Fine Art & Rare Memorabilia > Davis Brothers Auction > Silence of the Prairie - Day 2
Silence of the Prairie - Day 2
by Davis Brothers Auction
Sat,
Jun
14,
2025
9:00 AM
Mountain
Davis Brothers Auction is proud to present Day 2 of our landmark summer event, Silence of the Prairie-a sweeping exhibition of rare Western fine art, historic photography, and investment-grade artifacts drawn from private collections and long-held estates across America.
Featured Artists:
Olaf Wieghorst, William Penhallow Henderson, Les Thomas, George Phippen, Granville Redmond, William Seltzer Rice, David Mayer, William Standing, Raphael Lillywhite, Maynard Dixon, Maurice Braun, Loren Entz, Clark Hulings, Frederic Remington, Carl Von Hassler, Walt Gonske, John Bye, Hans Kleiber, David Mann, Bill Anton, Don Oelze, Edward Borein, Harold Von Schmidt, Charles Russell, John Nieto, Edgar Alwin Payne, Clyde Aspevig.
Auction Highlights:
Hyatt & Tankersley Alamosa Belt Handcuffs, historic Standing Rock Reservation photographs and archive, Native American Beadwork, Colonel AE Stewart Trophy Room Photos, Edward Curtis orotones and photogravures, African tribal antiques, Acoma Pueblo pottery and so many more hidden treasures.
Montana's Historic Highway Bridges
Lot #1 (Sale Order 1 of 1017)
Jon Axline.
Early Pictures of the Falls
Lot #2 (Sale Order 2 of 1017)
A Lewis and Clark Portrait in Time. Donald A. Peterson. 1998
Whitefish Montana's North Star
Lot #3 (Sale Order 3 of 1017)
A Pictorial History of Our First One Hundred Years. 2005
Authentic Indian Designs
Lot #4 (Sale Order 4 of 1017)
Maria Naylor. 1975
World Book of Dogs
Lot #5 (Sale Order 5 of 1017)
Julie Campbell Tatham. 1953 First Edition.
Oh the Places You'll Go
Lot #6 (Sale Order 6 of 1017)
Dr. Seuss. 1990
Art of the American Indian Frontier
Lot #7 (Sale Order 7 of 1017)
David W. Penney. 1992
Picasso and the Weeping Women
Lot #8 (Sale Order 8 of 1017)
The Years of Marie Therese Walter & Dora Maar. Judi Freeman.
Hiking the Bitterroots
Lot #9 (Sale Order 9 of 1017)
Mort Arkava. 2002
The Buffalo Book
Lot #10 (Sale Order 10 of 1017)
David A. Dary. 1990
Red Rover Author Signed
Lot #11 (Sale Order 11 of 1017)
Deirdre McNamer. 2007. Author Signed.
Playing Indian
Lot #12 (Sale Order 12 of 1017)
Philip J. Deloria. 1998
Light on the Prairie
Lot #13 (Sale Order 13 of 1017)
Solomon D. Butcher, Photographer of Nebraska's Pioneer Days. Nancy Plain. 2012
Native American Portraits
Lot #14 (Sale Order 14 of 1017)
Photographs from the Collection of Kurt Koegler. Nancy Hathaway. 1990
Painting the Wild Frontier
Lot #15 (Sale Order 15 of 1017)
The Art and Adventures of George Catlin. Susanna Reich. 2008
Red Matthews No Better Friend
Lot #16 (Sale Order 16 of 1017)
Laura Rockefeller Chasin. 2011
Tainted Revelations the Art of Bill Ohrmann
Lot #17 (Sale Order 17 of 1017)
Joe Ashbrook Nickell. 2014
Art Cars Revolutionary Movement
Lot #18 (Sale Order 18 of 1017)
The Ineri Foundation. 1997
Leather America Parks Atlas
Lot #19 (Sale Order 19 of 1017)
America National Parks and Destinations. 2004
Field Notes from Yosemite Apprentice to Place
Lot #20 (Sale Order 20 of 1017)
Teresa Jordan. 2002
Field Notes from the Grand Canyon Author Signed
Lot #21 (Sale Order 21 of 1017)
Teresa Jordan. Author Signed. 2000
Cowboy Roping and Rope Tricks
Lot #22 (Sale Order 22 of 1017)
Chester Byers. 1966
Sacagawea of the Lewis & Clark Expedition
Lot #23 (Sale Order 23 of 1017)
Ella E. Clark. 1979
Moby Dick or the Whale
Lot #24 (Sale Order 24 of 1017)
Herman Melville. 2001
The Black Stallion
Lot #25 (Sale Order 25 of 1017)
Walter Farley. 1941
The Wilderness World of John Muir
Lot #26 (Sale Order 26 of 1017)
Edwin Way Teale. 1954
Wild Delicate Seconds Author Signed
Lot #27 (Sale Order 27 of 1017)
29 Wildlife Encounters Black Bears to Bumble Bees. Charles Finn. 2012
Decorative Art of the Southwestern Indians
Lot #28 (Sale Order 28 of 1017)
Dorothy Smith Sides. 1961
Pueblo Crafts
Lot #29 (Sale Order 29 of 1017)
Ruth Underhill. 1979
Pueblo Crafts
Lot #30 (Sale Order 30 of 1017)
Ruther Underhill 1944
A Handbook on Beads
Lot #31 (Sale Order 31 of 1017)
Van Der Sleen.
In the Arts & Crafts Style
Lot #32 (Sale Order 32 of 1017)
Barbara Mayer 1993
Great Camps of the Adirondacks
Lot #33 (Sale Order 33 of 1017)
Harvey H. Kaiser. 1982
Van Gogh's Van Goghs
Lot #34 (Sale Order 34 of 1017)
Richard Kendall. 1999
Visits in Other Lands
Lot #35 (Sale Order 35 of 1017)
Atwood Thomas. 1947. Water Damaged.
The United States Among the Nations
Lot #36 (Sale Order 36 of 1017)
The Earth and Its People. Atwood. 1900
Picasso Fifty Years of his Art
Lot #37 (Sale Order 37 of 1017)
Alfred H. Barr. 1946
Modern American Painting
Lot #38 (Sale Order 38 of 1017)
Peyton Boswell. 1940
N.C. Wyeth
Lot #39 (Sale Order 39 of 1017)
Kate F. Jennings. 2004
The George Catlin Book of American Indians
Lot #40 (Sale Order 40 of 1017)
Royal B. Hassrick. 1977
Native Americans A Portrait
Lot #41 (Sale Order 41 of 1017)
The Art and Travels of Charles Bird King, George Catlin, and Karl Bodmer.
Georgia O'Keefe Art and Letters
Lot #42 (Sale Order 42 of 1017)
Jack Cowart.
Georgia O'Keefe One Hundred Flowers
Lot #43 (Sale Order 43 of 1017)
Nicholas Callaway. 1987
George Catlin and His Indian Gallery
Lot #44 (Sale Order 44 of 1017)
Brian Dippie. 2004
Noon Knives
Lot #45 (Sale Order 45 of 1017)
Katherine Pavlis Porter. 2002
Montana Stories of the Land
Lot #46 (Sale Order 46 of 1017)
Krys Holmes. 2000
Butteopia Impressions of Butte Montana
Lot #47 (Sale Order 47 of 1017)
2006
Cowboy Dreams
Lot #48 (Sale Order 48 of 1017)
Cowboy Nostalgia Photographs from the Range. Richard Collins. 1996
The Vampyre Leaf Book
Lot #49 (Sale Order 49 of 1017)
A Tale by John William Polidori. Contains an original Leaf from the 1819 American Edition. Gubblecote Press 1974
King James Bible Leaf Book
Lot #50 (Sale Order 50 of 1017)
The Making of the King James Bible. Edwin Eliott Willoughby. A Monograph, with Comparisons from the Bishops Bible and the Manuscript Annotations of 1602, with an original leaf from the great "She" bible of 1611. One of 290 copies. 1956
A Leaf from the 1611 King James Bible
Lot #51 (Sale Order 51 of 1017)
With The Noblest Monument of English Prose. John Livingston Lowes. Louis Newman. Book Club of California. One of 300 copies, 1937.
Enrichment Trail Custer Battlefield Monument
Lot #52 (Sale Order 52 of 1017)
Custer Battlefield National Monument. Crow Agency Montana.
75th Anniversary Battle of the Little Bighorn
Lot #53 (Sale Order 53 of 1017)
Souvenir Program June 25 1951.
The Art of Bev Doolittle
Lot #54 (Sale Order 54 of 1017)
Elise Maclay, 1990
People of the First Man
Lot #55 (Sale Order 55 of 1017)
Life Among the Plains Indians in Their Final Days of Glory.
Monte Dolack The Works
Lot #56 (Sale Order 56 of 1017)
2000
Monte Dolack Vision Myth Mystery
Lot #57 (Sale Order 57 of 1017)
2022
Fetishes and Carvings of the Southwest
Lot #58 (Sale Order 58 of 1017)
Oscar T. Branson. 1976
Posts and Rugs
Lot #59 (Sale Order 59 of 1017)
The Story of Navajo Rugs and Their Homes. H.L. James. 1977
The Living Tradition of Maria Martinez
Lot #60 (Sale Order 60 of 1017)
Susan Peterson. 1989 Second Printing.
Bronzes of the American West
Lot #61 (Sale Order 61 of 1017)
Patricia Janis Broder.
Collection of Rudy Autio Ephemera
Lot #62 (Sale Order 62 of 1017)
Includes The River is Wide.
The Ceramic Art of David Shaner
Lot #63 (Sale Order 63 of 1017)
Following the Rhythms of Life.
An Ethnographic Study of Traditional Money
Lot #64 (Sale Order 64 of 1017)
Charles J. Opitz. 2000
Indian Silver Jewelry of the Southwest 1868-1930
Lot #65 (Sale Order 65 of 1017)
Larry Frank. 1978
Indian Silver Jewelry of the Southwest 1868-1930
Lot #66 (Sale Order 66 of 1017)
Larry Frank. 1990
Buttes Memory Book
Lot #67 (Sale Order 67 of 1017)
Don James. 1975
Old Navajo Rugs
Lot #68 (Sale Order 68 of 1017)
Their Development from 1900 to 1940. Marian E. Rodee. 1981
Northwest Coast Indian Art An Analysis of Form
Lot #69 (Sale Order 69 of 1017)
Bill Holm. 1978
The Fetish Carvers of Zuni
Lot #70 (Sale Order 70 of 1017)
Marian Rodee, James Ostler. 1990
Hopi Kachina Dolls
Lot #71 (Sale Order 71 of 1017)
With a key to their Identification. Harold S. Colton. 1959
Seven Families in Pueblo Pottery
Lot #72 (Sale Order 72 of 1017)
Maxwell Museum of Anthropology. 1979
Contemporary Pueblo Indian Pottery Author Signed
Lot #73 (Sale Order 73 of 1017)
Francis H. Harlow. Author Signed.
A Trip to the States By Way of the Yellowstone
Lot #74 (Sale Order 74 of 1017)
J. Allen Hosmer. 1962
Indian Silver Navajo and Pueblo Jewelers
Lot #75 (Sale Order 75 of 1017)
Margery Bedinger. 1973
Zuni Pottery
Lot #76 (Sale Order 76 of 1017)
Marian Rodee and James Ostler. 1986
Historic Pueblo Indian Pottery
Lot #77 (Sale Order 77 of 1017)
Francis H. Harlow. 1970
Hopi Kachina Dolls
Lot #78 (Sale Order 78 of 1017)
Harold S. Colton. 1987
Hopi Kachina Dolls
Lot #79 (Sale Order 79 of 1017)
Harold S. Colton. 1972
Historic Pueblo Indian Pottery Author Signed
Lot #80 (Sale Order 80 of 1017)
Painted Jars and Bowls of the Period 1600-1900. Francis Harlow. Author Signed. 1967
Spanish Textile Tradition of New Mexico Colorado
Lot #81 (Sale Order 81 of 1017)
Museum of New Mexico Press. 1979
The Rembrandt House
Lot #82 (Sale Order 82 of 1017)
A Catalog of Rembrandt etchings. Eva Ornstein
Brian Lebel Old West Event Catalog
Lot #83 (Sale Order 83 of 1017)
Saturday January 26 2019.
Oaxacan Woodcarving
Lot #84 (Sale Order 84 of 1017)
The Magic in the Trees. Shepard Barbash. 1983
Indian Designs
Lot #85 (Sale Order 85 of 1017)
David and Jean Villasenor. 1983
The Blackfeet Artist of the Northern Plains
Lot #86 (Sale Order 86 of 1017)
The Scriver Collection of Blackfeet Indian Artifacts and Related Objects. Bob Scriver. 1990
Butte City Montana Territory Fireman Cabinet Photo
Lot #87 (Sale Order 87 of 1017)
Fireman Killed in Butte Explosion. Also included is Butte's Memory Book, referencing the aforementioned fireman.
The Collotypes of L.A. Huffman
Lot #88 (Sale Order 88 of 1017)
Montana Frontier Photographer. Gene and Bev Allen. 2014
A Corner of Space and Time Lee Nye Eddies Club
Lot #89 (Sale Order 89 of 1017)
Lee Nye's Eddie's Club Portraits. 2020
Before Barbed Wire LA Huffman Montana
Lot #90 (Sale Order 90 of 1017)
Mark H. Brown. 1956
American Horse Drawn Vehicles
Lot #91 (Sale Order 91 of 1017)
Jack D. Rittenhouse
Silent Seasons Russell Chatham Author Signed
Lot #92 (Sale Order 92 of 1017)
Russell Chatham, author signed.
Silver Bow County Automobile Truck Registration
Lot #93 (Sale Order 93 of 1017)
1959. Butte Montana
Butte Citizen Montana Labor Strike Broadside
Lot #94 (Sale Order 94 of 1017)
Unusual broadside. 9" by 12"
Ruana Bonner Montana Knife 95ad
Lot #95 (Sale Order 95 of 1017)
8 5/8" long. Snap on sheath has been changed.
Ruana Bonner Montana Knife 13b
Lot #96 (Sale Order 96 of 1017)
7 3/4" long.
Ruana Bonner Montana Reliable Knife
Lot #97 (Sale Order 97 of 1017)
8 1/8" long. Never used or carried.
Rudy RH Ruana Bonner Montana Knife 13b
Lot #98 (Sale Order 98 of 1017)
Aluminum Rivet Sheath Variant. Large M Stamp. 7 1/2" long.
1933 Montana Grizzlies Bobcats Football Program
Lot #99 (Sale Order 99 of 1017)
Montana's Greatest Gridiorn Classic. Clark Park, Butte Montana, October 21, 1933. Made from Butte Copper.
Iver Johnson Bean Patrolman Handcuffs
Lot #100 (Sale Order 100 of 1017)
Cuffs have been extended as shown. No keys. 25 3/4" long overall.
Iver Johnson Bean Patrolman Handcuffs
Lot #101 (Sale Order 101 of 1017)
9 1/2" long overall. No key.
Hyatt & Tankersley Alamosa Colorado Belt Handcuffs
Lot #102 (Sale Order 102 of 1017)
Frank A. Hyatt and Ew'ing D. Tankersley. Alamosa Colorado. Patented April 3, 1888. Exceptionally scarce early restraint. Patented by Frank Hyatt the famous Old West Detective and Conejos County Sheriff. These do not come up for sale, do not miss out on this rare opportunity.
Antique Silver Overlay Child Cowboy Spurs
Lot #103 (Sale Order 103 of 1017)
Marked A&F. Unusual set, may be Child size or Salesman Sample. 3 1/2" long.
Prison Made Lady Leg Flapper Girl Cowboy Bit
Lot #104 (Sale Order 104 of 1017)
Silver Overlay. Quite Unusual, Possibly Prison Made. No maker marks.
Exceptional Tooled Leather Cowboy Doctors Bag
Lot #105 (Sale Order 105 of 1017)
The best tooled doctors bag I have come across in the past 30 years. Heavily tooled. Leather is supple and not rotten. Bag could be used or simply displayed as a superior example of its kind. 19 1/2" by 10 1/2" by 9 1/2".
Antique Primitive Shaker Wood Firkin
Lot #106 (Sale Order 106 of 1017)
Sweet example, nice old patina. Copper nails and staples along with Shaker finger wrap. 10" diameter, 9 1/4" tall.
John Clark Tooled Holster Cowboy Saddlebags
Lot #107 (Sale Order 107 of 1017)
John Clark Maker Shakopee Minnesota. Fully tooled with hold out holster. Exceptional pair of saddlebags. 16 7/8" by 9 5/8".
John B Stetson 4x Beaver Montana Cowboy Hat
Lot #108 (Sale Order 108 of 1017)
4x Beaver. Size 6 7/8. Comes with case.
Vintage Pioneer Wear Suede Leather Jacket
Lot #109 (Sale Order 109 of 1017)
Size 34
Exceptional Folk Art Cowboy Hooked Rug
Lot #110 (Sale Order 110 of 1017)
Exceptional and Large. 49 1/2" by 82".
The New PV Improved Cigar Felt Pennant
Lot #111 (Sale Order 111 of 1017)
30 1/4" by 14 3/8"
Keyston Montana Cowboy Hat
Lot #112 (Sale Order 112 of 1017)
Size 7 1/4
Antique Penneys Marathon Montana Cowboy Hat
Lot #113 (Sale Order 113 of 1017)
Size 7
Antique Penneys Marathon Montana Cowboy Hat
Lot #114 (Sale Order 114 of 1017)
Size 7
1874 Expedition O Sullivan Apache Stereoview
Lot #115 (Sale Order 115 of 1017)
Timothy O'Sullivan commissioned by George Wheeler for the War Department, Corps of Engineers, U.S. Army. Shee-zah-nan-tan, Jicarilla Apache Brave in Characteristic Costume, Northern New Mexico
1916 Butte Montana Giant Elk Photo
Lot #116 (Sale Order 116 of 1017)
11 5/8" by 13 5/8". Edmund Carns was a set designer for the Broadway Theater. His design credits included floats for the Carnival in Rio de Janeiro, the roller coaster at Coney Island, and an elephant made of apples erected for an agricultural show. His design plans, at seven times the size of the model, a stuffed elk at the organization’s hall, were spread across the Broadway Theater stage. Construction began on June 25. The structure was a wooden frame, covered with wire mesh and fabric soaked in glue and coated with plaster mixed with copper ore. The pedestals supporting the elk’s hooves were coated with peacock ore (bornite), and the five-ton elk was electrified. Purple and white lights were strung through its antlers, and the 10-inch red bulbs that served as his eyeballs were set to blink every five seconds. The Elks Club’s traditional greeting, Hello Bill, was laid out in lights on the creature’s flanks. After the convention’s five days of ebullient joy were over, the question arose of what to do with the giant $4000 elk. The proposal to move it to the peak of Big Butte was quickly dismissed out of concerns about the wind and weather there, but the idea of moving it to Columbia Gardens got more serious consideration. They needed $2000 to move it, but funding could not be found. The elk was dismantled on July 28, and his coat, containing $1200 in copper, went to the smelter. The largest elk in the world was history.
Cowboys with Pet Bears Cabinet Photo
Lot #117 (Sale Order 117 of 1017)
9" by 11"
Clan Gordon Montana Photo
Lot #118 (Sale Order 118 of 1017)
Reprint. 14 1/2" by 22" on board.
Colonel A.E. Stewart India Tiger Hunt Photo
Lot #119 (Sale Order 119 of 1017)
Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India. 13 5/8" by 16 1/2" framed. 13 5/8" by 16 1/2".
Colonel A.E. Stewart India Tiger Hunt Photo
Lot #120 (Sale Order 120 of 1017)
Backside says Lala Deen Dayal Photographer India. 14 3/4" by 17 3/4" framed. Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India.
Colonel A.E. Stewart India Shikari Ibex Hunt Photo
Lot #121 (Sale Order 121 of 1017)
Title is Khalil with World's Record Ibex Head. 11" by 14" framed. Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India.
Colonel A.E. Stewart India Trophy Room Photo
Lot #122 (Sale Order 122 of 1017)
16 1/4" by 18 1/2" framed. Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India.
Colonel A.E. Stewart India Tiger Hunt Photo
Lot #123 (Sale Order 123 of 1017)
Colonel Stewarts Camp. 12 1/4" by 25" framed. Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India.
Colonel A.E. Stewart India Tiger Hunt Photo
Lot #124 (Sale Order 124 of 1017)
10 3/4" by 12 1/2" framed. Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India.
Colonel A.E. Stewart India Tiger Hunt Photo
Lot #125 (Sale Order 125 of 1017)
Colonel Stewart's Bungalow. 13 1/2" by 16 1/4" framed. Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India.
Women Fishing Mammoth Cabinet Photo Klamath Falls
Lot #126 (Sale Order 126 of 1017)
11 1/4" by 18".
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #127 (Sale Order 127 of 1017)
11 1/4" by 18"
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #128 (Sale Order 128 of 1017)
11 1/4" by 18"
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #129 (Sale Order 129 of 1017)
11 1/4" by 18"
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #130 (Sale Order 130 of 1017)
11 1/4" by 18"
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #131 (Sale Order 131 of 1017)
11 1/4" by 18"
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #132 (Sale Order 132 of 1017)
11 1/4" by 18"
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #133 (Sale Order 133 of 1017)
11 1/4" by 18"
Mammoth Cabinet Photo Klamath Falls Oregon
Lot #134 (Sale Order 134 of 1017)
11 1/4" by 18"
Colonel A.E. Stewart India Tiger Hunt Photo
Lot #135 (Sale Order 135 of 1017)
14 1/2" by 16" framed. Colonel Arthur Easdale Stewart wrote the book Tiger and other game: the practical experiences of a soldier shikari in India.
Columbia Gardens Butte Montana Cabinet Photo
Lot #136 (Sale Order 136 of 1017)
5 1/4" by 6 1/4"
Through India with a Camera
Lot #137 (Sale Order 137 of 1017)
A Hundred Photographic Views of Its Famous Cities and Natural Scenery. T.W. Arnold.
C.A. Johnson Jeweler Jewelry Store Cabinet Photo
Lot #138 (Sale Order 138 of 1017)
7 3/4" by 11".
Big Butte In Winter 1910 Cabinet Photo Montana
Lot #139 (Sale Order 139 of 1017)
7" by 9"
Butte City Montana Territory Cabinet Photo
Lot #140 (Sale Order 140 of 1017)
5 1/4" by 8 1/2"
Butte Montana Dart Hardware Cabinet Photo
Lot #141 (Sale Order 141 of 1017)
5" by 8"
Butte Montana Baseball Cabinet Photo
Lot #142 (Sale Order 142 of 1017)
4 1/4" by 6 1/2".
Man with Elephants Traveling Circus Photo
Lot #143 (Sale Order 143 of 1017)
5 3/8" by 6"
Montana Miners with Candlesticks Cabinet Photo
Lot #144 (Sale Order 144 of 1017)
Notation on back says Emery Mine Butte Montana. 8" by 10"
Montana School of Mines Cabinet Photo
Lot #145 (Sale Order 145 of 1017)
B and M Smelter Great Falls Montana 1907. 8" by 10"
Antique Montana Photo Album
Lot #146 (Sale Order 146 of 1017)
Nice example. 246 photos total.
Duck Hunting Photo Album
Lot #147 (Sale Order 147 of 1017)
Nice example. 44 photos total.
1920 University of Montana Basketball Photo
Lot #148 (Sale Order 148 of 1017)
R.H. Mckay Photographer. Inter-Fraternity Champions 1920-21. 7 1/4" by 9 1/2".
Jack Dempsey Harry Casey Signed Boxers Photo
Lot #149 (Sale Order 149 of 1017)
6 1/2" by 10 1/2" William Harrison "Jack" Dempsey (June 24, 1895 – May 31, 1983), nicknamed Kid Blackie and The Manassa Mauler, was an American boxer who competed from 1914 to 1927, and world heavyweight champion from 1919 to 1926. One of the most iconic athletes of his era, Dempsey is ranked sixth on The Ring magazine's list of all-time heavyweights and fourth among its Top 100 Greatest Punchers, while in 1950 the Associated Press voted him as the greatest fighter of the past 50 years. He is a member of the International Boxing Hall of Fame, and was in the previous Boxing Hall of Fame.
School of Mines Butte Montana Photo
Lot #150 (Sale Order 150 of 1017)
Looking South from the School of Mines 1905. 6" by 8 1/2"
Man with Pet Parrot Stereoview
Lot #151 (Sale Order 151 of 1017)
Neat image.
Wonderland Annex Coney Island Freakshow Photo
Lot #152 (Sale Order 152 of 1017)
3 1/4" by 5 1/2"
Boulder Colorado Hotel Photo
Lot #153 (Sale Order 153 of 1017)
5 1/4" by 6 1/2"
Lehi Utah Mormon Funeral Cabinet Photo
Lot #154 (Sale Order 154 of 1017)
William Asher Photographer Lehi Utah.
Boulder Colorado Hotel Photo
Lot #155 (Sale Order 155 of 1017)
5 1/4" by 6 1/2"
Butte Public Library Montana Photo
Lot #156 (Sale Order 156 of 1017)
5 1/2" by 5 1/2".
Taxidermy Birds in Display Cases Cabinet Photo
Lot #157 (Sale Order 157 of 1017)
Location unidentified. 6 1/4" by 5 1/4"
O.C. Bundy Helena Montana CDV Photo
Lot #158 (Sale Order 158 of 1017)
2 1/2" by 4 1/8".
John X. Beidler Montana Vigilante US Marshal Photo
Lot #159 (Sale Order 159 of 1017)
Photo by Jorud of Helena Montana. 6 1/4" by 8 1/2" John X. Beidler was one of Montana’s best known pioneers. A leader of the Montana vigilantes in the 1860s, he played a major role in breaking up the outlaw gang led by Henry Plummer, the archetypical crooked frontier sheriff. Although a small man, standing but five feet, five inches tall, he was a figure larger than life on the frontier. And like the mountain men who came before him, X, as he was called by his comrades, loved to tell often exaggerated stories of his career. Yet one aspect of his adventurous life has been almost totally forgotten: his service as a Wells Fargo shotgun messenger from 1870 to 1877. In 1877 Beidler resigned his position as a Wells Fargo shotgun messenger to become a deputy U.S. Marshal and Indian scout. His frontier life was grueling. Three years later a friend wrote, Beidler is getting prematurely old from hard riding, exposure, etc., and his services have almost always been but very poorly paid. As late as 1889, he took part in a manhunt for two robbers who had committed a double murder. But his health continued to fail and he died in Helena on January 22, 1890, poor in pocket but rich in legacy.
Man in Ethnic Garb Cabinet Photo
Lot #160 (Sale Order 160 of 1017)
6 1/2" by 9"
Hotel De Mineral Butte Montana Photo
Lot #161 (Sale Order 161 of 1017)
5 3/4" by 9 3/4" Simon and John Hauswirth, born in Switzerland in 1844 and 1829 respectively, came to Montana in the gold rush of 1864. In Butte by 1875, they became prominent members of the pioneer community. Both played in Butte’s first organized band, which debuted on July 4, 1876, the nation’s centennial. John died in 1884, but in 1895 Simon was managing the Columbia Saloon at 22 West Broadway near the Maguire Opera House. The family operated and resided in the three-story Columbia Block boarding house at 22-30 West Broadway for many years. The Columbia Block was gone before 1951 and the site today is occupied by part of the Piccadilly Museum of Transportation. Simon’s son Charles was born in Butte in 1882 and was Butte’s first mayor born in Butte. He was elected to four terms (1935-41) but died just a week after his fourth election. By most accounts, the sawed lumber to make the Hotel de Mineral, which was also among the earliest Butte buildings that was not a log structure, came from Thomas Lavelle’s sawmill. The Hotel de Mineral stood for only about six years. It was gone by late 1881 to make way for the new Donnell, Clark and Larabie Bank that opened on that corner in early 1882. In addition to the bank, three saloons, including a billiard parlor and a chop house restaurant occupied the site of the former Hotel de Mineral. In 1884, the rest of that block on the west side of Main, south to Park, held five more saloons, a barber (and baths), a restaurant with lodgings above, a tiny jewelry store, and a dry goods merchant on the corner of Park where the Party Palace is today.
South Bend Washington Bicycle Cabinet Photo
Lot #162 (Sale Order 162 of 1017)
4 1/4" by 6 1/2"
Butte Montana Booklet
Lot #163 (Sale Order 163 of 1017)
McKee Printing Butte Montana. 5" by 6 1/4"
Woman with Bicycle Cabinet Photo
Lot #164 (Sale Order 164 of 1017)
6" by 8"
Butte Montana Dart Hardware Cabinet Photo
Lot #165 (Sale Order 165 of 1017)
5" by 8"
Emery Mine Butte Montana Cabinet Photo
Lot #166 (Sale Order 166 of 1017)
11" by 14"
Speculator Butte Montana Mining Cabinet Photo
Lot #167 (Sale Order 167 of 1017)
The Granite Mountain/Speculator Mine disaster is considered the worst hard-rock mine disaster in the United States, with 163 people dying as a result of the fire. The disaster is remembered both for its death toll as well as the strike that ensued following the fire. 10 3/4" by 12 7/8"
Dillon Montana 1883 Panoramic Photo
Lot #168 (Sale Order 168 of 1017)
4 1/4" by 11"
John Running Babbit Ranch Cowboy Photo
Lot #169 (Sale Order 169 of 1017)
11" by 14" in matte. 8" by 10" without matte.
Reed Mission Standing Rock Reservation Photo
Lot #170 (Sale Order 170 of 1017)
Our First Home at Fort Yates 1888 for 20 years called the Mission. 4 3/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Military Post Fort Yates Indian Camp Photo
Lot #171 (Sale Order 171 of 1017)
Booth and Teepees, showing how Indians lived and do now live in September when attending their large religious gatherings. Showing the Military post, Fort Yates, in distance. These Teepees were all around the booth, over 500 in number. 4 3/4" by 6 5/8" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #172 (Sale Order 172 of 1017)
Unidentified subjects, both residents of Standing Rock. 4 1/4" by 6". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Standing Rock Indian Reservation Picnic Photo
Lot #173 (Sale Order 173 of 1017)
Annual Picnic, June 1915. 5" by 8". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Reed Mission Standing Rock Reservation Photo
Lot #174 (Sale Order 174 of 1017)
Hospital, run from 1889 to 1900 used as a School 1914-1918. Mission house used as sergeant's residence 1888 to 1903. Used as teacher's house and boys dormitory 1914-1918. 1889 1st Chapel for Standing Rock Mission. Signed G.W. Reed. 4 1/4" by 5 1/4". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Clinton Iowa Curtis Factory Stereoview
Lot #175 (Sale Order 175 of 1017)
Nice example.
Clinton Iowa Lyons Bridge Stereoview
Lot #176 (Sale Order 176 of 1017)
Nice image.
Copper Basin Nevada Ghost Town Cabinet Photo
Lot #177 (Sale Order 177 of 1017)
4 1/4" by 6 1/2". 1891
Jeanne Smith Carr Carmelita Cabinet Photo
Lot #178 (Sale Order 178 of 1017)
Photo is the exterior of Carmelita Circa 1895. Photographer is E.S. Frost & Son Pasadena California. 4 1/2" by 7 3/4". Jeanne Caroline Smith Carr (1825–1903) was a prolific American newspaper correspondent and an educator who served as Deputy California State Superintendent of Public Instruction. An expert in botany and horticulture, Carr is chiefly remembered as a mentor of John Muir, with whom she had a public and platonic, yet warm and intimate relationship, their correspondence spanning 30 years. At her home, "Carmelita", in Pasadena, California, Helen Hunt Jackson is said to have written many pages of her masterpiece, Ramona. Carr was a good friend of Helena Modjeska; and among well-known people who partook of Carr's hospitality were Charles Dudley Warner, Bret Harte, Ole Bull, and Paul Du Chaillu.
Cowgirls Smoking Cigars Cabinet Photo
Lot #179 (Sale Order 179 of 1017)
Nice early image. Girls appear to be Sisters. One is holding a lit cigar. 4 1/4" by 6 1/2".
Huie Pock Butte Montana Chinese Doctor Photo
Lot #180 (Sale Order 180 of 1017)
7" by 10". More contemporary print. Dr. Huie Pock was a well-respected Chinese physician who became wealthy through his practice of herbal medicine. Western medicine, especially on the remote frontier, was primitive by comparison to herbal remedies honed from thousands of years of practice in China. Dr. Pock was one of several herbal doctors who made a profitable practice in Butte treating Chinese and Euro Americans alike with herbal remedies and acupuncture. Dr. Pock’s practice was given a great boost when he successfully treated the ulcers of the daughter of William Andrews Clark, one of the famous Copper Kings of Butte and one of the wealthiest men in America. Dr. Pock developed an effective herbal poultice that used banana stalks. He shipped these through the mail as well as using them locally to treat various ailments. His reputation was established during an outbreak of influenza that killed hundreds in Butte in 1918. Pock had an effective herbal treatment that saved lives where western doctors could do nothing but watch their patients die. However, Dr. Pock could not save his young wife, Chong Chie Huie, who died of botulism in 1923 after eating food from a tainted can. When Dr. Pock died in 1927, his son squandered the money set aside to ship his wife’s and his own remains for burial in China. His body lay in storage at a local funeral parlor until 1953 when Dr. Pock and his wife were finally buried in unmarked graves in the Chinese section of Butte’s Mount Moriah cemetery. In 2007, a group of Butte doctors financed a grave marker for Dr. Pock.
Henry Hull & Frank Cowboy on Horse Photo
Lot #181 (Sale Order 181 of 1017)
Photo is a reprint. 5 7/8" by 7 1/2" on board.
Rodman Wanamaker Native American Photogravures
Lot #182 (Sale Order 182 of 1017)
A Bath in the Little Big Horn, The Council Pipe. 6" by 9 3/4".
Charles Belden Pitchfork Ranch Wyoming Photo
Lot #183 (Sale Order 183 of 1017)
Title is Homeward Bound. 7 3/4" by 9 1/2". Charles Josiah Belden (November 16, 1887, San Francisco, California – February 1, 1966, St. Petersburg, Florida) was a photographer and rancher who was famous for his visceral photographs of the area around Meetseetse, Wyoming. Belden was born in San Francisco into a wealthy California family. His grandfather, Josiah Belden, was an early California pioneer who made millions in San Francisco real estate and was the first Mayor of San Jose. After graduating from Massachusetts Institute of Technology, Charles Belden bought his first camera to record a European tour with his school friend, Eugene Phelps. The highlight of the tour was a journey through Russia in Belden's 1908 Packard, the first automobile to make such a trip in the country. After the trip, Belden went to work as a cowboy on the Phelps (Pitchfork) Ranch in Wyoming. In 1912, Belden married Eugene's sister, Frances. The couple had three children, Annice, Margot, and Mary Elizabeth, who died while still a toddler. Eugene's father died in 1922, leaving Eugene and Charles to take over management of the Pitchfork Ranch. Belden's 1921–1940 photographs of the Pitchfork Ranch were widely published, including in The Saturday Evening Post, National Geographic, and on the cover of Life magazine. Airplanes became a fascination for Belden. In the late 1920s, Charles became involved in raising antelope and sending them by airplane to zoos around the world, including some to Germany in the Hindenburg. He helped to pioneer the process of planting fish from the air and filmed the experience for future reference. In addition, he helped the Wyoming Game and Fish Commission conduct a census of wildlife herd populations using aerial photographs. Estate taxes, mismanagement, and an agricultural depression that began in 1921 took their toll on the Pitchfork and the ranch fell into decline. To meet expenses, in the 1930s the family turned their home into a dude ranch, but this response did not stop the financial drain. After many years of strained relations, Charles divorced Frances in 1940 and moved to Florida with a new wife, Verna Steele Belden. Charles Belden died in 1966 of a self-inflicted gunshot wound in St. Petersburg, Florida.
