000
Exhibited;
The Cleveland Musueum of Natural History, 1978
86. Kenneth Rodney Bunn
b. 1938 NA, NSS
Sable Antelope
Signed; ‘Bunn, Artist’s Symbole AP/20’, base
Bronze
7 ¾ by 10 by 4 inches
Estimate; $3,000 to $4,000
Exhibited;
The Cleveland Musueum of Natural History, 1978
60
87 Laurence Philip Sisson
b. 1928
Desert Landscape and Clouds
Signed; ‘L. Sisson’, l/l
Oil on panel
32 by 24 inches
Estimate; $2,000 to $4,000
88. Chen Chi
1912 - 2005 AWS NA
Chinese Landscape
Signed; ‘Chinese Characters, Artist’s Stamp, Chen
Chi’, l/l
Watercolor
21 by 27 inches
Estimate; $2,000 to $3,000
89. Rod Goebel
1946 - 1993 NAWA
Mountain Landscape
Signed; ‘Rod Goebel’, l/r
Oil on Canvas
8 by 16 inches
Estimate; $1,200 to $1,800
61
90. Dave Wade
b. 1952
Elk
Signed; ‘Dave Wade,’ l/c
Oil on panel
20 by 30 inches
Estimate; $4,000 to $6,000
62
91. Dave Wade
b. 1952
Mountain Lion
Signed; ‘Dave Wade’, l/c
Oil on panel
12 by 16 inches
Estimate; $1,500 to $2,500
92. Dave Wade
b. 1952
Mule Deer
Signed; ‘Dave Wade’, l/r
Oil on panel
12 by 16 inches
Estimate; $1,500 to $2,500
93. Frank Divita
b. 1949
Breaking Flight
Signed; ‘Frank Divita 13/50 ©’, at base
Bronze
Estimate; $3,000 to $4,000
94. Gerald Balciar
b. 1942 AOA, NAA, NAWA, NSS,
NWR, SAA
Canyon Cubs
Signed; ‘Balciar 8/45 © 1995’, base
Bronze
25 by 11 ¾ by 7 inches
Estimate; $4,000 to $5,500
95. Grant Speed
b. 1930 CAA, NAWA
Callin’ Her Kids
Signed; ‘U G Speed.© 1991. 35/50’,rear base
Bronze
6 ½ by 9 by 2 ¼ inches
Estimate; $900 to $1,200
63
96. Gerald Balciar
b. 1942 AOA, NAA, NAWA, NSS, NWR, SAA
Golden Wings
Signed; ‘G. BALCIAR © 1988 14/35’
Bronze
Estimate: $18,000 to $24,000
64
This Prix de West winner has created numerous animal sculptures for outdoors. The most in-demand image is the eagle.
Larger than life castings have been made for placement in three
different locations in Texas and also in Washington D.C. and
London. The present offering Golden Wings is a reduced version
of the monument.
97. Tucker Smith
b. 1940
Mountain Ride
Signed; ‘Tucker Smith’, l/l
Oil on linen
24 by 30 inches
Estimate; $35,000 to $45,000
Coleman and Smith have both been recipients of the Prix de West
Award from The National Cowboy Museum and Western Heritage
Center.
98. Michael Coleman
b. 1946
Grizzly
Signed; Inscribed side; ‘Michael Coleman 12/30’
Bronze
12 inches
Estimate; $1,500 to $2,500
65
99.
Dan Ostermiller
b. 1956 AAA, NSS, SAA
Biche Au Repose
Signed; ‘© Dan Ostermiller 3/12,’ Foundry Stamp;
FC’, left hind leg
Bronze
Estimate; $2,500 to $3,500
100. Dan Ostermiller
Lost But Not Forgotten
Signed; Inscribed; ‘© Dan Ostermiller 13/20 ‘95’, base
Bronze
11 ¾ by 5 ½ by 12 ¼ inches
Estimate; $2,000 to $3,000
101.
Dan Ostermiller
Flamenco del Celestine
Signed; Inscribed; ‘Dan Ostermiller 2/20’, base
Bronze
20 ½ by 14 ¼ by 4 inches
Estimate; $2,000 to $3,000
66
Chester
Signed; Inscribed; ‘© Dan Ostermiller 14/30 ‘94’,
left hind leg
Bronze
Estimate; $2,000 to $3,000
Chester (study)
Signed; Inscribed; ‘© Dan Ostermiller
‘05 8/20’, low back
Bronze
Estimate; $2,000 to $3,000
104.
Dan Ostermiller
Nine Lives
Signed; Inscribed; “© Dan Ostermiller” 04 4/20’, end base
Bronze
Estimate; $2,500 to $3,500
67
105. “Kim” Douglas Wiggins
b. 1960 SAI
Courtship
Signed; ‘Kim Wiggins’, l/l
Oil on Canvas
24 by 36 inches
Estimate: $5,500 to $6,500
68
106. “Kim” Douglas Wiggins
b. 1960 SAI
A Force of Nature
Signed; ‘Kim Wiggins’, l/l
Oil on Canvas
24 by 30 inches
Estimate: $5,000 to $6,000
107. Walter Gonske
b. 1942 NAWA
Taos Summer
Signed; ‘Gonske’, l/r
Oil on canvas
32 by 28 inches
Estimate; $8,000 to $10,000
108.
Donna Howell-Sickles
b. 1949
Blanket Balance
Signed;
‘© Donna Howell Sickles’ , l/r
Mixed media
50 by 36 inches
Estimate; $3,500 to $6,500
109. Ramon Kelley
b. 1939 AAA, AWS, NAWA,
NWA, OPA, PSA
Christine
Signed; ‘Ramon Kelley’,l/l
Pastel
24 by 17 inches
Estimate; $3,000 to $5,000
110. Ramon Kelley
NWA, OPA, PSA
Bobby
Signed; ‘Ramon Kelley OPA
©”, l/r
Pastel
7 by 6 inches
69
111. Cyrus Afsary
San Juan Capistrano II
Oil on canvas
40 by 30 inches
Estimate; $15,000 to $20,000
112. Forest Moses
b. 1934
The Rio Grande at Pilar # 2
Signed; ‘Moses”, verso
Oil on canvas
48 by 50 inches
Estimate; $5,000 to $7,000
70
113. Curt Walters
b. 1950 AOA, NAWA, OPA
Canyon Landscape
Signed; ‘Curt Walters’, l/c
Oil on canvas
46 by 50 inches
Estimate; $5,000 to $10,000
114. Curt Walters
b. 1950 AOA, NAWA, OPA
New Mexico Quintessence
Signed; ‘Curt Walters’, l/l
Oil on Canvas
40 by 30 inches
Estimate; $6,000 to $9,000
71
115 Karl Thomas
b. 1948
Canyon Overlook
Signed; ‘Karl Thomas’, l/r
Oil on canvas
30 by 48 inches
Estimate; $5,000 to $7,000
72
116. Gordon Brown
b. 1962
Western Landscape
Signed; ‘Gordon Brown’, l/r
Oil on masonite board
24 by 60 inches
Estimate; $4,000 - $6,000
117. Gary Kapp
b. 1942 NWR
Returning Raiders
Signed; ‘Gary Kapp’, l/l
Oil on canvas
24 by 36 inches
Estimate; $6,000 to $7,000
118. Russ Vickers
1923 - 1997
The Beef Ration
Signed; ‘Russ Vickers ©’, l/r
Oil on Panel
4 by 12 inches
Estimate; $1,000 to $1,500
73
119. John Demott
b. 1954
Portrait of a Native American Woman
Signed; ‘Demott 2000 ©’, l/r
Oil on board
65 by 45 inches
Estimate; $15,000 to $30,000
74
120. Xiang Zhang
b. 1954
The Outfit
Signed; ‘Xiang Zhang © 1999’, l/r
Oil on canvas
30 by 40 inches
Estimate; $11,000 to $13,000
With his strong academic background in China (Academy of Drama in Beijing ) and the United States (Tulane University in New
Orleans ), Zhang was well prepared to take on Western subject matter. He resides on his ranch north of Dallas and has gained access
to other ranches throughout the Lone Star State. Zhang is a participant in the Prix de West Exhibition held annually at the National
Cowboy Museum and Western Heritage Center, Oklahoma City.