Historic Yellowstone National Park Photo 1896
Lot #184 (Sale Order 184 of 1017)
Camp Lower Geyser Basin September 1st 1896. Photo features Colonel Theodore Schwan Assistant Adjutant-General, Mrs Dr. Abbott, Colonel John C. Bates 2nd Infantry, Captain George Lawson Scott 6th Cavalry, E. Lindsey 2nd Support Co C Cavalry, Mrs Schwan. 8" by 10". A native of Lafayette, OR, George Lawson Scott (1849-1926), graduated from West Point in 1875, and was assigned soon after to the 6th US Cavalry, with which he served during the greater part of his military service in Arizona and Wyoming. He took part in the Apache campaign in the Southwest and a Sioux campaign in Wyoming and Dakota, at the time of the Ghost Dance excitement, which resulted in the death of Sitting Bull. Colonel Scott also raised the siege in the war at Fort McKinney, WY. In March 1894, Scott and a patrol of soldiers captured Edgar Howell, a poacher from Cooke City, MT, for killing Bison in the Pelican Valley section of Yellowstone Park. At the time, there were no laws that would allow prosecution of Howell, so he was temporarily detained and removed from the park. However, shortly after his capture, F. Jay Haynes, the park photographer, along with western author Emerson Hough and guide Billy Hofer encountered Scott and Howell as he was being escorted back to Fort Yellowstone. The encounter was captured on film by Haynes, and the story was telegraphed to Hough's publisher: Forest and Stream. These events inspired the magazine's editor, George Bird Grinnell, to lobby congress for a law to allow prosecution of crimes in Yellowstone, which resulted in the Lacey Act of 1894. In response to Yellowstone's park administrators' inability to punish poachers, Congressman John F. Lacey sponsored legislation that gave the Department of Interior authority to arrest and prosecute those violating the law within the park. The Lacey Act subsequently became the cornerstone of future law enforcement policies in the park. (Information obtained from familysearch.org on October 19, 2016.) In 1898, Scott commanded the headquarters' guard of General Brooks at Puerto Rico, and after the war, he had charge of the Chippewa Indians in Minnesota. For a while, he also oversaw the Apache prisoners of war at Fort Sill, OK in 1911. Following 30 years of service, Scott retired at his own request. He suffered a stroke, which resulted in his death at the Letterman General Hospital in San Francisco.
Captain George Lawson Scott 6th Cavalry Photo
Lot #185 (Sale Order 185 of 1017)
5" by 8 1/2". A native of Lafayette, OR, George Lawson Scott (1849-1926), graduated from West Point in 1875, and was assigned soon after to the 6th US Cavalry, with which he served during the greater part of his military service in Arizona and Wyoming. He took part in the Apache campaign in the Southwest and a Sioux campaign in Wyoming and Dakota, at the time of the Ghost Dance excitement, which resulted in the death of Sitting Bull. Colonel Scott also raised the siege in the war at Fort McKinney, WY. In March 1894, Scott and a patrol of soldiers captured Edgar Howell, a poacher from Cooke City, MT, for killing Bison in the Pelican Valley section of Yellowstone Park. At the time, there were no laws that would allow prosecution of Howell, so he was temporarily detained and removed from the park. However, shortly after his capture, F. Jay Haynes, the park photographer, along with western author Emerson Hough and guide Billy Hofer encountered Scott and Howell as he was being escorted back to Fort Yellowstone. The encounter was captured on film by Haynes, and the story was telegraphed to Hough's publisher: Forest and Stream. These events inspired the magazine's editor, George Bird Grinnell, to lobby congress for a law to allow prosecution of crimes in Yellowstone, which resulted in the Lacey Act of 1894. In response to Yellowstone's park administrators' inability to punish poachers, Congressman John F. Lacey sponsored legislation that gave the Department of Interior authority to arrest and prosecute those violating the law within the park. The Lacey Act subsequently became the cornerstone of future law enforcement policies in the park. (Information obtained from familysearch.org on October 19, 2016.) In 1898, Scott commanded the headquarters' guard of General Brooks at Puerto Rico, and after the war, he had charge of the Chippewa Indians in Minnesota. For a while, he also oversaw the Apache prisoners of war at Fort Sill, OK in 1911. Following 30 years of service, Scott retired at his own request. He suffered a stroke, which resulted in his death at the Letterman General Hospital in San Francisco.
Captain George Lawson Scott 6th Cavalry Photo
Lot #186 (Sale Order 186 of 1017)
Officers Troop D 6th Cavalry 1890 Montana. George Lawson Scott, Henry P. Kingsbury, Richard B. Paddock. 8" by 10". A native of Lafayette, OR, George Lawson Scott (1849-1926), graduated from West Point in 1875, and was assigned soon after to the 6th US Cavalry, with which he served during the greater part of his military service in Arizona and Wyoming. He took part in the Apache campaign in the Southwest and a Sioux campaign in Wyoming and Dakota, at the time of the Ghost Dance excitement, which resulted in the death of Sitting Bull. Colonel Scott also raised the siege in the war at Fort McKinney, WY. In March 1894, Scott and a patrol of soldiers captured Edgar Howell, a poacher from Cooke City, MT, for killing Bison in the Pelican Valley section of Yellowstone Park. At the time, there were no laws that would allow prosecution of Howell, so he was temporarily detained and removed from the park. However, shortly after his capture, F. Jay Haynes, the park photographer, along with western author Emerson Hough and guide Billy Hofer encountered Scott and Howell as he was being escorted back to Fort Yellowstone. The encounter was captured on film by Haynes, and the story was telegraphed to Hough's publisher: Forest and Stream. These events inspired the magazine's editor, George Bird Grinnell, to lobby congress for a law to allow prosecution of crimes in Yellowstone, which resulted in the Lacey Act of 1894. In response to Yellowstone's park administrators' inability to punish poachers, Congressman John F. Lacey sponsored legislation that gave the Department of Interior authority to arrest and prosecute those violating the law within the park. The Lacey Act subsequently became the cornerstone of future law enforcement policies in the park. (Information obtained from familysearch.org on October 19, 2016.) In 1898, Scott commanded the headquarters' guard of General Brooks at Puerto Rico, and after the war, he had charge of the Chippewa Indians in Minnesota. For a while, he also oversaw the Apache prisoners of war at Fort Sill, OK in 1911. Following 30 years of service, Scott retired at his own request. He suffered a stroke, which resulted in his death at the Letterman General Hospital in San Francisco.
Edward Boos Flathead Indian Montana Photo
Lot #187 (Sale Order 187 of 1017)
5" by 7". Doctor Parsons and group of six white people and four Indians. One Indian is holding a sword being looked at by a young lady. Boos #751. Tipis and hills can be seen in the background. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #188 (Sale Order 188 of 1017)
5" by 7". St Ignatius Montana. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #189 (Sale Order 189 of 1017)
5" by 7". Unidentified subject. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #190 (Sale Order 190 of 1017)
5" by 7". Cla-at-la Rivias. Indian woman mounted on a horse in the Mission Valley near Saint Ignatius, Montana. Mission falls visible in the background. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #191 (Sale Order 191 of 1017)
5" by 7". Indian woman, Days End, on a paint horse. Boos #110. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Owen Lovejoy Indian Cabinet Photo North Dakota
Lot #192 (Sale Order 192 of 1017)
Photographer Gilbert of Mandan North Dakota. 4 1/4" by 6 1/2" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #193 (Sale Order 193 of 1017)
Identified as Mabel Hind Mrs Young Eagle. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
DF Barry Sitting Bull's Camp Cabinet Photo
Lot #194 (Sale Order 194 of 1017)
David Francis Barry Standing Rock Dakota Territory. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Fort Yates Indian Family Cabinet Photo
Lot #195 (Sale Order 195 of 1017)
4 1/4" by 6 1/2". Unidentified. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Charlie Hayes Frank Bennett Fiske Cabinet Photo
Lot #196 (Sale Order 196 of 1017)
4 1/4" by 6 1/2". Charlie Hayes. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #197 (Sale Order 197 of 1017)
Joshua Strikes the Ree as he dressed as a dancer. Years before he became Deacon of Congregational Church at Fort Yates. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Fort Yates Indian Family Cabinet Photo
Lot #198 (Sale Order 198 of 1017)
Mrs Two Crows and Daughters. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Fort Yates Indian Family Cabinet Photo
Lot #199 (Sale Order 199 of 1017)
4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #200 (Sale Order 200 of 1017)
Grandma Tipi Sapa te Eoyouka. Mrs Black House to Waldo. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #201 (Sale Order 201 of 1017)
Edward Elk. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #202 (Sale Order 202 of 1017)
Henry Oscar One Bull Battle of the Little Big Horn Warrior, and Family. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #203 (Sale Order 203 of 1017)
Little Bear Cree Chief. 4 1/4" by 6 1/2" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #204 (Sale Order 204 of 1017)
Eagle Boy and Son. 4 1/4" by 6 1/2" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Indian Wars Soldier Fort Yates Cabinet Photo
Lot #205 (Sale Order 205 of 1017)
Albert Strike The Kettle, Young Eagle. 4 1/8" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Fort Yates Indian Family Cabinet Photo
Lot #206 (Sale Order 206 of 1017)
John Foster and Baby. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Rose Bud Block P Steamboat DF Barry Cabinet Photo
Lot #207 (Sale Order 207 of 1017)
5 1/4" by 8 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota. Her first trip was up the Missouri River and terminated at the Yellowstone River in 1877. Rose Bud was one of the few boats which made over 50 trips to Fort Benton, Montana. In 1880, 1883, 1886 and 1887 she was the first arrival at Fort Benton and on April 26, 1887 she was the earliest steamboat in history to arrive at Fort Benton. Rose Bud was equipped with electricity in 1882 and was the first illuminated boat seen at Fort Benton. In the fall of 1882, she sank below Claggett. She was the last of the Coulson fleet and was sold in 1884/85 to Block P Line. She sank again in August 1886 below Rocky Point. In 1887 Captain Joe Todd lacked a crew because of a strike. He hired a crew of Gros Ventres, Cree and Mandan Indians who handled the freight. After the railroad arrived in Fort Benton, she was sold to the Benton Packet Company and operated on the lower part of the Missouri. She sank at the railroad warehouse in Bismarck, South Dakota on June 16, 1896. The river was falling rapidly and she settled on some submerged piling
Narolf Nesset Fort Yates Community School Photo
Lot #208 (Sale Order 208 of 1017)
Standing Rock Reservation. 5" by 7". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota. Transfer of Narolf Nesset from superintendent of the Cheyenne River Indian Agency in South Dakota to superintendent at Standing Rock Agency, Fort Yates, North Dakota, was announced today by the Department of the Interior. Mr. Nesset succeeds Harold W. Schunk, recently transferred to the Rosebud Agency in South Dakota. The new move is effective December 13, according to Indian Commissioner Glen Emmons. A native of Maddock, North Dakota, Mr. Nesset joined the Bureau of Indian Affairs in 1936 as a teacher at the Fort Yates Community School on the Standing Rock Reservation. In 1944 he was named principal of the school and one year later became principal of the Bureau’s school at Fort Totten, North Dakota, on the Turtle Mountain Reservation. He resigned in 1949 to become self-employed and returned to the Bureau in 1950 as Reservation Principal at the Cheyenne River Agency. Two years later he was appointed superintendent at Cheyenne River and has been serving in this position ever since. He attended college intermittently beginning in 1930 and received an A.B. degree from Valley City (North Dakota) State Teachers College in 1944.
Reed Mission Standing Rock Reservation Photo
Lot #209 (Sale Order 209 of 1017)
4 3/4" by 6 5/8". Near view of Booth The Indian Inscription Means; The Holy Book guide to our road. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Indian Agency Fort Yates Standing Rock Photo
Lot #210 (Sale Order 210 of 1017)
3 3/4" by 5 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Reed Mission Standing Rock Reservation Photo
Lot #211 (Sale Order 211 of 1017)
A Better View of Teepees at Fort Yates, at some large meeting. 4 3/4" by 6 5/8" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Indian Mission Fort Yates RPPC Postcard
Lot #212 (Sale Order 212 of 1017)
3 1/2" by 5 1/2" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Fort Yates Indian Family Cabinet Photo
Lot #213 (Sale Order 213 of 1017)
Mrs John Whiteshield and Daughters. 5 1/8" by 7 1/4". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
School and Church Poplar Montana Cabinet Photo
Lot #214 (Sale Order 214 of 1017)
Fort Peck Indian Reservation Boarding School. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Whitney Hall Santee Sioux School Cabinet Photo
Lot #215 (Sale Order 215 of 1017)
Whitney Hall, Santee Normal School. Santee Nebraska. 5 1/4" by 8 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Eliot Tabernacle Standing Rock Reservation Photo
Lot #216 (Sale Order 216 of 1017)
John Eliot Tabernacle. 4 3/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Eliot Tabernacle Standing Rock Reservation Photo
Lot #217 (Sale Order 217 of 1017)
John Eliot Tabernacle. 4 3/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Reed Mission Standing Rock Reservation Photo
Lot #218 (Sale Order 218 of 1017)
Booth at Fort Yates North Dakota, where 1500 Indians held meetings for nearly a week. Tibbetts was present and sang in the choir. 6 5/8" by 4 3/4". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Reed Mission Standing Rock Reservation Photo
Lot #219 (Sale Order 219 of 1017)
5" by 7". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
George Lawson Scott Yellowstone Park Photo
Lot #220 (Sale Order 220 of 1017)
Men who captured poacher Howell. Dr. Charles M. Gandy, Lieutenant John T. Nance, Captain George Lawson Scott, and Lieutenant Forsyth. 8" by 10 1/4" framed. A native of Lafayette, OR, George Lawson Scott (1849-1926), graduated from West Point in 1875, and was assigned soon after to the 6th US Cavalry, with which he served during the greater part of his military service in Arizona and Wyoming. He took part in the Apache campaign in the Southwest and a Sioux campaign in Wyoming and Dakota, at the time of the Ghost Dance excitement, which resulted in the death of Sitting Bull. Colonel Scott also raised the siege in the war at Fort McKinney, WY. In March 1894, Scott and a patrol of soldiers captured Edgar Howell, a poacher from Cooke City, MT, for killing Bison in the Pelican Valley section of Yellowstone Park. At the time, there were no laws that would allow prosecution of Howell, so he was temporarily detained and removed from the park. However, shortly after his capture, F. Jay Haynes, the park photographer, along with western author Emerson Hough and guide Billy Hofer encountered Scott and Howell as he was being escorted back to Fort Yellowstone. The encounter was captured on film by Haynes, and the story was telegraphed to Hough's publisher: Forest and Stream. These events inspired the magazine's editor, George Bird Grinnell, to lobby congress for a law to allow prosecution of crimes in Yellowstone, which resulted in the Lacey Act of 1894. In response to Yellowstone's park administrators' inability to punish poachers, Congressman John F. Lacey sponsored legislation that gave the Department of Interior authority to arrest and prosecute those violating the law within the park. The Lacey Act subsequently became the cornerstone of future law enforcement policies in the park. (Information obtained from familysearch.org on October 19, 2016.) In 1898, Scott commanded the headquarters' guard of General Brooks at Puerto Rico, and after the war, he had charge of the Chippewa Indians in Minnesota. For a while, he also oversaw the Apache prisoners of war at Fort Sill, OK in 1911. Following 30 years of service, Scott retired at his own request. He suffered a stroke, which resulted in his death at the Letterman General Hospital in San Francisco.
Waldo Reed Rosebud Reservation Photo Album
Lot #221 (Sale Order 221 of 1017)
13 photos. Rosebud Reservation and Chief Thunder Hawk are featured. Album owned by the Son of George W. Reed who was the pastor of Standing Rock. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
H.B. Calfee Yellowstone Park Montana CDV Photo
Lot #222 (Sale Order 222 of 1017)
2 1/2" by 4".
Gold Miners RPPC Real Photo Postcard
Lot #223 (Sale Order 223 of 1017)
Miners are thumbing their noses at the camera.
Frank Bennett Fiske Indian Cabinet Photo
Lot #224 (Sale Order 224 of 1017)
Medicine Joe. 4 1/4" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Edward Boos Flathead Indian Montana Photo
Lot #225 (Sale Order 225 of 1017)
5" by 7". Subject is Mot-a-len. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #226 (Sale Order 226 of 1017)
5" by 7". Subject is Rosalea daughter of Isabelle. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #227 (Sale Order 227 of 1017)
5" by 7". Unidentified subject. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #228 (Sale Order 228 of 1017)
5" by 7". Eneas Conko (Go-Go) preparing for the dance. Boos #613. Man pictured in entrance to tipi assembling clothing. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #229 (Sale Order 229 of 1017)
5" by 7". Cheyenne Indians, all in different costumes. Ceremonial Dance. Boos #629B Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #230 (Sale Order 230 of 1017)
5" by 7". Paul Lumphrey, Louis Left Hand, Chines- e-m, Peter Stevens. Four Native American men pose in Native American attire. Three wear headdresses, and the fourth man has a feather in his hair. Tipis can be seen in the background stretched out along the base of a mountain. Image entitled 'Young braves.' Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #231 (Sale Order 231 of 1017)
5" by 7". Subjects are Lucy and children. American Horse At-o-em and At-a-la-ee. Wife of Lo-me Standing Bear Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #232 (Sale Order 232 of 1017)
5" by 7". John Finley and Women. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #233 (Sale Order 233 of 1017)
5" by 7". Subjects are Skukusse and Pix-On-Che-La Hoit (Hunts Alone). Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #234 (Sale Order 234 of 1017)
5" by 7". Indian women, on horses, parading in front of a large group of teepees. Mission Valley, Montana. Boos #229 Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #235 (Sale Order 235 of 1017)
5" by 7". Indian women, on horses, parading in front of a large group of teepees. Mission Valley, Montana. Boos #229 Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #236 (Sale Order 236 of 1017)
5" by 7". Jerome Nicolla, a young Native American male, sits on horseback. A tipi can be seen behind him Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #237 (Sale Order 237 of 1017)
5" by 7". Souette 'Beaver Foot' Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #238 (Sale Order 238 of 1017)
5" by 7". Title is Airing the baby. Indian woman on horseback with a baby in a beautiful cradleboard hanging from in front of the saddle. Teepee behind horse. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #239 (Sale Order 239 of 1017)
5" by 7". Unidentified. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #240 (Sale Order 240 of 1017)
5" by 7". John Finley. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #241 (Sale Order 241 of 1017)
5" by 7". Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
Edward Boos Flathead Indian Montana Photo
Lot #242 (Sale Order 242 of 1017)
5" by 7". St. Ignatius Mission. Boos' Flathead Reservation portraits document particularly insightful details regarding the lifestyle, possessions, and landscapes of tribal members just prior to the 1910 Allotment Act--an action that opened vast portions of the reservation to non-tribal settlement. In contrast to the Salish, Kootenai, and Pend'Oreille photographs, Boos' Flathead, Mission, and Missoula valleys series is a mix of broad landscape images, community events, and portraits. This series primarily contains photographs of the Flathead and Missoula valleys; however, it also includes a few photographs from the Mission valley as well as one from near Frenchtown, MT, looking east towards Missoula. The landscape photographs in this series offer a significant record of topography and general vegetative matrices during the early stages of community expansion into the foothills of the Missoula and Flathead valleys. The series also records some common leisure activities among western Montanans at the turn of the 20th Century, as well as glimpses of Missoula community events. The Victoria, B.C. series contains photographs from an undated vacation.
George Lawson Scott Yellowstone Buffalo Photo
Lot #243 (Sale Order 243 of 1017)
Men who captured poacher Howell, posed with 8 of the confiscated bison heads. Left to right: in uniform, Lieutenant John T. Nance, Captain George Lawson Scott, and Lieutenant Forsyth. Photo by Gandy. Phenomenal and Iconic Early Western Image. 5 1/2" by 9". A native of Lafayette, OR, George Lawson Scott (1849-1926), graduated from West Point in 1875, and was assigned soon after to the 6th US Cavalry, with which he served during the greater part of his military service in Arizona and Wyoming. He took part in the Apache campaign in the Southwest and a Sioux campaign in Wyoming and Dakota, at the time of the Ghost Dance excitement, which resulted in the death of Sitting Bull. Colonel Scott also raised the siege in the war at Fort McKinney, WY. In March 1894, Scott and a patrol of soldiers captured Edgar Howell, a poacher from Cooke City, MT, for killing Bison in the Pelican Valley section of Yellowstone Park. At the time, there were no laws that would allow prosecution of Howell, so he was temporarily detained and removed from the park. However, shortly after his capture, F. Jay Haynes, the park photographer, along with western author Emerson Hough and guide Billy Hofer encountered Scott and Howell as he was being escorted back to Fort Yellowstone. The encounter was captured on film by Haynes, and the story was telegraphed to Hough's publisher: Forest and Stream. These events inspired the magazine's editor, George Bird Grinnell, to lobby congress for a law to allow prosecution of crimes in Yellowstone, which resulted in the Lacey Act of 1894. In response to Yellowstone's park administrators' inability to punish poachers, Congressman John F. Lacey sponsored legislation that gave the Department of Interior authority to arrest and prosecute those violating the law within the park. The Lacey Act subsequently became the cornerstone of future law enforcement policies in the park. (Information obtained from familysearch.org on October 19, 2016.) In 1898, Scott commanded the headquarters' guard of General Brooks at Puerto Rico, and after the war, he had charge of the Chippewa Indians in Minnesota. For a while, he also oversaw the Apache prisoners of war at Fort Sill, OK in 1911. Following 30 years of service, Scott retired at his own request. He suffered a stroke, which resulted in his death at the Letterman General Hospital in San Francisco.
George Lawson Scott Yellowstone Park Photo
Lot #244 (Sale Order 244 of 1017)
Men who captured poacher Howell. Dr. Charles M. Gandy, Lieutenant John T. Nance, Captain George Lawson Scott, and Lieutenant Forsyth. 5" by 8 1/4". A native of Lafayette, OR, George Lawson Scott (1849-1926), graduated from West Point in 1875, and was assigned soon after to the 6th US Cavalry, with which he served during the greater part of his military service in Arizona and Wyoming. He took part in the Apache campaign in the Southwest and a Sioux campaign in Wyoming and Dakota, at the time of the Ghost Dance excitement, which resulted in the death of Sitting Bull. Colonel Scott also raised the siege in the war at Fort McKinney, WY. In March 1894, Scott and a patrol of soldiers captured Edgar Howell, a poacher from Cooke City, MT, for killing Bison in the Pelican Valley section of Yellowstone Park. At the time, there were no laws that would allow prosecution of Howell, so he was temporarily detained and removed from the park. However, shortly after his capture, F. Jay Haynes, the park photographer, along with western author Emerson Hough and guide Billy Hofer encountered Scott and Howell as he was being escorted back to Fort Yellowstone. The encounter was captured on film by Haynes, and the story was telegraphed to Hough's publisher: Forest and Stream. These events inspired the magazine's editor, George Bird Grinnell, to lobby congress for a law to allow prosecution of crimes in Yellowstone, which resulted in the Lacey Act of 1894. In response to Yellowstone's park administrators' inability to punish poachers, Congressman John F. Lacey sponsored legislation that gave the Department of Interior authority to arrest and prosecute those violating the law within the park. The Lacey Act subsequently became the cornerstone of future law enforcement policies in the park. (Information obtained from familysearch.org on October 19, 2016.) In 1898, Scott commanded the headquarters' guard of General Brooks at Puerto Rico, and after the war, he had charge of the Chippewa Indians in Minnesota. For a while, he also oversaw the Apache prisoners of war at Fort Sill, OK in 1911. Following 30 years of service, Scott retired at his own request. He suffered a stroke, which resulted in his death at the Letterman General Hospital in San Francisco.
Kiowa Annie Indian Territory Cabinet Photo
Lot #245 (Sale Order 245 of 1017)
Anna Berry posing with hands behind head and wearing fringed hide dress trimmed with elk teeth. "Anna E. Berry" variant personal names: Anna E. Jones Berry, Annie Berry, Dome-bay, Kiowa Annie. Taken by Irwin at Chickasha Indian Territory. 4 1/4" by 6 1/2"
Frank Bennett Fiske Indian Cabinet Photo
Lot #246 (Sale Order 246 of 1017)
Sioux Indians Dancing at McLaughlin South Dakota. 8" by 10". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Dance Photo
Lot #247 (Sale Order 247 of 1017)
Indian Dance Standing Rock Agency. 7 7/8" by 5 7/8". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Santee Sioux Native American Indian Photo
Lot #248 (Sale Order 248 of 1017)
Title is In the kitchen with a Sioux Indian at Missionary Conference Santee Nebraska. 8 1/2" by 10" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Santee Sioux Native American Indian Photo
Lot #249 (Sale Order 249 of 1017)
Sioux Indian at Missionary Conference Santee Nebraska. 8 1/2" by 10" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Fort Yates Standing Rock Indian Family Photo
Lot #250 (Sale Order 250 of 1017)
Subject with the glasses is Ocanku Takan Tawa or His Holy Road. 8" by 10" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Collins House Grand River South Dakota Photo
Lot #251 (Sale Order 251 of 1017)
6 1/2" by 8 1/2" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #252 (Sale Order 252 of 1017)
Middle Bull Indian Police Officer Fort Yates, Survivor of Wounded Knee. 6" by 8" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #253 (Sale Order 253 of 1017)
Mrs Grass Bear. 6 1/2" by 9 1/4". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
C.R. Lawson Santee Sioux Agency Cabinet Photo
Lot #254 (Sale Order 254 of 1017)
Perkins Hall Santee Normal Training Sioux Indian School. 5 1/8" by 8 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Santee Sioux Indian Stockyards Cabinet Photo
Lot #255 (Sale Order 255 of 1017)
6 1/2" by 8 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
C.C. Covey and Indian Police Standing Rock Photo
Lot #256 (Sale Order 256 of 1017)
Superintendent Claude C. Covey, who was at Rosebud from 1918 to (about) 1920. Standing Rock Indian Agency. 6 1/2" by 8 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
L.A. Huffman Fort Berthold Leggings Indian Photo
Lot #257 (Sale Order 257 of 1017)
Mandan Reservation Fort Berthold. Subject is "Leggings". 6" by 8". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraits—Indians, cowboys, prominent citizens, children, pets, soldiers, and whoever could pay—and outdoor scenes—scenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo hunters—red men and white—were waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the
Fort Yates North Dakota Agency Office Photo
Lot #258 (Sale Order 258 of 1017)
Compliments of R.A. Kern Fort Yates North Dakota. Frank Bennett Fiske photo. 8" by 10". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Calendar Fort Yates
Lot #259 (Sale Order 259 of 1017)
Subject is Rain in the Face Sioux Chief. Compliments of Hokanson Brothers Indian Traders Fort Yates North Dakota. 1924 date on calendar pad. 6 1/2" by 8 3/4". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photos
Lot #260 (Sale Order 260 of 1017)
One shows Fiske's Wife holding the photo of Old Blue Thunder which is offered in this lot. 6" by 8". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
George W Reed Indian Missionary Photo Album
Lot #261 (Sale Order 261 of 1017)
20 total images. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Grave Cabinet Photo
Lot #262 (Sale Order 262 of 1017)
Graves of Indian Police Killed in Sitting Bull Fight. 8" by 10". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
DF Barry Chief John Grass Cabinet Photo
Lot #263 (Sale Order 263 of 1017)
Bismarck Dakota Territory. 8" by 10". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
DF Barry Circling Bear Cabinet Photo
Lot #264 (Sale Order 264 of 1017)
Chief Circling Bear. 8" by 10". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #265 (Sale Order 265 of 1017)
Taken Before Wall Tents Came Into Use. 8" by 10". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #266 (Sale Order 266 of 1017)
Head of the Procession of Sioux Indians as they entered McLaughlin South Dakota. Celebration of Oct 10-11. 8" by 10" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Fort Yates Cabinet Photo
Lot #267 (Sale Order 267 of 1017)
John M. Carignan Indian Agent Store Fort Yates Standing Rock Reservation. 5 1/2" by 6 1/2". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Big Horn Buffalo Robe Photo
Lot #268 (Sale Order 268 of 1017)
Battle of the Little Big Horn Buffalo Robe Presented by John Grass to Theodore Roosevelt. 11" by 14" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Artist Cabinet Photo
Lot #269 (Sale Order 269 of 1017)
Fiske with Sculptor. 10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #270 (Sale Order 270 of 1017)
School above Yates, Standing Rock Reservation. 10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #271 (Sale Order 271 of 1017)
Agency Row Fort Yates Standing Rock Reservation. 10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Grave Cabinet Photo
Lot #272 (Sale Order 272 of 1017)
Graves of Indian Police killed at the time Sitting Bull was killed on Grand River. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske First Train McLaughlin Photo
Lot #273 (Sale Order 273 of 1017)
First train through McLaughlin South Dakota. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #274 (Sale Order 274 of 1017)
Sioux Encamped at Conference September 5th 1908. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Fair Cabinet Photo
Lot #275 (Sale Order 275 of 1017)
Fall Fair Fort Yates North Dakota All Indian. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #276 (Sale Order 276 of 1017)
Delegates from Eight Sioux Reservations Meeting of Black Hills Treaty Association. Standing Rock Agency Fort Yates North Dakota March 10-11-12-13 1913. 10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #277 (Sale Order 277 of 1017)
Standing Rock Mission and Portion of Camp. Taken September 5th 1908. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Block House Cabinet Photo
Lot #278 (Sale Order 278 of 1017)
Block House Fort Yates. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Milwaukee Railroad Photo
Lot #279 (Sale Order 279 of 1017)
Milwaukee Railroad Bridge over Missouri River. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #280 (Sale Order 280 of 1017)
4th July 1901 Canadians grabbing shawls, saddles. 11" by 14" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #281 (Sale Order 281 of 1017)
Dancing. 10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #282 (Sale Order 282 of 1017)
Congregational Mission taken during the big conference Sept 3-4-5-6 1908. 10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #283 (Sale Order 283 of 1017)
510 Tents in this camp, taken at conference Sept 3-4-5-6 1908. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #284 (Sale Order 284 of 1017)
A portion of the camp taken Sept 5th 1908. Standing Rock Agency in Distance. 10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Indian Cabinet Photo
Lot #285 (Sale Order 285 of 1017)
A Sioux Indian Village Three Miles from Standing Rock. 10" by 12". Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Collection of Molesworth Furniture Photos
Lot #286 (Sale Order 286 of 1017)
Nice grouping. Largest is 8 1/2" by 11"
George W Reed Indian Missionary Photo Collection
Lot #287 (Sale Order 287 of 1017)
27 photos, 11 postcards, 18 negatives. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Standing Rock Indian Reservation Photo
Lot #288 (Sale Order 288 of 1017)
10" by 12" Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Frank Bennett Fiske Shoots Holy Indian Photo
Lot #289 (Sale Order 289 of 1017)
Shoots Holy Custer Battle Survivor. 8 1/2" by 14". Signed by Shoots Holy. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Standing Rock Indian Reservation Map
Lot #290 (Sale Order 290 of 1017)
Sioux County North Dakota, Corson County South Dakota. 22" by 32". R. Shane 1/44. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Edward Curtis Photogravure Gathering Arrow Bush
Lot #291 (Sale Order 291 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Ceremonial Ki Pima
Lot #292 (Sale Order 292 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Pima Granaries
Lot #293 (Sale Order 293 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Pima Burial Grounds
Lot #294 (Sale Order 294 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Antonio Azul Pima
Lot #295 (Sale Order 295 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure A Pima Home
Lot #296 (Sale Order 296 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Gathering Cactus Fruit
Lot #297 (Sale Order 297 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Shula Mohave Girl
Lot #298 (Sale Order 298 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Pima Land
Lot #299 (Sale Order 299 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Palo Verde
Lot #300 (Sale Order 300 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Authors Camp
Lot #301 (Sale Order 301 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Yuma Girl
Lot #302 (Sale Order 302 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Stone Maze
Lot #303 (Sale Order 303 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Stone Maze
Lot #304 (Sale Order 304 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Qahatika Matron
Lot #305 (Sale Order 305 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Maricopa Water Girl
Lot #306 (Sale Order 306 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Maricopa Group
Lot #307 (Sale Order 307 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Gathering Arrow Bush
Lot #308 (Sale Order 308 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Yaqui Girl
Lot #309 (Sale Order 309 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Apache Mohave House
Lot #310 (Sale Order 310 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Walathoma Havasupai
Lot #311 (Sale Order 311 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Havasupai Dwelling
Lot #312 (Sale Order 312 of 1017)
Havasupai Cliff Dwelling. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Mohave Man
Lot #313 (Sale Order 313 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12". Cover and Mounting paper are torn but tissue is undamaged.
Edward Curtis Photogravure A Papago
Lot #314 (Sale Order 314 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12". Cover and Mounting paper are torn but tissue is undamaged.
Edward Curtis Photogravure Gathering Hasen
Lot #315 (Sale Order 315 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12". Cover and Mounting paper are torn but tissue is undamaged.
Edward Curtis Photogravure An Apache Mohave Woman
Lot #316 (Sale Order 316 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12". Cover and Mounting paper are torn but tissue is undamaged.
Edward Curtis Photogravure Maricopa House
Lot #317 (Sale Order 317 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Tokopala Walapai
Lot #318 (Sale Order 318 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Havchach Yuma
Lot #319 (Sale Order 319 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure A Yuma Type
Lot #320 (Sale Order 320 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure A Yuma House
Lot #321 (Sale Order 321 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Yuma Maiden
Lot #322 (Sale Order 322 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Chach Mohave
Lot #323 (Sale Order 323 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Primitive Transporation
Lot #324 (Sale Order 324 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Mohave Potter
Lot #325 (Sale Order 325 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Mohave Mother
Lot #326 (Sale Order 326 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Hipa Mohave
Lot #327 (Sale Order 327 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure And Old Mother
Lot #328 (Sale Order 328 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Mohave Home
Lot #329 (Sale Order 329 of 1017)
Mohave Home Construction. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure A Yuma
Lot #330 (Sale Order 330 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure A Yuma Home
Lot #331 (Sale Order 331 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Mohave Still Life
Lot #332 (Sale Order 332 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Stone Maze
Lot #333 (Sale Order 333 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Maricopa Still Life
Lot #334 (Sale Order 334 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Hipa Maricopa
Lot #335 (Sale Order 335 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Maricopa Mealing
Lot #336 (Sale Order 336 of 1017)
Maricopa Woman Mealing. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Fruit Gatherer
Lot #337 (Sale Order 337 of 1017)
Fruit Gatherer Maricopa. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Havasupai Matron
Lot #338 (Sale Order 338 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Basket Maker
Lot #339 (Sale Order 339 of 1017)
Havasupai Basket Maker. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure The Canon Walls
Lot #340 (Sale Order 340 of 1017)
The Canon Walls Havasupai. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Nerije Walapai
Lot #341 (Sale Order 341 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Cactus Fruit Maricopa
Lot #342 (Sale Order 342 of 1017)
Harvesting Cactus Fruit Maricopa. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Walapai Hunter
Lot #343 (Sale Order 343 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Tathamiche Walapai
Lot #344 (Sale Order 344 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Walapai Winter Camp
Lot #345 (Sale Order 345 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Havchach Weaving
Lot #346 (Sale Order 346 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Primitive Mohave
Lot #347 (Sale Order 347 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure The Mohave
Lot #348 (Sale Order 348 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Mohave Child
Lot #349 (Sale Order 349 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Qahatika Home
Lot #350 (Sale Order 350 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Qahatika Man
Lot #351 (Sale Order 351 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Qahatika Village Scene
Lot #352 (Sale Order 352 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Hasen Harvest
Lot #353 (Sale Order 353 of 1017)
Hasen Harvest Qahatika. Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Papago Primitive Home
Lot #354 (Sale Order 354 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure The Papago Potter
Lot #355 (Sale Order 355 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Papago Matron
Lot #356 (Sale Order 356 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Papago Burial
Lot #357 (Sale Order 357 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Kiho Carrier Qahatika
Lot #358 (Sale Order 358 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Hokak Papago
Lot #359 (Sale Order 359 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Mission San Xavier
Lot #360 (Sale Order 360 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Papago Kitchen
Lot #361 (Sale Order 361 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Casa Grande Ruin
Lot #362 (Sale Order 362 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Casa Grande Ruin
Lot #363 (Sale Order 363 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Isevik Pima
Lot #364 (Sale Order 364 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis Photogravure Joseph Head Pima
Lot #365 (Sale Order 365 of 1017)
Original 1908 Gampi Tissue Photogravure from Edward Curtis The North American Indian Volume 2. 9" by 12".
Edward Curtis The North American Indian Vol 2
Lot #366 (Sale Order 366 of 1017)
Text Only. 1908. No photogravures. Volume may not be complete and may not be in order. Pages may be missing or extra pages may be included from other volumes.
Edward Curtis Snake Dancer Orotone Photo
Lot #367 (Sale Order 367 of 1017)
Title is Snake Dancer, 1900. 16 1/4" by 20" framed. The Huntington Historical Trust from Original Negative.
Edward Curtis Mosa Mohave Orotone Photo
Lot #368 (Sale Order 368 of 1017)
Title is Mosa-Mohave, 1903. 16 1/4" by 20" framed. The Huntington Historical Trust from Original Negative.
Edward Curtis Arapaho Warrior Orotone Photo
Lot #369 (Sale Order 369 of 1017)
Title is The Old Warrior Arapaho, . 16 1/2" by 21" framed. The Huntington Historical Trust from Original Negative.
Edward Curtis Assiniboin Hunter Orotone Photo
Lot #370 (Sale Order 370 of 1017)
Title is Assiniboin Hunter. 16 1/2" by 20 3/4" framed. The Huntington Historical Trust from Original Negative.
Edward Curtis Tapa Antelope Water Orotone Photo
Lot #371 (Sale Order 371 of 1017)
Title is Tapa "Antelope Water" - Taos (Ah Pao), 1905. 16" by 19" framed. The Huntington Historical Trust from Original Negative.
Edward Curtis At the Old Well Acoma Orotone Photo
Lot #372 (Sale Order 372 of 1017)
Title is At the Old Well Acoma, 1904. 19 1/4" by 23 1/4" framed. The Huntington Historical Trust from Original Negative.
Edward Curtis Qahatika Girl Orotone Photo
Lot #373 (Sale Order 373 of 1017)
Title is Qahatika Girl 1907. 19" by 23" framed. The Huntington Historical Trust from Original Negative.
Carl Moon Bro Ki He Kah Osage Indian Photo
Lot #374 (Sale Order 374 of 1017)
19" by 22" framed.
Sioux Native American Indian Quilled Pipe Bag
Lot #375 (Sale Order 375 of 1017)
25 3/4" long, 7" wide. First Half of the 20th Century.
Republic of the Congo Woven Basket
Lot #376 (Sale Order 376 of 1017)
7" diameter, 5" tall.
Hopi Native American Indian Second Mesa Basket
Lot #377 (Sale Order 377 of 1017)
6" diameter.
Hopi Native American Indian Second Mesa Basket
Lot #378 (Sale Order 378 of 1017)
7" diameter.
Hopi Native American Indian Second Mesa Basket
Lot #379 (Sale Order 379 of 1017)
8" diameter.
Hopi Native American Indian Second Mesa Basket
Lot #380 (Sale Order 380 of 1017)
9" diameter.
Hopi Native American Indian Second Mesa Basket
Lot #381 (Sale Order 381 of 1017)
11" diameter.
Antique Plains Indian Peace Pipe Tomahawk
Lot #382 (Sale Order 382 of 1017)
22 1/4" long. Nice old tomahawk, with collection label as shown. First Quarter of the 20th Century. Provenance: John Baldwin Collection, Collected in 1908 by Dr. Mackerley.
Standing Rock Sioux Indian Quilled Vest
Lot #383 (Sale Order 383 of 1017)
Stunning old vest. Great condition, was stored away for many years, colors are excellent. Circa 1900-1910. Gift from the Sioux tribe to George W. Reed Pastor of Standing Rock Reservation Fort Yates North Dakota. 18" armpit to armpit, 22" long. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Standing Rock Sioux Indian Beaded Vest
Lot #384 (Sale Order 384 of 1017)
Stunning old vest with Indian Scout Arrows, Eagles and Flags. Circa 1914-1918. Gift from the Sioux tribe to George W. Reed Pastor of Standing Rock Reservation Fort Yates North Dakota. 19 1/2" armpit to armpit, 22" long. Provenance: The Estate of George W Reed Indian Missionary and Pastor of Standing Rock Reservation Fort Yates North Dakota.
Clifford George Nuu-chah-nulth Indian Whale
Lot #385 (Sale Order 385 of 1017)
Carved Cedar with Abalone Inlay. 13 1/2" by 5". Clifford George (20th/21st Century) is known for Sculpture. Clifford George is a Nuu-chah-nulth artist born on the West Coast of Vancouver Island in August 1962, raised in Tofino and Ucluelet, B.C.
Standing Rock Sioux Indian Effigy Peace Pipe
Lot #386 (Sale Order 386 of 1017)
Attributed maker is Crazy Bear (Matho Gnaskinyan) of the Standing Rock Indian Reservation. Polychrome painted stem features a Buffalo, Ram, Skunk, and Turtles carved in relief. Pewter bowl. Circa 1880-1890. Signed as shown, more than likely by the Indian that owned it. 24 3/8" long with bowl attached.
Papago Native American Indian Basket
Lot #387 (Sale Order 387 of 1017)
11" diameter.
Alaskan Inuit Eskimo Soapstone Mammoth Fetish
Lot #388 (Sale Order 388 of 1017)
2 1/2" by 2" by 1"
Andrew Padilla Laguna Pueblo Wedding Vase
Lot #389 (Sale Order 389 of 1017)
7 1/4" by 4 3/4" by 4".
Lucario Laguna Pueblo Acoma Pottery Canteen
Lot #390 (Sale Order 390 of 1017)
Signed as shown. 4 1/4" tall, 3 3/4" diameter.
Sophie Cata Santa Clara Pueblo Pot
Lot #391 (Sale Order 391 of 1017)
4" diameter, 3 1/4" tall.
B. Seymour Acoma Pueblo Butterfly Pot
Lot #392 (Sale Order 392 of 1017)
2 7/8" diameter, 2 5/8" tall.
Pahponee Kickapoo Potawatomi Buffalo Seed Jar Pot
Lot #393 (Sale Order 393 of 1017)
2 1/8" diameter, 1 3/4" tall.
Camilio Sunflower Tafoya Santa Clara Seed Jar Pot
Lot #394 (Sale Order 394 of 1017)
2 1/4" tall, 2 1/8" diameter.
Cecilia Gaisthea Laguna Pueblo Canteen
Lot #395 (Sale Order 395 of 1017)
6 5/8" by 6 1/2" by 6 1/4".
Acoma Pueblo Wedding Vase
Lot #396 (Sale Order 396 of 1017)
5" by 4 3/4" by 2 1/2".
Marie E Coriz Santo Domingo Pueblo Pot
Lot #397 (Sale Order 397 of 1017)
4 1/2" tall, 4 1/8" diameter.
Isleta Pueblo Pottery Friendship Basket
Lot #398 (Sale Order 398 of 1017)
4 1/2" tall, 3 3/8" diameter.
Acoma Pueblo Wedding Vase
Lot #399 (Sale Order 399 of 1017)
8 1/4" by 7 7/8" by 7 1/2".
Jemez Pueblo Pot
Lot #400 (Sale Order 400 of 1017)
4 3/8" diameter, 3 1/2" tall. Signature has been wiped away as shown.
Margaret Seymour Acoma Pueblo Seed Pot
Lot #401 (Sale Order 401 of 1017)
3" diameter, 2 5/8" tall.
White Acoma Pueblo Seed Pot
Lot #402 (Sale Order 402 of 1017)
3 1/4" diameter, 2 7/8" tall.
Acoma Pueblo Polychrome Canteen
Lot #403 (Sale Order 403 of 1017)
Signed on bottom, indecipherable. 8 1/8" by 7 5/8" by 3 1/2".
Lilly Maria Salvador Acoma Wedding Vase
Lot #404 (Sale Order 404 of 1017)
Also known as Dzaisratyaitsa. 5" tall, 3 5/8" diameter.
Acoma Pueblo Polychrome Cache Dish
Lot #405 (Sale Order 405 of 1017)
4" by 4".
R. Star Vincente Acoma Pueblo Seed Pot
Lot #406 (Sale Order 406 of 1017)
2 1/2" diameter, 2 1/4" tall.
Sharon Lewis Acoma Pueblo Pot
Lot #407 (Sale Order 407 of 1017)
3" diameter, 2 3/4" tall.
Acoma Pueblo Polychrome Olla Water Pot
Lot #408 (Sale Order 408 of 1017)
9 1/2" diameter, 7" tall.
Acoma Pueblo Polychrome Olla Water Pot
Lot #409 (Sale Order 409 of 1017)
8 1/2" tall, 9 1/4" diameter.
Acoma Pueblo Insect Beetle Olla Water Pot
Lot #410 (Sale Order 410 of 1017)
7 1/8" tall, 8 3/4" diameter.
Acoma Sky City Pueblo Polychrome Olla Water Pot
Lot #411 (Sale Order 411 of 1017)
9 1/2" diameter, 7 3/4" tall.
Acoma Pueblo Olla Water Pot
Lot #412 (Sale Order 412 of 1017)
8 1/4" diameter, 6 7/8" tall.
Barbara Cerno Acoma Pueblo Polychrome Pot
Lot #413 (Sale Order 413 of 1017)
Signed B.C. 7 7/8" diameter, 6 1/4" tall.
Laguna Pueblo Polychrome Olla Water Pot
Lot #414 (Sale Order 414 of 1017)
8 1/4" diameter, 6 3/4" tall.
Zuni Pueblo Polychrome Olla Water Pot
Lot #415 (Sale Order 415 of 1017)
8 1/2" diameter, 6 5/8" tall. Provenance: From the Bertram and Ruth Malenka Collection, Belmont, Massachusetts.
Denise Vallo Acoma Pueblo Olla Water Pot
Lot #416 (Sale Order 416 of 1017)
6 3/4" diameter, 5 7/8" tall.
Minnie Vigil Santa Clara Pueblo Pot
Lot #417 (Sale Order 417 of 1017)
5 1/4" diameter, 3 5/8" tall.
Elizabeth Medina Zia Pueblo Pot
Lot #418 (Sale Order 418 of 1017)
4 1/8" diameter, 4" tall.
Acoma Pueblo Polychrome Canteen
Lot #419 (Sale Order 419 of 1017)
8 1/2" by 7 1/8" by 6 3/4".
Acoma Pueblo Polychrome Olla Water Pot
Lot #420 (Sale Order 420 of 1017)
10 1/2" diameter, 8 5/8" tall.
Acoma Pueblo Polychrome Olla Water Pot
Lot #421 (Sale Order 421 of 1017)
7 1/2" diameter, 5 3/4" tall.
Acoma Pueblo Polychrome Chili Bowl Pot
Lot #422 (Sale Order 422 of 1017)
7 1/2" diameter, 4 1/4" tall.
Acoma Pueblo Polychrome Canteen
Lot #423 (Sale Order 423 of 1017)
7 1/2" by 6 7/8" by 6".
Acoma Pueblo Polychrome Olla Water Pot
Lot #424 (Sale Order 424 of 1017)
9 1/2" diameter, 7 5/8" tall.
Acoma Pueblo Pot
Lot #425 (Sale Order 425 of 1017)
6" diameter, 4 1/8" tall.
Acoma Pueblo Polychrome Canteen
Lot #426 (Sale Order 426 of 1017)
5" diameter. 13 1/4" long with sling extended.
Acoma Pueblo Wedding Vase
Lot #427 (Sale Order 427 of 1017)
6 7/8" tall, 6 5/8" diameter.
Navajo Transitional Swastika Whirling Log Rug
Lot #428 (Sale Order 428 of 1017)
49" by 92".
Transitional Navajo Indian Ganado Crystal Rug
Lot #429 (Sale Order 429 of 1017)
73" by 45".
Navajo Indian Ganado Crystal Rug
Lot #430 (Sale Order 430 of 1017)
39" by 63 1/2".
Navajo Transitional Eye Dazzler Blanket
Lot #431 (Sale Order 431 of 1017)
55 1/2" by 39 1/2".
Red Mesa Teec Nos Pos Navajo Indian Rug
Lot #432 (Sale Order 432 of 1017)
41" by 58".
Antique Navajo Indian Yei Rug
Lot #433 (Sale Order 433 of 1017)
48" by 63"
Sitting Bull's War Club Skull Knocker Handle
Lot #434 (Sale Order 434 of 1017)
21 1/8" long. Provenance as follows: Descended through the family of Parker Barrows Wickham (1851-1916). Shortly after the death of Sitting Bull, Parker Barrows Wickham along with H.S. Parkins, A.E. Thorberg, and Christ Nordstrom purchased Sitting Bull's Cabin and its contents. The outfit consisted of one cottonwood log cabin 36 x 18, 8 feet in height, lighted by two windows and "shingled with dirt." Also one ghost pole 10 inches in diameter at the butt and 15 feet in length, highly decorated with red and blue paint: 14 buffalo robes, painted and bedecked with all manner of fish and animals, besides war scenes illustrative of the Custer massacre, all which are painted in an artistic Indian manner. Included in the bargain were four wagon loads of trinkets, Indian relics and curiosities (Minneapolis Journal, C.S. Branch 1891). The cabin was reassembled at the 1893 Chicago World's Fair where Wickham attempted to sell trinkets from the purchase. Letters between Wickham and Thorberg describe a rocky start due to inclement weather and lack of attendance: "If it keeps up this way many days longer we will have to raise more money to keep the "shack" afloat."
Sitting Bull's Scrotum Medicine Shaman Rattle
Lot #435 (Sale Order 435 of 1017)
7 7/8" long. Appears to be made from a Scrotum. Provenance as follows: Descended through the family of Parker Barrows Wickham (1851-1916). Shortly after the death of Sitting Bull, Parker Barrows Wickham along with H.S. Parkins, A.E. Thorberg, and Christ Nordstrom purchased Sitting Bull's Cabin and its contents. The outfit consisted of one cottonwood log cabin 36 x 18, 8 feet in height, lighted by two windows and "shingled with dirt." Also one ghost pole 10 inches in diameter at the butt and 15 feet in length, highly decorated with red and blue paint: 14 buffalo robes, painted and bedecked with all manner of fish and animals, besides war scenes illustrative of the Custer massacre, all which are painted in an artistic Indian manner. Included in the bargain were four wagon loads of trinkets, Indian relics and curiosities (Minneapolis Journal, C.S. Branch 1891). The cabin was reassembled at the 1893 Chicago World's Fair where Wickham attempted to sell trinkets from the purchase. Letters between Wickham and Thorberg describe a rocky start due to inclement weather and lack of attendance: "If it keeps up this way many days longer we will have to raise more money to keep the "shack" afloat."
Native American Indian Parfleche Holster
Lot #436 (Sale Order 436 of 1017)
Nice early holster. Second half of the 20th Century. 11 3/4" long.
Toucan Wounaan Embera Rainforest Basket
Lot #437 (Sale Order 437 of 1017)
4 7/8" diameter, 4" tall.
Navajo Ganado Indian Eye Dazzler Rug
Lot #438 (Sale Order 438 of 1017)
61" by 34".
Plains Native American Indian Medicine Stick
Lot #439 (Sale Order 439 of 1017)
Comes with medicine bundle. Ermine tail on beaded shaft. Contemporary. 21 1/4" long.
1940s Childs Indian Halloween Costume
Lot #440 (Sale Order 440 of 1017)
Shirt is 22" long, 15" armpit to armpit.
Hudsons Bay Red White Heart Trade Beads
Lot #441 (Sale Order 441 of 1017)
Comes with pewter turtle pendant. 17 3/8" long.
Native American Indian Trade Beads
Lot #442 (Sale Order 442 of 1017)
Comes with Fur Trade style cross. 18 1/2" long.
Native American Indian Trade Beads
Lot #443 (Sale Order 443 of 1017)
Comes with reproduction peace medal. 16 1/4" long.
2 3/4" by 2 1/4" by 1 1/8". Rich Lavalle adopted Tlingit. Second half of the 20th Century.
Antique Hopi Pueblo Moccasins
Lot #453 (Sale Order 453 of 1017)
10 1/2" long by 5 1/2" tall by 4 1/2" wide. First quarter of the 20th Century. Provenance: From the estate of Iris Apfel. Apfel August 29, 1921 – March 1, 2024 was an American businesswoman, interior designer, and fashion designer, known for her flamboyant style, outspoken personality and oversized eyeglasses. In business with her husband, Carl, from 1950 to 1992, Apfel had a career in textiles, including a contract with the White House that spanned nine presidencies. In retirement, she drew acclaim for a 2005 show at the Costume Institute at The Metropolitan Museum of Art featuring her collection of costume jewelry and styled with clothes on mannequins as she would wear them. She became a fashion icon, was the focus of the 2014 Albert Maysles documentary Iris, then signed to IMG in 2019 as a model at age 97.
Alaskan Inuit Eskimo Carved Whale Tooth
Lot #454 (Sale Order 454 of 1017)
1 5/8" by 1 1/4" by 5/8". Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Alaskan Inuit Eskimo Carved Whale Tooth
Lot #455 (Sale Order 455 of 1017)
1 3/8" by 1 1/8" by 3/4". Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Alaskan Inuit Eskimo Carved Totem Pole
Lot #456 (Sale Order 456 of 1017)
3 1/8" by 1" by 5/8". Carved walrus material. Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Alaskan Inuit Eskimo Carved Canoe
Lot #457 (Sale Order 457 of 1017)
6" by 1 5/8" by 1". Carved walrus material. Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Robert Bellarmine Kokuluk Inuit Carved Goose
Lot #458 (Sale Order 458 of 1017)
2 1/2" by 1 7/8" by 1". Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Zuni Carved Lapis Lazuli Buffalo Fetish
Lot #459 (Sale Order 459 of 1017)
1" by 1/2" by 1/4"
Emory Boone Zuni Carved Horse Fetish
Lot #460 (Sale Order 460 of 1017)
1" by 1/2" by 1/4".
Zuni Carved Turquoise Mountain Lion Fetish
Lot #461 (Sale Order 461 of 1017)
1 1/4" by 1/2" by 1/4".
Angel Yatsayte Zuni Beaver Fetish
Lot #462 (Sale Order 462 of 1017)
1 1/8" by 1/2" by 3/8".
Angel Yatsayte Zuni Beaver Fetish
Lot #463 (Sale Order 463 of 1017)
1" by 1/2" by 1/2"
Isamel De La Serna Taos Pueblo Painting
Lot #464 (Sale Order 464 of 1017)
Title is Taos Pueblo. 12 3/4" by 9 1/2" unframed. 14 3/4" by 11 5/8" framed. Oil on board. Provenance: From the Estate of Monroe Wingate. Ismael Gonzalez De La Serna (1898 - 1968) was active/lived in Spain, France, United States. Ismael De La Serna is known for Cubist and abstract painting-still life, figure, illustration. Ismael Gonzålez de la Serna was born in 1898 in Granada, Spain. He began painting and drawing when he was nine years old. While in school, he became friends with Federico Garcia Lorca, later to become a famous poet. Indeed, it was De La Serna who in 1918 illustrated Garcia Lorca's first book, Impresiones y Paisajes. De la Serna pursued his studies at the Academy of Fine Arts in Granada, where he learned the traditional rules of composition, form, and color. A turning point came in his life in 1917, when he viewed an exhibition of French Impressionists in Madrid. By his own testimony, thereafter he was determined to be a "free" painter, devoted to new forms. In 1915, at age seventeen, he exhibited for the first time in Granada. A few years later, upon his second exhibition, the art critic Manuel Robles wrote: "There is no doubt that de la Serna knows color and his spirit penetrates the essence and line of his work." Nonetheless, Robles hoped that de la Serna would abandon the spirit of Modernism." The Spanish artistic community, unlike that in neighboring France, was resistant to the innovations of Post-impressionism. Granada in particular imposed intolerable limits on such an "extraordinary soul" as De La Serna's, as it was described by Lorca. De La Serna, impassioned in his pursuit of his vocation and life's work, and yearning for a stimulating cultural environment, moved to Paris in 1921, where his compatriot, Picasso, had been an international figure in the cubist movement for more than a decade. He was introduced to Picasso by the writer, critic, and art collector known as Tériade. According to Tériade, Picasso, upon seeing de la Serna's work, exclaimed: "At last, a true painter! As grand as Juan Gris!" The year 1927 was one of remarkable success for De La Serna. Tériade devoted an article on him in issues of the art review, "Cahiers d'Art", which simultaneously covered the works of luminaries such as Renoir and Picasso. Tériade wrote that De La Serna was the painter "we had all been waiting for." That is, his poetic sensibility lent in certain unity to his work and deftly combined a vigor of expression with a delicacy of form. Paul Guillaume then organized an exhibition of fifty of De La Serna's works to wide acclaim. An individual exhibition at the Gallery Flechtheim in Berlin was equally successful, all of the works found buyers. The gallery even signed De La Serna to a contract, which remained in effect until 1933, when Hitler's rise to power forced its revocation. The Nazi rise to power definitely had unfortunate consequences. It is thought that those works of De La Serna's still residing in Germany, including many of his most vulnerable paintings, were destroyed by the Nazi regime. Luckily, De La Serna had been warmly received throughout Europe. In 1928, he signed contracts to exhibit his works at the Galerie Zak in Paris and at the Galerie Le Centaure in Brussels. Christian Zervos wrote enthusiastically in Cahiers d'Art that De La Serna's incredible skill at drawing allowed him to make abstractions of reality. While a number of his works certainly echo the influence of Picasso and Braque, such influence was mirrored within a Cubism of his own making. In the instinctive equilibrium of his work, the blend of exuberance and sober expression, the use of color, and the strength of the lines, De La Serna reminded Zervos of Zurburan, El Greco, and Cézanne. Indeed, to Zervos, Cubism brought out either a deep expressiveness due to the distortion of the central object or figure represented, or resulted in an abstract painting composed of forms independent of the exterior reality. In any case, representation of both possibilities was typical of de la Serna's work. The artist easily balanced and reconciled the extremes of both representation and abstraction. Although a traditional Cubist subject, Nature Mort de la Guitare is a strong example of de la Serna's Cubist technique of the late 1920's. In 1930, the Galerie Zak devoted an entire exhibition to de la Serna;s works. The National Gallery of Berlin,and the museum of Mannheim both acquired paintings of his. In 1932, he returned triumphantly to Spain, where he toured with successful exhibitions throughout his homeland. In 1936, he took part in an exhibition at the Musée du Jeu de Paume in Paris. During this time, he rarely participated in public showings of his work. After the Second World War, he released works he had painted secretly which honored the Resistance and decried the atrocities of war. De la Serna continued to work throughout the 1940's and 1950's. His style evolved into pure combinations of color and form. His paintings cont
Kim Mackey Cortando Flores Painting
Lot #465 (Sale Order 465 of 1017)
Title is Cortando Flores or Cutting Flowers. 18" by 24" unframed, 30 1/2" by 24 1/2" framed. Oil on Canvas. Kim Mackey (Born 1953) is active/lives in Colorado. Kim Mackey is known for Western-cowboy genre and landscape painting. Kim Mackey grew up in Pueblo, Colorado. He attended public schools and, through his interest and ability in art, won a scholarship to attend the Colorado Institute of Art in Denver. Following art school, Mackey worked for several years as an illustrator, completing assignments for such clients as True West magazine, Western Horseman and Capitol Records. Special studies at Colorado State University qualified him as one of only a few certified police artists in the state, but recognition from his peers and collectors led him away from commercial work and illustration into full time fine-art painting. Mackey also coaches students; he is a popular teacher, conducting workshops and classes throughout the region. He has been a faculty instructor at the Art Students League of Denver, and has taught at the Colorado Institute of Art. His credentials list numerous awards, including the prestigious Winsor Newton Award from the Oil Painters of America. He has exhibited at the Salmagundi Club in New York, the Oil Painters of America in Chicago, Illinois and San Antonio, Texas, the Colorado Governor's Invitational Show in Loveland, Colorado, and the Coors Western Art Show in Denver, Colorado. His paintings hang in collections, including that of the singer/songwriter Neil Diamond. Mackey's work is also included in the King Collection at the Sangre de Cristo Fine Art Center in Pueblo, Colorado. Mackey is a signature member of the Oil Painters of America, and has been featured in Art Revue magazine, The Artist's Magazine, Southwest Art magazine, and Western Horseman magazine, as well as Cowboys and Indians magazine. The Denver Post has called him "a master of [his] genre," and Southwest Art has acknowledged him as a traditional cowboy artist in the finest sense of the word.
Wayne Wolfe La Tierra Arroyo New Mexico Painting
Lot #466 (Sale Order 466 of 1017)
Title is Arroyo Patterns. 8 1/2" by 16 1/2" unframed. 23 1/4" by 15 3/8" framed. Oil on board. Wayne E. Wolfe (Born 1944 or 1945) is active/lives in Colorado, New Mexico, Kansas, Missouri. Wayne Wolfe is known for Mountain landscape and western genre painting. American Painter Wayne Wolfe was born in Kansas City, and graduated from the University of Kansas with a journalism degree. His exposure to art began in childhood with his father, Byron Wolfe, who was an early member of the Cowboy Artists of America. After attending college, working at a radio station and an advertising agency, and serving in the Army, Wolfe decided to fulfill his need for independence and left the business world to paint. He studied with Robert Lougheed in Santa Fe and apprenticed with him for six years. Lougheed insisted that he learn the language of nature by painting landscapes on location in order to see the best value, color and edges. While in Santa Fe, Wayne also studied with Tom Lovell to learn about line, mass and anatomy. Wayne Wolfe now lives in Colorado, and primarily paints the Rocky Mountain West. Painting trips have also taken him to Canada, New England, Europe and the British Isles. His work, which is displayed at the country's most elite shows, has won numerous awards including the very prestigious Prix de West award. His work has been displayed in many national publications and books.
Olaf Wieghorst Indian Portrait Pencil Drawing
Lot #467 (Sale Order 467 of 1017)
Title is Two Indian Heads. 4 1/2" by 6/4" unframed. 11 5/8" by 9 3/8" framed. Pencil on paper. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Florida Olaf Carl Wieghorst (1899 - 1988) was active/lived in California / Denmark. Olaf Wieghorst is known for Western-Indian-genre, horses. Born in Viborg, Denmark, Olaf Wieghorst was a child acrobatic performer from the age of nine when he began appearances at Tivoli Theater in Copenhagen and later toured Europe. He also learned horseback riding working on a stock farm, and horses became a major focus of his admiration and later his painting. In 1918, he arrived in the United States, having worked as a cabin boy on a steamer. He served in the 5th U.S. Cavalry on the Mexican border in the days of Pancho Villa. He later recalled a favorite horse from that period and said that riding through El Paso in 1921, the horse fell on his ankle and broke it. The outfit was heading to Douglas, Arizona, and not wanting to be left behind with his injury, he stayed on the horse which carried him all the way through the New Mexico desert on one of the hottest days of the year. The horse died during the night, having expended all his energy on saving Wieghorst. He later wrote that when the Cavalry discarded the use of horses, "they took the soul out of that great branch of the service" ("Widening Horizons"). He wandered extensively through the West sometimes on horseback, finding work in Arizona and New Mexico as a cowboy. Then he went to New York and served as a mounted policeman until 1944, spending most of his time on a horse named Rhombo patrolling the Central Park bridle paths and saving many people injury from runaway horses. He began painting in his spare time, and he was successful enough that his work was represented by the Grand Central Art Galleries of the Biltmore Hotel. In 1944, he settled in El Cajon, California. His paintings include cowboys, horses, and Indians in landscape, but there is little if any collectible art of his done during his early days in the West. His primary output came after his return to California when he began painting cowboys and horses extensively. He did numerous horse portraits, spending time on ranches studying their unique personalities. He painted celebrity horses including Roy Rogers' Trigger, Gene Autry's Champion and Tom Morgan's stallion. He was a large, powerful, handsome, and very personable man.
Ethel M Cooke Old Soledad Santa Fe Painting
Lot #468 (Sale Order 468 of 1017)
Title is Old Soledad, Evening, Santa Fe, New Mexico. 4 1/2" by 6" unframed. 15 7/8" by 14 3/8" framed. Oil on board. Provenance: Forrest Fenn Galleries, Santa Fe, New Mexico. Keny Galleries, Columbus, Ohio. Private Collection, Florida Ethel M. Cooke (1887 - 1976) was active/lived in Ohio. Ethel Cooke is known for Impressionist landscape painting. EDUCATION Chase School, New York, With William Merritt Chase and Robert Henri 1914 Kittery Point, Maine (summer class) 1919 Pennsylvania Academy of Fine Arts (summer class at Chester Springs, Pennsylvania) TEACHING 1946-1962 Wittenberg University 1969 Crabill Art Center RELATED EXPERIENCE Draftsman, Steel Products, Springfield, Ohio.
William E Johnson Riders Near Spanish Peaks
Lot #469 (Sale Order 469 of 1017)
Title is Riders Near Spanish Peaks. 20" by 10" unframed. 12" by 22" framed. Oil on canvas. Provenance: Robert L. Parsons Fine Art, Taos, New Mexico, The Gregory Warren Nelson Collection, Taos, New Mexico William E. (Bill) Johnson (1925 - 2003) was active/lived in New York, Colorado. William Johnson is known for Old West genre, illustrator, sculptor. William E. Johnson was a painter true to his roots. Depicting a historical view of the West in which he grew up became the basis of his life's work as an illustrator of the Old West. His early years were spent on ranches around Gunnison, Colorado, a scenic area which epitomized the romantic notions of the Old West. It was in Gunnison that Johnson was to have the good fortune of meeting and studying under the legendary Harvey Dunn, one of the legendary Brandywine illustrators. During the summer of 1947, Dunn was teaching at the Western State College in Gunnison. This experience led Johnson to spend two years with Arthur Mitchell, a former student of Dunn's who was then heading up the art department at Trinidad State College in Trinidad Colorado. His early work with two of America's great illustrators set a tone for the life work of Bill Johnson. He furthered his art studies by attending the Art Students League in 1949 and 1950 under the tutelage of Frank Reilly, a noted teacher of illustration art. This intensive period of study for Johnson culminated with graduation from the Art Center School of Design in Los Angeles in 1954. William Johnson spent the next ten years as a commercial illustrator in New York City where the markets for the rapidly shrinking illustration field were centered. While working in New York , Johnson had the good fortune of meeting the "Saturday Evening Post" illustrator Harold von Schmidt, who became a close friend and mentor to Johnson for the remainder of his life. Von Schmidt's style of depicting the Old West was to become a guiding influence in the western paintings of Johnson. In 1965, Bill Johnson left New York to go back to his home state of Colorado. Arthur Mitchell was retiring and Bill Johnson was to take his place as head of the art department at Trinidad State. Following in the footsteps of his former instructors was only natural for Bill Johnson. All of his major influences , Harvey Dunn, Arthur Mitchell, Frank Reilly, and Harold von Schmidt had, in addition to being great illustrators, been dedicated teachers. However, teaching in the remote western town of Trinidad, Colorado, also had the effect of relegating Johnson to artistic obscurity. Described as somewhat cantankerous, Johnson preferred to sell his own work, which in a small Colorado town must have been quite limited. Now rediscovered, work from the estate of William E. Johnson stands on it's own as a tribute to the west in which he lived.
Edward Borein Remuda Watercolor Painting
Lot #470 (Sale Order 470 of 1017)
Title is Remuda. 7 1/4" by 9 3/4" unframed. 12" by 14 1/2" framed. Watercolor on paper. Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico, Private Collection, New Mexico. Edward (John Edward) Borein (1872 - 1945) was active/lived in California. Edward Borein is known for Western genre and horse painting, illustration. He was raised in San Leandro, a western cow town, in a family where his father was a county politician. Edward had many childhood memories of herded cattle and their cowboys, which he began sketching at the age of five. He was educated in the Oakland, California schools, and at the age of 17 began working on a ranch near Oakland and then drifted and sketched as a working cowboy throughout the Southwest, Mexico, and Guatemala. It was said that he practiced his art on anything he could find from bunkhouse walls to scraps of paper. At age 19, he enrolled at the San Francisco Art School, his only formal art training, and there he met Jimmy Swinnerton and Maynard Dixon who encouraged him in his art career. The first person to purchase his work was Charles Lummis, editor of The Land and Sunshine magazine in California, and the two became life-long friends. Borein and Lucille Maxwell were married in the Lummis home. Borein, a typical westerner in dress and manner, also became close friends with Charles Russell, actor Will Rogers, and President Theodore Roosevelt. Borein often traveled north to visit Russell in Great Falls, Montana and to travel among Indian tribes. In 1899, Borein visited Arizona while returning from Mexico. By 1902, he was a successful illustrator in San Francisco for the San Francisco Call, and in 1907 to enhance his illustration skills, went to New York to learn etching techniques. There he enrolled in the Art Students League and was a student of Child Hassam. In the theatre district, he opened a studio that became a gathering place for 'lonesome' westerners such as Charles Russell, Will Rogers, Olaf Seltzer and Oscar Borg. But Borein did not feel at home in New York, so he moved to Santa Barbara, California in 1921. This was a final move. He and his wife built a Hopi-style home, and he taught at the Santa Barbara School of the Arts until his death, and also turned increasingly from oil to watercolor painting. "On occasion Borein would decorate place cards for dinners with small watercolor sketches of cowboys, vaqueros, Indians and Bucking horses". (Santa Fe Auction) From his studio, which again attracted many of his friends, he depicted Indians, cowboys, and California ranch life and was financially successful.
Francis Donald Spring in Chacos Oil Painting
Lot #471 (Sale Order 471 of 1017)
Title is Spring in Chacos New Mexico. 18" by 24" unframed. 31" by 37" framed. Oil on canvas. Francis Donald (Born 1947) is active/lives in New Mexico. Francis Donald is known for Landscape, interior, still life.
Eugene Thurston Spanish Peaks Colorado Painting
Lot #472 (Sale Order 472 of 1017)
Title is Spanish Peaks Colorado. 16" by 20" unframed. 22 1/2" by 26" framed. Oil on Board. Eugene Bonfanti Thurston (1896 - 1993) was active/lived in Texas, Tennessee. Eugene Thurston is known for Landscape and adobe structure painting, cartoons, commercial art. A prominent early Texas artist and muralist who lived in El Paso, Eugene Thurston was also a teacher and lecturer. For his landscapes, much of his subject matter came from the area surrounding his home. He was a prolific painter, continuing into his 80s, and worked in oil, watercolor, and ink and depicted desert and mountain scenes and also Mexican villages. He was born in Memphis, Tennessee, and raised in El Paso where he graduated from El Paso High School. Then he studied commercial art through a correspondence course from the Federal School of Art in Minneapolis. Between 1940 and 1966, he taught art courses at El Paso Technical Institute and El Paso High School. He also continued his own study with Harry B Wagoner and Dey de Ribcowsky at Texas Western College, and with Vera Wise.
Les Thomas Elk Oil on Board Painting
Lot #473 (Sale Order 473 of 1017)
Title is Animal Painting #019-1770 Elk. 12" by 12". Oil on Board. Provenance: Diehl Gallery, Jackson, Wyoming Private Collection, Wyoming Les Thomas (Born 1962) is active/lives in Canada. Les Thomas is known for Painting. My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated. Les Thomas, who was born in British Columbia in 1962, has long recognized painting as a language in its own right, and its diversity, in terms of poetic and conceptual messages, exhibited by each individual picture. Les' education is indicative of his dedication to his chosen profession as an artist. He earned his Bachelor of Fine Arts at the University College in London, England. After returning to Canada, he attended the University of Calgary, gaining his Master of Fine Arts. Thomas sifts through a wide variety of visual sources for the imagery in his work. The influence of his view of painting as a very noble activity is combined with his acknowledgement that it can be inventive and enjoyable (for both the artist and the viewer). The other major influence is culture, in its broadest terms, including all aspects of our everyday life. Les Thomas' dynamic wax & oil animal paintings allow him to play with the relationship between culture and nature. The special encaustic wax finish that he applies, Les explains, "may very well pertain to memory, and the manner in which we hold visual experiences within the capacities for recollection. Think of the last time you encountered a bear on the roadside or craned your neck to watch a mountain goat or sheep on a steep and rocky slope." "My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated." Les Thomas has received many awards for his work, been featured in several publications, and has his paintings in public and private collections in Canada, the U.S., the U.K., and Germany.