75
121. Karmel Timmons
b. 1966
Looking for the Next One
Pencil on paper
18 by 21 ¾ inches
Estimate; $6,000 to $9,000
76
122. Terry Kelly Moyers
b. 1953
The Road Not Taken
Signed; ‘Terri Kelly Moyers © 2002’, l/r
Oil on canvas
20 by 24 inches
Estimate; $4,000 to $5,000
123. Nelson Boren
b. 1952
Singing The Blues
Signed; ‘N. Boren’, l/r
Watercolor on paper
24 by 15 inches
Estimate; $2,500 to $2,800
124. Nelson Boren
b. 1952
Chaps
Signed; ‘N. Boren ‘89’, l/l
Watercolor on paper
30 by 22 ½ inches
Estimate; $3,000 to $4,500
125. Nelson Boren
b. 1952
Double Take
Signed; ‘Nelson Boren NB’, l/r
Watercolor on paper
22 by 64 inches
Estimate; $8,000 to $10,000
77
126. Jay Schmidt
b. 1929
The Conference
Signed; ‘Jay Schmidt’, l/l
Oil on board
36 by 48 inches
Estimate; $5,000 to $7,000
78
Housekeeper
Signed; Inscribed; ‘Dan Ostermiller 12/90 ‘96’
Bronze
10 by 6 by 7 inches
Estimate; $2,000 to $2,500
128.
Dan Ostermiller
First Street Prince
Signed; Inscribed; “© Dan Ostermiller 3/20,
Foundry stamp, 2003’, side base
Bronze
6 ½ by 6 ½ by 10 ½ inches
Estimate; $1,000 to $1,500
129. Glenna Goodacre
b. 1939 NA, NAWA, NSS
Fantasy Maquette
Signed; ‘G. Goodacre © 6/75 1995’, base
Bronze
130. Joe Anna Arnett
b. 1950
Guest Artist AOA, Prix de West 1997
Tulips
Signed; ‘j.Arnett’, l/r
Oil on panel
8 ¼ by 6 ½ inches
Estimate; $1,000 to $1,500
131. Ramon Kelley
NWA, OPA, PSA
Michelle
Signed; ‘© Ramon K PSA’, l/r
Pastel on paper
12 by 16 inches
Estimate; $1,500 to $2,500
79
132. Craig Bone
b. 1955
Leopard’s Den
Signed; ‘Craig Bone’, l/r
Oil on Canvas
53 by 66 inches
Estimate; $15,000 to $25,000
Craig Bone is one of the better known artists painting African wildlife. Born in Salisbury, Rhodesia, he studied art at the Natal University in South Africa. In addition to gallery representation, he exhibits annually at the Dallas Safari Club and Safari Club International conventions. He was the recipient of the Safari Medal of Valor and the Artist of the Year Award from Safari Club International.
80
133. Lindsay Scott
b. 1955 SAA
Etosha Water Hole
Signed; ‘Lindsay B. Scott’, l/l
Oil on Canvas
46 by 70 inches
Estimate; $25,000 to $40,000
Lindsay Scott was born in South Africa. She is highly regarded for her precise paintings of wildlife. She received the Award of Excellence from the Society of Animal Artists in 1992. The National Museum of Wildlife Art has acquired two of her major paintings for
its permanent collection. Her work is also in the Yawkey Woodson Art Museum and the San Bernadio County Museum. Lindsay’s art
has been featured on the cover of many publication including Southwest Art, African Sports Magazine, Wildlife Art, Sporting Classic
and Gray’s Sporting Journal. Scott participated in the Masters of the American West Exhibition, Autry National Center, Los Angeles.
81
134. Robert Bateman
b. 1930
Cougar at Kikomun
Signed; ‘Robert Bateman 2007 ©’, l/r
Oil on panel
12 by 16 inches
Estimate; $15,000 to $19,000
82
135. Gary Swanson
b. 1941
Better Find Cover
Signed; ‘Gary Robert Swanson © ‘01’, l/r
Oil on canvas
30 by 42 inches
Estimate; $7,000 to $9,000
136. Karl Thomas
b. 1948
Grand Canyon Morning
Signed; ‘Karl Thomas’, l/r
Oil on canvas
36 by 54 inches
Estimate; $6,000 to $8,000
137. Michael Stack
b. 1947 Master AOA
Desert Spring Clouds
Signed; ‘Michael Stack’, l/r
Oil on canvas
8 by 9 inches
Estimate; $1,500 to $2,500
83
138. Roy Andersen
b. 1930 CAA, NAWA, OPA
Bringing in the Horse Herd
Signed; ‘Roy Andersen 1981 ©’, l/l
Oil on canvas
24 by 36 inches
Estimate; $4,000 to $6,000
139. Russ Vickers
1923 - 1997
Gathering for the Roundup
Signed; ‘Russ Vickers ©’, l/r
Oil on panel
4 by 12 inches
Estimate; $1,000 to $1,500
140. Leonard H. Reedy
1899 - 1956
Cheyenne Burning Crow Buffalo Range
Signed; ‘Leonard H. Reedy’, l/r
Watercolor on paper
84
141. Leonard H. Reedy
1899 - 1956
US Calvary Pursuing Cheyenne
Signed; ‘LEONARD H. REEDY’, l/r
Watercolor on paper
142. Timothy Cox
b. 1957
Saddling in the Corral
Signed; ‘A.T.Cox ‘80 ©’, l/l
Oil on Board
26 by 38 inches
Estimate; $9,000 to $12,000
143. Olaf Wieghorst
1899 - 1988
Passing Travellers
Signed; “Olaf Wieghorst”, l/l
Graphite on paper
8 by 12 inches
144. Bob Peak
1927 - 1992
Vaquero
Signed; ‘Peak”, l/r
Charcoal on paper
21 by 30 inches
Estimate; $1,500 to $2,000
85
145. Jay Schmidt
b. 1929
Gilded Maiden
Signed; ‘Schmidt © 1982’, l/r
Oil on panel
18 by 24 inches
Estimate; $2,000 to $3,000
146. Apache
Yavapai Olla
c. 1900
Basketry
Estimate; $2,500 to $3,500
147. Al Qoyawayma
(20th Century)
Path of Life
Signed; ‘Qoyawayma 1985 90-4’, bottom
Clay
Estimate; $6,500 to $7,500
148. Paqua (Old Frogwoman) Naha
1890-1955
Hopi Red and Black on White Bowl
Signed; ‘[hallmark of frog]’, base
Clay
4 by 12 ½ by 12 ½ inches
Estimate; $2,500 to $3,500
Paqua Naha of The Hopi / Tewa, whose first name means “frog” in Spanish, is more commonly known as Old Frog Woman. The
matriarch of the famed Naha/Navasie family of potters, many of whom have adopted some variation of her frog hallmark , Naha
was prolific from 1910-1955. Known for her challenging pottery shapes – particularly her low seed jars, Naha worked largely with
yellowware pottery until late in life when she was credited with developing the white-slipped pottery her family continues making
to this day.
86
149. Kim Mackey
b. 1953 OPA
New Mexico Ponies
Signed; ‘Mackey © O.P.A. A.A.I’, l/r
Oil on canvas
30 by 40 inches
Estimate; $9,000 to $11,000
150. Russ Vickers
1923 - 1997
Chase in the High Country
Signed; ‘Russ Vickers’, l/r
Oil on panel
4 by 12 inches
Estimate; $1,000 to $1,500
87
151. Glenn Dean
b. 1976
Overture
Signed; ‘G. Dean’, l/r
Oil on canvas
40 by 50 inches
Estimate; $18,000 to $22,000
Glenn Dean emphasizes the importance of seeing the color of light combined with composition and design, while carefully observing simple and basic interpretation of specific location…an admirer of Maynard Dixon and Edgar Payne, he believes that their
paintings revealed the spiritual element of the landscape. He has appeared in numerous art publications including Western Art and
Architecture, Southwest Art, Art of the West, and American Artist. He is also the recipient of the Grand Prize and the Artists’ Choice
Award at the Tucson / Sonoran Desert Museum Plain Air Invitational.
88
152 Bill Schenck
b. 1947
Looking for Sunsets
Signed; ‘SCHENCK ‘11’, l/r
Oil on canvas
36 by 30 inches
Estimate; $12,000 to $14,000
Bill Schenck is a contemporary American painter who incorporates techniques from Photo-Realism with a Pop Art sensibility to
both exalt and poke fun at images of the West. Like the heroes he idolized in B-Westerns, Schenck might well be called the “Good
Badman”.
Born in the Midwest in 1947, a quintessential baby –boomer, Bill Schenck attended the Columbus College of Art and Design from
1965-1967. He transferred to the Kansas City Art Institute in Missouri, where he received a Bachelor of Fine Arts degree in 1969.
One week after graduation, he moved to the SoHo district of New York City, where many first generation Photo-Realists, Color
Field, and Minimal painters were gaining national and international acclaim.
In the mid-1970’s, a growing fascination with simple lifestyle emulated in his paintings encouraged Schenck to move to the West
splitting his time between Arizona and Wyoming. Since 1971, Schenck has had 72 solo shows , 77 group shows and is included
in 31 museum collections worldwide. His work is found in major collections throughout the world and has been the subject of
four museum retrospectives. In 2011 his works were exhibited at the Denver and Phoenix Art Museums.