James Swinnerton Taos Sunset Oil Painting
Lot #474 (Sale Order 474 of 1017)
Title is Sunset. 6 1/2" by 11 1/2" unframed, 9 1/2" by 14 1/2" framed. Oil on Board. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Florida James Guilford (Jimmy) Swinnerton (1875 - 1974) was active/lived in California. James Swinnerton is known for Desert landscape and Indian figure painting, cartoons. A pioneer comic artist, James Swinnerton is most often credited in histories of the funnies for things he never did. He never drew anything titled Little Bears and Tigers, and the feature he did draw about bears was not the first newspaper strip. In fact, it wasn't a comic strip at all. A talented artist, Swinnerton did, however, contribute significantly to the development of comics in the more than 60 years he worked as a cartoonist. His most successful strip was Little Jimmy, and he's the one who introduced his friend George Herriman to the Arizona desert that became the permanent locale for Krazy Kat. Swinnerton, too, put the desert country to good use in his own work. James Guilford Swinnerton was born in Eureka, California, where his father was a judge, a publisher of a weekly paper, and a staunch Republican. Swinnerton studied at the California Art School in San Francisco and went to work for the Examiner in 1892, the first of William Randolph Hearst's newspapers. In 1887 Hearst had taken over the faltering little Examiner daily, and most of the tricks that became Hearst trademarks were first tried out it it. As a boy, Hearst had become interested in German humor magazines, and while at Harvard he had worked on the Lampoon. For his new paper he wanted drawings and funny pictures, which was where Swinnerton came in. At first Swinnerton was only a part-time comic artist. It was not until he got back to New York several years later that he was allowed to do comics full time. Because there was still no practical way to use photographs in a newspaper in 1892, all pictorial reporting was done by sketch artists. These artists, Swinnerton included, covered parades, crimes, trials, sports, etc. Swinnerton even had to go out to sketch high school field days. Once, to cover a hotel fire down the coast in Monterey, Hearst hired a train and shipped a whole carload of reporters and artists to cover the event. The Little Bears, one of the earliest comic art features in an American newspaper, started out as spot drawings to decorate the weather reports, inspired by the bear on the California state flag. His little bears multiplied and began to show up throughout the paper, to be used in promotion stunts. In the mid 1890s, Swinnerton also started turning out large quantities of drawings of his small kids, whom he liked to call tykes. Often the bears and the tykes would get together in parades that stretched across the bottom of a page. They were sometimes referred to editorially as Little Bears and Tykes, but they never appeared in an actual comic strip. Impressed by the public response to his work, Swinnerton asked for a raise of $2.50 a week, but the editors didn't feel he was worth the extra money. He quit and headed for New York City, where Hearst had bought the New York Journal in 1895. Hearst was involved in circulation wars with Pulitzer's New York World, and most of the many other local dailies, and one of the results of the battles with Pulitzer was the Sunday comic section. Cartoonists were brought back and forth, and for a time The Yellow Kid ran in both the Journal and the World. Finally, Hearst produced a color comics section. Swinnerton's little bears had always been favorites of Hearst. For the Journal, however, Hearst suggested they be transformed into tigers. Gradually the tigers developed -- from a pantomime strip into a Sunday page complete with dialogue balloons. This version, titled Mr. Jack from 1903 on, dealt with a domesticated tiger that had an office job, a wife, and quite a few lady friends. During this early trial period, when color comics were expensive and there was some doubt that they would ever catch on enough to turn a profit, Swinnerton continued to do sports cartoons on the side. In 1904, he turned again to tykes and introduced Little Jimmy, a very small boy who shared his first name. Originally titled just Jimmy, the feature began life as a Sunday page. With some lapses, and a hiatus or two, Swinnerton drew the feature until 1958. A daily was added in 1920, at which time the name was changed to Little Jimmy. Swinnerton drew in a simple, uncluttered style, using very little shading and favoring long shots to close-ups. When comics began to pay off, the Journal decided to let Swinnerton draw them to the exclusion of everything else, which meant the paper needed a new sports cartoonist. Asked to recommend a replacement, Swinnerton said, "Theres a fellow named Dorgan out in San Francisco, calls himself Tad. But if you're going to get him, you'd better send for his friend, Hype Igoe." The paper sent for the pair, and both became successful sports cartoonists
Michael Stack Taos Graveyard Oil Painting
Lot #475 (Sale Order 475 of 1017)
Title is Taos Summer Days. 12" by 16" unframed. 17 1/2" by 21 1/2" framed. Oil on Canvas Michael Stack (Born 1947) is active/lives in Arizona, New Mexico. Michael Stack is known for Landscape, skies, nocturne, figure. Michael Stack (NY 1947- ) was born in New York and raised in California. He is self-taught and has always been interested in art, primarily landscape painting. For the past twenty years, he has lived and painted in New Mexico and Arizona, and has sought to capture on canvas the skies and the openness of the southwestern landscape. The focus of his works is the fleeting moment of shadow, light and color that awakens an emotional response in the viewer. His paintings are included in collections in the United States, Europe and Japan. Stack's work has appeared on the cover as the featured artist of "Southwest Art", August 1992 and "Art of the West", August-September 1993. He has also been featured in "Southwest Art" in 1987, "U.S. Art" in and 1989 as well as various other national and local publications. In the fall of 1997 Stack was inducted as a Master Artist for the Artist of America show sponsored by the Denver Rotary. In 1996 we was named the Tucson Artist of the Year, the twenty-fourth to be honored.
Eric Michaels Fez Morocco Orange Market Pastel
Lot #476 (Sale Order 476 of 1017)
Title is The Orange Market, Fez Morocco. 11" by 15" unframed. 17 3/4" by 21 3/4" framed. Pastel on Paper. Eric Michaels (Born 1949) is active/lives in Colorado, New Mexico, Illinois. Eric Michaels is known for Frontier genre, village, water and landscape painting. Living in Trinidad, Colorado, Eric Michaels is a plein-air landscape painter of Southwestern and European subjects using watercolors, pastels and primarily oils. He was raised in the Midwest and earned a degree in fine art and spent several years as a social worker with the Department of Welfare in Rockford, Illinois. He had both music and art talent, and played guitar with performing groups. He is now a full-time painter, and his wife, Maxine is his business manager, shipper, and framer. The couple lived in Santa Fe before settling in Trinidad.
Joseph Willis Aspens of Taos Oil Painting
Lot #477 (Sale Order 477 of 1017)
Title is The Aspens of Taos. 16" by 20" unframed. 19 1/2" by 23 1/2" framed. Oil on Board. Provenance: Private Collection, Colorado Joseph Roy (J.R.) Willis (1876 - 1960) was active/lived in New Mexico. Joseph Willis is known for Tree landscape and Indian subject painting, photography. he following is from Scott L Peeler, Jr., Valrico, Florida. He is the maternal grandson of the artist through his mother, Emily Willis Peeler. The artist, known as J.R., was born in Goloid Community Screven County, Georgia, near Sylvania, on the 24th of November, 1876. He died December 30, 1960 in Albuquerque, New Mexico. He married Tempie Easterling of Reidsville, Georgia in 1899. They had a son and two daughters and were divorced. In 1916, he married Violet Powell of Ontario, Canada. Willis is best known for his Indian photographs and paintings and Southwestern landscapes. During the winters, he spent time in the Miami, Florida area where most of his brothers, sister, and mother lived, and from there, he made frequent trips to Cuba, Haiti, and the Dominican Republic where he did landscape painting. He also made frequent painting trips to Mexico and at least one trip to Guatemala, Central America. Willis traveled throughout the Southeastern part of the United States where he took advantage of the beauty of the region to paint many portraits and landscapes. Near the end of his life, he was faced with failing eyesight, but continued to paint until the time of his death. His career began as a political cartoonist during the Spanish American War. He worked at the "Atlanta Constitution" newspaper before going to New York to study art about 1908. Then he went to California, where he was a pioneer in the cartoon industry. He also spent 10 years as a "chalk talk" artist in vaudeville. In 1917, he was booked at a theater in Gallup, New Mexico when the owner of the theater died of influenza. Willis bought the theater and established a photography studio in Gallup. In 1931, he moved to Old Town, Albuquerque, New Mexico, and in 1938, he built his home and studio at the corner of Rio Grande and Alhambra Drive South West in the country club district of Albuquerque. The property is now (2001) a 'bed and breakfast' named "Casa de Suenos." Willis was known as the "Aspen King" because of his many paintings of the beautiful aspen trees which turn a golden color in the fall of the year. He was also known for his portraits of American Indians, principally of New Mexico and Arizona. His work was realistic in style. His style is very similar to Frederic Remington and Charles Russell. He studied with Robert Henri in New York. Photography was another medium for which he was well known. Many of the photographs were used to make view- master reels and post cards, which have become quite collectible today. In addition to the Albuquerque Museum, his work is found in a Japanese museum in Imabari, Shikoku and a museum in Valledupar, Cesar, Colombia, South America. Many pieces of his work are in private collections in this country and Germany.
Clark Hulings Chimayo New Mexico Oil Painting
Lot #478 (Sale Order 478 of 1017)
Title is Mountains of Chimayo. 8" by 10" unframed. 14" by 16" framed. Oil on Board. Provenance: Private Collection, New Mexico Clark Hulings (1922 - 2011) was active/lived in New York, New Mexico, Florida / Italy, Egypt, Spain, Romania. Clark Hulings is known for Town-landscape, genre and still life painting. An artist whose realistic paintings reflect his world-wide travels, Clark Hulings spent much time as a child in Spain and Louisiana and from these experiences developed a great interest in rustic settings and primitive lifestyles. Many of his works reflect old trees and old buildings, and throughout his career, he has frequently returned to Spain and Louisiana for subject matter. But he has made his home in Santa Fe, New Mexico where, with the help of Hispanic craftsman, he has built an adobe home. He was raised in a suburb of New York, trained at the Art Students League, and was inspired at the Metropolitan Museum of Art by Realist and Impressionist painters. He became an illustrator, but the pull of landscape subjects led him to full time fine-art painting. He has been a dominant presence in contemporary Western art since the 1970s, although most of his work is non-western, and he never paints cowboys. He took the first-ever Prix de West at the National Academy of Western Art in 1973 and had numerous one-man shows at the National Cowboy Hall of Fame in Oklahoma City and the Museum of New Mexico. For many years after this recognition for western art, he quit exhibiting, selling only to a select group of collectors, but in November, 1999, he will have a major exhibition of oil paintings at the Nedra Matteucci Galleries in Santa Fe.
William Steve Seltzer Montana Indian Painting
Lot #479 (Sale Order 479 of 1017)
Title is The Warrior. 9" by 12" unframed, 16" by 20" framed. Gouache on Board. Provenance: Private Collection, New York W. Steve Seltzer (Born 1945) is active/lives in California, Montana. W Seltzer is known for Genre often nostalgic and landscape painting. Painter Steve Seltzer grew up with the influence of his grandfather's, O.C. Seltzer's, western artwork, and has always held an interest in art. This influence is apparent even in Steve Seltzer's earliest pieces, which often feature western subject matter. It was not until the mid-70's, after graduating from Montana State University and working in the architectural and real estate fields, that he decided to concentrate on his passion for painting. With this decision to become a full time painter, Seltzer and his wife moved to Southern California where he shared his enthusiasm and his studio with brother-in-law and fellow artist Dan McCaw. In California, he studied with well-known Russian artist Sergei Bongart whose impressionistic influences as well as McCaw's and fellow artist Don Putman, inspired him to experiment with subjects outside the Western theme, such as reflected light on the sea and sand. However, Seltzer is quick to explain: "Subject matter comes second to the atmosphere, the feeling, the flavor I want to suggest." It is this belief that allows him to continue painting with such variety. Whether the subject is Western or impressionistic, his goal is to suggest rather than describe, to allow the audience to create their own interpretations. In 1996, Steve Seltzer won the Juror's Award and the Artist's Award for the best painting and group of paintings at the Northwest Rendevous show in Park City, Utah. The following year, he won the Peoples Choice Award at the Chapparal Gallery's annual summer show. He is one of only two artists to be accepted into all 35 C.M. Russell Auctions, and he won the Auction's 1998 Scriver award, the 2000 Artist's Choice award, and the 2003 Best of Show award.
Paul Strisik High Road to Taos Pueblo Oil Painting
Lot #480 (Sale Order 480 of 1017)
Title is High Road to Taos. 12" by 16" unframed. 20" by 24" framed. Oil on Canvas Paul Strisik (1918 - 1998) was active/lived in Massachusetts. Paul Strisik is known for Landscape, marine and still-life painting. Born in Brooklyn, New York, Paul Strisik became a resident of Rockport, Massachusetts, where he did landscape painting that brought him national recognition. After serving in the Navy during World War II, he studied at the Art Students League in New York City and with Frank Vincent DuMond. In 1953, he moved to Rockport, where he was active in the Art Association and other local civic organizations. He was a member of the National Academy of Western Art, the American Watercolor Society, and the Oil Painters of America. During his long career, he won 185 awards including 16 gold medals. He and his wife, Nancy, also maintained a home in Santa Fe for 12 years, and in 1996, he was honored as Artist of the Year by the Santa Fe Rotary Club. He was widely respected for his willingness to share his talents with young artists, and taught numerous workshops including at the Scottsdale Artists' School. He wrote several books, his last one being Capturing the Light in Oils. He died July 22, 1998 at his home in Rockport.
Harold von Schmidt Cowboy Oil Painting
Lot #481 (Sale Order 481 of 1017)
Title is Herding in Bad Weather. 18" by 24" unframed. 22 1/2" by 28 1/2" framed. Oil on Canvas. Provenance: Private Collection, Minnesota. Joan Brace, daughter of the Artist. Harold von Schmidt (1893 - 1982) was active/lived in New York, California, Connecticut. Harold von Schmidt is known for Western painting, illustration. For more than half a century, the illustrations and paintings of Harold Von Schmidt were familiar to the American public. His work appeared in the Saturday Evening Post, Sunset, Cosmopolitan, American and other magazines for 20 years, beginning in 1925. He also illustrated Willa Cather's novel, Death Comes to the Archbishop, and was commissioned in 1960 to design the Pony Express commemorative stamp for the United States postal service. Born in 1893 in Alameda, California, Von Schmidt was orphaned at five. He was raised by his grandfather and an aunt who encouraged his interest in art. As a young man, he spent his summers working as a lumberjack, cowpuncher and construction worker. After two years' study with F.H. Meyers at the California College of Arts and Crafts, Von Schmidt did his first cover design in 1913 for Sunset magazine. While attending the San Francisco Art Institute* from 1915 to 1918, he became art director at the Foster and Klein advertising agency. He also made paintings for the Navy in World War I. Von Schmidt was a member of the United States rugby team in the 1920 Olympics. That year, he and artists Maynard Dixon, Roi Partridge, Judson Starr and Fred Ludekens set up their own agency. He came East in 1924 to study at the Grand Central School of Art* in New York City with Harvey Dunn, a former student of Howard Pyle. During World War II, Von Schmidt was an artist-correspondent for King Features Syndicate and the air force. He continued to produce non-commercial work, as well as illustrations. He did twelve paintings of the Gold Rush for the California governor's offices, and 5 Civil War paintings for the United States Military Academy at West Point, New York. Harold Von Schmidt was a founder of the Famous Artists School in Westport, Connecticut. He died in 1982.
Clyde Aspevig Montana Aspens Oil Painting
Lot #482 (Sale Order 482 of 1017)
Title is Montana Aspens. 16" by 20" unframed, 20" by 24" framed. Oil on Canvas. Provenance: Scottsdale Art Auction, 04/02/2005, Lot 149. Condition Report: Currently missing a piece of paint the size of a dime, and another small triangular shaped piece to the right of that. Conservation recommended to prevent deterioration. Clyde Aspevig (Born 1951) is active/lives in Montana, Colorado. Clyde Aspevig is known for Mountain landscape and coastal view painting. Inspired by the sagebrush and wide open horizons of Wyoming and Montana, Clyde Aspevig is a landscape painter who does sketches on location and finishes the work in his studio. Although he was trained to be an art educator, he has had little formal training as a painter, but has studied the work of artists he much admires including John Singer Sargent, Anders Zorn, and Winslow Homer. His obvious talent has won him prestigious recognition including the Frederic Remington Award* and the Robert M. Lougheed Memorial Award*, both from the National Cowboy Hall of Fame. He is a member of the Northwest Rendezvous Group, and is the first Montana artist since Charlie Russell to exhibit at Grand Central Art Galleries* in New York City. Aspevig was born in Rudyard, Montana, and raised on a small working wheat farm near the Canadian border. He became mindful of people's reliance upon the land, although he left the farm to attend Eastern Montana College in Billings. However, he dropped out to spend the winter in the Bear Paw Mountains and then returned for a degree in art education. He taught for one year in Sandy Oregon High School and then went back to Montana with his wife, artist Carol Guzman, to paint full time. From 1988, the couple has lived in Loveland, Colorado where he remodeled an historic church for his studio. Aspevig travels widely to paint, choosing landscape subjects in the Southwest and the West including along the Missouri and Yellowstone Rivers, and in foreign places such as England, Italy and the Caribbean.
Olaf Carl Seltzer Stag Charcoal Drawing
Lot #483 (Sale Order 483 of 1017)
Title is Stag. 16 3/4" by 11 7/8" unframed. 26 7/8" by 20 7/8" framed. Charcoal on paper. Provenance: Private Collection, Virginia. Olaf Carl Seltzer (1877 - 1957) was active/lived in Montana / Denmark. Olaf Seltzer is known for Frontier and Indian genre paitning, illustration. If there ever was an artist who inspired a fellow artist, it was Charles M. Russell who had a profound influence on Olaf Carl Seltzer (1877-1957). The cowboy artist helped bring out the best in his younger, Great Falls, Montana friend. While Russell was gregarious and enjoyed a crowd, Seltzer was quiet and somewhat withdrawn. They both saw the same truth, their love for Montana and the "West That Has Passed." Born on August 25, 1877 in Copenhagen, Denmark to German immigrant parents, Olaf was abandoned in infancy by his father. He found solace in drawing, which led to acceptance at the Tekniske Selskabe Institute, known to develop artisans. Yet the young artist dreamed of the American West of Buffalo Bill Cody. He and his mother Julie sailed to America on June 21, 1892 to join his sister Laura and her husband in Giant Springs, a short jaunt from Great Falls, Montana. His first job was a ranch hand for a local outfit, but soon he realized the wages were better working for the Great Northern Railway. In October 1893 he was employed as an apprentice machinist for the railway in Great Falls. A steady income allowed him to marry Mabel L. Cleland, and they eventually had two sons, Carl and Walter. Other jobs such as locomotive repairman found him riding trains throughout the northern Great Plains, sketching in his spare time. His big break came from Russell patron Dr. Phillip Cole who by 1925 was one of the most important collectors of Western American art in the country. Cole was born in 1883 in Illinois but raised in Montana. Cole had met Seltzer on one of his trips to Montana, and for a year starting in 1926 Seltzer moved to New York to work on art commissions for him. Many more would follow. In 1928 he purchased a home on East Central Avenue and completed for Cole a series of watercolors that would be called the "Western Characters. In 1933 Cole had yet another project for Olaf. He was to paint the history of Montana in a series of oils, measuring no greater than six inches. He and Cole worked together on the commentary for each piece. The last of the oils was delivered to Cole in the autumn of 1935. The next year Cole photocopied the miniatures and assembled them into an impressive suede-covered volume he titled Montana in Miniature. At least four copies were produced. But Cole wouldn’t enjoy his collection long. On June 29, 1941 he died of a stroke at age fifty-seven. Several years later, Oklahoma oilman Thomas Gilcrease purchased for $400,000 much of Cole’s collection that included 560 paintings, sixty-two bronzes, and historical material. Half of the paintings were executed by Seltzer. They eventually found a home in 1949 when the Thomas Gilcrease Institute of American History and Art opened in Tulsa, Oklahoma. Seltzer died in a Great Falls convalescent home on December 16, 1957. He once said, "If there is anything of lasting value in my art, it will survive. If not, it will perish. He would be happy to know that him and his art—2,500 oil and watercolor paintings—were not forgotten. In 1960 the Montana Historical Society had a major retrospective of Seltzer’s paintings. Six years later art dealer Dr. Van Kirke Nelson in Kalispell, Montana and Cato K. Butler from Helena published Montana in Miniature, after finding one of Cole’s copies by the same name. In June 1979 the Gilcrease Museum had the largest one-man exhibit of Seltzer’s to date. Many exhibitions followed, including one at the C.M. Russell Museum in 2019. Besides his art, Olaf would be proud of his grandson, Steve Seltzer, who lives in Great Falls and is a noted and prolific artist.
Les Thomas Moose Oil on Board Painting
Lot #484 (Sale Order 484 of 1017)
Title is Animal Painting #022-1984 Moose. 16" by 20". Oil on Board. Provenance: Diehl Gallery, Jackson, Wyoming Private Collection, Wyoming Les Thomas (Born 1962) is active/lives in Canada. Les Thomas is known for Painting. My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated. Les Thomas, who was born in British Columbia in 1962, has long recognized painting as a language in its own right, and its diversity, in terms of poetic and conceptual messages, exhibited by each individual picture. Les' education is indicative of his dedication to his chosen profession as an artist. He earned his Bachelor of Fine Arts at the University College in London, England. After returning to Canada, he attended the University of Calgary, gaining his Master of Fine Arts. Thomas sifts through a wide variety of visual sources for the imagery in his work. The influence of his view of painting as a very noble activity is combined with his acknowledgement that it can be inventive and enjoyable (for both the artist and the viewer). The other major influence is culture, in its broadest terms, including all aspects of our everyday life. Les Thomas' dynamic wax & oil animal paintings allow him to play with the relationship between culture and nature. The special encaustic wax finish that he applies, Les explains, "may very well pertain to memory, and the manner in which we hold visual experiences within the capacities for recollection. Think of the last time you encountered a bear on the roadside or craned your neck to watch a mountain goat or sheep on a steep and rocky slope." "My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated." Les Thomas has received many awards for his work, been featured in several publications, and has his paintings in public and private collections in Canada, the U.S., the U.K., and Germany.
Les Thomas Moose Oil on Board Painting
Lot #485 (Sale Order 485 of 1017)
Title is Animal Painting #022-1985 Moose. 16" by 20". Oil on Board. Provenance: Diehl Gallery, Jackson, Wyoming Private Collection, Wyoming Les Thomas (Born 1962) is active/lives in Canada. Les Thomas is known for Painting. My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated. Les Thomas, who was born in British Columbia in 1962, has long recognized painting as a language in its own right, and its diversity, in terms of poetic and conceptual messages, exhibited by each individual picture. Les' education is indicative of his dedication to his chosen profession as an artist. He earned his Bachelor of Fine Arts at the University College in London, England. After returning to Canada, he attended the University of Calgary, gaining his Master of Fine Arts. Thomas sifts through a wide variety of visual sources for the imagery in his work. The influence of his view of painting as a very noble activity is combined with his acknowledgement that it can be inventive and enjoyable (for both the artist and the viewer). The other major influence is culture, in its broadest terms, including all aspects of our everyday life. Les Thomas' dynamic wax & oil animal paintings allow him to play with the relationship between culture and nature. The special encaustic wax finish that he applies, Les explains, "may very well pertain to memory, and the manner in which we hold visual experiences within the capacities for recollection. Think of the last time you encountered a bear on the roadside or craned your neck to watch a mountain goat or sheep on a steep and rocky slope." "My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated." Les Thomas has received many awards for his work, been featured in several publications, and has his paintings in public and private collections in Canada, the U.S., the U.K., and Germany.
Sheldon Parsons Baldy Santa Fe New Mexico Painting
Lot #486 (Sale Order 486 of 1017)
Title is Santa Fe Baldy March. 9" by 12" unframed, 16 1/2" by 19 1/2" framed. Provenance: Nedra Matteucci Gallery. Sheldon Parsons (1866 - 1943) was active/lived in New York, New Mexico. Sheldon Parsons is known for Landscape, Indian pueblos and figure painting. In 1918 becoming the first director of the Museum of New Mexico in Santa Fe, Sheldon Parsons was a painter of local residents, plaza scenes, and landscapes. He applied Impressionist techniques to convey the New Mexico landscape, and his work became popular. He was born in Rochester, New York, and studied at the National Academy of Design with William Merritt Chase, Edgar Ward and Will Low. He was married to noted photographer Caroline Reed Parsons, and from 1895 to 1912, was a much sought after New York portrait painter, whose subjects included prominent persons such as President McKinley and Susan B Anthony. He also won much recognition for his autumn scenes of the countryside of Westchester County. In 1913, to start a new life after his wife's death and to find a better climate because of his tuberculosis, he gave up his successful career in New York to move to Santa Fe where he became one of the earliest resident artists. The more he painted in that environment, the looser his style became, and his impressionist landscape paintings were popular. They were exhibited at the Palace of the Governors and the new Museum of New Mexico, where a number of his paintings are in the collection.
Edward Borein Cowboy Watercolor Paintings
Lot #487 (Sale Order 487 of 1017)
Titles are California Reinsman, and Little Bucking Horse. Each is 3 1/2" by 3 1/2" unframed. 14" by 19" framed. Exceptionally published and executed miniature works of art. Watercolor on paper. Provenance: The Katherine H. Haley Collection Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Ventura County Museum of History & Art, Ventura, California, The West Remembered: The Art of Edward Borein, June 24 - September 4, 1988 Desert Caballeros Western Museum, Wickenburg, Arizona, The West Remembered: The Art of Edward Borein, February 16 - April 30, 1990 Palm Springs Desert Museum, Palm Springs, California, Edward Borein: Art of the West from the Katherine H. Haley Collection, February 8 - April 28, 1991. Edward (John Edward) Borein (1872 - 1945) was active/lived in California. Edward Borein is known for Western genre and horse painting, illustration. He was raised in San Leandro, a western cow town, in a family where his father was a county politician. Edward had many childhood memories of herded cattle and their cowboys, which he began sketching at the age of five. He was educated in the Oakland, California schools, and at the age of 17 began working on a ranch near Oakland and then drifted and sketched as a working cowboy throughout the Southwest, Mexico, and Guatemala. It was said that he practiced his art on anything he could find from bunkhouse walls to scraps of paper. At age 19, he enrolled at the San Francisco Art School, his only formal art training, and there he met Jimmy Swinnerton and Maynard Dixon who encouraged him in his art career. The first person to purchase his work was Charles Lummis, editor of The Land and Sunshine magazine in California, and the two became life-long friends. Borein and Lucille Maxwell were married in the Lummis home. Borein, a typical westerner in dress and manner, also became close friends with Charles Russell, actor Will Rogers, and President Theodore Roosevelt. Borein often traveled north to visit Russell in Great Falls, Montana and to travel among Indian tribes. In 1899, Borein visited Arizona while returning from Mexico. By 1902, he was a successful illustrator in San Francisco for the San Francisco Call, and in 1907 to enhance his illustration skills, went to New York to learn etching techniques. There he enrolled in the Art Students League and was a student of Child Hassam. In the theatre district, he opened a studio that became a gathering place for 'lonesome' westerners such as Charles Russell, Will Rogers, Olaf Seltzer and Oscar Borg. But Borein did not feel at home in New York, so he moved to Santa Barbara, California in 1921. This was a final move. He and his wife built a Hopi-style home, and he taught at the Santa Barbara School of the Arts until his death, and also turned increasingly from oil to watercolor painting. "On occasion Borein would decorate place cards for dinners with small watercolor sketches of cowboys, vaqueros, Indians and Bucking horses". (Santa Fe Auction) From his studio, which again attracted many of his friends, he depicted Indians, cowboys, and California ranch life and was financially successful.
Jared Sanders April Pastures Oil on Board Painting
Lot #488 (Sale Order 488 of 1017)
Title is April Pastures 1999. 12" by 16" unframed. 19 5/8" by 23 3/4" framed. Oil on Board. Provenance: Private Collection, Florida Jared Sanders (Born 1970) is active/lives in Utah. Jared Sanders is known for Tonalist landscape painting. Jared Sanders was born in a small town in northern Utah, and his love of drawing and painting the rural landscapes of his hometown began at an early age and grew throughout his school years. With the goal of becoming a professional artist in mind, Sanders attended Utah State University and studied under the tutelage of Glen Edwards. It wasn't long after graduation that he attracted the attention of both galleries and collectors. Sanders' work demonstrates his lifelong intimate connection to nature. His palette is muted - soft browns, dusky yellows, and burnt reds contrast with blues and greens subdued by gray. His artistic process is measured and very detailed. After scouting potential landscape subjects and taking hundreds of snapshots, he sorts through the best candidates, sketching some in pencil. He then transfers the sketch to gesso board using brown or sienna oils finished in warm gray or ochre tones, focusing on getting the color of one object or shape in the painting perfect. In his own words, Sanders describes his favorite seasons to paint,: "I like it in autumn after all the leaves have fallen from the trees. And my favorite time is in spring when winter is just leaving - nothing is green yet, everything is still dead from the winter, the trees are leafless, the willows are red, and a few patches of snow are left on the ground." Jared's work continues to depict the farmlands, hills, rivers, and trees reminiscent of his youth.
William Alther Cold Berries Oil on Board Painting
Lot #489 (Sale Order 489 of 1017)
Title is Cold Berries. 12" by 12" unframed, 17" by 17" framed. Provenance: Breckenride Gallery. William (Bill) Alther (Born 1959) is active/lives in Texas, Colorado, Kansas. William Alther is known for Wildlife, animal and sporting art painting. William Alther was born in Topeka, Kansas in 1959. Art has always played a significant role in his life. From an early age he had an interest in drawing, particularly animals. A degree in wildlife biology from Texas A&M University eventually led to a zoology position at the Denver Museum of Nature and Science. Throughout, he was an active artist and in 2004 began painting full-time. The natural world continues to be his chief inspiration. "I like the idea of being open to a variety of subject matter and I've dabbled in other genres such as still-life and figure. but obviously, animals and landscape command my attention time and time again. In any case, I try to be very conscious of the elements common to any good painting such as structure and paint quality." William is devoted to the life-long process of learning, evolving and maturing as an artist. To that end, his continuing development has included workshops and studies with artist such as T. Allen Lawson and Kevin Weckbach. In particular, friend and mentor Mark Daily is a great influence and has inspired high standards. William is a member of Oil Painters of America and the Society of Animal Artists. His work is regularly juried into their annual exhibitions as well as other national shows.
Clark Hulings Chimayo New Mexico Oil Painting
Lot #490 (Sale Order 490 of 1017)
Title is Mountains of Chimayo. 8" by 10" unframed. 17" by 19" framed. Oil on Board. Provenance: Private Collection, New Mexico Clark Hulings (1922 - 2011) was active/lived in New York, New Mexico, Florida / Italy, Egypt, Spain, Romania. Clark Hulings is known for Town-landscape, genre and still life painting. An artist whose realistic paintings reflect his world-wide travels, Clark Hulings spent much time as a child in Spain and Louisiana and from these experiences developed a great interest in rustic settings and primitive lifestyles. Many of his works reflect old trees and old buildings, and throughout his career, he has frequently returned to Spain and Louisiana for subject matter. But he has made his home in Santa Fe, New Mexico where, with the help of Hispanic craftsman, he has built an adobe home. He was raised in a suburb of New York, trained at the Art Students League, and was inspired at the Metropolitan Museum of Art by Realist and Impressionist painters. He became an illustrator, but the pull of landscape subjects led him to full time fine-art painting. He has been a dominant presence in contemporary Western art since the 1970s, although most of his work is non-western, and he never paints cowboys. He took the first-ever Prix de West at the National Academy of Western Art in 1973 and had numerous one-man shows at the National Cowboy Hall of Fame in Oklahoma City and the Museum of New Mexico. For many years after this recognition for western art, he quit exhibiting, selling only to a select group of collectors, but in November, 1999, he will have a major exhibition of oil paintings at the Nedra Matteucci Galleries in Santa Fe.
Edgar Alwin Payne Shadows at Dusk Oil Painting
Lot #491 (Sale Order 491 of 1017)
Title is Shadows at Dusk. 12 1/2" by 14 1/2" unframed. 17" by 19 1/2" framed. Oil on Board. Provenance: Kennedy Galleries, Inc., New York, New York, "Edgar Payne 1882-1947: An Exhibition of Western and Marine Paintings," April 6 - April 30, 1970 Condition: Board crease in top left corner as shown. Edgar Alwin Payne (1883 - 1947) was active/lived in California, Missouri. Edgar Payne is known for Western landscape and waterscape painting. Born in Washburn, Missouri, Edgar Payne became one of the foremost plein-air landscape painters of California in the early 20th century. He is best known for his majestic Sierra Nevada Mountain scenes, and depicted so many Indians on horseback riding through the Sierra Nevada Mountains that a mountain lake, Lake Payne, was named for him. He painted many works "en plein air" and also did numerous sketches from which he later did studio paintings. He worked quickly and completed about one painting per day. He depicted many other locations as well including the coast of Laguna Beach, the Canadian Rockies, the French and Swiss Alps, the Italian and French Riviera, fishing scenes of Italy and France, and landscapes in the Southwest including the Grand Canyon and Canyon de Chelly in Arizona. Payne was active in Chicago early in his career and there had a distinguished reputation for painting stage scenery for famous actresses and for mural painting. He left home at age 14 because his father objected so strongly to his son's dedication to an art career. He earned money painting houses, stage sets and murals, and traveled through the Ozarks, Texas, Mexico and Chicago where he received a major commission from the Congress Hotel for an 11,000 foot mural of Italian gardens. (Since destroyed). In Chicago, he was active with the Chicago Society of Artists and the Alumni Association of the Art Institute. He was self-taught except for a brief period at the Art Institute of Chicago. Of his art education, his daughter said: "My father never studied with anyone. He tried the Chicago Art Institute for a little while, but he didn't like it. He considered himself to be completely self-taught." ("Plein Air" 26) In 1909, he first visited California and painted scenes of Laguna Beach and San Francisco. During this time he discovered the beauty of the Sierra Nevada mountains, where he returned continually throughout his career for the inspiration that led to his signature paintings and a turning from murals and stage sets to landscape painting. He married artist Elsie Palmer in 1912, and the couple with their daughter, Evelyn, born in 1914, moved to Laguna Beach. They rented a beach-side cottage while Edgar built a home, which was the only one the family ever owned. They lived in it for three years, and it was a uniquely stable time for the family that traveled frequently in search of painting subjects. Payne decided he wanted to have an art gallery for exhibiting artists, and in 1920 he became the founder and first president of the Laguna Beach Art Association and the Gallery of Laguna Beach. The first meeting was held in his studio. The Paynes later moved to Los Angeles so they could be closer to the Stendahl Galleries, which was in the Ambassador Hotel and represented his work. In 1916, the Santa Fe Railroad commissioned him to paint the Southwest, and the couple spent four months in Canyon de Chelly. They also traveled and sketched the Grand Canyon and scenes of New Mexico and spent several years, 1922 to 1924, in Europe. Payne had a commercial artist friend, George Evans, who visited them in Europe, and according to Payne's daughter, Evans and the Paynes spent much time looking at artwork in museum. In the 1923 Paris Salon, Payne won an Honorable Mention, which was significant recognition because more than 7000 paintings were exhibited. During the Depression, Payne took teaching jobs to earn money for him and his family, and he also wrote his book, "Composition of Outdoor Painting", which, with many printings, has been a popular guide to landscape painting. He and his wife continued to spend much time in New York City and had planned to build a house there, but did not start the project because of the economy. The couple separated in 1932, but Elsie, who subsequently had a very successful career, returned to live with him towards the end of his life when he was ill. A major problem between them was his dominant personality and her resentment that her own considerable talents were submerged by his demands. Apparently he felt remorse. Their daughter wrote that "the last words her father spoke to her on his last day of life in 1947 were that 'he was sorry he had been so selfish and that everything had been for his art.' " ("Plein Air" 26)
W Clarence McGrath Guatemalan Girl Painting
Lot #492 (Sale Order 492 of 1017)
Title is Jovena de Chichicastenango. 12" by 18" unframed. 21 1/2" by 27 1/2" framed. Oil on Board. W. Clarence McGrath (1938 - 2007) was active/lived in California, New Mexico, Arizona. W McGrath is known for Indian figure, genre, landscape. A native of the American southwest, W. Clarence McGrath began life in Arizona, son of a sharecropper. To help support the family, he worked as a farm and ranch hand and as a sheepherder. In his spare time, he painted and sketched. Encouraged by his family, and by hometown artists and druggist Hal Empie, McGrath received early recognition as well as the rudiments of his chosen profession. His high school art teacher, Shorty Clothier, and Glen West, his art instructor at Eastern Arizona Junior College, helped mold the young artist. In the 1950's, McGrath realized that his art could support him and spent a year in Phoenix sketching portraits. He and his family moved to Southern California, where McGrath hoped to make a living as a portrait painter at Knotts Berry Farm. However, the busy tourist season had ended, and he had to work in a warehouse to earn a living. After working hours, McGrath studied with local artists Phil Gilkerson, Sergei Bongart and Leon Franks. From Bongart he adopted the habit of painting with music in the background. In his painting, McGrath continued to follow his own proclivities, painting what and how it pleased him. His ability began to support him, and in 1962, McGrath earned the J.F. and Anna Lee Stacey Fellowship Award, which provided a painting trip to Central America. Within the next ten years, the painter sold his belongings and moved to Mexico, spending his time painting and living there, New Mexico and Southern California. Now known as a realist painter who focuses on the human element, McGrath's work is often compared to that of the Russian painter, Nicolai Fechin, in technique and subject matter.