Bill Schenck moved to Santa Fe, New Mexico in 1997 where undoubtedly new influences and inspirations are already beginning
to emerge. What has remained constant throughout his career is his individuality in dealing with the subject matter of the West
and his unabashed borrowing of styles, techniques and color sense in a truly irreverent manner.
89
153. Roy Swenson
b. 1937
South Rim
Signed; ‘R. Swanson’, l/l
Oil on canvas
48 by 60 inches
Estimate; $6,000 to $7,000
154. James Swinnerton
1875 - 1974
Arizona Vista
Signed; ‘Swinerton’, l/r
Oil on linen
22 by 30 inches
Estimate; $4,000 to $6,000
90
155. Michael Stack
b. 1947 Master AOA
Hot and Cold in Yellowstone
Signed; ‘M. Stack’, l/l
Oil on canvas
30 by 40 inches
Estimate; $18,000 to $20,000
Stack is an acknowledged master of radiant landscapes dominated by dramatically highlighted clouds. He finds his subjects throughout the American Southwest, adding to their luminosity by applying oil pigments in transparent glazes. Stack has exhibited in the
Prix de West.
156. Michael Stack
b. 1947 Master AOA
Red Sky over Salinas Pueblo
Signed; ‘Michael Stack’, l/l
Oil on board
16 by 20 inches
Estimate; $3,500 to $4,000
91
157. Cyrus Afsary
Golden Autumn
Oil on Linen
20 by 16 inches
Estimate; $12,000 to $14,000
158. Robert Peters
b. 1960
Sonora Desert
Signed; ‘Robert Peters’, l/l
Oil on canvas
28 by 22 inches
Estimate; $6,000 to $9,000
92
159. Robert Wood
1889 - 1979
Western Mountain Landscape
Signed; ‘Robert Wood’, l/r
Oil on Canvas
20 by 40 inches
Estimate; $3,000 to $5,000
160. Robert Wood
1889 - 1979
Landscape
Signed; ‘Robt Wood’, l/r
Oil on canvas.
25 by 30 inches
Estimate; $3,000 to $4,000
93
161. John Paul Strain
b. 1955
Winter Hunting Sky
Signed; ‘John Paul Strain ©’, l/r
Gouache on Paper
14 by 20 inches
Estimate; $2,500 - $3,500
162. Grant Speed
b. 1930 CAA, NAWA
Scouting the Enemy
Signed: Back of bust; ‘U G Speed © 1996 CA 25/30’ Back of
vignette; ‘U G Speed © 1996 CA’
Bronze
14 1/2 by 9 by 11 inches (Height with base 17 1/4 inches)
Estimate; $4,000 - $6,000
94
163. John Jarvis
b. 1946 CAA
Fall in the Bosque
Signed; ‘John Jarvis 2008’, l/r
Gouache on paper
21 by 30 inches
Estimate; $9,000 to $11,000
Jarvis became a member of the Cowboy Artists of America in 2011
164. Karmel Timmons
b. 1966
Mustang Winter
Pencil on paper
13 ½ by 16 inches
Estimate; $2,500 to $3,000
95
165. Paul Kethley
b. 1952
Stories of Old
Signed; ‘Paul Kethley’, l/l
Oil on linen
24 by 30 inches
Estimate; $5,000 to $6,000
96
b. 1961
As Dawn Breaks
Signed; ‘DE Kucera © 2005’, l/r
Oil on linen
30 by 40 inches
Estimate; $12,000 to $14,000
167. William Harry Ahrendt
b. 1933
Navajo Spring
Signed; ‘Bill Ahrendt ©’, l/r
Oil on canvas
32 by 48 inches
Estimate; $10,000 to $12,000
168. Russ Vickers
1923-1997
The Canyon Patrol (You Never See Them Coming)
Signed; ‘Vickers’,l/r
Oil on canvas
24 by 36 inches
Estimate; $3,000 to $4,500
97
169. Michael Stack
b. 1947 Master AOA
Lifting Clouds in the San Juans
Signed; ‘Michael Stack’, l/r
Oil on canvas
24 by 36 inches
Estimate; $10,000 to $12,000
98
170. Wayne E. Wolfe
b. 1945 NAWA
Sunrise in Banff
Signed; ‘Wayne Wolfe’, l/r
Oil on board
10 by 15 inches
Estimate; $2,500 to $3,500
171. G. Harvey
b. 1933
Among the Silence of Canyon Echoes
Signed; ‘G. Harvey © 1980’, l/r
Oil on canvas
48 by 40 inches
Estimate; $90,000 to $120,000
99
172. Olaf Wieghorst
1899 - 1988
Horse Corral
Signed; ‘O Wieghorst (artist’s cipher)’, l/r
Oil on linen
20 by 24 inches
Estimate; $15,000 to $20,000
100
173.
Melvin Warren
1920 - 1995 CAA
Stage Coach
Signed; ‘Melvin Warren’, l/r
Oil on canvas
19 by 42 inches
Estimate; $5,000 to $7,000
174. Ray Swanson
Bustin’ For Beans, Biskets and Beef
Signed; ‘Ray Swanson CA ©’, l/r
Oil on linen
30 by 44 inches
Estimate; $25,000 to $35,000
101
175. Jay Dusard
b. 1937
Julie Hagen
Signed; ‘Jay Dusard 1981,’ l/r, ‘23/32”, l/l
Photograph
48 by 38 inches
Estimate; $4,500 to $5,500
Jay Dusard is in the top rank of photography and print
making. He has earned a Guggenheim Fellowship and has
been nominated for a Pulitzer Prize and the Kodak World
Image Award for Fine Art Photography. With works exhibited throughout the world, he is best known for his black
and white images of working cowboys and cowgirls. The
present offerings are from a set of eighteen monumental
digital pigment prints made from 8 by 10 inches negatives
and produced under his supervision in association with
Cattletrack Press, Scottsdale, Arizona.
176. Jay Dusard
b. 1937
Jim and Jason
Signed; ‘Jay Dusard 1981,’ l/r, ‘24/32”, l/l
Photograph
48 by 38 inches
Estimate; $4,500 to $5,500
102
177. Bill Anton
b. 1957
Out of Canyon Shadows
Signed; ‘Bill Anton’, l/l
36 by 36 inches
Estimate; $25,000 to $30,000
In an essay pertaining to the artist reflected upon his fascination with the cowboy lifestyle;
“The cowboy is connected with the land, like a Ponderosa Pine. He is unassuming, but can do anything. He is amazing. A painting all starts
with my own reverence and excitement with that person on horseback.”
Anton participates annually in The Prix de West Invitational at the National Cowboy Artist Museum & Western Heritage Center,
Oklahoma City, OK and the Masters of the American West Exhibition at the Autry National Center, Los Angeles.
103
178. Steven Lang
b. 1960 OPAM
On Geronimo’s Trail
Signed; ‘© LANG OPAM’, l/l
Oil on canvas
30 by 24 inches
Estimate; $7,000 to $7,500
“Only an Apache can catch an Apache” became a popular saying during the 1880’s in the Southwest as the US Military began using
Apache scouts to harass hostiles. General George Crook took full advantage of Apache know-how in tracking renegade Apache.
Geronimo, a shamanistic warrior of the Bedonkohe band of Mogollon/Chiricahua Apache had become the symbol of Native American resistance in the Southwest. Geronimo’s small band of warriors resisted the US Militaries’ attempt to reign him in and was relentlessly pursued by the Army and the Apache scouts.
In March of 1886, Geronimo was brought in to parley a surrender with General Crook. The War Department subsequently reneged
on the parley terms and Geronimo escaped again. General Nelson Miles took over and with a force of 5000 men and hundreds
of scouts went after Geronimo with a vengeance, finally catching Geronimo and his group of 20 warriors on September 4, 1886.
Geronimo had said; “Once I moved like the wind. Now I surrender to you – and that is all.” The Indian Wars were over.
Steven Lang OPAM
104
179. Gary Kapp
b. 1942 NWR
Evening Beneath the Sacred Mountain
Signed; ‘Gary Kapp’, l/r
Oil on canvas
30 by 40 inches
Estimate; $5,000 to $7,000
180. Kim Mackey
b. 1953 OPA
Sisters
Signed; ‘Mackey © O.P.A.’, l/r
Oil on linen
20 by 24 inches
Estimate; $3,200 to $3,700
105
181. Greg Beecham
b. 1954
Peace I Leave with You
Signed; ‘G BEECHAM © 10’, l/l
Oil on board
12 by 9 inches
Estimate; $4,000 to $5,000
182. John Coleman
b. 1949 CAA
The Blessing
Signed; ‘© John Coleman The Blessing
2005 CA 24/50’, front
Bronze
10 ¼ by 9 ½ by 5 ¾ inches
Estimate; $2,500 to $3,000
106
183. Jim Carson
b.1942
War Ponies Grazing
Signed; ‘© Carson 1996’, l/r
Oil on canvas
28 by 40 inches
Estimate; $5,000 to $9,000
184. Harley Brown
b. 1939 CAA, NAWA, NWR, OPA
Indian Man with Turquoise Necklace Portrait
Signed; ‘Harley Brown”, l/r
Pastel on paper
14 by 11 inches
Estimate; $2,000 to $2,500
107
The End of the Trail, along with Remington’s The Bronco Buster and Dallin’s Appeal to the Great Spirit, is one of the most identifiable
images in Western American sculpture. Patricia Broder, in her classic survey Bronzes of the American West states,
“Probably the most famous sculpture of the American West is The End of the Trail.”
More than any other artwork, The End of the Trail most accurately depicts the plight of the Native American. The Artist began developing the work of 1894, inspired by monumental works he saw at the World’s Columbus Exposition in Chicago in 1893; he
was seventeen years old at the time. In the years that followed , Fraser was an assistant to Saint-Gaudens, studying in Europe, and
eventually becoming a major American sculptor.
Fraser continued to develop The End of Trail and in 1915, it was exhibited at the Pan-Pacific Exposition, San Francisco on the
monumental scale of an eighteen foot original plaster model. The original sculpture is now permanently displayed at the National
Cowboy Hall of Fame, Oklahoma City, OK.
Following the Pan-Pacific Exposition, and throughout the rest of his career, Fraser had various sizes of models cast by several different foundries including Gorham, Roman, and Kunst.
References & Literature;
Patricia Broder, Bronzes of the American West. Harry N. Abrams, Inc. New York 1974.
Altermann Galleries appreciates the assistance of Domenic Iacono, Curator, Syracuse University Art Collections. The entire contents
of the Fraser Studio, including archival material, were bequeathed to Syracuse University.
Dean Krakel, The End of the Trail; The Odyssey of a Statue, University of Oklahoma Press, Norman Oklahoma, 1973
Albert Ten Eyck Gardner, American Sculpture: A Catalogue of the Collection of The Metropolitan Museum of Art. New York: Metropolitan
Museum of Art; Greenwich, Conn.: Distributed by New York Graphic Society. 1965.
Provenance;
Livingston Biddle Jr., Chairman of The National Endowment for the Arts 1977-81
Cordellia Francis Biddell
Coueur D’ Alene Art Auction Reno July 26, 2008
Alterman Galleries and Auctioneers, Santa Fe
Present owner
108
185. James Earle Fraser
1876 - 1953 NA, NIAL, NSS
The End of the Trail
Signed; Inscribed; ‘Fraser © 1918’, front base. Stamped; ‘Roman Bronze Works Inc, NY’, base. Incised; ‘RB 11,’ underside.
Bronze
Estimate; $450,000 to $550,000
109
186. (pages 110 & 111)
Frederic Remington
(1861-1909 ANA, NIAL)
A Bunch of Bucksins
Eight Color Lithographs
20 by 15 inches.
Published 1901 by R.H. Russell.
Each Signed in plate lower right.
Also, original portfolio cover, title page, introductory note, written by Owen Wister.
Estimate; $40,000 to $60,000
In 1901 R.H. Russell published a dramatic portfolio of prints from eight vivid pastels that were included in Remington’s first oneman gallery exhibition in December that same year. This portfolio, complete with text and an introduction by Owen Webster, featured four Indian subject and four cowboy & military subjects and became collectively known as a Bunch of Buckskins. Today this
Bucksin set is arguably the most highly prized of Remington’s prints among collectors.
The set was acquired by the present owner from Remington authority and legendary art dealer Rudolph Wunderlich. The set was
framed under the supervision of Wunderlich.
Folio Cover, Introduction Page,
& Title Page
A Cheyenne Buck
Signed ‘Frederic Remington 1900’, l/r in plate
110
An Arizona Cowboy
A Sioux Chief
Signed ‘Frederic Remington’, l/r in plate
Old Ramon
A Trooper of the Plains
A Trapper
An Army Packer
An Indian Scout
111
Remington’s first trip out west was in 1881. The violent motion and imminent danger depicted in The Rattlesnake would have been
an incident that he would have observed since it was a common encounter between horse, man, and reptile. The sculpture was created and cast in 1905. Eleven castings were eventually made. The artist was unsatisfied with this sculpture so, in 1908 he created a
second, larger version that he considered superior to the first version. The numbering of the second version commenced at twelve.
The subject was to become his second most popular sculpture after The Bronco Buster. Approximately one hundred castings were
made before the models were destroyed.
Provenance;
J.N. Bartfield Galleries, New York NY.
Altermann Galleries & Auctioneers
Present Owner
Literature;
112
1861 - 1909 ANA, NIAL
Rattlesnake
Signed; Inscribed; ‘Copyright by Frederic Remington’, Back base; Incised; ‘Roman Bronze Works, N-Y-’, Incised underside; ‘No. 48’
Bronze
23 ½ by 12 by 19 ½ inches
Estimate; $150,000 to $175,000
The sculpture has been placed on a wooden base, made especially for the sculpture by the present owner. The base will accompany the lot.
113
The Scalp (a.k.a The Triumph), modeled in 1898, was the third sculpture by Remington and first with an Indian subject matter. Many
other sculptors had already done the Indian as a romanticized figure. Remington’s interpretation presented a more “real” Indian
who has taken the scalp of his foe and emits a triumphant howl. Remington Scholar Brian Dippie records the positive review of the
contemporary critic, Charles H. Caffin, who praises The Scalp as Remington most technically accomplished bronze:
“The composition is built up with a true feeling for what is big and impressive. The line made by the horse’s foreleg upon the ground and the
man’s arm is an axis of determined energy, around which the rest of the parts are distributed with an excellent sense of balance. There is also
a fine crescendo of energy. If you trace it upwards you will find no anti-climax; the supreme point, in every sense, is the clinched (sic) fist.”
Only eleven sand castings were completed by Henry Bonard Bronze Co. before Remington changed his allegiance to Roman Bronze
Works, where only an additional six lifetime castings were made. The present offering is number 6 of the Bonnard castings. How
the subject came to be referred to exclusively as The Scalp is uncertain; however, it was after the sculpture was being cast at Roman
Bronze Works. The subject matter is derived from Remington’s pen and ink illustration created for The Oregon Trail, published in
1892. The illustration was entitled Chief of the Sioux – Proud and Defiant.
Literature;
114
1861 - 1909 ANA, NIAL
Signed; ‘The Scalp’, Inscribed on base; ‘Frederic Remington’, Inscribed rear base; ‘Copyrighted by Frederic Remington 1898’
Stamped back base; ‘THE HENRY BONNARD BRONZE CO. FOUNDERS N.Y. 1899’, Stamped underside; ‘6’.
Bronze
Estimate; $150,000 to $175,000
This sculpture has been placed on a wooden base, made especially for the sculpture by the present owner. The base will accompany the lot.
115
1861 - 1909 ANA, NIAL
The White Goat At Home
(AKA Mountain Goat on a Rocky Ledge
Rocky Mountain Goat)
Signed; ‘Remington’, l/l
Verso; ‘Rocky Mountain Goat, Roosevelt Book Frederic
Remington’
Oil on artist’s board
18 ½ by 13 inches
Estimate; $40,000 to $50,000
116
Literature:
Theodore Roosevelt, “The Game of the High Peaks. The White
Goat”
Ranch Life and the Hunting Trail, 1868 illustrated p. 184.
Harold McCracken, Frederic Remington; Artists of Old West
Philadelphia, 1047 p 152. (as The White Goat at Home)
Peter Hassrick and Melissa Webster,
Frederic Remington, A Catalogue Raisonne. Vol 1. Cody Wyoming.
1996. No. 249
1861 - 1909 ANA, NIAL
The Bronco Buster
Signed; Inscribed; ‘Copyright by Frederic Remington” (front of bronze base), Stamped: ‘ROMAN BRONZE WORKS NY’
(rear of bronze base), Stamped; ‘No. 132’ (underside of bronze base)
Bronze
Estimate; $75,000 to $125,000
Following Remington’s death in 1909, his wife Eva Remington was authorized by the artist’s will to produce additional castings
during her lifetime. Eva Remington died in 1918. According to Roman Bronze Works ledger, the present offering was cast in 1913.