John Nieto Portrait of Armond Lara Pencil Drawing
Lot #493 (Sale Order 493 of 1017)
Title is Portrait of Armond Lara. 8" by 8" unframed. 15" by 15" framed. Pencil on Paper. Provenance: Private Collection, New Mexico. The Estate of Armond Lara, Given to Lara by the Artist. John W. Nieto (1936 - 2018) was active/lived in Texas, New Mexico. John Nieto is known for Native American theme painting, etching, graphics, sculpture. John Nieto calls himself an American artist who paints Indians, not an Indian artist. An acclaimed leader of his field, but taking a separate path to represent Native Americans in striking symbolic portraits, Nieto is exhibited worldwide and has had paintings accepted for the Presidential library. He does not attempt to be authentic, but to show a core Native spirit. His Indians seem to belong to a universal tribe that suggest a common, Far Eastern origin, and connection with a contemporary group. Early this century, Indian artists were cultivated in a white man's school and encouraged to portray ancestral and reservation experiences. Art from that period was inauthentic and oblivious to world trends. Since mid-century, Indian-born artists began to tell a bitter truth of Indian pain from alcoholism and other social problems. John Nieto belongs to neither camp. His Indians are not idealized or troubled. They are potters, warriors, silversmiths or shamans in traditional garb, as well as indigenous wildlife, painted in brilliant, oddly paired colors and radiating a quiet dignity. "There is no formula for my faces. I paint the dance of identity around the pan-Indian bone structure of all Native Americans. I am painting a person, but I am painting much more than that," says Nieto. He says that his art "is the result of an emotional involvement with my subject matter rather than a cerebral one." He uses broad strokes and thick layers of brilliant colors with a halo of contrasting color traced around each figure. His electric hues are unmistakable. Nieto's work reflects his upbringing from Hispanic and Indian-born parents. His distinct style comes not only from his native New Mexico, where he still lives, but also from a global awareness and travels to Europe. His unfettered use of brilliant colors has been likened to the Fauves of the 1920s' French movement. Nieto has spent time in Paris and also seems to be influenced by European expressionists who released the subconscious onto canvases. He also uses painting techniques and a spiritual awareness from the Far East. His approach is ritualistic. "I'm in a trance when I paint. It's like being a drummer -- you don't look at the drums, you just know intuitively where they are." An artist of established international reputation, Nieto's work has been exhibited in Europe, Japan, Latin America, and Africa, in addition to his annual shows in Santa Fe, New York and Palm Springs. In 1981 his work was exhibited at the Salon DAutomne/Grand Palais in Paris, France. His work, the subject of two books and numerous articles, is also represented in the permanent collection of the National Museum of Wildlife Art. In 1994, Nieto received New Mexico's Governor's Award for achievement in the Arts. He has served on the Advisory Board of The Wheelwright Museum in Santa Fe, the Advisory Board of the Native American Preparatory School, and is a Regent at his alma mater, Southern Methodist University in Dallas, where he received his Bachelor of Arts Degree. John Nieto lives and works in Corrales, New Mexico, on the banks of the Rio Grande River. His roots run deep in the state of his birth, with ancestors going back more than 300 years.
Illa Mae McAfee Cowboy Pen and Ink Drawing
Lot #494 (Sale Order 494 of 1017)
Title is The Horse Doctor. 5 1/2" by 10 1/2" unframed, 21 1/2" by 26 1/2" framed. Pen and Ink on Paper. Provenance: The Gregory Warren Nelson Collection, Taos, New Mexico Ila Mae McAfee (1897 - 1995) was active/lived in New Mexico, New York, Colorado. Ila McAfee is known for Portrait and animal painting, sculpture, textile design. Ila Mae McAfee was born 1897 in the small ranching community of Sargents in southwestern Colorado near Gunnison. She died in 1995 in Pueblo, Colorado, where she moved after leaving her adobe home in Taos, New Mexico in late summer 1993. She was raised on her family's ranch south of Gunnison, and attended Logan County School, riding ten miles each way to school. In 1916, she graduated from Gunnison High School and then spent time in Los Angeles at the West Lake School of Art and the Haz Art School (1917-1918). Returning to Colorado, she studied art with Catherine and Henry Ricter at Western State College where she earned a BA degree in 1919. The next year she went to Chicago and became a student of muralist James E McBurney and served as his assistant until 1924. During this time, she was also influenced by sculptor Lorado Taft. In 1925, she attended in New York the National Academy of Design, and 1926, the Art Students League. She also worked as an illustrator and painter of miniature animals during this period. In 1926, McAfee married Elmer Page Turner, an artist whom she had met on her parent's Colorado ranch, and that same year she visited Taos, New Mexico. Two years later, she and her husband settled there, and in 1929, they built the White Horse Studio, which continued to be her residence until 1993, when she moved to Pueblo, Colorado. In Taos, she became known for her pueblo paintings and her depictions of horses and other animals as well as Native Americans, ranch scenes, and landscapes. In 1981, she was voted Taos Artist of the Year. She also worked as a WPA artist, completing many commissions for post office locations such as Edmond, Oklahoma, and Clifton, Texas.
Harley Brown Native American Indian Pastel Drawing
Lot #495 (Sale Order 495 of 1017)
Title is Poor Eagle. 13" by 17" unframed. 27" by 30 1/2" framed. Pastel on Paper. Harley W. Brown (Born 1939) is active/lives in Arizona, Alberta / Canada. Harley Brown is known for Portrait and animal painting, ethnic caricature, teaching. A Western painter and sculptor of figures and domestic animals, Harley Brown was born in Edmonton, Alberta, Canada in 1939, and lives in Tucson, Arizona. His father was an amateur artist who encouraged his young son from age seven to pursue art. After graduation from high school, young Brown began doing department store window displays for an impressive $150 a month. Later, he attended the Alberta College of Art in Calgary, supporting himself by selling his drawings door to door, and playing piano professionally. After studying at the Camberwell School of Art in England for two years, Brown began to make a name for himself in Western art, and in 1966, he returned to Canada. Shortly after, Brown met Bob Morgan, curator of the Montana State Historical Society. Morgan put together a one-man show for Brown, where he sold all 70 of his paintings. His career made another leap forward when he received a call from Bob Lougheed to submit some of his work for the National Academy of Western Art show, where he won a gold medal for drawing in 1977. He is a member of the Northwest Rendezvous Artists, Helena, Montana; National Association of Watercolor Artists; Oil Painters of America*; Cowboy Hall of Fame, Oklahoma City, Oklahoma; and Cowboy Artists of America* since 2004. In 2005, he won two gold medals at the CAA annual exhibition. He says of membership in the CAA: "Being allowed to join them is a monumental event in my life." (CA) Brown's work is in the collections of the C. M. Russell Museum; National Cowboy and Western Heritage Museum; and Gene Autry Museum in Los Angeles. Harley Brown was commissioned to paint Prime Minister Winston Churchill, and has painted many portraits of other well-known persons including President Ronald Reagan. His painting media include oil, watercolor and pastel.
John Nieto Armond Lara Self Portrait Drawing
Lot #496 (Sale Order 496 of 1017)
Title is Self Portrait with Armond Lara. 7" by 8" unframed. 15" by 16 1/2" framed. Pencil on Paper. Provenance: Private Collection, New Mexico. The Estate of Armond Lara, Given to Lara by the Artist. John W. Nieto (1936 - 2018) was active/lived in Texas, New Mexico. John Nieto is known for Native American theme painting, etching, graphics, sculpture. John Nieto calls himself an American artist who paints Indians, not an Indian artist. An acclaimed leader of his field, but taking a separate path to represent Native Americans in striking symbolic portraits, Nieto is exhibited worldwide and has had paintings accepted for the Presidential library. He does not attempt to be authentic, but to show a core Native spirit. His Indians seem to belong to a universal tribe that suggest a common, Far Eastern origin, and connection with a contemporary group. Early this century, Indian artists were cultivated in a white man's school and encouraged to portray ancestral and reservation experiences. Art from that period was inauthentic and oblivious to world trends. Since mid-century, Indian-born artists began to tell a bitter truth of Indian pain from alcoholism and other social problems. John Nieto belongs to neither camp. His Indians are not idealized or troubled. They are potters, warriors, silversmiths or shamans in traditional garb, as well as indigenous wildlife, painted in brilliant, oddly paired colors and radiating a quiet dignity. "There is no formula for my faces. I paint the dance of identity around the pan-Indian bone structure of all Native Americans. I am painting a person, but I am painting much more than that," says Nieto. He says that his art "is the result of an emotional involvement with my subject matter rather than a cerebral one." He uses broad strokes and thick layers of brilliant colors with a halo of contrasting color traced around each figure. His electric hues are unmistakable. Nieto's work reflects his upbringing from Hispanic and Indian-born parents. His distinct style comes not only from his native New Mexico, where he still lives, but also from a global awareness and travels to Europe. His unfettered use of brilliant colors has been likened to the Fauves of the 1920s' French movement. Nieto has spent time in Paris and also seems to be influenced by European expressionists who released the subconscious onto canvases. He also uses painting techniques and a spiritual awareness from the Far East. His approach is ritualistic. "I'm in a trance when I paint. It's like being a drummer -- you don't look at the drums, you just know intuitively where they are." An artist of established international reputation, Nieto's work has been exhibited in Europe, Japan, Latin America, and Africa, in addition to his annual shows in Santa Fe, New York and Palm Springs. In 1981 his work was exhibited at the Salon DAutomne/Grand Palais in Paris, France. His work, the subject of two books and numerous articles, is also represented in the permanent collection of the National Museum of Wildlife Art. In 1994, Nieto received New Mexico's Governor's Award for achievement in the Arts. He has served on the Advisory Board of The Wheelwright Museum in Santa Fe, the Advisory Board of the Native American Preparatory School, and is a Regent at his alma mater, Southern Methodist University in Dallas, where he received his Bachelor of Arts Degree. John Nieto lives and works in Corrales, New Mexico, on the banks of the Rio Grande River. His roots run deep in the state of his birth, with ancestors going back more than 300 years.
Charles M Russell Packhorse Pencil Drawing
Lot #497 (Sale Order 497 of 1017)
Title is Packhorse Study. 4" by 5 5/8" unframed. 13 1/4" by 19 7/8" framed. Pen and Ink on Paper, donkey is shaded with pencil. Property: The Estate of Bill LaWarre, Cincinnati, Ohio. The Estate of Nancy C. Russell June 1941. Accompanied by a letter from Ginger K. Renner attesting to authenticity. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared odd—that cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? It’s quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russell’s guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawking—somewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys slept—until 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersman—unlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlie’s life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russell’s creative genius. He understood that the mountains don’t need us, we need the mountains. Charlie’s favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by
Harold von Schmidt Cowboy Oil Painting
Lot #498 (Sale Order 498 of 1017)
Title is Rough for Opening Spread Cosmo 1938. 7 1/2" by 10 1/2" unframed, 14 3/4" by 18 3/4" framed. Oil on Board. The Finished Picture is located in the A.R. Mitchel Museum Trinidad Colorado. Provenance: The Gregory Warren Nelson Collection, Taos, New Mexico Harold von Schmidt (1893 - 1982) was active/lived in New York, California, Connecticut. Harold von Schmidt is known for Western painting, illustration. For more than half a century, the illustrations and paintings of Harold Von Schmidt were familiar to the American public. His work appeared in the Saturday Evening Post, Sunset, Cosmopolitan, American and other magazines for 20 years, beginning in 1925. He also illustrated Willa Cather's novel, Death Comes to the Archbishop, and was commissioned in 1960 to design the Pony Express commemorative stamp for the United States postal service. Born in 1893 in Alameda, California, Von Schmidt was orphaned at five. He was raised by his grandfather and an aunt who encouraged his interest in art. As a young man, he spent his summers working as a lumberjack, cowpuncher and construction worker. After two years' study with F.H. Meyers at the California College of Arts and Crafts, Von Schmidt did his first cover design in 1913 for Sunset magazine. While attending the San Francisco Art Institute* from 1915 to 1918, he became art director at the Foster and Klein advertising agency. He also made paintings for the Navy in World War I. Von Schmidt was a member of the United States rugby team in the 1920 Olympics. That year, he and artists Maynard Dixon, Roi Partridge, Judson Starr and Fred Ludekens set up their own agency. He came East in 1924 to study at the Grand Central School of Art* in New York City with Harvey Dunn, a former student of Howard Pyle. During World War II, Von Schmidt was an artist-correspondent for King Features Syndicate and the air force. He continued to produce non-commercial work, as well as illustrations. He did twelve paintings of the Gold Rush for the California governor's offices, and 5 Civil War paintings for the United States Military Academy at West Point, New York. Harold Von Schmidt was a founder of the Famous Artists School in Westport, Connecticut. He died in 1982.
Kristi Hager Donald Trump Genie Oil Painting
Lot #499 (Sale Order 499 of 1017)
Title is Wish for War. 5" by 5" unframed. Oil on Board. Provenance: The Estate of Kristi Hager Kristi Hager (January 22, 1946 - November 12, 2024) Montana. Kristi Hager is known for Painting. Kristi Hager lives in Missoula and has worked as a self-employed photographer and painter in Montana since 1984. Hager earned BA in Architecture from the University of Pennsylvania and a Master of Fine Arts from the University of Wisconsin-Madison. She received the Montana Arts Council Artist’s Innovation Award in 2010. Her works are in the permanent collection of the Yellowstone Art Museum in Billings, the Federal Reserve Bank of Minneapolis, the Capital One collection, and the Missoula Art Museum.
William Matthews Watercolor Painting
Lot #500 (Sale Order 500 of 1017)
Title is Along the Madison River. 11" by 13" unframed. 21" by 22" framed. Watercolor on Paper. William Matthews (Born 1949) is active/lives in Colorado, California. William Matthews is known for Cowboy figure-genre and western landscape painting. William Matthews was born in 1949 in New York City. He grew up in the Bay area. His professional career began in Los Angeles as a graphic artist designing album covers for Warner Bros., and Capitol Records. A listing of commissioned artwork for Album Covers and Compact Discs are listed below. The 2007 published monograph, William Matthews : Working the West, showcases the artist's work devoted to the working cowboys of the American west. Forbes, FYI, magazine hailed him as the new Remington of American painting. Other areas of study are included in the Exhibition Catalogs; Hats & Headwear,(2008); Yellowstone,(2007); Italy,(2007); Canyon de Chelly,(2005); Scotland,(2003); A Wet Line: Fly-fishing on the Rivers of North American,(2002); Land of the Rajput,(2001); Buckaroos of the Great Basin,(2000); Fast Horses,(1999); Ireland,(1997); Heart Land,(1996); China,(1995); The Blue Nile,(1993); and Sketches of Spain,(1992). William Matthews paintings are widely exhibited nationally and internationally. His work has been part of two Meridian International Center curated exhibitions, Out West: The Great American Landscape, 2007-2008, and True Colors: Meditation on the American Spirit, 200-2005, venues included; the National Art Museum of China; Shanghai Art Museum; Hong Kong Heritage Discovery Center; the Topkapi Palace, Instanbul; the Allied Museum, Berlin; National Gallery of the Arts, Albania; Millennium Court Arts Center, Northern Ireland. His work is included in numerous private and public collections including, Museum of the West, Autry National Center; Buffalo Bill Historical Center; Eiteljorg Museum; The National Cowboy Hall of Fame; Gilcrease Museum; Joslyn Museum; Booth Western Art Museum; Phoenix Art Museum; Tuscon Museum of Art; and the Denver Art Museum.
Olaf Wieghorst Indian & Horse Watercolor Painting
Lot #501 (Sale Order 501 of 1017)
Title is Indian Sitting in Front of White Horse. 8" by 10" unframed. 20" by 22" framed. Watercolor and Ink on Paper. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico. 2003 Private Collection, Hawaii Olaf Carl Wieghorst (1899 - 1988) was active/lived in California / Denmark. Olaf Wieghorst is known for Western-Indian-genre, horses. Born in Viborg, Denmark, Olaf Wieghorst was a child acrobatic performer from the age of nine when he began appearances at Tivoli Theater in Copenhagen and later toured Europe. He also learned horseback riding working on a stock farm, and horses became a major focus of his admiration and later his painting. In 1918, he arrived in the United States, having worked as a cabin boy on a steamer. He served in the 5th U.S. Cavalry on the Mexican border in the days of Pancho Villa. He later recalled a favorite horse from that period and said that riding through El Paso in 1921, the horse fell on his ankle and broke it. The outfit was heading to Douglas, Arizona, and not wanting to be left behind with his injury, he stayed on the horse which carried him all the way through the New Mexico desert on one of the hottest days of the year. The horse died during the night, having expended all his energy on saving Wieghorst. He later wrote that when the Cavalry discarded the use of horses, "they took the soul out of that great branch of the service" ("Widening Horizons"). He wandered extensively through the West sometimes on horseback, finding work in Arizona and New Mexico as a cowboy. Then he went to New York and served as a mounted policeman until 1944, spending most of his time on a horse named Rhombo patrolling the Central Park bridle paths and saving many people injury from runaway horses. He began painting in his spare time, and he was successful enough that his work was represented by the Grand Central Art Galleries of the Biltmore Hotel. In 1944, he settled in El Cajon, California. His paintings include cowboys, horses, and Indians in landscape, but there is little if any collectible art of his done during his early days in the West. His primary output came after his return to California when he began painting cowboys and horses extensively. He did numerous horse portraits, spending time on ranches studying their unique personalities. He painted celebrity horses including Roy Rogers' Trigger, Gene Autry's Champion and Tom Morgan's stallion. He was a large, powerful, handsome, and very personable man.
William Hook Clarks View Acrylic Painting
Lot #502 (Sale Order 502 of 1017)
Title is Clark's View. 20" by 20" unframed. 27 1/2" by 27 1/2" framed. Acrylic on Canvas. Provenance: The Taos Gallery. Taos, New Mexico William Cather Hook (Born 1948) is active/lives in New Mexico, California, Kansas, Missouri. William Hook is known for Southwest landscape painting, illustration. The American landscape is William Hook's inspiration. Large skies, low horizons, distant mountains and textured foregrounds are expressed in his paintings with broad brushstrokes of vivid color. The magazines Southwest Art, Art of the West, U.S. Art, American Artist, and Focus Santa Fe have featured Hook's work in cover articles, and the book, Leading the West by Donald Hagerty, references William Hook as one of the notable influences on the western art scene. In addition, publishers Harper-Collins and North Light have included his work in numerous books written about the contemporary art process in Europe and America. William Hook's background in art began at home. It was through the influence of his father and grandmother, a professional photographer and architect respectively, that art became second nature to him. Other family members were art historian Bainbridge Bunting, prominent Italian painters Gino and Bertha Venanzi, as well as Pulitzer Prize winning author, Willa Cather. When the discussion of art arose at the Hook household, there was never a lack of opinions and interests. "I was always encouraged to try new media, and that is one reason why I still paint in acrylic. My grandmother would find materials in art stores or would have read about a newly developed medium and I would be the art guinea pig". After having attended classes at the Kansas City Art Institute, Hook left his hometown of Kansas City to continue his study of fine art at the University of New Mexico. Hook went on to complete his formal education at the Universita Per Straniere (Perugia, Italy) and the Art Center College of Design (Los Angeles, CA). It was his time spent in New Mexico, where the scenery made an indelible impression on the aspiring artist, that led him to return to make it his home and frequent subject. "I have painted all over the United States and Europe and continue to find New Mexico at the center of my work". Mr. Hook's paintings can be found in the permanent collections of the Denver Art Museum, the Tucson Art Museum, the University of New Mexico, the FORBES Museum, NYC, and the Genesee Museum, NY. In addition, Hook's work is featured in prints for the New Mexico Symphony, Music from Angel Fire, and the Santa Fe Opera.
William Penhallow Henderson Rooster Pull Pastel
Lot #503 (Sale Order 503 of 1017)
Title is Rooster Pull Arizona 1904. 8 1/2" by 11" unframed. 20 1/2" by 23" framed. Pastel on Paper. Provenance: The Artist's Estate Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, Florida Exhibited: Phoenix Art Museum, Phoenix, Arizona, William Penhallow Henderson: Master Colorist of Santa Fe, September 29 - November 18, 1984 Museum of Western Art, Denver, Colorado, William Penhallow Henderson: Master Colorist of Santa Fe, February 22 - April 9, 1985 William Penhallow Henderson (1877 - 1943) was active/lived in New Mexico, Kansas. William Henderson is known for Modernist Indian, genre and landscape painting, woodworking. Born in Medford, Massachusetts, William Penhallow Henderson became a painter of Indian motifs, especially New Mexico pueblo dance figures. His work conveyed a highly personal sense of the viewer being with the subjects of his painting, and it was said that he saw beauty everywhere in his surroundings. He spent much of an unstable childhood with a family that followed the father to a Texas cattle ranch, back to Medford, to a small Kansas town where his father was a banker, and then East again in 1891. He studied at the Boston Museum of Fine Arts with Edmund Tarbell and won a Paige Traveling Scholarship that allowed him to travel and study in Europe for three years beginning 1901. There he was greatly influenced by the styles of Cezanne, Van Gogh, Renoir and Whistler. He then taught in Chicago at the Academy of Fine Arts, painted murals in the Chicago public schools, and designed scenery and costumes for the Chicago Fine Arts Theatre. He married poet Alice Corbin, and the two collaborated on children's books with him doing the illustrations. In 1916, having spent several summers in the Southwest, the couple moved to Santa Fe where he became an active mural painter, architectural and furniture designer, using Indian and Hispanic images. His studio was on the Camino de Monte Sol, and in 1923, he was one of the founders of the New Mexico Painters Society. He also painted in Arizona. His 1904 painting, Hopi Kachina Dance, is the earliest extant Arizona work, and from 1916, he painted many Indian ceremonies in Arizona as well as New Mexico. Walpi Snake Dance is dated 1920, and in style is described as being "emotive rather than anthropological, drawing on the influence of French Post-Impressionist painter, Paul Gauguin (1848-1903) and the Nabi painters of the 1890s." (138) As owner of the Pueblo-Spanish Building Company in Santa Fe, he designed Sena Plaza and the Wheelright Museum, then called the Museum of Navajo Ceremonial Art, which won an award in 1938 from the Architectural League of New York. In the entrance he sculpted a mural of a corn plant.
William Penhallow Henderson New Mexico Pastel
Lot #504 (Sale Order 504 of 1017)
Title is New Mexico Adobe. 3 1/4" by 4 1/2" unframed. 10 3/4" by 12 3/4" framed. Pastel on Paper. Provenance: The Artist's Estate Owings-Dewey Fine Art, Santa Fe, New Mexico. Fenn Galleries, Santa Fe, New Mexico. Private Collection, Florida. William Penhallow Henderson (1877 - 1943) was active/lived in New Mexico, Kansas. William Henderson is known for Modernist Indian, genre and landscape painting, woodworking. Born in Medford, Massachusetts, William Penhallow Henderson became a painter of Indian motifs, especially New Mexico pueblo dance figures. His work conveyed a highly personal sense of the viewer being with the subjects of his painting, and it was said that he saw beauty everywhere in his surroundings. He spent much of an unstable childhood with a family that followed the father to a Texas cattle ranch, back to Medford, to a small Kansas town where his father was a banker, and then East again in 1891. He studied at the Boston Museum of Fine Arts with Edmund Tarbell and won a Paige Traveling Scholarship that allowed him to travel and study in Europe for three years beginning 1901. There he was greatly influenced by the styles of Cezanne, Van Gogh, Renoir and Whistler. He then taught in Chicago at the Academy of Fine Arts, painted murals in the Chicago public schools, and designed scenery and costumes for the Chicago Fine Arts Theatre. He married poet Alice Corbin, and the two collaborated on children's books with him doing the illustrations. In 1916, having spent several summers in the Southwest, the couple moved to Santa Fe where he became an active mural painter, architectural and furniture designer, using Indian and Hispanic images. His studio was on the Camino de Monte Sol, and in 1923, he was one of the founders of the New Mexico Painters Society. He also painted in Arizona. His 1904 painting, Hopi Kachina Dance, is the earliest extant Arizona work, and from 1916, he painted many Indian ceremonies in Arizona as well as New Mexico. Walpi Snake Dance is dated 1920, and in style is described as being "emotive rather than anthropological, drawing on the influence of French Post-Impressionist painter, Paul Gauguin (1848-1903) and the Nabi painters of the 1890s." (138) As owner of the Pueblo-Spanish Building Company in Santa Fe, he designed Sena Plaza and the Wheelright Museum, then called the Museum of Navajo Ceremonial Art, which won an award in 1938 from the Architectural League of New York. In the entrance he sculpted a mural of a corn plant.
Kristi Hager First Days Oil Painting
Lot #505 (Sale Order 505 of 1017)
Title is First Days. 5 1/2" by 6" unframed. 6 1/2" by 7" framed. Oil on Board. Provenance: The Estate of Kristi Hager Kristi Hager (January 22, 1946 - November 12, 2024) Montana. Kristi Hager is known for Painting. Kristi Hager lives in Missoula and has worked as a self-employed photographer and painter in Montana since 1984. Hager earned BA in Architecture from the University of Pennsylvania and a Master of Fine Arts from the University of Wisconsin-Madison. She received the Montana Arts Council Artist’s Innovation Award in 2010. Her works are in the permanent collection of the Yellowstone Art Museum in Billings, the Federal Reserve Bank of Minneapolis, the Capital One collection, and the Missoula Art Museum.
Kristi Hager First Days Encounter Oil Painting
Lot #506 (Sale Order 506 of 1017)
Title is First Days Encounter. 5 1/2" by 7" unframed. 6 1/2" by 7 1/2" framed. Oil on Board. Provenance: The Estate of Kristi Hager Kristi Hager (January 22, 1946 - November 12, 2024) Montana. Kristi Hager is known for Painting. Kristi Hager lives in Missoula and has worked as a self-employed photographer and painter in Montana since 1984. Hager earned BA in Architecture from the University of Pennsylvania and a Master of Fine Arts from the University of Wisconsin-Madison. She received the Montana Arts Council Artist’s Innovation Award in 2010. Her works are in the permanent collection of the Yellowstone Art Museum in Billings, the Federal Reserve Bank of Minneapolis, the Capital One collection, and the Missoula Art Museum.
Walter Bambrook New Mexico Cabezon Peak Painting
Lot #507 (Sale Order 507 of 1017)
Title is Cabezon Peak New Mexico. 9" by 12" unframed. 12" by 15" framed. Oil on Board. Walter Bambrook (1910 - 1984) was active/lived in New Mexico. Walter Bambrook is known for Landscape, western scene and animal painting. Walter Bambrook was born in Albuquerque, New Mexico, on February 11, 1910. He remained a true native of Albuquerque until his death on June 1, 1984. He attended art school at the University of New Mexico and then studied for four years under noted New Mexico artist Carl von Hassler. Later in his life, he became an art instructor, teaching at UNM, Height's Community Club, and the Women's Club of Albuquerque. Throughout his career, Bambrook's focus was on capturing the landscape of his home state. He was an adventurous outdoorsman in his younger years and his far-ranging trips provided varied, myriad scenes for him to paint. His later years would find him on simple painting trips, either to sketch for future reference or to paint on-site. Recognition for his work came at a young age. He received his first award at the age of only thirteen from a national art show at the Chicago Art Institute. Later awards came from institutions including the Corcoran Gallery (Washington, DC), L.O.M. Sweat Memorial Museum (Portland, ME), the Colorado Springs Fine Arts Center, and the Santa Fe State Museum. His work has also been exhibited at institutions including the White Memorial Museum (San Antonio, TX) and the High Plains Historical Museum (Canyon, TX). Additionally, Bambrook was a member of the Artists Equity and served as its national vice-president in 1969-70.
Gordon Cook Hawaiian Dreams Watercolor Painting
Lot #508 (Sale Order 508 of 1017)
Title is Hawaiian Day Dream. 7" by 10" unframed. 12" by 14 3/4" Gordon Cook (1927 - 1985) was active/lived in California, Illinois. Gordon Cook is known for Ironic real views, still life and landscape painting, printmaking. A painter and printmaker, Gordon Cook became active in the Bay Area California art scene from the time he was married to abstract painter Joan Brown in the 1970s. In fact, Brown painted a portrait of the two of them posed with their dog in the formal garden of the San Francisco War Memorial Opera House. His early paintings were small in size, muted in color, and usually depicted single still-life subjects such as a box, a single flower or a wheel. These works were both very defined and quite expressive with impasto paint application. Before then, his reputation was for printmaking, and after the 1970s, his focus turned to landscape painting, especially solitary buildings in the delta area of the Sacramento River. Cook has also painted floral still lifes, nudes, portraits and cityscapes. Cook was born in Chicago and attended Illinois Wesleyan University, earning a B.F.A. in 1950. He also attended the State University of Iowa in Iowa City. His work is in the collection of the Fine Arts Museum of San Francisco.
George Phippen Pride of the Show Painting
Lot #509 (Sale Order 509 of 1017)
Title is Pride of the Show. 28" by 40" unframed. 38" by 50" framed. Oil on Canvas. Provenance: Property from the Collection of a Missouri Company Condition: Dime size puncture and touchup above the announcer stand, which could be easily professionally repaired. George Phippen (1915 - 1966) was active/lived in Arizona, Iowa. George Phippen is known for Cowboy genre, wildlife, sculptor. George Phippen was born July 11, 1915 in Iowa. His family moved from Iowa to Emmett (near St. Mary's, Kansas) in 1919. In 1933, at the age of 18, Phippen joined the Civilian Conservation Corps working first in Minnesota and then in Washington. Left the Corps in 1939 to return to Kansas for a year and then went back to Washington and California before settling in Tucson, AZ in 1940. During World War II, he wanted to be a combat artists for the Army, but was stationed at Fort Warden in Washington where he worked in photography and drafting. After the war, Phippen and his family moved to the Southwest, where he received informal tutoring in oil painting from Henry Balink of Santa Fe, NM and Hurlstone Fairchild of Tucson, AZ. Successful as a commercial artist and illustrator, he illustrated many books and magazines such as True West, Frontier Times, Quarter Horse Journal, Appaloosa News, and Western Horseman. Phippen began oil painting in 1948 while selling works for Christmas cards and calendars. He was co-founder and first president of the Cowboy Artists of America and he established a ranch, studio, and foundry in Skull Valley, AZ. The Phippen Museum in Prescott, AZ opened in 1984. He died in Skull Valley, Arizona on April 13, 1966.
Les Thomas Moose Oil on Canvas Painting
Lot #510 (Sale Order 510 of 1017)
Title is Animal Painting #019-1738 Moose. 36" by 36" unframed. Oil on Canvas. Provenance: Diehl Gallery, Jackson, Wyoming Private Collection, Wyoming Les Thomas (Born 1962) is active/lives in Canada. Les Thomas is known for Painting. My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated. Les Thomas, who was born in British Columbia in 1962, has long recognized painting as a language in its own right, and its diversity, in terms of poetic and conceptual messages, exhibited by each individual picture. Les' education is indicative of his dedication to his chosen profession as an artist. He earned his Bachelor of Fine Arts at the University College in London, England. After returning to Canada, he attended the University of Calgary, gaining his Master of Fine Arts. Thomas sifts through a wide variety of visual sources for the imagery in his work. The influence of his view of painting as a very noble activity is combined with his acknowledgement that it can be inventive and enjoyable (for both the artist and the viewer). The other major influence is culture, in its broadest terms, including all aspects of our everyday life. Les Thomas' dynamic wax & oil animal paintings allow him to play with the relationship between culture and nature. The special encaustic wax finish that he applies, Les explains, "may very well pertain to memory, and the manner in which we hold visual experiences within the capacities for recollection. Think of the last time you encountered a bear on the roadside or craned your neck to watch a mountain goat or sheep on a steep and rocky slope." "My intention with each of my animal paintings is to forge some kind of amicable relationship between the patterns and abstract paint application, and a particular animal image. In this sense, the image is not merely a pretext for a painting. It actually provides the impetus for how the entire surface is to be treated." Les Thomas has received many awards for his work, been featured in several publications, and has his paintings in public and private collections in Canada, the U.S., the U.K., and Germany.
Granville Redmond Catalina Island Painting
Lot #511 (Sale Order 511 of 1017)
Title is Catalina Island from Long Beach California. 12" by 20" unframed. 19 1/2" by 27 1/2" framed. Oil on Board. Granville Redmond (1871 - 1935) was active/lived in California. Granville Redmond is known for Wild floral landscape and marine painting. One of California's most notable Impressionist* painters and considered the first resident Impressionist of that state, Granville Redmond is known for his landscapes, many of them floral with poppies and lupines. He was also one of the first Tonalist* painters of California, a subdued monochromatic* style of haze, fog and moonlight that reportedly "he was more drawn to". . .(Gerdts 27). Redmond was also a popular personality and held friendships with many celebrities in the arts, despite certain physical handicaps of his own most especially deafness. He was born in Philadelphia with the name Grenville Richard Seymour Redmond. At the age of two and a half, he became totally deaf due to scarlet fever, and lived his whole life without hearing or speech. In 1874, the family moved to San Jose, and from 1879 to 1890, he attended the California School of the Deaf in Berkeley. There his art teacher, Theophilus D'Estrella, who was also deaf, was a major influence, and Redmond decided to continue art studies at the San Francisco School of Design*. His teachers included Arthur Mathews and Amedee Joullion. Redmond distinguished himself, winning the W.E. Brown medal of excellence, and in 1893 was awarded funds from the California School of the Deaf, which made it possible for him to study in Paris at the Academie Julian* under Jean Paul Laurens and Benjamin Constant. At the Academie Julian, he roomed with sculptor Douglas Tilden, another graduate of the California School for the Deaf. While in Paris, Redmond distinguished himself once again, when in 1895 his large canvas, Matin d'Hiver, was accepted for the Paris Salon*. At the California School of Design, he had become acquainted with many other artists including Tonalists* Gottardo Piazzoni, with whom Redmond made several painting trips around California, and Giuseppe Cadenasso, to whom he gave encouragement. Piazzoni learned sign language, and he and Redmond were lifelong friends. They roomed together in Parkfield, California, and also in Tiburon. At that time, it was difficult for artists and would-be artists in San Francisco and in the West to find ways to practice their fine art. Opportunities in commercial illustration were a little brighter, and Redmond and many other artists were drawn to newspapers and local magazines such as the Overland Monthly as sources of revenue. In 1898, he returned to California, changed his first name to Granville, and settled in Los Angeles, where he painted many scenes of Laguna Beach, Catalina Island, and San Pedro. He was married in 1899 to Carrie Ann Jean, a graduate of the Illinois School for the Deaf. Together they had three children. While living in Los Angeles, he became friends with Charlie Chaplin, whom he helped in perfecting his pantomime techniques. Chaplin gave Redmond a studio on the movie lot, collected many of his paintings, and sponsored him in silent acting roles including playing the sculptor in City Lights, and a feature part in You'd Be Surprised. He also got to know Los Angeles neighbor artists Elmer Wachtel and Norman St. Clair. All three exhibited paintings with Laguna Beach titles at the annual Spring Exhibition held in San Francisco in 1904. By 1905 Redmond was receiving considerable recognition as a leading landscape painter and bold colorist. Redmond's early works in Los Angeles were mostly moody Tonal landscapes, scenes of farmers and their animals, and nocturnes similar to those by John Bond Francisco and other scenic painters in Northern California. Redmond also sought subjects throughout the state's coastal regions, such as Silver and Gold (oil on canvas, Laguna Art Museum), and often summered in Monterey County, where he later settled in 1908. In 1910, he moved farther north to San Mateo, becoming a member of San Francisco's art establishment, but he continued to exhibit in Los Angeles and to associate with that city's artists, returning to live there in 1918. From 1910 to 1917, he spent time in various Northern California locations, studying and painting. About the time he moved north, Redmond turned to rendering sweeping terrains covered with highly colorful wildflowers, especially the purple lupine and California's state flower, the golden poppy. He developed a colorist method and brushwork linked to Impressionism, though he was motivated more by his subjects than by aesthetic theory. West Coast critics at that time noted his use of Pointillism* and likened his art to that of Claude Monet and Camille Pissarro. Although Redmond recognized the public's preference for his brightly colored poppy pictures, he generally preferred to paint darker, more poetic scenes. Some of his finest paintings are of Catalina Island in Southern California, and of the oak
Lowell Ellsworth Smith Taos Adobe Ranch Painting
Lot #512 (Sale Order 512 of 1017)
Title is Study Taos Adobe Ranch. 10 1/2" by 14 1/2" unframed. 19" by 23" framed. Watercolor on Paper. Lowell Ellsworth Smith (1924 - 2008) was active/lived in Ohio. Lowell Smith is known for Town-landscape, figure, still life paintings. Watercolorist Lowell Ellsworth Smith was born in Canton, Ohio in 1924. Smith attended Miami University in Ohio (BFA) and graduated from Famous Artists Schools in Westport, Connecticut. After graduating from Miami University, Lowell and Mary Ann moved to Canton, Ohio, where he worked as a commercial artist at Canton Art Service. After seven years, he moved with his family to Hudson, Ohio and began working at Manning Art Studio in Cleveland, as an illustrator. After five years, he left Manning and became a freelance artist. In 1960 he began teaching watercolor painting from his home studio. Through the years he held painting workshops in Rockport, Mass., Burnsville, N.C., and various locations In the Southwest and Mex Lowell Ellsworth Smith is represented in over 500 private collections. He was a member of the American Watercolor Society, the National Academy of Western Art, the Rockport Art Association, and a past President of the Hudson Society of Artists. Mr. Smith died at the age of 83, on August 11, 2008 in Hudson, Ohio.