Provenance;
Jose Iturbi, Los Angeles,
Bonhams and Butterfields, June 2, 2008
Present Owner
117
191. Tom Ryan
b. 1922 CAA, NAWA
Little Joe Wrangler
Signed; ‘Tom Ryan © 80’, l/r
Pencil on board
38 ¾ by 29 ½ inches
Estimate; $15,000 to $20,000
On three occasions, Ryan received the gold
medal for drawing at the Cowboy Artists of
America’s Annual Exhibitions.
192. William Moyers
b. 1916 CAA
Loser Buys the Drinks
Signed; Inscribed Base; ‘© 1971 Wm. Moyers 26/30’,
Stamped; (Foundry Stamp) A & S USA’, at base
Bronze
Estimate; $1,500 to $2,500
118
193.. Ray Swanson
Movin’ Through Dry Country
Signed;‘© Ray Swanson CA’ l/r (Also titled Headin’ through Dry Country). Verso; “Ray Swanson CA ‘00”’.
Oil on canvas
36 by 48 inches
Estimate; $50,000 to $60,000
Swanson’s own background growing up on a farm in South Dakota colors his choice of subject matter. Work – hands on grueling,
yet rewarding – is a theme that repeatedly appears in his paintings.
Swanson was voted Arizona Artist of the Year in 1979, and was inducted into the Cowboy Artists of America in 1986. He is a member of the Northwest Rendezvous Group and has exhibited in the Prix de West Exhibition and Sale at the National Cowboy and
Western Heritage Center. While a member of the Cowboy Artists of America, he received numerous awards including Best of Show.
119
194. George Phippen
1916 - 1966 CAA
Signed; ‘Geo. Phippen 58’, l/l
Moonlit Ride
Oil on canvas board
24 by 30 inches
Estimate; $18,000 to $24,000
120
195. John Hampton
1918 - 2000
Pardners
Signed; ‘John Hampton © NS’, l/l
Oil on Canvas
Estimate; $12,000 - $14,000
196. John Hampton
1918 - 2000
Born Free
Signed; ‘John Hampton, 1970 CA’
Oil on canvas
26 by 40 inches
Estimate; $6,000 - $9,000
121
In mid-November of 1805 the members of the Lewis and Clark expedition felt an overwhelming joy. After almost three years of
super human effort during which they had discovered Indian tribes, rivers, and the Rocky Mountains they had finally reached the
shores of the Pacific Ocean.
Lewis had heard through Indian accounts that great sailing vessels were sometimes seen out at sea. Lewis had hoped that he would
find white traders on the Pacific coast as-well-as access to a sailing vessel which could bear his records of discoveries and possibly
all his men back to the East Coast of the United States and ultimately to the President. In anticipation of fulfilling these hopes Lewis
carried a letter of credit signed by President Jefferson prepared in advance for the purpose. Lewis was highly aware of the many
life threatening dangers awaiting his expedition if a return journey on foot was unavoidable and to lose the records of his precious
findings to hostile Indians, freezing storms or disease during a second and this time eastward crossing of the continent would bring
all their valiant efforts to nought.
Lewis explored the coast at Cape Disappointment for miles but no trading post, white men nor ships were found. However, on
that day Lewis and Clark along with some of the men created an unusual document which historians recognize as having possibly
contributed to The United States’ claim to the north west. They carved their names and a date deep into a tree which announced
their presence. The carving states: “By Land from the U. States in 1804 & 1805 (signed) Meriwether Lewis and William Clark” The
carving is referred to by historians as “the magnificent line”
The painting, Cape Disappointment, depicts Lewis at the Cape later in the day that their signatures were carved on the tree. Lewis,
Clark and some of their men, along with Sacajawea (shown with Pomp, Sacajawea’s baby) are trading with Chinook Indians for the
pelt of a sea otter which was in the possession of the Chinook chief. The pelt specimen was intended to join the many examples of
animal skins never before seen by scientists back in the States and lengthen Lewis’ long list of discoveries.
Both Clark and Lewis tried to strike a bargain for a trade, each offering different articles. The Chinook chief, however, would settle
for no other item than the belt of blue beads worn by Sacajawea. The incident is recorded in Lewis’ journals. “no” signaled the chief
to other offers. Only the blue beads would satisfy the Chief and accomplish the trade. Both Lewis and Clark looked at Sacajawea
questioningly. Sacajawea was willing to part with her beautiful blue beaded belt only if she could be assured that she would receive
something worthy and desirable in exchange. One of the Captains fetched a coat of blue cloth which he offered to Sacajawea. She
accepted and the trade of the chief’s sea otter pelt for the belt of blue beads was successfully made.
William Harry Ahrendt
122
197. William Harry Ahrendt
b. 1933
Lewis and Clark at Cape Disappointment
Signed; ‘(artist’s cipher) William Ahrendt ©’, l/r
Oil on linen
40 by 60 inches
Estimate; $45,000 to $55,000
In addition to studies at the Cleveland Institute of Fine Art and Arizona State University, Ahrendt traveled throughout Europe for
eleven years, spending the majority of his time in Germany, where he attended the Munich Academy of Creative Art, focusing on
renaissance and baroque techniques. Upon his return to the United States, he became chairperson of the Glendale Community
College, where he retired in 1979. Ahrendt has been contributing editor for Arizona Highways, where his art and accompanying
articles have appeared in over forty issues. His historical paintings have been well received in the auction arena; in Nov.14, 2010,
at Altermann’s, his painting, From the Missouri to the Big Horns, The Fort Laramie Treaty of 1868, brought $102,000.
123
198. Nicholas Coleman
b. 1978
At Peace
Signed; ‘Nicholas Coleman’, l/l
Oil on canvas
24 by 30 inches
Estimate; $6,000 to $8,000
199. James Boren
1921 - 1990 AOA, CAA, NAWA
Navajo Adobes
Signed; ‘James Boren 1969 CA’, l/r
Watercolor on paper
21 1/2 by 27 1/2 inches
Estimate; $3,500 to $4,500
While exhibiting with the Cowboy Artists of America, Boren received numerous awards including seventeen medals in the water
soluble categories.
124
200. Tammy Garcia
b. 1969
Crescendo
Signed; ‘Tammy Garcia 1/18’, l/r
Bronze, Three Panels
Each Panel; 47 ¾ by 17 ¾ by 1 ¾ inches (Overall width 52 1/2”)
Estimate; $30,000 to $40,000
Tammy Garcia is a member of the well known Tafoya family of potters from Santa Clara Pueblo. She is one of the contemporary
potters and sculptors changing craft to fine art. She expanded from pottery into bronze, moving the traditional Santa Clara style
from a band of designs around the middle of the pot to covering entire surfaces with elaborately carved images. She was invited to
participate in the 2012 Masters of the American West Exhibition at The Autry National Center in Los Angeles.
125
201. Barry Eisenach
b. 1952
Moon Song
Signed; ‘© Eisenach 4/7’, back
Bronze
Estimate; $30,000 to $40.000
Eisenach has participated in the sculpture in the Park Exhibition in Loveland, Colorado. In 2003, he was elected to full membership in the Northwest Rendezvous Group, His work was awarded Best of Show at the Cheyenne Frontier Days Old West Museum
Western Spirit Art Show in Cheyenne, Wyoming.
126
202. Sherry Blanchard Stuart
b. 1941
Challenging The Warning
Signed; ‘S. Blanchard Stuart’, l/r
Oil on linen
28 by 32 inches
Estimate; $8,000 to $9,000
The artist’s work is in the permanent collections of the Tucson Museum,
the Desert Caballeros Western Museum in Wickenburg, Arizona, The
Phippen Museum in Prescott, Arizona and the Great Plains Museum in
Licoln, Nebraska. She is a member of the American Plains Artists, Plein
Air Artists, and Oil Painters of America
203. Bill Nebeker
b. 1942 CAA
The Renegade
Signed; ‘© Bill Nebeker CA 1985 29/30’, back base
Bronze
8 by 6 ½ by 3 inches (With base 10 inches high)
Estimate; $1,000 to $2,000
127
204. Fred Fellows
b. 1934 CAA
An Honest Day’s Work
Signed; ‘Fellows CA 31/50’,base
Bronze
(Wooden base; 35 1/2 by 30 by 30 inches)
Overall Height 71 inches
Estimate; $10,000 to $15,000
An Honest Day’s Work was the recipient of the Gold Medal Award at The Cowboy Artists of America Awards at The Phoenix Museum
in 1995.
Plaque on Sculpture Reads;
In the vast reaches of the American West, the work ethic still exists. The man who makes his living on horses that are bound to buck, earns his
pay. A good hand is loyal to his outfit, meets a challenge, and takes pride in an honest day’s work.
128
205. Howard Post
b. 1948
The Conversation
Signed; ‘HE Post ©’, l/r
Oil on canvas
24 by 30 inches
Estimate; $6,000 to $9,000
206. Herb Mignery
b. 1937 CAA
The Sage
Signed; ‘Mingery ‘00 CA 2/9,’ rear base
Bronze
32 by 16 by 15 inches (35” high with base)
Estimate; $7,000 to $9,000
129
207. Eric Sloane
1905 - 1985 NA
Taos Churches
Signed; ‘Eric Sloane, NA’ , l/r
Oil on panel
24 by 20 inches
Estimate; $7,000 to $9,000
Eric Sloane is one of America’s most recognized artists. Millions have seen his monumental, cloud filled mural at the
Smithsonian Air and Space Museum in Washington D.C. Even though his subject matter was drawn from journeys
throughout America, his main focus was rural Connecticut and New Mexico, where he had residences. Sloane is credited with being the foremost authority on early American rural Architecture and tools. The Sloane Museum in Kent,
Connecticut contains his collection of early American tools and an exact replica of his studio. Sloane spent his later life
preserving the architecture and lives of the European settlers and Native Americans.
130
208. Eric Sloane
1905 - 1985 NA
Coming in from the Fields
Signed; ‘Sloane’, l/r
Oil on panel
24 by 30 inches
Estimate; $10,000 to $12,000
209. Eric Sloane
1905 - 1985 NA
Taos Canyon Showers
Signed; ‘Eric Sloane’, l/r
Oil on panel
Estimate; $8,000 to $10.000
131
210. Fremont Ellis
1897 - 1985 Los Cincos Pintores
Cathedral
Signed; ‘Freemont Ellis’, l/r
Oil on canvas
24 by 20 inches
Estimate; $8,000 to $10,000
212. Conrad Schwiering
1916 - 1986 NAWA
Tetons
Signed; ‘Schwering ©’, l/r
Oil on panel
12 by 18 inches
Estimate; $3,000 to $5,000
132
211. Henry C. Balink
1882 - 1963
New Mexico Landscape - Summer
Signed; ‘H Balink’, l/r
Oil on canvas
10 by 12 inches
Estimate; $4,000 to $8,000
213. Carl Redin
1892 - 1944
Landscape with Yellow Aspens
Signed; ‘Carl Redin’, l/r
18 by 14 inches
Estimate; $5,000 to $9,000
The present offering is typical of the landscapes that Swedish-born artist Carl Redin created in the 1920’s and ‘30s
while residing in New Mexico and travelling throughout the
Southwest. By the late 1930’s when he moved on to California, he was receiving national recognition for his masterful
works influenced by the rnist movement, especially those
depicting the autumn scenes and of lighting effects on mesas
and mountains.
214. Sheldon Parsons
1866 - 1943
Fall New Mexico Landscape
Signed; ‘Sheldon Parsons’, l/l
Oil on canvas
36 by 36 inches
Estimate; $12,000 to $17,000
A student of William Merritt
Chase, Parsons came to Santa
Fe in 1913. Five years later,
he became the first director of
the Museum of New Mexico.
133
215. Gene Kloss
1903 - 1996 NA
Christmas Eve - Taos Pueblo, 1946
Signed; ‘(in pencil in margin), l/r; Christmas Eve - Taos Pueblo
Ed 75, l/l; Gene Kloss IMP’, l/l
Drypoint
11 7/8 by 14 7/8 inches
Estimate; $2,000 to $3,000
217. Gene Kloss
1903 - 1996 NA
Singers Across The Bridge, 1961
Edition of 50
Signed; In pencil in margin; l/r; ‘Gene Kloss’, l/l ‘Singers Across
The Bridge’, l/r
Etching and drypoint on paper
11 by 14 inches
Estimate; $2,000 to $3,000
134
216. Gene Kloss
1903 - 1996 NA
An Afternoon on Mt. Diablo, 1946
Edition of 75
Signed; In pencil in margin; l/r; ‘Gene Kloss’, l/l ‘Afternoon on
Mt. Diablo’, l/r
Etching on paper
11 by 14 inches
Estimate; $2,000 to $3,000
218. Gene Kloss
1903 - 1996 NA
Apaches A-Visiting, 1967
Edition of 75
Signed; bottom margin, in pencil; l/l; ‘Apaches A-visiting’, l/r;
‘Gene Kloss’, l/r
Intaglio on paper
16 ¾ by 13 ¾ inches
Estimate; $1,000 to $1,500
219. Fremont Ellis
1897 - 1985 Los Cincos Pintores
Spring Street in Taos, c. 1920’s
Signed; ‘Fremont Ellis’, l/r
Oil on Board
25 by 30 inches
Estimate; $20,000 to $25,000
In 1921 Fremont Ellis joined four other artists who built studios on Santa Fe’s Camino del Monte Sol and exhibit as the Los
Cinco Pintores. His style developed over the years as a painterly
application of oils with a palette of saturated colors.
220. Sydney Laurence
1865 - 1940
The Cache
Signed; ‘Sydney Laurence’, l/l
Oil on panel
Estimate; $9,000 to $13,000
Sydney Laurence is considered the most notable
painter of the Alaskan wilderness.
135
221. Dorothy Eugenie Brett
1883 - 1976
Dancing Indian God
Signed; ‘D.Brett 1969’
Oil on canvas board
16 by 12 inches
$2,000 to $3,000
Dorothy Brett came from London to Taos with D.H. and Freda
Lawrence. Art and Indians continued to be the center of her life
until her death in Taos at age 94.
222. Dorothy Eugenie Brett
1883 - 1976
Dancing Indian God
Signed; ‘D.Brett 1969’
Oil on canvas board
16 by 12 inches
$2,000 to $3,000
136
224.
David Maass
b. 1929
Red Heads
Signed; ‘Maass’. l/r
Oil on panel
17 by 24 inches
Estimate; $5,000 to $7,000
224.
Steve Devenyns
b. 1953
Fawn
Signed; ‘Steve Deveyns © (artist’s
cipher) ‘87’ , l/l
Oil on Board
8 by 10 inches
Estimate; $1,000 to $1,500
137
225. Ross Stefan
1934 - 1999
Jose’s Angels
Signed; ‘Ross Stefan’, l/r
Oil on canvas
16 by 20 inches
Estimate; $2,000 to $3,000
226. Ross Stefan
1934 - 1999
Along The San Pedro
Signed; ‘Ross Stefan’, l/l
Oil on canvas
16 by 20 inches
Estimate; $2,000 to $3,000
227. George Dick
1916 - 1978
Signed; ‘George Dick’, l/r
Driving Cattle
Oil on Panel
20 by 22 inches
Estimate; $1,800 to $2,400
138
228. Walter Gonske
b. 1942 NAWA
Campp Santo, Penasco, NM
Signed; ‘Gonske’, l/l
Oil on panel
16 by 20 inches
Estimate; $1,500 to $2,000
229. Mark Daily
b. 1944
Frozen Lake
Signed; ‘Daily’, l/l
Oil on linen
16 by 24 inches
Estimate; $1,500 to $2,000
230. Mark Daily
b. 1944
Spring
Signed; ‘Daily’, l/l
Oil on board
11 by 14 Inches
Estimate; $1,000 to $1,500
139
231. Gary Carter
b. 1939 CAA, NWR
Maybe Tomorrow
Signed; ‘Gary Carter’, l/l
Oil on masonite panel
12 by 24 inches
Estimate; $1,500 to $2,500
Accompanying this lot is
a letter with a pen & ink
drawing of an Indian. This
letter states that this painting was in his first art show
after having turned professional.
232. Olaf Wieghorst
1899 - 1988
Page from Wieghorst Sketchbook
Signed; ‘O. W. (artist ciipher)’, l/r
Colored Pencil on Paper
Estimate; $1,500 to $2,000
Illustrated; Olaf Wieghorst by William Reed, Northland
Press. Flagstaff, AZ. 1971, p.150.
Provenance; A Texas Collection.
233. Olaf Wieghorst
1899 - 1988
Horse Head
Signed; ‘O. Wieghorst
(in drawing l/l edge)
Ink on paper
14 by 11 inches
Estimate; $1,200 to $1,500
234. George Phippen
1916 - 1966 CAA
Mule Sketch
Signed; ‘(Inscribed l/c muleshoe); ‘Geo Phippen’, l/r
Conte crayon on vellum paper
13 by 20 inches
Estimate; $1,000 to $2,000
Sketches by artist Geo Phippen for proposed memorial statue,
Muleshoe, Texas. Project headed by Gilbert (Gil) Lamb- President of Mule Memorial Assn. Statue never completed.