Olaf Wieghorst Catch Me Oil Painting
Lot #513 (Sale Order 513 of 1017)
Title is Catch Me. 16" by 20" unframed. Oil on Canvas. Provenance: Gift of Artist to James Clifford, Family through Descent. Altermann Galleries, 09/17/2020, Lot 331. Painting is documented in the upcoming Artist Catalog Raisonne by James Drye, Page 199, Database ID 528. Condition: Painting would benefit from a cleaning and new varnish. Two small pinholes through the canvas where the frame was nailed into the stretcher bars. Olaf Carl Wieghorst (1899 - 1988) was active/lived in California / Denmark. Olaf Wieghorst is known for Western-Indian-genre, horses. Born in Viborg, Denmark, Olaf Wieghorst was a child acrobatic performer from the age of nine when he began appearances at Tivoli Theater in Copenhagen and later toured Europe. He also learned horseback riding working on a stock farm, and horses became a major focus of his admiration and later his painting. In 1918, he arrived in the United States, having worked as a cabin boy on a steamer. He served in the 5th U.S. Cavalry on the Mexican border in the days of Pancho Villa. He later recalled a favorite horse from that period and said that riding through El Paso in 1921, the horse fell on his ankle and broke it. The outfit was heading to Douglas, Arizona, and not wanting to be left behind with his injury, he stayed on the horse which carried him all the way through the New Mexico desert on one of the hottest days of the year. The horse died during the night, having expended all his energy on saving Wieghorst. He later wrote that when the Cavalry discarded the use of horses, "they took the soul out of that great branch of the service" ("Widening Horizons"). He wandered extensively through the West sometimes on horseback, finding work in Arizona and New Mexico as a cowboy. Then he went to New York and served as a mounted policeman until 1944, spending most of his time on a horse named Rhombo patrolling the Central Park bridle paths and saving many people injury from runaway horses. He began painting in his spare time, and he was successful enough that his work was represented by the Grand Central Art Galleries of the Biltmore Hotel. In 1944, he settled in El Cajon, California. His paintings include cowboys, horses, and Indians in landscape, but there is little if any collectible art of his done during his early days in the West. His primary output came after his return to California when he began painting cowboys and horses extensively. He did numerous horse portraits, spending time on ranches studying their unique personalities. He painted celebrity horses including Roy Rogers' Trigger, Gene Autry's Champion and Tom Morgan's stallion. He was a large, powerful, handsome, and very personable man.
William Meuttman The Singing Water Painting
Lot #514 (Sale Order 514 of 1017)
Title is The Singing Water Arizona 1916. 12" by 16" unframed. 16" by 20" framed. Oil on Canvas. Provenance: Closson's Gallery, Cincinnati, Ohio Private Collection, New Mexico William Meuttman (1869 - 1948) was active/lived in Ohio. William Meuttman is known for Western subject painting-Indians. Little is known about him except that apparently William Meuttman traveled the West, painting scenes with Indians including the Sioux and members of Southwest tribes. The Smithsonian Inventory lists three paintings by him that he did in Arizona between 1910 and 1920. They are: Apaches at River Bank, Vermillion Cliffs, Arizona, and Indian Burial. Who Was Who in American Art by Peter Falk lists him as a painter from Cincinnati, Ohio.
William Seltzer Rice Walpai Pueblo Painting
Lot #515 (Sale Order 515 of 1017)
Title is The Governor's House Walpai Arizona. 22" by 27" unframed. 29 1/2" by 34" framed. Oil on Canvas. Newcomb-Macklin Frame. Provenance: Estate of Monroe Wingate. Trotter Galleries Carmel California. William Seltzer Rice (1873 - 1963) was active/lived in California. William Rice is known for Landscape painting, graphics, illustration, crafts. William S. Rice, painter, printmaker, and craftsman, was born in Manheim, Pennsylvania. After completing studies at the Pennsylvania School of Industrial Art and the Drexel Institute in Philadelphia, a job offer brought him to California in 1900. At the age of twenty-seven, he accepted the position as Supervisor of Art in the Stockton Public Schools; a position he held until 1910. That same year, he moved to the Bay Area where, for the next thirty years, Rice taught in Alameda and Oakland, as well as at the University of California Extension and the California College of Arts and Crafts where he earned his BFA in 1929. During the 1915 Panama Pacific Exhibition, Rice had a chance to study and absorb the techniques of the Japanese woodcuts which he was to incorporate into his own working knowledge of the medium. In 1918, the first major exhibition of his color woodcuts hung at the California Palace of the Legion of Honor. Though he gained national recognition for his printmaking, Rice embodied the Craftsman spirit, painting with watercolor and oil, and working in ceramics, hammered copper, and woodworking. He authored three books on the subject of block printing, including Block Prints and How to Make Them, and wrote articles on naturalist subjects for Sunset magazine. Rice was a member of the California Society of Printmakers, California Society of Etchers, Prairie Printmakers, Bay Region Art Association, North West Printmakers, and the San Francisco Art Association. Rice's work is represented in numerous private and public collections, including the Achenbach Foundation for the Graphic Arts, Boston Public Library, Elvehjem Museum, Fitzwilliam Museum, Library of Congress, National Museum of American Art, Oakland Museum, and the Worcester Art Museum.
David Mayer June Storm Hallett Peak Painting
Lot #516 (Sale Order 516 of 1017)
Title is June Storm Hallett Peak Rocky Mountain National Park Colorado. 24" by 24" unframed, 34" by 34" framed. Oil on Board. David W. Mayer (Born 1944) was active/lived in Colorado. David Mayer is known for Landscape. David W. Mayer is a member of the Oil Painters of America (OPA), the Rocky Mountain Plein Air Painters (RMPAP), and is an avid "plein air" painter with an emphasis on portraying the beauty of Colorado high country mountains, streams and lakes. Mayer has studied with Scott Christensen, Kevin Macpherson, Ted Goerschner, David Leffel and at the Loveland Academy with Travis Conrad Erion as well as through the writings and works of Richard Schmid, Edgar Payne, Joaquin Sorolla and the California Impressionists. While he was an award-winning watercolorist who studied with Tony Couch, Mayer has concentrated exclusively on oil painting for the past seven years. He was also an Art Director and Creative Director in print, web, interactive media and marketing communications prior to painting full time as a professional landscape artist. He is a member of the Nature Conservancy and the Sierra Club in support of preserving the wilderness and scenic grandeur of the West.
Heinie Hartwig Under Dark Skies Painting
Lot #517 (Sale Order 517 of 1017)
Title is Under Dark Skies. 10" by 14" unframed. 12 1/4" by 16 3/4" framed. Oil on Board. Heinie Hartwig (Born 1937) is active/lives in California. Heinie Hartwig is known for Fantasy-western views, miniature. Heinie Hartwig became a painter of primarily western subjects although he also does landscapes and still lifes. The tone of his work is primarily romantic. He started painting in 1970, working on his art in the evenings, and a year later quit his job and began painting for a living. He had grown up in the Santa Clara Valley of California, and left for three years to spend time traveling through Europe with the Army. He was in Germany as the Berlin Wall went up and persuaded his wife, Eva, to leave East Germany to marry him. Returning to Santa Clara, he worked pouring concrete, and spent a lot of time running marathons. In 1964 he held the record for long distance running in Northern California. By 1991, he was in "Who's Who in American Art". Hartwig taught himself to paint by studying the "Old Masters." He was attracted to the charm and romance of classic art. He has managed to capture the light, color and style of those great artists. Though most of his work has a western theme, Hartwig is a versatile painter. Many of his paintings are landscapes and still lifes. Heinie Harwig's work has been compared to Albert Bierstadt and John Constable for its romanticism, European feel and composition.
Greg Erway Buffalo Skull with Symbols Painting
Lot #518 (Sale Order 518 of 1017)
Title is Skull with Symbols. 24" by 24". Oil on Board. Greg Erway was born and raised on the Great Plains and shares a special connection to the continuing saga of this great land. The stories, the characters, the animals, and the landscape provide an infinite supply of inspiration for his art. Through the use of color and a mixture of technique and application, his subjects take on a unique life of their own, piecing together a narrative rich in history and lore. Owner and artist in residence at Wildfire Gallery on Paseo in Oklahoma City’s historic art district, Greg stays busy painting for the gallery as well as fulfilling commissions. His success includes a commission for the most recent renovation of the Oklahoma Governor’s mansion. Greg’s work can be seen in galleries in Bentonville, AR, St Jo, TX, and Oklahoma City.
Carl Hirschberg Roquebrune France Painting
Lot #519 (Sale Order 519 of 1017)
Title is Roquebrune. Oil on Board. 14 3/4" by 18" framed. 10 3/4" by 14" unframed. Carl Hirschberg (1854 - 1923) was active/lived in Connecticut. Carl Hirschberg is known for Genre, figure, still life, illustration. A genre painter and illustrator, Carl Hirschberg was born in Berlin, and came to the United States with his parents, settling in New York City, where he began school at the age of six. At fourteen, Hirschberg apprenticed as a wood engraver, but gave it up three years later to study drawing at the National Academy of Design. In 1875, when the Art Students League was formed, Hirschberg became one of the original members. He studied figure painting with Walter Shirlaw, then went to England where he met and subsequently married a young British artist, Alice Kerr-Nelson. Hirschberg continued his art education at the Ecole des Beaux Arts in Paris under Cabanel and Lefebvre. In 1884, following the birth of their first child, the Hirschbergs moved to the United States, settling in New Rochelle and then in Buffalo, New York. According to their son, the artist George Laurence Nelson, "working together as a team," the two artists "would set the pattern for American design in calendars and fashion literature, painting in oil, and water color, and etching" (Nelson, "New Life for Old Timber," p. 29). While little is known about Hirschberg's career, like most of his generation of European-trained artists, he faced the problem of what to paint to meet nationalistic expectations. After the Civil War and into the 1890s there was a general longing for "home subjects." Between 1885 and circa 1900 Hirschberg produced several specifically "American" pictures. "Decoration Day", painted in 1885, depicts a group of little girls, mature ladies and Union soldiers decorating the grave of a Civil War hero. "The Veteran of 1893", possibly inspired by Thomas Hovenden's contemporaneous tributes to Civil War veterans, shows an attractive young woman pinning a medal on a Union officer's lapel, while a little boy stands at his side. In sharp contrast to these domestic scenes, "The Contrabands" is ostensibly a Civil War subject. Updating the theme of hunted fugitive slaves it shows a group of shackled men, women and children being herded like cattle toward an unspecified place. While history inspires the subject, the work is an historical genre picture of an incident that could have happened to African-Americans in the path of war. Its epic scale suggests that it was intended for exhibition, possibly at the National Academy of Design in New York, where Hirschberg showed from 1885 until 1893, or as part of a presently unknown mural scheme related to the Civil War.
Olive Vandruff Texas Oil Painting
Lot #520 (Sale Order 520 of 1017)
Title is Texas Hills. 17 5/8" by 23 3/4" framed. Oil on Board. 16" by 22" unframed. Olive F. Vandruff (1908 - 2003) was active/lived in Texas. Olive Vandruff is known for Landscape-animal, wildlife. Born at Martin's Ferry, Ohio, on 17 April 1908, to Ross and Mayme Buskirk Vandruff, Olive Freda Vandruff spent much of her childhood traveling in the Southwestern United States with her mining engineer father and her mother. Largely self-taught, Vandruff felt she received her artistic leanings from her father and grandfather. "Daddy and his father were artistically talented. They painted, but not professionally," she remembered in a 1963 interview for the "Amarillo Globe-Times". Vandruff moved to San Antonio in the 1931 where she became an assistant to sculptor Pompeo Coppini and worked as a commercial artist. She considered Texas her home. About 1937 she married the engraver Charles F. Anderson, and with him ran an engraving business in San Antonio until the mid-1940s. Vandruff then studied with the painter Edmund Giesbert at the University of Chicago from 1946 to 1948. She also studied with Chicago sculptors Elisabeth H. Hibbard and Frederick C. Hibbard in the mid 1940s, eventually becoming an assistant to them. She returned to Texas around 1950 where she operated a sheep ranch near Kerrville and began to paint easel paintings. While in the Hill Country she became a renowned painter of animals and birds, "find[ing] it fascinating to capture … the aspects of nature whether it is feathers or fur." Vandruff was often commissioned to paint "portraits of cutting horses, quarter horses, registered cattle and the headquarters of famous ranches," as well as pets: As she recalled, "I painted pooch portraits, cats and brats." By 1953, she had already had six solo exhibitions at San Antonio, Houston, and Bandera, Texas, and in Miami Beach, Florida, and Chicago. Vandruff also exhibited at the Witte Museum's "Local Artists Show" in San Antonio and the "Houston Vicinity" exhibition, as well as with the Coppini Academy of Fine Arts. She met Western artist H. D. Bugbee of Clarendon, Texas, in 1960, during the preparations for a Coppini Academy exhibition. Vandruff and Bugbee married the following year and she relocated to Clarendon. She and Bugbee had a two-person exhibition at the Panhandle Plains Historical Museum in 1961. Upon Bugbee's death in 1963, Vandruff succeeded him as curator of art at the Panhandle-Plains Historical Museum until her retirement in 1982. She also taught art at West Texas State University (now West Texas A & M University). After retiring, Vandruff still volunteered at the Museum, driving the 150-mile round trip from Clarendon nearly every day until November 2002. As a volunteer, Vandruff worked in nearly all Museum departments, most recently in the Museum's Research Center, cataloguing photographs. Vandruff also acted as custodian of the Bugbee Ranch, founded northwest of Clarendon in 1913 and part of which is now covered by Lake Greenbelt. With its two-story Prairie-style home Bugbee Ranch may be unique in the state of Texas. Vandruff worked in several media, including pastel, watercolor, casein, and oil. The Baker Gallery in Lubbock and the Canyon Art Gallery handled her work in the Panhandle. Vandruff's paintings are found in public and private collections across the United States. Among her patrons were former President Lyndon B. Johnson and Texas governor Dolph Briscoe, and Amarillo oilman L. R. Hagy. Her public commissions consist of murals in Texas and Oklahoma, including a mural of Palo Duro Canyon for the First National Bank of Amarillo (now Banc of America). In 1976, she was included in the landmark exhibition, "The Woman Artist in the American West, 1860-1960," in Fullerton, California. Recently, she was included in the "Dictionary of Texas Artists, 1800-1945", published by Texas A & M University Press and "Women Artists of the American West" by Phil Kovinick and Marian Yoshiki-Kovinick. Vandruff felt that art "is employed in almost every object" and it "might be the individuality expressed in almost any work, whether it be a painting or a house." Olive Vandruff died 4 January 2003.
Kristi Hager Mr. Entertainment Oil Painting
Lot #521 (Sale Order 521 of 1017)
Title is Mr. Entertainment. 9" by 10" unframed. 15 1/4" by 16 1/4" framed. Oil on Board Provenance: The Estate of Kristi Hager Kristi Hager (January 22, 1946 - November 12, 2024) Montana. Kristi Hager is known for Painting. Kristi Hager lives in Missoula and has worked as a self-employed photographer and painter in Montana since 1984. Hager earned BA in Architecture from the University of Pennsylvania and a Master of Fine Arts from the University of Wisconsin-Madison. She received the Montana Arts Council Artist’s Innovation Award in 2010. Her works are in the permanent collection of the Yellowstone Art Museum in Billings, the Federal Reserve Bank of Minneapolis, the Capital One collection, and the Missoula Art Museum.
Kristi Hager Daffodils Magenta Oil Painting
Lot #522 (Sale Order 522 of 1017)
Title is Daffodils Magenta. 8" by 10" unframed. 20" by 20" framed. Oil on Board Provenance: The Estate of Kristi Hager. Page Bond Gallery. Kristi Hager (January 22, 1946 - November 12, 2024) Montana. Kristi Hager is known for Painting. Kristi Hager lives in Missoula and has worked as a self-employed photographer and painter in Montana since 1984. Hager earned BA in Architecture from the University of Pennsylvania and a Master of Fine Arts from the University of Wisconsin-Madison. She received the Montana Arts Council Artist’s Innovation Award in 2010. Her works are in the permanent collection of the Yellowstone Art Museum in Billings, the Federal Reserve Bank of Minneapolis, the Capital One collection, and the Missoula Art Museum.
Kevin Red Star Four Sioux War Chiefs Serigraph
Lot #523 (Sale Order 523 of 1017)
Signed and numbered. 53/60. 27 1/2" by 35 1/2" framed.
Kevin Red Star Strikes Going Serigraph Print
Lot #524 (Sale Order 524 of 1017)
Signed and Numbered 48/60. 27 1/2" by 35 1/2" framed.
Ron Stewart Last Cup Cowboy Painting
Lot #525 (Sale Order 525 of 1017)
Title is Last Cup. 8 1/2" by 10 1/2" unframed. 14 1/2" by 16 1/2" framed. Oil on Board Ron Stewart (Born 1941) is active/lives in Arizona. Ron Stewart is known for Landscape and western genre, animal and history painting, sculpture. Ron Stewart is a painter and sculptor of western, historical, wildlife, and animal subjects. He was born in Brooklyn, NY, but has a studio in Scottsdale, AZ (2003), where customers can walk in and watch him sculpting and painting traditional old-Western themed art. Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan.
Antique Native American Indian Ledger Drawing
Lot #526 (Sale Order 526 of 1017)
15 1/4" by 20 3/4" framed. First Quarter of the 20th Century.
Jack Murray Western Outdoors Magazine Painting
Lot #527 (Sale Order 527 of 1017)
Original Oil on Canvas Illustration for the January 1971 cover of Western Outdoors magazine. 14" by 18" unframed. 18" by 22" framed. Oil on Canvas. Jack Murray (Born 1889) was active/lived in Pennsylvania. Jack Murray is known for Illustrator, genre, wildlife, dogs. Murray was a city kid who, very early in life, developed an interest in wildlife. Born in 1889, he grew up in Boston, where he began drawing animals while still in grade school. Murray would later graduate from the renowned Massachusetts School of Art, where he met his future wife, fellow artist Helena Feeny. The couple married in 1921 and, in lieu of a honeymoon, moved to New York that very day. In New York, Murray found work as a commercial artist, which soon afforded the two of them the opportunity to buy a farm outside the city. There, he fixed up a studio where, in his spare time, he pursued his true passion, painting wildlife. Murray’s career reached a turning point when one of the paintings he had made purely for love — a majestic leopard (top) — was bought by The Saturday Evening Post. His discovery by the Post led to assignments for the American Museum of Natural History as well as books and magazines, including The Country Gentleman and Boy’s Life. In 1947, his image of a pair of snow geese mid-flight was selected for the Federal Duck Stamp Program. All told, Murray would paint 12 covers for the Post. His final one depicting two white wolves closing in on prey appeared on the March 8, 1941, issue — and once again on the January/February 2016 cover.
William Standing Montana Oil on Board Painting
Lot #528 (Sale Order 528 of 1017)
Title is Prairie Skies. 8" by 11" unframed. 11" by 14 1/2" framed. Oil on Board. Condition: Paint exhibits flaking in the top third right hand side. Two small divots in board as shown. Top third of painting exhibits crackling. Conservation should be done on the work to prevent further deterioration. William Standing (1904 - 1951) was active/lived in Montana. William Standing is known for Horse, landscape, Indian, genre. William Standing was born July 27, 1904 in Oswego, Montana. He was a Native American, member of the Assiniboine Tribe. Educated at the Wolf Point Mission School and, from 1920-24, at the Haskell Indian School in Lawrence where he received his formal art instruction. Standing was one of the five Kiowa Indians who became special students at the Univ. of Oklahoma under the guidance of Oscar Jacobson during the 1920s. After attending Haskell Institute, he worked as an interior decorator in Kansas. Standing is best known for his humorous sketches published as postcards, and he was also adept in oil, watercolor, and clay. During the 1930s, in collaboration with James Long, he produced a book, The Land of the Nakoda. This volume, an in-depth sketch study of the Assiniboine tribe, is the focal point of the greatest body of Standing's works. He died on June 27, 1951 in Oswego, Montana.
Attributed to Horatio McCulloch Scottish Painting
Lot #529 (Sale Order 529 of 1017)
Title is Castle on the Loch. 18" by 24" unframed. 22" by 28" framed. Unsigned. Oil on Canvas. Some restoration as shown. PROVENANCE: Martin Lane Historic & Western Americana Lifetime Collection. Horatio McCulloch (1806 - 1867) was active/lived in United Kingdom, Scotland. Horatio McCulloch is known for Landscape painting, theatre sets. Horatio McCulloch (R.S.A.), sometimes written M'Culloch, (1806 in Glasgow, Scotland - June 24, 1867 in Edinburgh, Scotland) was a Scottish landscape painter. He was trained in the studio of the Glasgow landscape painter John Knox (1778-1845) for about one year alongside David Macnee (1806-1882) and at first earned his living as a decorative painter. He was then engaged at Cumnock, painting the ornamental lids of snuffboxes, and afterwards employed in Edinburgh by William Home Lizars, the engraver, to colour the illustrations in Prideaux John Selby's British Birds and similar works. After he moved to Edinburgh in 1825, he began painting in the tradition of Alexander Nasmyth. Working from nature, he was greatly influenced in his early practice by the watercolours of H. V. Williams. He returned to Glasgow in 1827, and was employed on several large pictures for the decoration of a public hall in St. George's Place, and he also worked as a theatrical scene-painter. Gradually MacCulloch asserted his individuality, and formed his own style. In 1829 McCulloch first figured in the Royal Scottish Academy's exhibition. (He was a regular exhibitor year by year afterwards.) By the early 1830s McCulloch's exhibits with the Glasgow Dilettanti Society and with the Royal Scottish Academy had begun to attract buyers, notably the newly instituted Association for the Promotion of the Fine Arts in Scotland. A commission from Lord Provost James Lumsden helped established the artist's reputation within Scotland. Commissions from book and print publishers allowed him to concentrate on easel painting. On his election as full Academician of the Scottish Academy in 1838, McCulloch settled in Edinburgh and soon became a prominent figure in the artistic life of the capital and a prolific contributor to the Royal Scottish Academy exhibitions. At the same time contact with Glasgow was maintained: McCulloch's favorite sketching grounds were in the west, he exhibited regularly in the city and his most loyal patrons were wealthy Glasgow industrialists such as David Hutcheson, the steamship owner. He seldom exhibited outside Scotland and only once at the Royal Academy, London (1843), but he kept in touch with London artist-friends, John Phillip, David Roberts and John Wilson (1774-1855), through correspondence and visits. His own art collection was evidence of his admiration for 17th-century Dutch painters, for J. M. W. Turner and Richard Wilson and for contemporaries such as Clarkson Stanfield. During one of his trips to Skye he met his future wife, Marcella McLellan of Gillean, near the township of Tarskavaig. It is known that he had several dogs of the Skye Terrier breed at his Edinburgh home and it is possible that he brought them from Skye with his wife. McCulloch died on June 24 in 1867. He is buried at Warriston Cemetery in Edinburgh. His widow Marcella McLellan from Sleat on the Isle of Skye, after his death emigrated to Australia. They had no children. During his lifetime Horatio McCulloch became one of the best-known and most successful landscape painters in Scotland. His painted the silence of the Highland wilderness where the wild deer roam with the kind of poetic truthfulness he admired in Wordsworth. The accomplished watercolours and broadly painted oil sketches that he produced throughout his career attracted little notice at the time and have remained comparatively unknown. His early works include paintings of Cadzow Forest near Hamilton and grand views of the Clyde. He undertook regular summer sketching tours of the West Highlands, completing the sketches as paintings as back in his studio. These paintings celebrate the romantic scenery of the Scottish Highlands and evoke a magnificent sense of scale, emphasizing the dramatic grandeur. Horatio McCulloch had by his death in 1867 created the essential iconography of the Highlands.
Raphael Lillywhite Colorado Oil on Canvas Painting
Lot #530 (Sale Order 530 of 1017)
Title is Colorado Landscape. 14" by 24" unframed. 27 3/4" by 17 1/2" framed. Oil on Canvas. Raphael Lillywhite (1891 - 1958) was active/lived in Colorado, Wyoming, Arizona. Raphael Lillywhite is known for Frontier-Indian genre and landscape painting. Born in Woodruff, Arizona, he was a painter of western scenes. He was one of 15 children in a Mormon family that operated a trading post along the Little Colorado River and was named Raphael for the famous artist. He was educated in Mormon schools and graduated from the University of Utah. He also studied with Gonzales and Ed Tigera in Sonora, Mexico. After marriage in 1924, he settled near Walden, Colorado, where he painted scenes of ranch life and the Old West, an interest that began with his early exposure to pack trains and Indians. From 1940 to 1942, he also painted thirteen habitat backgrounds of bird and mammal groups, and in 1943, he moved to Laramie, Wyoming.
Evalyn Gertrude James Golden October Painting
Lot #531 (Sale Order 531 of 1017)
Title is Golden October Brazil Indiana 1964. 12" by 16" unframed. 19" by 23" framed. Evalyn Gertrude James (1898 - 1990) was active/lived in Indiana, Illinois. Evalyn James is known for Painting, illustration, lecturing, and educating. Evalyn Gertrude James was a painter, illustrator, craftsperson and lecturer whose topics included "Art in Indiana" and "Chemically Related Pigments for Artists." She chaired the Art Department and was professor of Art at the Indiana State Teachers' College (State Normal) of Terre Haute, Indiana. She was also chairman of the State Committee on Art Courses for Schools of Indiana. The art education of Evalyn James was with William Forsythe, at the John Herron Art Institute, Earlham College and Indiana University where she took the A.B. and A.M. degrees and did graduate work on her Ph.D. Exhibitions included Herron Art Institute, Swope Art Gallery and Purdue University. Prizes: Indiana State Fair.
Allan Stover California WPA Oil Painting
Lot #532 (Sale Order 532 of 1017)
Title is Hollywood Hills Los Angeles. 8" by 10" unframed, 9 1/2" by 11 1/2" framed. Oil on Board. Allan James Stover (1887 - 1967) was active/lived in Oregon, California, Mississippi. Allan Stover is known for Illustrator-forestry, landscape. Painter, illustrator. Born in West Point, MS on Oct. 9, 1887. Stover studied at the Cleveland School of Art. He lived in Corvallis, OR with studios in Eagle Rock and Point Loma, CA through the 1930s. During the Depression he worked as an artist for the WPA. As an illustrator, he worked mostly in pen-and-ink. He died in Ocean Beach, CA on July 29, 1967. Exh: Eagle Rock Artists, 1929-31; Calif. WC Society, 1930. AAA 1919-33; FId; WWAA 1936-41; AAW.
Emil Bisttram Taos New Mexico Pastel Drawing
Lot #533 (Sale Order 533 of 1017)
Title is Sunset over the Desert. 15" by 19" unframed, 21" by 24 1/2" framed. Pastel on Paper. Provenance: Altermann Galleries 04/01/2011 Lot 173, Owings Dewey Fine Art Emil James Bisttram (1895 - 1976) was active/lived in New Mexico, New York / Hungary. Emil Bisttram is known for Dynamic symmetry, non objective painting. Hungarian born, Emil Bisttram became one of the Southwest's leading painters and teachers. He was a founder of the Transcendental Art movement in New Mexico, devoted to themes exploring and promoting universal meaning that included idealistic forms and colors that suggested sounds. Best known as an abstract painter, his style ranged from the classic regionalism of the 1930s (WPA murals) to abstractions based on the dynamic symmetry theories he learned from Jay Hambidge, tempered by Roerich's Russian mysticism. Indeed, Bisttram would often speak of his association with Nicholas Roerich at the Master Institute in New York City, citing a story where the Russian master handed him a handful of wider brushes for his birthday thus indicating that he should employ broader strokes in his paintings. He received his artistic training in New York at the National Academy of Design, Cooper Union, and the Art Students League and with Mexican muralist, Diego Rivera. In 1930, Bisttram first traveled to Taos, New Mexico, but found himself frustrated by the grandeur and limitless space of the scenery. Initially he directed his attention to watercolor depictions of Southwest Indian ceremonial dances. "His credo was to paint not so much for the sake of art as 'for the spiritual insight he gains from the act of creation." (Gibson 56). He went for several months to Mexico to study mural painting with Diego Rivera, taught briefly in Phoenix, Arizona, and in 1931, settled in Taos. There he established the Taos School of Art and frequently lectured on comparisons of modern and representational art and promoted the theories of Kandinsky and Mondrian. He also started the Heptagon Gallery in Taos. He co-founded with Raymond Jonson the Transcendental Painting Group that promoted non-objective painting, and for a period devoted himself to painting symphonic rhythms. However, he also did realistic subjects, believing that an artist should not limit his style. His murals can be found in the courthouses in Taos and Roswell, New Mexico and the lobby of the Department of Justice Building in Washington DC.
Maynard Dixon Mexican Girl Oct. 1926 Drawing
Lot #534 (Sale Order 534 of 1017)
Title is Mexican Girl (Oct. 1926). 8" by 10 1/2" unframed, 16 5/8" by 20 1/2" framed. Charcoal on paper. Provenance: Coeur d’Alene Art Auction 07/21/2012 Lot 243, The Artist, gifted to Joe Coppa, San Francisco, California Present owner, by descent Maynard Dixon (1875 - 1946) was active/lived in California, Arizona. Maynard Dixon is known for Western landscape painting-skyscapes, Indians. Born in Fresno, CA on Jan. 24, 1875. A sickly child, sketching occupied a lot of Dixon's time while growing up. As a boy he listened with fascination to the stories of the Old West told by the old timers. It is no wonder that cowboys and Indians were to become the main subject matter of his life's work. At 16 he sent his sketch book to Frederic Remington who encouraged him to pursue an art career. The Dixon family moved to Alameda, CA in 1893, the year the artist's first illustration was published in Overland Monthly. Dixon enrolled at the Mark Hopkins Art Institute, but the confines of a classroom were not to his liking and he remained only three months. In 1895 he took his first full-time job as an illustrator for the San Francisco Morning Call and continued four years later with the Examiner. By 1899 he was making regular sketching trips into the Northwest and Southwest, during which time he was exhibiting regularly with the San Francisco Art Ass'n. In 1905 he married artist Lillian West Tobey. A year later the earthquake and fire destroyed his studio and most of his early works. The Dixons then lived across the Golden Gate in Sausalito until 1907 when he accepted a commission from the Southern Pacific Railroad to paint a mural for their depot in Tucson, AZ. Afterwards he moved to New York where he continued his magazine illustrations. Upon returning to California in 1912, he abandoned commercial art to concentrate on easel paintings and murals. During the PPIE of 1915 he suffered a nervous breakdown and divorced his wife in 1917. He married photographer Dorothea Lange in 1920. This marriage lasted until 1935 and in 1937 he married artist Edith Hamlin. During the 1930s he did murals and paintings for the WPA. In 1938 ill health forced his move to the drier climate of Tucson, AZ where he spent his last years while maintaining a studio nearby in Mt Carmel, UT. Dixon died in Tucson on Nov. 14, 1946. Today he is internationally famous for his western subjects which he often signed with his logo, an Indian Thunderbird.
Charles Livingston Bull Black Bear Illustration
Lot #535 (Sale Order 535 of 1017)
Title is Little Maniac Clung to the Big Beast's Snout. 8 1/2" by 12 1/2" unframed, 20 3/4" by 24 3/4" framed. Ink, pencil and gouache on paper. Provenance: Big Sky Collection, Larry and LeAnne Peterson, Sisters OR. Illustrated for a book/magazine at some point. Charles Livingston Bull (1874 - 1932) was active/lived in New Jersey. Charles Bull is known for Wildlife, genre, illustrator, mural. Charles Livingston Bull(1874- 1932) was the premier wildlife artist of his time in America, perhaps the best of his kind in the world. He drew and painted realistic animals, a subject he explored through literature. Bull loved animals, but because of his father's harping that art was a waste of time, he also apprenticed in taxidermy, an occupation that greatly contributed to his expertise on animal anatomy. He also took evening drawing classes at the Mechanic's Institute in his home town of Rochester, and there he met Harvey Ellis. With him and several other artists, he formed the Rochester Arts & Crafts Society, one of the first groups in the United States to focus on the Arts and Crafts movement. Eventually he earned the position of chief taxidermist at the National Museum in Washington, D.C. and became an expert on animal anatomy. His stature as a taxidermist grew. In 1901, Bull made his first trip to New York City to garner stories to illustrate from magazines such as Century, McClure's, Outing, and The Saturday Evening Post. By 1902, he had gained considerable recognition for his illustrations in two books, Jack London's "Call of the Wild" and Charles Robertss "The Kindred of the Wild." In 1911, he published Under the Roof of the Jungle, a book detailing his experiences in Mexico, Central America, and South America. Bulls' top position in the field of wildlife illustration was assured. Like most illustrators of his time, Bull also did work for advertising campaigns. Perhaps his most famous is his 1920 advertising poster of the "leaping tiger" for the Ringling Brothers and Barnum and Bailey Circus. During World War I, Bull created patriotic posters featuring the bald eagle and, in fact, maintained a life-long interest in saving eagles from extinction. Like many other illustrators, he made money creating images for advertising campaigns. Perhaps his most famous piece is the 1920 "leaping tiger" poster for Ringling Brothers Barnum & Bailey Circus. Most of Bulls' artistic career was spent in Oradell, New Jersey, where he settled with his wife in 1910. A description by a neighbor calls him "a quiet, totally abstracted, very pleasant man who never said anything and who lived for his work and his animals." Given such modesty, it is not surprising that Bull ignored attempts by potential biographers. He exhibited at the National Academy of Design, and was a member of the Salmagundi Club, Society of Mural Painters, and the American Institute of Graphic Arts.
Maurice Braun Glimpse of Desert Painting
Lot #536 (Sale Order 536 of 1017)
Title is Glimpse of Desert. 25" by 30" unframed. 29 1/2" by 34 1/2" framed. Oil on Canvas. Up until this moment in time the painting title has been misattributed. All other auction houses that have handled the painting have failed to identify the title that is written in the artist's hand on the back of the stretcher bar. Provenance: Sotheby's New York, 3/17/1994, lot 81A. Bonhams, 11/8/2023, Lot 90. Private Collection, Beverly Hills, CA Maurice Braun (1877 - 1941) was active/lived in California, New York / Hungary. Maurice Braun is known for Landscape, portrait and-still life painting. An established California plein-air painter in the Impressionist style, Maurice Braun painted landscapes reflecting moods of nature and his skill of showing the varying effects of light put San Diego into the national art scene. He was born in Nagy Bittse, Hungary, and immigrated to New York City in 1881 when he was four years old. He showed early art talent and interest and as a youngster, copying works of art at the Metropolitan Museum. From 1897 to 1902, he studied at the Academy of Design and then for one year with William Merritt Chase at the Chase School, which became the New York School. In 1902, he went to Europe, painting in Austria, Germany, and Hungary. He became a noted portrait and figure painter in New York but felt confined by subject matter. Then in 1910, attracted to the California landscape as a subject for his painting, he moved to San Diego and from his studio on Point Loma painted the French Impressionist influenced landscapes for which he became known. He was initially drawn to California because of an active Theosophical Society of which he had been a member since college and which espoused the merging of truths common to all religions. A special part of that religion was light as metaphor, a technique that he perfected in his painting. In 1912, he founded the San Diego Academy of Art and was its director for many years, although he returned to the East in 1921 and established studios in New York City, Silvermine, and Old Lyme, Connecticut. Several years later he returned to San Diego but from 1924 to 1929, continued to spend part of each year in the East. In 1929, he became one of the founders of the Contemporary Artists of San Diego, and he was also active in art circles in San Francisco and Los Angeles and exhibited with the California Art Club. He traveled and painted in the Southwest including the Grand Canyon.
Loren Entz Spring Pasture Oil Painting
Lot #537 (Sale Order 537 of 1017)
Title is Spring Pasture. 28" by 32" framed. 24" by 30". Oil on Canvas. Provenance: The Artist; From the Gary Jacobson Estate Loren Entz (1949 - 2022) was active/lived in Montana, Wyoming. Loren Entz is known for Contemporary western ranch genre, figure painting. Whereas many Western artists focus on either the more adventurous aspects of the historical West or contemporary ranch life, Loren Entz paints the quieter, more domestic side of rural living. His paintings often depict the simple moments that make up the fabric of everyday life such as mothers with their children, or a father holding an infant at the end of the hard day's work. Raised in a Kansas farming community outside of Newton, and living with his family in Billings, Montana after living in Wyoming, Loren Entz finds inspiration and beauty in people and domestic animals that live close to the land, especially Indians, horses, pioneer women and children. One of his major themes is preserving Indian culture. Like his paintings and drawings of ranch life, his depictions of Native American life often show domestic scenes with parents and children and necessary work being done in the context of events that closely tie family members together because they are doing mutual tasks. Entz is also carefully selective of subject matter, and often focuses on connections between the shared experiences of Anglos and Native Americans in the West. His emphasis is on the human emotions that unite, rather than divide, the many cultures that make up the past and the present worlds of the West. Although his paintings are frequently narrative in nature, many have their genesis in painting trips in the field. He has said that painting directly from nature allows him a greater degree of spontaneity. Working from his Billings studio in an historic building that he has remodeled, Entz approaches his subjects with first-hand knowledge from his background. He grew up in farm country and visits to the Nelson-Atkins Museum of Art in Kansas City fired his artistic imagination and ambition. He later worked as a Montana ranch hand, and coming into contact with other Western artists, Entz soon began to realize it was possible to actually make a living as an artist. While in high school, he nurtured his artistic talent through course work at the Famous Artists Correspondence School and through his studies with two masters of realistic painting, Bettina Steinke and Richard Schmid. Entz has been a member of the Cowboy Artists of America since 1992. Working in oil, charcoal, pencil, pastel, bronze and watercolor, he has received numerous CAA annual exhibition awards: Silver Medal for Oil Painting in 1994; Silver Award for Drawing and Other Media in 2007, 2005, 1995 and 1993; and Gold Medal for Drawing in 2003 and 1996. Of his affiliation with the Cowboy Artists of America, Entz is quoted in the organizations 2009 exhibition catalogue: "I'm very proud of my association with the CAA. My desire is to steadily grow as an artist and become the best painter and sculptor that I can become." (30) In 2006, Entz was the honored guest artist in Great Falls, Montana, of the C.M. Russell Auction of Original Western Art. That same year, he received the Robert Lougheed Memorial Award at the 2006 Prix de West Invitational Art Exhibition. The award is given to the participating artist who wins the most votes from all of the participating artists for having the best show of three or more works. Recently a retrospective show was held for him at the Cowboy Artists of America Museum in Kerrville, Texas.
Brent Flory Babies Blankets & Beads Oil Painting
Lot #538 (Sale Order 538 of 1017)
Title is Babies Blankets & Beads. 18" by 24" unframed. 26" by 32" framed. Oil on Board. Provenance: The Artist; From the Gary Jacobson Estate Brent Flory is active/lives in Utah. Brent graduated from Brigham Young University with a B.F.A. in Illustration. He has been in numerous solo and juried shows including The Cowboy Christmas at the NFR in Las Vegas, Calgary Stampede and The Charles M. Russell show in Great Falls, MT. At the 2001 San Dimas, CA show, he received Best of Show, Festival Choice Award, and Silver Medal in oils. Brent was featured in the Fall 2001 Equine Vision Magazine, with his painting "All I Need", on the cover. Brent did the cover poster for the "Art of the American Cowboy” show at The South Point in Las Vegas in 2013. He received the "Best of Show” award at the NOAPS fall on line international exhibit in 2016. He also received the “Best New Entrant “award at the 2017 Bosque Art Classic. Brent and his wife and family live on a ranch in Wallsburg, UT. His work is held in many private collections throughout the United States, Canada, Japan, Europe, and Russia.
Clark Hulings Torremolinos Spain 1968 Oil Painting
Lot #539 (Sale Order 539 of 1017)
Title is Torremolinos Spain 1968. 18" by 27" unframed. 25 1/2" by 34" framed. Oil on Board. Provenance: Blair Galleries Santa Fe, NM. From a Private Collection Exhibited: Grand Central Galleries, New York, NY, Nov. 1968 Clark Hulings (1922 - 2011) was active/lived in New York, New Mexico, Florida / Italy, Egypt, Spain, Romania. Clark Hulings is known for Town-landscape, genre and still life painting. An artist whose realistic paintings reflect his world-wide travels, Clark Hulings spent much time as a child in Spain and Louisiana and from these experiences developed a great interest in rustic settings and primitive lifestyles. Many of his works reflect old trees and old buildings, and throughout his career, he has frequently returned to Spain and Louisiana for subject matter. But he has made his home in Santa Fe, New Mexico where, with the help of Hispanic craftsman, he has built an adobe home. He was raised in a suburb of New York, trained at the Art Students League, and was inspired at the Metropolitan Museum of Art by Realist and Impressionist painters. He became an illustrator, but the pull of landscape subjects led him to full time fine-art painting. He has been a dominant presence in contemporary Western art since the 1970s, although most of his work is non-western, and he never paints cowboys. He took the first-ever Prix de West at the National Academy of Western Art in 1973 and had numerous one-man shows at the National Cowboy Hall of Fame in Oklahoma City and the Museum of New Mexico. For many years after this recognition for western art, he quit exhibiting, selling only to a select group of collectors, but in November, 1999, he will have a major exhibition of oil paintings at the Nedra Matteucci Galleries in Santa Fe.
Clark Hulings Noonday Altea Spain Oil Painting
Lot #540 (Sale Order 540 of 1017)
Title is Noonday Altea Spain. 20" by 30" unframed. 27 1/2" by 37 1/2" framed. Oil on Canvas. Provenance: Blair Galleries Santa Fe, NM. From a Private Collection Exhibited: Grand Central Galleries, New York, NY, Nov. 1968 Clark Hulings (1922 - 2011) was active/lived in New York, New Mexico, Florida / Italy, Egypt, Spain, Romania. Clark Hulings is known for Town-landscape, genre and still life painting. An artist whose realistic paintings reflect his world-wide travels, Clark Hulings spent much time as a child in Spain and Louisiana and from these experiences developed a great interest in rustic settings and primitive lifestyles. Many of his works reflect old trees and old buildings, and throughout his career, he has frequently returned to Spain and Louisiana for subject matter. But he has made his home in Santa Fe, New Mexico where, with the help of Hispanic craftsman, he has built an adobe home. He was raised in a suburb of New York, trained at the Art Students League, and was inspired at the Metropolitan Museum of Art by Realist and Impressionist painters. He became an illustrator, but the pull of landscape subjects led him to full time fine-art painting. He has been a dominant presence in contemporary Western art since the 1970s, although most of his work is non-western, and he never paints cowboys. He took the first-ever Prix de West at the National Academy of Western Art in 1973 and had numerous one-man shows at the National Cowboy Hall of Fame in Oklahoma City and the Museum of New Mexico. For many years after this recognition for western art, he quit exhibiting, selling only to a select group of collectors, but in November, 1999, he will have a major exhibition of oil paintings at the Nedra Matteucci Galleries in Santa Fe.
Frederic Remington The Hunter Oil Painting
Lot #541 (Sale Order 541 of 1017)
Title is The Hunter. 20" by 30" unframed. 27 1/2" by 36 1/2" framed. Necomb Macklin Frame. Provenance: Private Georgia Estate. Christies Auction Ink Stamp in Verso Stretcher Bar. Condition: Painting has been professionally cleaned, but no repair work has been done. Painting would benefit from conservation as shown. Cracklure to the paint, gesso on frame has crackling. Some loss to the frame. Paint is thinning in areas. Frederic Sackrider Remington (1861 - 1909) was active/lived in New York, Kansas, Connecticut. Frederic Remington is known for Western painting and sculpture, illustration. In his lifetime polymath Frederic Remington was the most successful and famous Western American artist. His immense talents included excelling as an illustrator, author, sculptor, and fine artist. His was a life tragically cut short. Born on October 4, 1861 in Canton, a small berg in bucolic upper state New York, he was much influenced by his father Seth Pierpont Remington, a Republican journalist who founded the St. Lawrence Plaindealer. His father had been a captain in the Civil War, and in 1870 President Ulysses S. Grant appointed him United States Collector of the Port of Ogdensburg, New York. In 1876 young Frederic enrolled at Highland Military Academy in Worcester, Massachusetts where he studied for the next two years. Two years later he enrolled at Yale for one year to study in the School of Fine Arts. His two loves were art and football. Only three months into school, he published his first illustration in the on-campus newspaper Yale Courant. On the gridiron he was a natural, demonstrating great strength and agility. Like Theodore Roosevelt, Remington also enjoyed boxing. A year later he met his future wife Eva Caten from Gloversville, New York. After the death of Remington’s father from tuberculosis on February 18, 1879, Eva rejected his first marriage proposal. Floundering, Remington headed to the American West to find himself—much like Theodore Roosevelt did when his mother and wife died on the same day. That led to a trip to Montana where he completed a number of sketches. Invigorated by his Western experiences, in February 1883 he headed to Kansas and with part of his inheritance bought a 160 acre sheep ranch near Peabody, Kansas. That failed adventure lasted about a year, and he then relocated to Kansas City, Missouri where Eva would join him as his wife. Yet he squandered the rest of his inheritance on a saloon there. After more illustrations were sold to Harper’s Weekly, in 1885 the Remingtons moved to New York City, and in 1886 he attended the Art Students League. By then Remington was earning $1,200 a year, twice the income of a school teacher. Other magazines such as St. Nicholas and Outing also published his art. His work certainly impressed a young Theodore Roosevelt who was chronicling his life in Medora—now in North Dakota—for a serial that ran in The Century Magazine. It was very common at the time for authors to serialize their works in magazines before they were published in book form. In the fall of 1887 Remington was commissioned to illustrate the magazine stories which ended up in Roosevelt’s 1888 classic book Ranch Life and the Hunting Trail. Early on, a lasting friendship between the two was cemented through these publications. By 1889 he had garnered national notoriety as one of the most accomplished illustrators in the country. He was a national celebrity. In 1889 his monumental canvas A Dash for the Timber was exhibited at the National Academy of Design. The New York Times reported, "The picture at the Autumn exhibition of the Academy of Design before which stands the largest number of people is Frederic Remington’s Dash for the Timber." A Silver medal for Last Lull in the Fight followed at the Exposition Universelle in Paris. In 1891 the National Academy of Design elected Remington as an Associate member. Yet he was never admitted as National Academician, despite support from fellow artists Gilbert Gaul, Childe Hassam, and others. His financial success allowed the Remingtons to move into a grand home he named Ednion Algonquin for "a place where I live in New Rochelle, New York. A young Norman Rockwell would someday paint in his studio. Through his travels, Remington embraced social Darwinism survival of the fittest that championed the U.S. military’s domination of the inferior Native Americans. Theodore Roosevelt, George Armstrong Custer, and Remington along with most other Americans—idolized Charles Darwin. As early as 1888 Remington started contributing short stories along with illustrations to magazines. His writings teemed with romantic Western stories chalk full of drama and violence. Initially, they presented the cavalryman as the hero and the Indian as the villain, especially when the Indian had been tainted with the vices of the white man. His West was the "frontier model where the fittest were rugged individuals from northern Europe and white Americans. Even though he was an acco
Frederic Remington The Trapper Oil Painting
Lot #542 (Sale Order 542 of 1017)
Title is The Trapper. 20" by 30" unframed. 27 1/2" by 36 1/2" framed. Necomb Macklin Frame. Provenance: Private Georgia Estate, Same estate as prior lot, this lot lacks the Christies Auction ink stamp on the stretcher bar. Condition: Painting has been professionally cleaned, but no repair work has been done. Painting would benefit from conservation as shown. Cracklure to the paint, gesso on frame has crackling. Some loss to the frame. Paint is thinning in areas. Several puncture holes as shown. Frederic Sackrider Remington (1861 - 1909) was active/lived in New York, Kansas, Connecticut. Frederic Remington is known for Western painting and sculpture, illustration. In his lifetime polymath Frederic Remington was the most successful and famous Western American artist. His immense talents included excelling as an illustrator, author, sculptor, and fine artist. His was a life tragically cut short. Born on October 4, 1861 in Canton, a small berg in bucolic upper state New York, he was much influenced by his father Seth Pierpont Remington, a Republican journalist who founded the St. Lawrence Plaindealer. His father had been a captain in the Civil War, and in 1870 President Ulysses S. Grant appointed him United States Collector of the Port of Ogdensburg, New York. In 1876 young Frederic enrolled at Highland Military Academy in Worcester, Massachusetts where he studied for the next two years. Two years later he enrolled at Yale for one year to study in the School of Fine Arts. His two loves were art and football. Only three months into school, he published his first illustration in the on-campus newspaper Yale Courant. On the gridiron he was a natural, demonstrating great strength and agility. Like Theodore Roosevelt, Remington also enjoyed boxing. A year later he met his future wife Eva Caten from Gloversville, New York. After the death of Remington’s father from tuberculosis on February 18, 1879, Eva rejected his first marriage proposal. Floundering, Remington headed to the American West to find himself—much like Theodore Roosevelt did when his mother and wife died on the same day. That led to a trip to Montana where he completed a number of sketches. Invigorated by his Western experiences, in February 1883 he headed to Kansas and with part of his inheritance bought a 160 acre sheep ranch near Peabody, Kansas. That failed adventure lasted about a year, and he then relocated to Kansas City, Missouri where Eva would join him as his wife. Yet he squandered the rest of his inheritance on a saloon there. After more illustrations were sold to Harper’s Weekly, in 1885 the Remingtons moved to New York City, and in 1886 he attended the Art Students League. By then Remington was earning $1,200 a year, twice the income of a school teacher. Other magazines such as St. Nicholas and Outing also published his art. His work certainly impressed a young Theodore Roosevelt who was chronicling his life in Medora—now in North Dakota—for a serial that ran in The Century Magazine. It was very common at the time for authors to serialize their works in magazines before they were published in book form. In the fall of 1887 Remington was commissioned to illustrate the magazine stories which ended up in Roosevelt’s 1888 classic book Ranch Life and the Hunting Trail. Early on, a lasting friendship between the two was cemented through these publications. By 1889 he had garnered national notoriety as one of the most accomplished illustrators in the country. He was a national celebrity. In 1889 his monumental canvas A Dash for the Timber was exhibited at the National Academy of Design. The New York Times reported, "The picture at the Autumn exhibition of the Academy of Design before which stands the largest number of people is Frederic Remington’s Dash for the Timber." A Silver medal for Last Lull in the Fight followed at the Exposition Universelle in Paris. In 1891 the National Academy of Design elected Remington as an Associate member. Yet he was never admitted as National Academician, despite support from fellow artists Gilbert Gaul, Childe Hassam, and others. His financial success allowed the Remingtons to move into a grand home he named Ednion Algonquin for "a place where I live in New Rochelle, New York. A young Norman Rockwell would someday paint in his studio. Through his travels, Remington embraced social Darwinism survival of the fittest that championed the U.S. military’s domination of the inferior Native Americans. Theodore Roosevelt, George Armstrong Custer, and Remington along with most other Americans—idolized Charles Darwin. As early as 1888 Remington started contributing short stories along with illustrations to magazines. His writings teemed with romantic Western stories chalk full of drama and violence. Initially, they presented the cavalryman as the hero and the Indian as the villain, especially when the Indian had been tainted with the vices of the white man. His West was the "frontier model where the fittest were rugged ind
Carl Von Hassler Fall Glow New Mexico Oil Painting
Lot #543 (Sale Order 543 of 1017)
Title is Fall Glow. 24" by 28" unframed. 29" by 34" framed. Oil on Board. Carl Von Hassler (1887 - 1969) was active/lived in New York, New Mexico. Carl Hassler is known for Portrait-Indian, landscape, mural. Growing up in Bremen, Germany, Carl von Hassler always knew he wanted to be an artist. But parents often have different ideas, and at age 14, Carl found himself enrolled in the German Naval Academy. Fortunately, the Academy offered elective art courses and the aspiring young artist was delighted to realize that he could obey his father's wishes and learn to draw and paint at the same time. Von Hassler experienced another life-altering event two years later when he attended a performance of Buffalo Bill's Wild West Show. His father, a prominent businessman, had helped bring the temporarily bankrupt troupe to Bremen. "That's when I first decided to go to America," he recalled. That opportunity to go abroad finally arrived in 1912 after he finished his naval service and also completed six years at the Dusseldorf Art Academy. Von Hassler first settled in New York where he studied with members of the Ashcan Group. By 1917, as America prepared to enter World War I, several of the Ashcan painters were drawn to New Mexico, lured by the beauty of its landscape. Ironically, von Hassler heard a very different call. So great was he dedication to his new home that he joined the US Army in the fight against his homeland. In Germany, von Hassler's brother also signed up to fight, literally pitting the family against itelf. When the brother was killed in the War, von Hassler's mother disinherited him, and he decided never to return to Germany. After four years of service he was released from the US Army and, in 1922, von Hassler moved to New Mexico. Instead of following his New York acquaintances to Santa Fe, however, he settled in the up-and-coming town of Albuquerque. Von Hassler's enthusiasm for the Southwest and his fascination with his new surroundings fueled and renewed his artistic career. Ever the scholar, he threw himself into the exploration of the indigenous plants and animals—as well as people—of New Mexico. In his early years in the state, von Hassler made careful study of Navajo culture, spending many days at the trading post in Manuelito, talking with residents of the area and sketching their likenesses. He took up this self-appointed task with such dedication that he eventually became proficient in the Navajo language. The Indian Pueblos of New Mexico were another favorite subject for von Hassler, and he systematically sketched and painted each of the villages. In 1927, he used these studies as the basis for his first important commission: murals for the Pueblo/Deco style KiMo theater in Albuquerque. The ten-panel painting depicts the legendary Seven Cities of Cibola which the Conquistadores thought were "cities of gold" but turned out to be Native farming villages. The murals were restored in 1989 and still adorn the historic theater. As von Hassler's career in New Mexico advanced, he concentrated more and more on painting the landscape he had come to love. By the 1930s he was widely known for his ability to capture the moods of the land as it changed through the seasons. He did this with a carefully controlled palette consisting of a limited range of finely modulated color. But this technique was actually based in his knowledge of the natural world. His friends and students recalled that von Hassler was an expert on nature lore and could name almost any plant that grew in the state. In a 1961 newspaper interview, von Hassler talked about the importance of thoroughly knowing the landscape before an artist can paint it effectively. "Nature is a great teacher. To be a truly good artist, one has to be first a naturalist. Each area presents its own background and feeling. Arizona is quite different from New Mexico. Our state is very different from Colorado—and so it goes. Unless you get the feel of a place, your painting will lack strength and beauty." His goal was to evoke nature, not manipulate it, and he felt that it was not possible "to elaborate on nature with success. I want to place on canvas what I see in nature." Not only did Von Hassler study and enjoy his subjects, but he also enjoyed the very act of painting and reveled in the feel of various media. He was equally skilled with different kinds of paint, his favorites being oil, egg tempera, and watercolor. At the Academy in Dusseldorf he had studied the chemistry of paint, and throughout his career was known for experimenting with new materials to achieve exactly the colors and textures he wanted. Von Hassler once told a reporter that he had developed a technique for baking paint at up to 600 degrees so that it would take on a ceramic-like appearance and would be permanently colorfast. Since it was not possible to subject canvas to high temperatures, he also created what he called an "atomic substance" for use as the ground on which to paint. He
Ralph Oberg The Alpine Bench Montana Painting
Lot #544 (Sale Order 544 of 1017)
Title is The Alpine Bench above Lion Lake Montana. 11" by 14" unframed. 17 1/2" by 20 1/2" framed. Oil on Linen. Provenance: From the Collection of Ed Wolff Ralph Edward Oberg (Born 1950) is active/lives in Colorado, Mississippi. Ralph Oberg is known for Landscape, wildlife and cowboy genre painting. The following is from the artist who was born in Biloxi, Mississippi, raised in Aurora, Colorado, and currently lives in Montrose, Colorado. He attended Colorado State University from 1968 to 1970, and from 1972 to 1973, the Seible School of Drafting in Denver, completing two diploma programs: "The wild mountain country has always been close to Ralph Oberg's heart. An avid mountaineer and wilderness backpacker, he has traveled extensively in the back country of the Western states in search of the pristine landscape and the wildlife that live there. His art career has always focused on his love for the untrammeled country. Raised in Colorado the young man always knew he would be an artist. The freedom to move about and enjoy the wonders of the world fit his temperament. After a brief stint in commercial illustration, Oberg began to support himself with his paintings. Wildlife dominated his interest for over 10 years. Repeated appearances at the Leigh Yawkey Woodson "Birds in Art" show in the early 80s' and election to the Society of Animal Artists were high points in his young career. The works of Rungius, Liljefors and Kuhnert inspired his development. Rungius's field sketches pointed out the need for on-the-spot references. So in 1987, Oberg changed horses in mid-stream. He began to study with some of the contemporary plein-air masters of today including Wolfe, Aspevig, Chmiel and Whitcomb. For the past decade he has focused on painting the landscape on location as a means of learning the colors and values of the world, and how to capture a sense of the moment and place. Recently, animal subjects have begun to reappear in Oberg's work, combining his natural drawing ability and accumulated knowledge of animals with a more impressionistic painting technique. Today Ralph and his wife, painter Shirley Novak, sketch the beauty they find near and far and then develop their larger works in their studio and home in Southwest Colorado. Oberg is a Signature Member of the Plein Air Painters of America. Oberg received the Weiss Award at the 1988 Buffalo Bill Show in Cody with the work included in the Buffalo Bill Historical Center's permanent collection. Another large landscape hangs permanently in the House Chambers of the Colorado State Capitol building. In addition his works have been exhibited at the National Museum of Wildlife Art, the LA County Natural History Museum, the Loveland Museum, and the International Center for Wildlife Art in Britain. Feature articles on Oberg's work have appeared in ART OF THE WEST, SOUTHWEST ART, AND WILDLIFE ART NEWS.
Walt Gonske Morning in Taos Oil Painting
Lot #545 (Sale Order 545 of 1017)
Title is Morning in Taos. 24" by 20" unframed. 26 1/2" by 30 1/2" framed. Oil on Canvas. Provenance: Private Collection New Mexico. Santa Fe Art Auction, November 2023, Lot 163 (label verso). From a Private Collection Walt (Walter) Gonske (Born 1942) is active/lives in New Mexico, New York, New Jersey. Walt Walter Gonske is known for Landscape and still life painting, illustration. Walt Gonske was born and raised in New Jersey. After graduating from the Newark School of Fine Arts, he studied with the famous illustrator, Frank Reilly, and at the Art Students League in New York. He was a successful commercial illustrator before deciding to move to Taos, New Mexico, in 1972, to pursue a career in fine art. Gonske began his work in fine art by painting watercolors from photographs. Though he still works with watercolor from time to time, the intensity of color and light in New Mexico has led him to shift to oils and to working outdoors. Gonske's plein-air paintings are a direct result of his emotional response to his subject. His technique is direct and bold, resulting in a dynamic, brilliant composition infused with intense color and light. Gonske interprets nature through his paintings; he does not attempt to reproduce it. Gonske has no favorite colors. He uses them all to capture the sky, trees and streams as they exist in our most vivid memories. His landscapes are not limited to the environs of Taos. Gonske has painted the magnificent scenery, market scenes and churches of Mexico, Portugal, Italy, Guatemala and China. Gonske has received numerous awards for his paintings, including first prize from the Southwestern Watercolor Society, the gold and silver medals for oil painting from the National Academy of Western Art, and the bronze medal for drawing from that organization. His paintings are included in museums around the country, including the Eiteljorg Museum of American Indian and Western Art, the Thomas Gilcrease Institute of American History and Art, and the National Cowboy Hall of Fame and Western Heritage Center. Source: Nedra Matteucci Galleries, representing Walt Gonske
Charles Paul Gruppe Autumn Pasture Painting
Lot #546 (Sale Order 546 of 1017)
Title is Autumn Pasture. 9 1/2" by 14" unframed. 17" by 21" framed. Oil on Canvas. Charles Paul Gruppe (1860 - 1940) was active/lived in Massachusetts, New York / Netherlands, Canada. Charles Gruppe is known for Marine, landscape, and genre painting. Landscape and marine painter Charles Paul Gruppe was born in Picton, Canada, September 3, 1860. Largely self-taught, Gruppe did study in Holland and a good portion of his work consists of Holland inspired scenes. He should not be confused with his son, artist Emile Gruppe, who painted many well-known New England scenes. When Gruppe was ten, he moved with his family to Rochester, New York, after the death of his father. Interested in painting from an early age, he spent much of his time sketching and creating watercolors and oils. To help support his mother and sisters, he worked in a sign-painting shop, soon mastering the craft. Eventually, at age twenty-one, he had earned enough money to travel steerage to Europe, where he traveled through France, Germany, and Holland, searching for a place to settle and practice his art. He was taken with Holland, perhaps attracted to its fishing villages with their picturesque boats and quaint houses, and decided to stay. He built a home and studio in the little fishing village of Katwyk Ann Zee and painted much of his European work in the vicinity of that town. While in Holland, his skill at subtle coloration and careful draftsmanship became so identified with the Dutch School of painting that he was elected to the exclusive Pulchre Studio in the in the Hague, something highly unique for an American. Members of the Dutch Royal Family collected his work, which included portraits of the Dutch people as well as genre, marine, and countryside scenes. Many of his paintings are of the Zuider Zee and of Sheveningen, where he had a vacation villa. Charles Gruppe's work, This Painting, (ca 1903), which depicts a sailboat tied to a quay in icy waters, is one example of the silver gray tonalist paintings in which he specialized when he was in Holland. Altogether, Gruppe spent over twenty years in Holland, becoming a celebrity artist and ultimately being patronized by the royalty of Europe. His work is represented in many museums in America and Europe. Gruppe returned to America, becoming both a painter and dealer/broker in the art of Dutch painters, and popularizing Dutch art among American collectors and art connoisseurs. His son, Emile, who was to also become a well-known painter, was born at the family residence in Rochester in 1896. Soon thereafter the Gruppes moved back to Katwyk Ann/Zee, Holland, but in 1909, the family returned to the United States as the clouds of World War I gathered. Although their ancestry was originally in the Hamburg area of Germany, they at this time added an accent to 'e' of the Gruppe name to make it appear less German. The elder Gruppe, Charles, found an apartment/studio at Carnegie Hall in New York City. His son Emile also wanted to paint, and, in addition to teaching him himself, Charles sent him to the best teachers, including Frederic Bridgman for figures and drawing, Emil Carlson for landscapes and values; and Charles Hawthorne, for figures and color. Charles Gruppe had been an essentially self-taught artist but determined that his son would have the best teachers. In 1925, after seeing an exhibition in New York that featured the beautiful winter harbor scenes of Gloucester by Frederick Mulhaupt, the Gruppe father and son team headed to Cape Ann, to see for themselves. "Mulhaupt got the smell of Gloucester on canvas", Emile had said. Father and son were already fond of seacoasts and seaports, and both Gruppes soon fell in love with Cape Ann. They both continued to paint in the Cape Ann area for the rest of their lives. The elder Charles P. Gruppe died at age 80 in Rockport, Massachusetts, on September 30, 1940 at his studio where he had been established during the summers for 15 years. The remainder of each of those years, he had spent in New York City, where he was an active member of the Salmagundi Club. Until 1929, the two Gruppes, father and son, shared a studio on Bearskin Neck in Rockport. Then Emile decided make his own fortune and moved to nearby Gloucester where he purchased an old school house on Rocky Neck. Despite his stern look, Charles Gruppe was said to have a sunny and optimistic disposition. He had little formal education and no visible advantages in his early youth. All he did have was a strong love of painting which seemed inborn to him, as it was to generations of his family. He painted thousands of paintings in his life that are in the finest collections of Europe and America. All four of his children were exposed to art and artists at tender ages, and eventually all established themselves in the arts: sculptor, Karl, was a member of the National Academy; musician, Paulo, is a cellist. Virginia was a watercolorist/art dealer who painted Rockport and Gloucester scenes and owne
John Pototschnik Boats of Cascais Painting
Lot #547 (Sale Order 547 of 1017)
Title is Boats of Cascais. 7" by 11" unframed. 11" by 15" framed. Oil on Board. John Pototschnik (Born 1946) is active/lives in Texas. John Pototschnik is known for Landscape, structures, and figure painting. orn in Cornwall, England to a British war bride, who brought her oldest son to America on the Queen Mary when her husband was discharged from the army, John Pototschnik was raised in Pittsburgh, Kansas. As a youth, he expressed little interest in art. However, in junior college, at the urging of a counselor, he began working with his hands---painting, drawing, metal smithing and woodworking. He says: "I discovered I really liked to draw." He enrolled in Wichita State University with a major in advertising design. However, his education was interrupted by four years, 1968 to 1972, of commitment from ROTC to military service with the Air Force during the Vietnam War. Because he was not sent overseas, he took classes at the Pasadena Art Center College of Design, and from this experience became serious about an art career. He determined to become an illustrator, and he and his wife moved to Texas, following his parents who were in Dallas. In the 1980s, established in commercial art, he took increasing interest in fine art painting, especially work by western painters Ken Riley and Howard Terpning who, like himself, had begun as illustrators. Pototschnik began painting as a result of a commission with an oil company to do wildlife work, which became a limited edition of prints. In 1982, he dropped his illustration career to become a full-time painter. Signature subjects are rural and small-town America scenes as well as scenes of Europe.
Hella Broeske Shattuck Isleta Woman Painting
Lot #548 (Sale Order 548 of 1017)
Title is Portrait of Isleta Pueblo Indian Woman New Mexico. 3 1/2" by 3 1/2" unframed. 6" by 6" framed. Oil on Board. Hella Broeske Shattuck (1906 - 1994) was active/lived in New Mexico, South Dakota. Hella Shattuck is known for Landscape, pueblo figure and genre painting. During Hella Broeske Shattuck's 50-year artistic career in New Mexico she was widely admired and honored for her interpretations of Native American, Hispanic, and New Mexican society and culture. As part of Mabel Dodge Luhan's artistic circle, Shattuck's work represents the style characteristic of that period landscapes celebrating the luminescent light and color of the region as well as intimate depictions of local customs, festivals and landmarks. Shattuck's love and admiration for the people and landscape of Northern New Mexico is evident throughout her work. Shattuck was born in Frederick, South Dakota on July 4, 1906. Her parents were both Finnish immigrants and her father, Rev. Peter Keranen, served as a pastor in the Finnish Evangelical Lutheran Church. Her father changed parishes often, moving the family from South Dakota to Wisconsin, Minnesota and Oregon. Always a talented artist, Shattuck's musical abilities were encouraged by her father and she eventually became a classically trained concert pianist. While pursuing her musical talents, Shattuck also held a passion for painting a talent not encouraged by her family, but one to which she would remain deeply committed throughout her life. Shattuck began her artistic training in Minneapolis and continued her studies under Clyde Leon Keller when the family moved to Portland, Oregon. After marrying Fritz Broeske in Portland in 1934, the couple drove to Santa Fe, NM by motorcycle and decided to remain. Once in Santa Fe, she quickly became involved in the art scene and took this opportunity to study painting with several local artists, primarily Odon Hullenkremer. Together, they were asked to create the illustrations for the book, The History of New Mexico, written by George Hammond and Thomas Donnelly. In 1936, Shattuck participated in the invitational alcove show at the New Mexico Museum of Art. By 1938, her work was featured in a number of additional exhibitions and she was named "Future Artist of New Mexico." She would later be asked to paint several murals for the Franciscan Hotel in Albuquerque, NM. After her divorce in 1946, Shattuck moved frequently throughout New Mexico - taking every opportunity to explore all that her home state had to offer. Fluent in Spanish, she took particular interest in the Hispanic communities of Northern New Mexico - relishing in their rich customs and traditions. Shattuck also displayed a strong connection for Native American subjects. During a sketching trip to the Isleta Pueblo, Shattuck became fascinated with the landscape and immediately sought permission to become an artist in residence at the Pueblo. Eventually, she would live for extended periods at both the Laguna and Isleta Pueblos. It was at the Isleta Pueblo in 1949 that she met her second husband, August Shattuck, a health educator and Isleta native. The Shattucks would later reside in Taos at the famed "Pink House," owned by Mabel Dodge Luhan. This move marked the richest and most productive period of her career. Shattuck was greatly influenced by the renowned artists in Luhan's circle and many of her works reflect the style of that period. Shattuck also took this opportunity in Taos to make frequent visits to the festivals at the Taos Pueblo, which she often depicted in her work. Since photography or painting was not allowed directly on the reservation, Shattuck did most of her work in the privacy of her home demonstrating her acute memory of specific details and events. Her canvases and ink sketches, therefore, faithfully capture the spirit of Indian rituals and dances. In 1962, Shattuck would help found the Taos Opera Guild and, for a time, was a Board member for the Santa Fe Opera. In 1975, she was appointed a member of the Bicentennial Commission of the State by Governor Bruce King. She received many awards from organizations such as the National League of Pen Women and is listed in Who's Who of American Women, Who's Who in New Mexico, Two Thousand Women of Achievement and the National Social Register. Throughout her life, she received repeated invitations to art exhibitions in Santa Fe, Albuquerque, Taos, Las Vegas, NM, Portland, OR, and New York City. Hella's earliest canvases and sketches were signed "Hella Keranen" or "Hella Broeske." After her marriage with Broeske ended, she most frequently signed her work simply as "Hella," but larger works often bear her full signature, "Hella Broeske Shattuck". Her works have been included in the collections of the New Mexico State Museum, The Finnish-American Heritage Center at Finlandia University, Mary Washington College, and numerous private collections throughout the United States and abroad. Shattuck and her husband eventually settl
Dick Heichberger Camp in the Bitterroots Painting
Lot #549 (Sale Order 549 of 1017)
Title is Camp in the Bitterroots. 20" by 27" unframed. 23" by 29" framed. Watercolor on paper. Dick Heichberger (Born 1945) is active/lives in California, Arizona. Dick Heichberger is known for Landscape, wildlife. Dick Heichberger was born in Eden, New York. While in elementary school, he attended an Andrew Wyeth exhibit at the Buffalo Museum of Fine Art, where he became interested in art. During his formative years, Heichberger developed his interest in the American Indian. He and his father hiked the eastern mountains in search of arrowheads and other artifacts of the Mohawk, Iroquois and Allegheny tribes that once had populated that area. After high school graduation, Heichberger attended the Art Institute of Pittsburgh and the Carnegie Technical Institute. His art career was put on hold when he joined the Marine Corps in 1965. After receiving his discharge form the Corps, Heichberger settled in Orange County where he continued practicing his techniques while working full time. During this period he also attended and graduated from Santa Ana College with an associate degree in wildlife management. As a single parent, he imparted his love of the outdoors to his daughter. Heichberger spent a number of years living and working in Big Bear, CA. This area reminded him so much of the mountains of upstate New York. While pursuing his art career, he spent time teaching at a Junior college and working for Disney, Bear Animation, Warner Brothers and Landmark Entertainment. Most recently, he worked for Fox. Now Dick Heichberger is able to devote his full time to developing his art. His inspiration comes from the beauty of the landscapes and wildlife of the desert and canyons of Arizona and the mountains of California, Wyoming and Colorado. Dick has experienced the life he paints. In his work is found a unique harmony and a simplicity of subject matter. One is left with a feeling of peace and beauty.
Frederick Denys Pronghorns Oil Painting
Lot #550 (Sale Order 550 of 1017)
Title is Pronghorns. 21 1/2" by 15" framed. 11" by 17 1/2" unframed. Oil on Board. Provenance: From the Collection of Kathryn Lichfield Frederick Denys (Born 1946) is active/lives in Utah, Texas. Frederick Denys is known for Luminist landscape painting. A Western realist and modern luminist painter, Denys has been inspired by subjects from the West Coast to the East Coast, all over the western U.S, Europe and as far as Africa. He enjoys painting large-scale work. Born in Texas in 1946, he moved to Utah in 1948 and has lived in the Prove/Orem area. While attending Brigham Young University, he was inspired by artists of the Hudson River School. In the mid 1800s this American art movement included Albert Bierstadt, Frederic Church and Thomas Moran. They created a romanticized style of landscape painting. The term "luminisim" came from this movement. It describes how light appears to radiate from a painting and Denys has adopted a luminist style for many of his landscapes. He paints in many styles ranging from traditional realism to plein air painting.