140
235. Frank McCarthy
1924 - 2002 AAA, AOA, CAA, NAWA, NWR
Cheyennes Taunt
Signed; ‘McCarthy © ‘72’, l/r
Oil on canvasboard
18 by 22 inches
Estimate; $8,000 to $12,000
236. Bill Owen
b. 1942 CAA, NAWA
Outcasts
Signed; ‘Bill Owen s/v 1972’, l/r
Oil on canvas
24 by 36 inches
Estimate; $4,000 to $6,000
237. Ray Swanson
1937 - 2004 AOA, AWS, CAA, NAWA,
OPA
Trading Post
Oil on canvas
24 by 36 inches
Estimate; $2,500 to $,5000
141
238. Paul Van Ginkel
b. 1960
Horse Waves
Signed; ‘VAN GINKEL’, u/r
Oil on canvas
36 by 71 ½ inches
Estimate; $1,500 to $2,000
142
239. Wayne Baize
b. 1943 CAA
Badger Gal’s Foal
Signed; ‘Wayne Baize © 1977’, l/l
Pastel / Colored Pencil
12 by 19 inches
Estimate; $1,000 to $1,500
240. Craig Tennant
b. 1946 OPA
Dark River Shadows
Signed; ‘Craig Tennant © (artit’s cipher) 98’, l/l
Oil on canvas
26 by 40 inches
Estimate; $5,000 to $7,000
241. Thomas Dedecker
b. 1951
Sioux Encampment
Signed; ‘Dedecker’, l/r
Oil on board
24 by 30 inches
Estimate; $2,500 to $3,500
143
242. Howard Post
b. 1948
Going for Cattle
Signed; ‘HE Post’, l/l
Oil on canvas
24 by 36 inches
Estimate; $6,000 to $9,000
244. John Modesitt
b. 1955
Across The Mesa
Signed; ‘Modesitt’, l/l
Oil on linen
16 by 20 inches
Estimate; $2,500 to $3,500
144
243. Kim Douglas Wiggins
b. 1960 SAI
Winds of Change
Signed; ‘KD Wiggins’, l/r
Oil on canvas
9 by 12 inches
Estimate; $1,500 to $2,000
245. Nancy Glazier
b. 1947
Bentley
Signed; ‘N.GLAZIER © ‘00’, l/l
Oil on linen
24 by 44 inches
Estimate; $14,000 to $18,000
246. Oleg Stavrowsky
b. 1927
Unstoppables
Signed; ‘Oleg Stavrowsky’, l/l
Oil on linen
36 by 48 inches
Estimate; $5,000 to $7,000
145
ACCEPTING WESTERN & NEW MEXICO ARTWORK
CONSIGNMENTS FOR AUCTION
Gustave Baumann 1881 - 1971 Night of the Fiesta, Taos 33/125
Woodblock print on paper 5 3/4 by 7 1/4 inches
Offered in November 18th 2012 Auction
SANTA FE AUCTION AUGUST 11, 2012
SANTA FE AUCTION NOVEMBER 18, 2012
Submit artwork images with information for evaluation to info@altermann.com.
www.altermann.com
345 Camino Del Monte Sol
Santa Fe, NM 87501 (505) 983-1590
146
7172 East Main Street
Scottsdale, AZ 85251 (480) 945-0448
ACCEPTING WESTERN & TEXAS ARTWORK CONSIGNMENTS
FOR AUCTION IN DALLAS, OCTOBER 18, 2012
Ken Carlson b. 1937
Longhorns
Oil on linen 12 by 20 inches
Offered in October 18th Auction in Dallas
Submit artwork images with information for evaluation to info@altermann.com.
www.altermann.com
345 Camino Del Monte Sol
Santa Fe, NM 87501 (505) 983-1590
7172 East Main Street
Scottsdale, AZ 85251 (480) 945-0448
147
PROCEDURES, TERMS AND CONDITIONS OF AUCTION
PURCHASE PRICE
The purchase price payable on each lot by the
Purchaser shall be the total of the final
Hammer
Price
PLUS
A
BUYERS
PREMIUM
OF
TWENTY
PERCENT (20%) ON THE FIRST $200,000
AND TEN PERCENT (10%) THEREAFTER,
PLUS ANY APPLICABLE SHIPPING AND
HANDLING CHARGES.
If you attend the auction, you must pre-register and be assigned a bidder paddle number
in order to participate. Registration by the
bidder shall constitute approval and acceptance of the following terms and conditions.
Auction
The lots presented in the auction catalog will be offered by oral auction Friday March 30, 2012 at
Hilton Scottsdale, Scottsdale AZ
Absentee Bidding
Absentee bids for auction lots will be executed by the
Gallery on behalf of the Client during the auction. The
Gallery shall not be responsible for any errors or omissions or failure to execute such absentee bids. To reduce
the chance of error, the Gallery requests the Client make
absentee bidding arrangements as soon as possible.
Telephone Bidding
As a convenience to Gallery clients who are unable to
attend the auction, a telephone bid service will be offered as staff and time allow. The Gallery shall not be
responsible for any errors or omissions or failure to
execute such telephone bids. To reduce the chance of
error, the Gallery requests the Client make telephone
bidding arrangements as soon as possible.
This catalog may be amended by posted notice or oral
auction room announcement and represents Altermann
Galleries (Gallery) entire agreement with any and all
Purchasers of the property listed herein. The following
procedures, terms and conditions on which all such
property listed is offered for auction by the Gallery as
agent for various owners or other Consignors:
1. All property will be sold by the Gallery at auction to
be conducted by Doak Lambert.
2. Altermann Galleries reserves the right to withdraw
any property at any time before the auction and shall
have no liability whatsoever for such withdrawal.
3. All property will be sold “as is” and neither the Gallery nor Auctioneer nor Consignor make any express
or implied warranties or representations with respect to
the property or correctness of the advertisement, catalog and any other medium used to announce this auction or any other description of the physical condition,
quality, importance, size or authenticity of the property
offered. No reference to imperfections is made in individual catalog descriptions of property offered for auction. A condition report may be obtained by contacting
the Gallery. Not withstanding any condition reports or
catalog descriptions provided, all lots are offered and
148
sold “AS IS” in accordance with paragraph 3 of the Procedures, Terms and Conditions of Auction. However, if
within 21 calendar days after the purchase of any lot,
the purchaser provides two opinions by recognized authorities on the artist, and gives notice in writing to the
Gallery that the lot is not authentic, and within 7 calendar days of such notice the purchaser returns the lot
to the Gallery in the same condition as when sold, the
Gallery will refund the full purchase price.
4. The Gallery and/or Auctioneer reserve the right to
reject any bids. The highest bidder acknowledged by
the Auctioneer shall be the Purchaser. In the event of
any dispute between bidders or a tie between bidders,
the Auctioneer will have absolute and final discretion to
either determine the successful bidder or to re-offer and
resell the property in dispute. After the auction, the Gallery’s record of final Hammer Price shall be conclusive.
5. Unless exempt by law, the Purchaser will be required
to pay any and all applicable Arizona & New Mexico
state and local sales tax. In the event of deliveries outside
of Arizona and New Mexico, it is the purchaser’s responsibility to pay any applicable compensating use tax of
another state on the purchase price.
6. Terms for all purchases will be cash. Credit cards
are not accepted as payment for works of art purchased at auction. All monies shall be made payable
to Altermann Galleries & Auctioneers. At the Gallery’s
discretion, payment will not be deemed to have been
made in full until funds represented by checks have
been collected or the authenticity of bank or cashier’s
checks has been confirmed.
7. Auction lots may not be removed from Altermann
Galleries during the auction. Shipment generally occurs
within one week after payment has been received. Our
preferred shippers are Pak Mail in Santa Fe, NM. Please
provide a correct street address for our shipper. It will expedite your receipt of your purchase. Items not removed
from our warehouse after 30 days will be subject to a storage charge.
8. Some property may be offered subject to a “reserve”
or confidential minimum price below which the lot will
not be sold. In such instances the Gallery may exercise
the reserve by bidding on behalf of the Consignor.
In addition, Altermann Galleries reserves the right to
purchase property for itself or on behalf of another
party.
9. Neither the Gallery nor Auctioneer nor Consignor
make any representations whatsoever that the Purchaser of a work of art will acquire any reproduction rights
thereto. Purchaser’s ownership of the work shall remain
subject to the copyrights of the consignor.
10. These Procedures, Terms and Conditions of Auction and any other applicable conditions, as well as the
Purchaser’s and Gallery’s rights and obligations herein
shall be governed by, construed and enforced in accordance with the laws of the State of New Mexico. If
these Procedures, Terms and Conditions of Auction are
not complied with by the Purchaser, the Gallery may, in
addition to other remedies available by law, including
without limitation the right to hold the Purchaser liable
for the purchase price stated on the invoice, either (a)
cancel the sale and retain as liquidated damages any and
all payments made by the Purchaser or (b) resell the
property privately or at public auction on three days notice to the Purchaser for the payment of any deficiency
in the purchase price and all costs including handling
charges, warehousing, the commissions, attorney’s fees,
any and all other auction-related charges due and incidental damages. In the event of a default, the Gallery
reserves the right to charge the Purchaser’s credit card
on file in the full amount owed as stated on the invoice.
11. In most instances, sculpture measurements do not
include the portion of the base that is not made of the
same material as the sculpture. In measurements for
two-dimensional art, height precedes width and does
not include frame.
12. Offerings in this catalog are subject to error, omission or withdrawal.
13. Bidding increments will normally follow the pattern below but may vary at the sole discretion of the
Auctioneer.
Estimate
Increment
Under 2000
2,000-5,000
5,000-10,000
10-20,000
20-50,000
50-100,000
over 100,000
100
250
500
1,000
2,500
5,000
10,000
LEGEND FOR ARTIST ORGANIZATIONS
AAA
AAEA
ANA
AOA
AWS
CAA
NA
NAWA
NIAL
NMAL
NOAPS
NSS
NWR
OPA
PAPA
PSA
RSA
SAA
SAHA
SAI
SI
TSA
TAPA
WAOA
Allied Artists of America
American Academy of Equine Art
Associate National Academy
Artists of America
American Watercolor Society
Cowboy Artists of America
National Academy
National Academy of Western Art
National Institute of Arts and Letters
New Mexico Art League
National Oil and Acrylic
Painters Society
National Sculpture Society
Northwest Rendezvous Group
Oil Painters of America
Plein Aire Painters of America
Pastel Society of America
Royal Society of Arts, London
Society of Animal Artists
Society of American
Historical Artists
Society of American Impressionists
Society of Illustrators
Taos Society of Artists
Texas Artists Professional
Association
Women Artists of the West
IMPORTANT SHIPPING INFORMATION
All sold artworks will be taken to Altermann Galleries in Santa Fe for customer pick-up or
for shipment. However, if a client wishes to pick up auction purchases in Scottsdale, written instructions (see below) must be given to the gallery in advance of the auction, at auction
registration sign-in, or at the registration desk not later than 6 P.M. following the auction. The
purchased works, with written instructions, may be picked up from 9 A.M. – 5 P.M. March
31st, at the Altermann Galleries, 7172 E. Main St., Scottsdale.
Please call the gallery, prior to arriving, at (480) 945-0448 to confirm your pick-up time.
Please complete form and fax to (480) 947-4174. You may also submit this form during the
Auction registration.
Please retain in Scottsdale at Altermann Galleries any purchases
made by me at the March 30th Auction.
Name
Address
Telephone Number
Email Address
149
, 9 Ê , Ê Î ä ] Ê Ó ä £ Ó Ê U Ê / , Ê,AUCTION ABSENTEE BID FORM
FAX TO (480) 947-4174
PLEASE VISIT OUR WEBSITE TO VIEW ONLINE AUCTION CATALOG
AND SUBMIT ABSENTEE AND/OR TELEPHONE BIDS ELECTRONICALLY.
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150
INDEX TO ARTISTS BY LOT NUMBER
Acheff, William...............................56
Afsary, Cyrus….............….67,111,157
Ahrendt, William Harry…......167,197
Andersen, Roy……..................….138
Anton, Bill……........................….177
Apache, ……...........................….146
Arnett, Joe Anna….…..............….130
Baize, Wayne……....................….239
Balciar, Gerald…...............…….94,96
Balink, Henry C....................…….211
Bateman, Robert……...............….134
Beecham, Greg…..................…….181
Beeler, Joe……........................….7,15
Berninghaus, Oscar Edmund…..….49
Bolinger, Truman…................…….33
Bone, Craig…….......................….132
Boren, James….........................…….3
Boren, Nelson…............123, 124,125
Boren, James…….....................….199
Brett, Dorothy Eugenie...…....221,222
Brown, Gordon.................……….116
Brown, Harley……...................….184
Bunn, Kenneth Rodney…..........85,86
Cameron, Shawn…................…….23
Carson, Jim……......................….183
Carter, Gary……......................….231
Chi, Chen..........................……….88
Clark, Benton Henderson......….52,55
Coleman, John….......…….17,18,182
Coleman, Michael…...............…….98
Coleman, Nicholas…...........…….198
Cox, Timothy…...................…….142
Daily, Mark……......…......69,229,230
Dean, Glenn……......................….151
Dedecker, Thomas...........….....….241
Delano, Gerard Curtis…........….21,41
Demott, John…....................…….119
Devenys, Steve .............................224
Dick, George….…....................….227
Divita, Frank….......................…….93
Dunton, William Herbert……....….40
Dusard, Jay…................…….175,176
Eisenach, Barry..................……….201
Ellis, Fremont……….............210,219
Farm, Gerald……......................….32
Fawcett, John….....................…….26
Fechin, Nicolai……...................….50
Fellows, Fred……....................….204
Fraser, James Earle.......……….43,185
Garcia, Tammy……..................….200
Glazier, Nancy…..................…….245
Goebel, Rod........................……….89
Gonske, Walter……..........….107,228
Goodacre, Glenna…….............….129
Goodnight, Veryl……................….30
Greene, Bruce….....................…….24
Griffing, Robert….....................…….1
Hall, Doug…............................…….8
Hallmark, George…................…….77
Hampton, John……......….6,195,196
Harvey, G.……...............….78,80,171
Hill, Tom……............................….66
Howell-Sickles, Donna….....…….108
Hulings, Clark…....................…….79
Jackson, Harry…….........….10,11,19
Jarvis, John………...................62,163
Kapp, Gary……...........….16,117,179
Kelley, Ramon…….....….109,110,131
Kethley, Paul……................….61,165
Kloss, Gene…..…….215,216,217,218
Kucera, D. Edward….…….13,63,166
Lang, Steven…….....................….178
Laurence, Sydney…….............….220
Lillywhite, Raphael……….........47,48
Mackey, Kim…..............…….149,180
Mann, David……...............….5,12,59
Maas, David..................................223
McCarthy, Frank………......22,31,235
McGrew, R. Brownell…..........…….20
Mignery, Herb………....................206
Mitchell, Arthur…..................…….53
Modesitt, John……..................….244
Moses, Forest……….....................112
Moyers, Terri Kelly……....….122,192
Naha, Paqua (Old Frogwoman)….148
Nebeker, Bill…..................…….4,203
Niblett, Gary…......................…….29
Norton, Jim C.…...............…….14,27
Ostermiller, D….99,100,101,102,103
......................................,104,127,128
Owen, Bill…........................…….236
Parsons, Sheldon..............……….214
Peak, Bob….........................…….144
Peralta, JoAnn…....................…….76
Peters, Robert...................……….158
Phippen, George……...….38,194,234
Post, Howard…….............….205,242
Qoyawayma, Al……….................147
Redin, Carl……......................….213
Reedy, Leonard H.….............140,141
Remington, Frederic.......39,42,45,46,
........................186,187,188,189,190
Riddick, Ron……….......................58
Riley, Kenneth……......................….2
Rivera, Elias……….........81,82,83,84
Ross, Thom…….......................….35
Russell, Charles Marion…….....….44
Russell, Mary…….....................….68
Ryan, Tom…….......................….191
Schenck, William…….............….152
Schmidt, Jay…….............….126,145
Schwiering, Conrad….........…….212
Scott, Lindsay…..................…….133
Scull, Jason…........................…….34
Sisson, Laurence Philip…......…….87
Situ, Mian…..........................…….75
Sloane, Eric………........207,208,209
Smith, Gary Ernest………........71,72
Smith, Tucker……....................….97
Speck, Loran….....................….….70
Speed, Grant……...............….95,162
Stack, Michael…….137,155,156,169
Stavrowsky, Oleg…..............…….246
Stefan, Ross….....…….64,65,225,226
Stewart, Ron……......................….25
Strain, John Paul……..............….161
Stuart, Sherry Blanchard……..….202
Swanson, Ray……….....37,60,73,74,
...............................135,174,193,237
Swenson, Roy………...................153
Swinnerton, James…...........…….154
Tennant, Craig…….................….240
Terpning, Howard………...............57
Thomas, Karl……….............115,136
Timmons, Karmel.............28,121,164
Van Ginkel, Paul…..............…….238
Vickers, Russ….......118,139,150,168
Wade, Dave.......…...............90,91,92
Walters, Curt……….............113,114
Ward, Edmuind, F.…….............….54
Warren, Melvin…................…….173
Weinman, Adolph…..............…….51
Wieghorst, Olaf…...143,172,232,233
Wiggins, Kim Douglas...105,106,.243
Wolfe, Wayne E.……..............….170
Wood, Robert……...........….159,160
Wright, David……......................….9
Zesch, Gene…….......................….36
Zhang, Xiang……...................….120
151
NOTES
152

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