Gary Lynn Roberts Her First Snow Oil Painting
Lot #551 (Sale Order 551 of 1017)
Title is Her First Snow. 11" by 14" unframed. 20" by 23" framed. Oil on Canvas. Provenance: Altermann Galleries & Auctioneers, Santa Fe, NM (label verso); From the Gary Jacobson Estate The son of noted Western artist Joe Rader Roberts, Gary Lynn Roberts grew up surrounded by art. "I was fortunate to grow up in that atmosphere" he says. "In addition to my father, I received one on one training from many of his friends such as G. Harvey and A.D. Greer to mention only a couple. Many of my trainers were some of the Nation's most notable artists". The desire to capture history on canvas by totally researching the event depicted has made Gary Lynn one of America's most sought after historical print artists. Gary Lynn says "I want to do more than create a historically correct scene; I want to tell a story. When someone views one of my paintings, I want them to feel like they are part of the painting. " Gary Lynn lives with his wife Nancy and four children in Austin, Texas.
John Bye Silent Approach Lynx Painting
Lot #552 (Sale Order 552 of 1017)
Title is Silent Approach. 8" by 12" unframed. 13 1/2" by 17 1/2" framed. Acrylic on Canvas. Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ (label verso) John Bye (Born 1970) is active/lives in California / England. John Bye is known for Photorealistic wildlife and western theme painting and drawing. People sometimes ask if his works of art are photographs, but they are in fact painted by hand with skill, patience and talent. As is standard for photo-realists, John Bye begins with a reference photo, and then sketches what he will paint onto his canvas by hand, making changes as he sees fit from the original photo to achieve the composition he is happy with. He then paints with acrylics, layer by layer and with great detail to complete his HD photo-realistic paintings giving them his own unique take on the subject. It is said that if you were to have several photo-realist artists paint the same scene, each painting would be different, as each is influenced by the vision and skill of the artist. Self-taught, John's talent has not gone unnoticed. John Geraghty of the Autry wrote that John's cowboy paintings were "exceptional", and he was invited to participate in the Masters of the American West show, 2016. John Bye has been featured in Western Art Collector magazine, and has been an invited participant in the Settler's West art show. The Greenwich Workshop now publishes his limited editions. John was included in the 20 Best British Artists in the Daily Mail article after a competition whose judges included UK art critic Brian Sewell. John also won People's Favorite at the UK Wildlife Art Society competition.
Ralph Oberg Rocky Mountain Front Montana Painting
Lot #553 (Sale Order 553 of 1017)
Title is Rocky Mountain Front Sun River Augusta Montana. 11" by 14" unframed. 17 1/2" by 20 1/2" framed. Oil on Linen. Provenance: From the Collection of Ed Wolff Ralph Edward Oberg (Born 1950) is active/lives in Colorado, Mississippi. Ralph Oberg is known for Landscape, wildlife and cowboy genre painting. The following is from the artist who was born in Biloxi, Mississippi, raised in Aurora, Colorado, and currently lives in Montrose, Colorado. He attended Colorado State University from 1968 to 1970, and from 1972 to 1973, the Seible School of Drafting in Denver, completing two diploma programs: "The wild mountain country has always been close to Ralph Oberg's heart. An avid mountaineer and wilderness backpacker, he has traveled extensively in the back country of the Western states in search of the pristine landscape and the wildlife that live there. His art career has always focused on his love for the untrammeled country. Raised in Colorado the young man always knew he would be an artist. The freedom to move about and enjoy the wonders of the world fit his temperament. After a brief stint in commercial illustration, Oberg began to support himself with his paintings. Wildlife dominated his interest for over 10 years. Repeated appearances at the Leigh Yawkey Woodson "Birds in Art" show in the early 80s' and election to the Society of Animal Artists were high points in his young career. The works of Rungius, Liljefors and Kuhnert inspired his development. Rungius's field sketches pointed out the need for on-the-spot references. So in 1987, Oberg changed horses in mid-stream. He began to study with some of the contemporary plein-air masters of today including Wolfe, Aspevig, Chmiel and Whitcomb. For the past decade he has focused on painting the landscape on location as a means of learning the colors and values of the world, and how to capture a sense of the moment and place. Recently, animal subjects have begun to reappear in Oberg's work, combining his natural drawing ability and accumulated knowledge of animals with a more impressionistic painting technique. Today Ralph and his wife, painter Shirley Novak, sketch the beauty they find near and far and then develop their larger works in their studio and home in Southwest Colorado. Oberg is a Signature Member of the Plein Air Painters of America. Oberg received the Weiss Award at the 1988 Buffalo Bill Show in Cody with the work included in the Buffalo Bill Historical Center's permanent collection. Another large landscape hangs permanently in the House Chambers of the Colorado State Capitol building. In addition his works have been exhibited at the National Museum of Wildlife Art, the LA County Natural History Museum, the Loveland Museum, and the International Center for Wildlife Art in Britain. Feature articles on Oberg's work have appeared in ART OF THE WEST, SOUTHWEST ART, AND WILDLIFE ART NEWS.
Troy Anderson Buffalo Cure Gouache Painting
Lot #554 (Sale Order 554 of 1017)
Title is Buffalo Cure. 9" by 14" unframed. 17 1/2" by 22 1/2" framed. Gouache on Paper. Provenance: Private Collection, Dallas, TX Troy Anderson (Born 1948) is active/lives in Arkansas. Troy Anderson is known for Painting, graphics, sculpture of Native American figure, wildlife and Indian culture. Troy Anderson is a Master Artist of the Five Civilized Tribes Museum, a title which he quite deserves. Seen as an early leader in the development of western and southwestern art, Troy has been featured in many magazines including Southwest Art Magazine. Working primarily in acrylic, he is equally adept in graphics, sculpture, watercolor and pastel. His images are both beautiful and sensitive with subjects ranging from western to wildlife, Native American and Southwest. Troy has two distinctive styles of painting. One is a more traditional use of the medium in which he has done many pieces depicting the Trail of Tears. Also in this style, he does beautiful portrait pieces, which incorporate his love of wildlife and each piece tells its own haunting tale of Indian legend. The second style is a build-up of acrylic in a form, which Troy calls Dimensional Images. These paintings are like looking at clouds, at first you see the main central images and after looking more closely you discover the smaller details that have been worked into the work. From faces to a variety of animals, these creations are full of life and draw the viewer into the work. He is a popular advisor, juror and consultant to galleries, collectors, and museums. Anderson’s reputation, honors and vast awards from Museums, Art Competitions and shows, such as the Five Civilized Tribes, Cherokee Heritage Museum, Cherokee Nation, Red Earth, The Heard Museum, The Southwest Indian Market in Santa Fe, and State of Arkansas testify the regard the public has for his art. He is both an author and illustrator and his original artwork is exhibited in galleries and museums throughout North America and Europe.
Donald Spaulding Santa Fe New Mexico Painting
Lot #555 (Sale Order 555 of 1017)
Title is Santa Fe, Aug. 18, 1846. 6" by 9" unframed. 10 1/2" by 13" framed. Oil on Board. Donald (Don) Spaulding (1926 - 2021) was active/lived in New York. Donald Spaulding is known for Historical and western genre painting. Donald C. Spaulding, known as Don, an acclaimed painter of the historical American West and a 59-year resident of Pound Ridge NY, passed away peacefully on Saturday, September 25th 2021 at the age of 95 at his home. As recently as this past August at a party celebrating his landmark birthday with family and friends at his side, he expressed how blessed he has been to have lived a really wonderful life. Don was born on August 8th 1926 to the late Clifford Lee and Ethel Florence Spaulding (nee Fisher) in Brooklyn, NY who Don would often describe as loving and supportive parents. Along with his parents and older brother Douglas, who pre-deceased him in 1970, Don would move first to Jamaica Queens, NY and later to Hartsdale, NY. Don loved to draw from the time he could hold a pencil. From a young age he was passionate about art and a devotee of the great American illustrators whose paintings would grace the covers and interiors of national magazines that were delivered each week by mail to the family’s home. Of these magazines, Don would eagerly await the arrival of the Saturday Evening Post to see if the issue featured a cover painting by one of his all-time favorite illustrators, Norman Rockwell. Rockwell and other artists would become his heroes and Don knew early on he wanted to be a painter and storyteller. Growing up he also loved history and was fascinated by stories about the American West featuring cowboy and native American life as well as tales of the US Cavalry during the post-Civil War period. Don was a child of the Great Depression of the 1930’s and came of age during WWII, graduating from White Plains, NY High School before being drafted into the US Army the week prior to Christmas 1944. Don served in the Pacific Theatre and was part of the U.S. Occupational Forces following Japan’s unconditional surrender on September 2nd 1945 During his service to his country, Don achieved the rank of Tech Sargent and was honorably discharged on November 25th 1946. After returning home, Don would go on to follow his love of art and pursue his dream of becoming an illustrator, attending the world-renown Art Students League in New York on the GI Bill. While there he studied with celebrated illustrators and instructors William C. McNulty, Robert Beverly Hale, and Frank Vincent Dumond, During this period Don’s love affair with the U.S. Cavalry and the American West really blossomed into full flower in 1949 after watching director John Ford’s epic Western She Wore a Yellow Ribbon and this would prove to be a watershed moment that later influenced his career choices as an artist. Another seminal moment in Don’s life occurred the following year. During the spring session of 1950 Don was presented with a unique opportunity and honor. He was one of only 5 students who were invited to study with Norman Rockwell for the summer at his studio in West Arlington, VT. This amazing experience would mark the beginning of a lifelong friendship with Rockwell that would last until the great illustrator’s passing in 1978 and his mentorship would influence the rest of Don’s career and life. Shortly after his time studying with Rockwell, Don graduated from The Art Students League beginning his commercial illustration career working in New York City where he was first able to combine his passions for painting and the love for the American West when he was hired by Dell to create cover art for The Lone Ranger series. Not long afterwards, Don met his future wife, Colette J. Saphier, who also grew up in Hartsdale, NY and the two were later married at St. Pius X Catholic Church, Scarsdale, NY. The couple soon moved to Pound Ridge, NY where they had two sons, Jeff and Scott to whom Don was a loving and dedicated father. For the next 25 years, Don continued to work as a successful commercial illustrator. In 1976 he decided it was time to follow his dreams and converge his love of painting with his passion for the historical American West. Moving from commercial to fine art, he soon became accomplished working in that genre and like Rockwell became well-known for the storytelling and human aspect of the scenes he depicted combined with the historical accuracy and the attention to detail he would bring to all his paintings. During his career Don was honored with numerous awards and his paintings have appeared on the covers of national magazines, in prestigious galleries across the country and are part of the permanent collections of several museums including the West Point Museum, NY; Fort Riley Cavalry Museum, Kansas, and the Booth Western Art Museum in Cartersville, Georgia. In addition to his work as a painter, Don along with his wife Colette enjoyed collecting antiques and were founding members of the Pound Ridge Hist
John Bye Kicking Up Dust Cowboy Painting
Lot #556 (Sale Order 556 of 1017)
Title is Kicking Up Dust. 10" by 12" unframed. 16 1/2" by 18 1/2" framed. Acrylic on Canvas. Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ John Bye (Born 1970) is active/lives in California / England. John Bye is known for Photorealistic wildlife and western theme painting and drawing. People sometimes ask if his works of art are photographs, but they are in fact painted by hand with skill, patience and talent. As is standard for photo-realists, John Bye begins with a reference photo, and then sketches what he will paint onto his canvas by hand, making changes as he sees fit from the original photo to achieve the composition he is happy with. He then paints with acrylics, layer by layer and with great detail to complete his HD photo-realistic paintings giving them his own unique take on the subject. It is said that if you were to have several photo-realist artists paint the same scene, each painting would be different, as each is influenced by the vision and skill of the artist. Self-taught, John's talent has not gone unnoticed. John Geraghty of the Autry wrote that John's cowboy paintings were "exceptional", and he was invited to participate in the Masters of the American West show, 2016. John Bye has been featured in Western Art Collector magazine, and has been an invited participant in the Settler's West art show. The Greenwich Workshop now publishes his limited editions. John was included in the 20 Best British Artists in the Daily Mail article after a competition whose judges included UK art critic Brian Sewell. John also won People's Favorite at the UK Wildlife Art Society competition.
Greg Scheibel Pacific Sunset Oil Painting
Lot #557 (Sale Order 557 of 1017)
Title is Pacific Sunset. 8" by 10" unframed. 14" by 16" framed. Oil on Board. Greg Scheibel (Born 1961) is active/lives in Montana. Greg Scheibel is known for Plein-air landscape painting. Greg Scheibel combines his love of the outdoors and his passion for drawing. He has received advice and instruction from a number of exceptional artists in recent years, with the most important lesson being the value of painting form life. He has received several awards for his work, including an Award of Excellence from the Oil Painters of America and scholarships from the Scottsdale Artists School. He has been featured in the Artists to Watch column of Southwest Art magazine. Greg lives in Bozeman, Montana, with his wife and two children.
Hans Kleiber Wyoming Oil on Board Painting
Lot #558 (Sale Order 558 of 1017)
Title is Teton Mountain Deer Alta Wyoming. 15" by 16 1/2" framed. 11 1/4" by 12 3/4" unframed. Painting board has another painting on the backside. Provenance: Davis Brothers Auction, 4/13/24, Lot 810. The Meadowlark Gallery and Frame Shop, Inc., Laurel, MT (label verso). From a Private Collection. Hans Kleiber (1887 - 1967) was active/lived in Wyoming / Germany. Hans Kleiber is known for Etching and painting-frontier genre, landscape and animal. Hans Kleiber was born in Cologne, Germany in 1887 and died at the Eventide Nursing Home in Sheridan, Wyoming in 1967. He was a traditional Western etcher, painter, and illustrator. He came to Wyoming from Germany in 1906 and in 1907, he entered the U. S. Forestry Service as a Ranger with duties throughout the Northwest. When he resigned in 1924, it was to devote his entire time to art, despite his lack of formal art instruction. In 1931, he received the Silver Medal Award from the California Print Makers Society. He was a member of the Associated American Artists. His work is in the collection of the Library of Congress; the Wyoming State Art Museum in Cheyenne, Wyoming; the University of Wyoming in Laramie, Wyoming; the Montana Historical Society in Helena, Montana; The Bradford Brinton Memorial and Museum in Big Horn, Wyoming; and the Buffalo Bill Historical Society in Cody, Wyoming.
Jason Lee Tako Leaving the Plains Oil Painting
Lot #559 (Sale Order 559 of 1017)
Title is Leaving the Plains, 30 Days on the Plains. 6" by 8" unframed. 8 1/2" by 10 1/2" framed. Oil on Board. Jason Lee Tako (20/21st century) is active/lives in Pennsylvania, Minnesota. Jason Tako is known for Wildlife. With Jason's grandfather being a carpenter, and his father being an artist and carpenter, Jason also developed an interest in art at a young age. While growing up in rural Minnesota, he would spend hours in the wetlands and wooded areas sketching and observing the wildlife and nature that surrounded him. Jason soon became known by teachers and peers for his artistic abilities, and eventually won an award in a state-wide high school illustration competition. During his senior year in high school, at the urging of some friends Jason switched his focus to learning music and electric bass. He then graduated from the McNally Smith College of Music with the Outstanding Bassist of the Year award. But ten years later, after realizing how much he missed being outdoors and recording his observations, Jason bought a sketchbook and headed back out to the woods and wetlands. There he painstakingly worked his way from pencil to watercolor while using nature and wildlife as his subject matter and teacher. Not long after, Jason went back to college and earned his degree in Applied Visual Arts and was encouraged by his teacher Bara Arens to pursue a career in fine art. Jason furthered his studies under renowned landscape artist Scott Christensen and a constant passion for plein air painting. Direct experience is the primary inspiration for Jason's work which blends realism with painterly expression. Usually he seeks a location or subject matter that interests him and will create field studies on location (aka plein air paintings) and take photographs. Back in the studio this reference material is utilized to create a final painting. At other times Jason will complete a painting on location-alla prima, en plein air. Jason has a passion for the prairie wetlands, classic and rural architecture, waterfowl, and western wildlife. Many of his paintings are from trips to his home state of Minnesota or out to Wyoming. Yet he will often be found painting locally where he and his wife raise their children in southern Pennsylvania. Jason's religious faith influences not only his views on life, but also on art. He often says he is really just plagiarizing the beauty that God has given to us. Since created beauty is ever in motion, and God is ever constant, Jason views art as trying to make ever-changing beauty ever-constant. In this way he hopes his art will lift the viewer to a contemplation higher than what is seen.
Jason Lee Tako Prairie Agility Oil Painting
Lot #560 (Sale Order 560 of 1017)
Title is Prairie Agility, 30 Days on the Plains. 6" by 8" unframed. 8 1/2" by 10 1/2" framed. Oil on Board. Jason Lee Tako (20/21st century) is active/lives in Pennsylvania, Minnesota. Jason Tako is known for Wildlife. With Jason's grandfather being a carpenter, and his father being an artist and carpenter, Jason also developed an interest in art at a young age. While growing up in rural Minnesota, he would spend hours in the wetlands and wooded areas sketching and observing the wildlife and nature that surrounded him. Jason soon became known by teachers and peers for his artistic abilities, and eventually won an award in a state-wide high school illustration competition. During his senior year in high school, at the urging of some friends Jason switched his focus to learning music and electric bass. He then graduated from the McNally Smith College of Music with the Outstanding Bassist of the Year award. But ten years later, after realizing how much he missed being outdoors and recording his observations, Jason bought a sketchbook and headed back out to the woods and wetlands. There he painstakingly worked his way from pencil to watercolor while using nature and wildlife as his subject matter and teacher. Not long after, Jason went back to college and earned his degree in Applied Visual Arts and was encouraged by his teacher Bara Arens to pursue a career in fine art. Jason furthered his studies under renowned landscape artist Scott Christensen and a constant passion for plein air painting. Direct experience is the primary inspiration for Jason's work which blends realism with painterly expression. Usually he seeks a location or subject matter that interests him and will create field studies on location (aka plein air paintings) and take photographs. Back in the studio this reference material is utilized to create a final painting. At other times Jason will complete a painting on location-alla prima, en plein air. Jason has a passion for the prairie wetlands, classic and rural architecture, waterfowl, and western wildlife. Many of his paintings are from trips to his home state of Minnesota or out to Wyoming. Yet he will often be found painting locally where he and his wife raise their children in southern Pennsylvania. Jason's religious faith influences not only his views on life, but also on art. He often says he is really just plagiarizing the beauty that God has given to us. Since created beauty is ever in motion, and God is ever constant, Jason views art as trying to make ever-changing beauty ever-constant. In this way he hopes his art will lift the viewer to a contemplation higher than what is seen.
Bill Anton On a Sun Tipped Ledge Painting
Lot #561 (Sale Order 561 of 1017)
Title is On a Sun Tipped Ledge. 8" by 10" unframed. 16" by 18" framed. Oil on Board. Provenance: Ponderosa Art Gallery, Hamilton, MT (label verso). From the Collection of Ed Wolff Bill Anton (Born 1957) is active/lives in Arizona, Illinois. Bill Anton is known for Cowboy genre-nocturne and landscape painting. Born and raised in Chicago, Illinois, Bill Anton became a western painter, especially of the lifestyle of cowboys. He first traveled West at age seven. He attended Loyola University in Chicago and then transferred to Northern Arizona University in Flagstaff, Arizona, majoring in English. He settled in Arizona, and his wife, Peggy, supported him while he established his career as an artist. He was inspired with western painting when he attended a Cowboy Artist of American Exhibition in the late 1970s at the Phoenix Art Museum. In 1982, he turned to art full time, and visiting ranches in Flagstaff and Prescott, he rode in roundups and learned to work with cattle. He also developed a love of plein-air painting and was much inspired by the work of Anders Zorn, Edgar Payne and Frank Tenney Johnson.
David Mann Drum Beat Painting
Lot #562 (Sale Order 562 of 1017)
Title is Drum Beat. 12 1/2" by 12 1/2". Oil on Rawhide Provenance: Altermann Galleries & Auctioneers, November 2019, Lot 327. From the Gary Jacobson Estate David Mann (Born 1948) is active/lives in Utah. David Mann is known for Indian figure-genre, horse. A painter of Native American figures and genre as these subjects would appear in everyday life, David Mann does extensive research on the clothing and background objects of his subject matter but does not show actual historical events. Most of his Plains Indians are placed in the context of the mid to late 19th century before they were moved to reservations and could practice the rituals of their culture. Mann was inspired by this subject matter from the time he was a child and had a book illustrated by Alfred Jacob Miller, pioneering painter of western subjects. He was also inspired by Frank McCarthy illustrations he saw in "Life" magazine. Then as a young Mormon church missionary, he was assigned to Indian reservations in the Southwest and lived with the Apache on the San Carlos reservation, the Pimas and Papagos near Tucson, and the Pueblos and Navajos near Albuquerque. He graduated from Weber State University in Ogden, Utah with a major in art education, taught school for a year, worked in construction, and then was a librarian for ten years. He married, and supporting his desire to paint full time, his wife supported their family, which gave him a chance to pursue his dream. After four years, he became a success in the eye of collectors, and since then has won Best of Show at the National Western Art Show and Auction at Ellensburg, Washington, and is featured in other prestigious exhibitions including the Autry Museum.
Brent Cotton Late Winter Cottonwood Painting
Lot #563 (Sale Order 563 of 1017)
Title is Late Winter, Cottonwood Sketch. 6" by 8" unframed. 14" by 16" framed. Oil on Board. Provenance: From the Collection of Ed Wolff Brent Cotton (Born 1972) is active/lives in Montana, Hawaii, Idaho. Brent Cotton is known for Landscape, wildlife, hand-carved birds. Raised on his family's cattle ranch in Idaho, Brent Cotton was inspired to become an artist by his grandmother. He works in a variety of media, but oil is his favorite and plein-air tonalist landscapes are his specialty. At first Cotton painted in an illustrative style similar to the work he saw in sporting magazines and he carved song birds and gamefish out of wood. His work was good enough to catch the attention of Wally Grewe, an art representative. Grewe introduced Cotton to professional painters including Guy Coheleach and Christine Verner. It was Verner who invited Brent Cotton to study with her at her studio. Cotton later attended workshops by Jim Wilcox, John Moyers and Howard Terpning. Cotton became good friends with painter Keith Huey. He and Huey painted together in Hawaii in 1999 and it was there that Cotton met his wife, Jennifer. After his marriage the couple lived in Hawaii in a cottage in the inland upcountry of Maui. Every afternoon clouds would roll in from the Pacific and cover the foothills where they lived. Cotton credits this natural occurrence along with the the experience of forest fires in the northern Rockies with his development of a tonalist style. In 2003 Brent Cotton won the People's Choice Award at the annual Arts for the Parks competition for his painting 'Evensong' which portrays a lone kayaker on Lake McDonald in Glacier National Park. Brent Cotton has recently (2005) built his first studio in Stevensville, Montana.
Don Oelze Mato Topes War Horse Painting
Lot #564 (Sale Order 564 of 1017)
Title is Mato Topes War Horse. 12" by 14" unframed. 18 1/2" by 20 1/2" framed. Oil on Canvas. Provenance: From the Gary Jacobson Estate Don Oelze (Born 1965) is active/lives in Montana, Washington / Japan, New Zealand. Don Oelze is known for Western frontier art, Indians and horses. Don Oelze's parents were from the Southwest of the United States, but their love of God took them to different parts of the world. Don was born in New Zealand and at an early age he had a fascination with America and especially with the lifestyle of cowboys and Indians. His grand parents collected Native American artifacts from their property and surrounding country in the eastern part of the United States. When he was six years old, his grandmother sent him an Indian outfit which only fueled his desire and love for the native customs and history. He started drawing Indians at a very early age, and by the time he was in school at age six or seven, he remembers getting in trouble for drawing Indians in class instead of paying attention to his New Zealand history teacher. When he was eight years old, his parents moved back to the United States where he continued to draw and paint through high school. He then attended Memphis College of Art for one year, where he painted many different subjects utilizing a wide range of mediums. Don finished his education at Franklin Pierce College in New Hampshire. In 1992 while living in Seattle, he met a Native American named Everett who produced native art and Totems. While working with Everett, he did his first big native painting. After trying many different subjects, he knew that painting Native Americans was what he loved to do most. For the past ten years, he has been refining his skills while working in Japan. Recently he and his wife, Utako, have moved back to the U.S. and are presently living in Montana studying the country and people that he loves to paint.
John Encinias Taos Pueblo Painting
Lot #565 (Sale Order 565 of 1017)
Title is Taos Pueblo. 18" by 24" unframed. 25" by 31" framed. Oil on Board. Provenance: The Wichita Gallery of Fine Art, Ltd., Wichita, KS (label verso). From a Private Collection John Encinias (Born 1949) is active/lives in Colorado, New Mexico. John Encinias is known for Landscape, figure and still life painting. John Encinas was born near Santa Fe, New Mexico in 1949. Self-taught, he started painting at the age of fifteen and began working as a full-time professional artist in 1975. He prefers painting directly from various subjects and describes his technique as impressionistic realism. Encinias' many exhibitions include consecutive showings at the National Academy of Western Art/Prix de West Exhibition since 1985; a one-man show at the Frye Museum in Seattle, Washington in 1991; and a one-man show at the Birger Sandzen Memorial Gallery in 2000. His work has also been featured in shows at the National Wildlife Art Museum in Jackson, Wyoming; the Albuquerque Museum in New Mexico; the Gilcrease Museum in Tulsa, Oklahoma; the Loveland Museum in Colorado; and is currently (2010) being exhibited at the American Embassy in Rome, Italy. His paintings are in numerous private and corporate collections: Millicent Rogers museum in Taos, New Mexico; Frye Museum in Seattle, Washington; United Missouri Bank in Kansas City; and U.S. West Corporate Collection in Denver, Colorado. Some publications that have featured his works are Masterworks of Impressionism, a book published in 1985; Southwest Art 1987 and 2002; Art of the West 1988, Persimmon Hill 1997 and 2002; American Artist Magazine 1998; Who's Who in American Art 2000; and Color, an American Artist Publication 2001.
A D Greer From Mexico Still Life Painting
Lot #566 (Sale Order 566 of 1017)
Title is From Mexico. 12" by 18" unframed. 23 1/2" by 17 1/2" framed. Oil on Board. Provenance: Gallery A, Taos, NM (label verso). From a Private Collection A. D. Greer (1904 - 1998) was active/lived in Texas, New York, Oklahoma. A Greer is known for Luminous landscape, still life and figure painting, illustration. An artist, poet, lecturer, and illustrator, A D Greer became a legend among Texas landscape painters because of his popularity and the high-dollar values of his luminist, romantic paintings. He lives primarily in New York City but paints numerous southwestern landscapes. Greer was born in Oklahoma Territory, and in 1907, after the death of his mother, was taken to Hutchinson, Kansas where he grew up on a farm. He studied at St. Johns Academy in Salina, Kansas and then began work as a sign painter. Although many suffered financially during the Depression, he had numerous jobs painting church domes, lettering signs on watertowers and smokestacks, and striping cars at a Ford assembly plant. He also worked as a logger in the Colorado Rockies and drove spikes for a railroad---jobs which provided him much opportunity to explore mountain ranges and other landscapes that became subjects of his paintings. He is a member of the Guild of Freelance Artists in New York.
Patricia Dobson Acoma Pottery and Harvest Painting
Lot #567 (Sale Order 567 of 1017)
Title is Acoma Pottery and Harvest. 6" by 10" unframed. 21 1/2" by 17 1/2" framed. Oil on Board. Patricia Joy (Patti) Dobson (Born 1947) is active/lives in Arizona, California. Patricia Dobson is known for Trompe still life, figure, landscape, Native American/Indian painting. A painter of highly realistic Indian pottery still lifes, she works both from photos and from the actual arranged objects. Her oil paintings are characterized by unique shadow effects and surface effects that suggest old, time-worn pottery. Her interest in history began when she spent summers in the foothills of the Sierra Nevada Mountains where she was much taken with the sensuality of the smells, colors, and textures. She studied art at Foothills College in California and worked as an electrocardiograph technician in California while raising two children and painting in her spare time. In the mid 1980s, she moved to Scottsdale, Arizona and began to focus on native American themes, especially southwestern pottery.
Tom Saubert Montana Indian Oil on Board Painting
Lot #568 (Sale Order 568 of 1017)
Title is New Robe. 18" by 24" unframed. 25" by 31" framed. Oil on Board. Provenance: T Saubert, Kalispell, MT (label verso). The Legacy Gallery, Scottsdale, AZ & Jackson, WY (label verso). From a Private Collection Tom Saubert (Born 1950) is active/lives in Montana. Tom Saubert is known for Historical American frontier scene figure and genre, Indians, white settlers, horses. In a career spanning 40 plus years, the paintings of Tom Saubert focus on the representation of the Western Genre, its people and history, with an emphasis on historical accuracy. With a breadth of professional experience from college educator to Disney instructor Tom’s work possesses all the attributes of truth in subject, dress, and location, yet still artistically introspective of the human condition. He is a dedicated historian, a story teller whose work transports you to a moment in time, a place and people, past and present. Tom has participated in several prestigious invitational shows including the Master of the American West at the Autry National Center, and over the course of his career he has received several awards for merit. He has been a member of the Rendezvous Group of Artists since 2000. A Montana native, he works from his studio outside Kalispell, MT.
Jamie Means Let's Head Home Jake Drawing
Lot #569 (Sale Order 569 of 1017)
Title is Let's Head Home, Jake. 19" by 26" unframed, 28 1/2" by 35" framed. Colored Pencil on Paper. Provenance: From the Gary Jacobson Estate. March In Montana, 03/15/2013, Lot 538. Auction in Santa Fe, 08/11/2012, Lot 200. Jamie Means (Born 1972) is active/lives in California, Alaska. Jamie Means is known for Drawing-cowboy/cowgirls on horses. Jamie Means is a western artist. He was recently invited to show his graphite drawings at the 36th Annual C.M. Russell Art Auction held in Great Falls, Montana. Born in Juneau, Alaska in 1972, Means has lived most of his life in Eureka, CA. Without any formal art training, Means focuses on the life and times of the working American cowboy and the emotions of horse and rider. Prior to 2002, Means had never displayed his work. During 2002 and through May of 2003, he was bedridden awaiting back surgery for a work related injury. He spent his time rekindling the love of drawing and began entering works in California county fairs during the summer of 2003. He won "Honorable Mention" at the San Diego County Fair, "Peoples Choice" at the Humboldt County Fair, and "Best of Show" at the Redwood Acres Fair. He lives on a ranch, K & M Quarter Horses, in Red Bluff, California, where he breeds and trains quarter horses. He attends rodeos, visits ranches, and rides the back trails to find subjects for his works.
Dan McCaw Woman with Flower Basket Painting
Lot #570 (Sale Order 570 of 1017)
Title is Woman with Flower Basket. 16" by 25 1/2" unframed. 20" by 30 1/2" framed. Oil on Board. Dan McCaw (Born 1942) is active/lives in California, Montana. Dan McCaw is known for Figure, interiors with figure, coastal. Dan McCaw is an American Impressionist painter known for his city scenes, interiors, and still lifes with soft color harmonies and gentle subject matter. He is especially noted for his technique of painting figures in a muted haze of color, whether painting city street scenes or interior views. McCaw was born in 1942 in the Irish mining town of Butte, Montana. His interest in art was unusual within the industrial environment of his hometown, and his individuality and talent as an artist eventually led him to California. In 1962, he attended college in Montana before receiving a scholarship to the San Francisco Academy of Design. McCaw married in 1964 and took a job as an illustrator for a Los Angeles firm while still studying at the Academy. As an illustrator he was not free to express himself in the way that he desired through painting. He went on to study at the Art Center for Design in Pasadena, California, later accepting a position there as a painting instructor. Dan McCaw continues to produce art and acts as a mentor to many emerging painters.
John Bye Eight Seconds Cowboy Painting
Lot #571 (Sale Order 571 of 1017)
Title is Eight Seconds. 10" by 12" unframed. 16" by 18" framed. Acrylic on Canvas. Provenance: Trailside Galleries, Jackson, WY & Scottsdale, AZ John Bye (Born 1970) is active/lives in California / England. John Bye is known for Photorealistic wildlife and western theme painting and drawing. People sometimes ask if his works of art are photographs, but they are in fact painted by hand with skill, patience and talent. As is standard for photo-realists, John Bye begins with a reference photo, and then sketches what he will paint onto his canvas by hand, making changes as he sees fit from the original photo to achieve the composition he is happy with. He then paints with acrylics, layer by layer and with great detail to complete his HD photo-realistic paintings giving them his own unique take on the subject. It is said that if you were to have several photo-realist artists paint the same scene, each painting would be different, as each is influenced by the vision and skill of the artist. Self-taught, John's talent has not gone unnoticed. John Geraghty of the Autry wrote that John's cowboy paintings were "exceptional", and he was invited to participate in the Masters of the American West show, 2016. John Bye has been featured in Western Art Collector magazine, and has been an invited participant in the Settler's West art show. The Greenwich Workshop now publishes his limited editions. John was included in the 20 Best British Artists in the Daily Mail article after a competition whose judges included UK art critic Brian Sewell. John also won People's Favorite at the UK Wildlife Art Society competition.
Lunda Lou Hoyle Gill Mongolian Painting
Lot #572 (Sale Order 572 of 1017)
Title is Mongolian. 45" by 50" unframed. 46 1/2" by 56 1/2" framed. Oil on Canvas. Exceptionally large, will be expensive to ship. Provenance: From the Collection of Mr. David Taylor Condition: The painting appears to be in good condition with rabbet rub at the upper edge and right side of the frame edge, two small areas of loss at the lower center and a 1 by 1/4 inch area of loss to the right of the figure's thigh. Lunda Lou Hoyle Gill (1928 - 2003) was active/lived in California. Lunda Gill is known for Native American and indigenous portrait. Lunda Lou Hoyle Gill was born in Covina, CA on September 14, 1928. Gill studied with Milford Zornes and Millard Sheets at Pomona College, at Chouinard Art Institute and continued at the Art Students League in New York. She wed James R. Gill in 1956 and lived in Oklahoma City. In 1984 she returned to southern California and settled in Riverside. Early in her career she painted a variety of subjects; later she traveled widely to paint indigenous cultures as well as most of the tribes of Native Americans of the Southwest. She died in Encino, CA on October 16, 2003.
Jim Carson The Winter Overland Oil Painting
Lot #573 (Sale Order 573 of 1017)
Title is The Winter Overland. 34" by 58" unframed. 40" by 64" framed. Oil on Canvas. Jim Carson (Born 1942) is active/lives in Georgia, North Carolina. Jim Carson is known for Frontier-Indian genre painting, illustration. Known for his romantic depictions of the West, Jim Carson thoroughly researches his subject matter, which combines romantic idealism and chronicled historical events. He is dedicated to keeping alive visions of the Old west. A New Yorker, he attended the Art Students League and illustrated western novels. He had become enamored of the West when he, at age thirteen, spent several weeks at the Philmont Boy Scout Ranch in New Mexico. He earned a PhD in chemistry, but his first love was art.
Edward Borein Cowboy Pen and Ink Drawing
Lot #574 (Sale Order 574 of 1017)
Title is Roping. 11 5/8" by 13 5/8" framed. 6" by 8" unframed. Pen and Ink on Paper. Provenance: Private Missoula Montana Estate. Edward (John Edward) Borein (1872 - 1945) was active/lived in California. Edward Borein is known for Western genre and horse painting, illustration. He was raised in San Leandro, a western cow town, in a family where his father was a county politician. Edward had many childhood memories of herded cattle and their cowboys, which he began sketching at the age of five. He was educated in the Oakland, California schools, and at the age of 17 began working on a ranch near Oakland and then drifted and sketched as a working cowboy throughout the Southwest, Mexico, and Guatemala. It was said that he practiced his art on anything he could find from bunkhouse walls to scraps of paper. At age 19, he enrolled at the San Francisco Art School, his only formal art training, and there he met Jimmy Swinnerton and Maynard Dixon who encouraged him in his art career. The first person to purchase his work was Charles Lummis, editor of The Land and Sunshine magazine in California, and the two became life-long friends. Borein and Lucille Maxwell were married in the Lummis home. Borein, a typical westerner in dress and manner, also became close friends with Charles Russell, actor Will Rogers, and President Theodore Roosevelt. Borein often traveled north to visit Russell in Great Falls, Montana and to travel among Indian tribes. In 1899, Borein visited Arizona while returning from Mexico. By 1902, he was a successful illustrator in San Francisco for the San Francisco Call, and in 1907 to enhance his illustration skills, went to New York to learn etching techniques. There he enrolled in the Art Students League and was a student of Child Hassam. In the theatre district, he opened a studio that became a gathering place for 'lonesome' westerners such as Charles Russell, Will Rogers, Olaf Seltzer and Oscar Borg. But Borein did not feel at home in New York, so he moved to Santa Barbara, California in 1921. This was a final move. He and his wife built a Hopi-style home, and he taught at the Santa Barbara School of the Arts until his death, and also turned increasingly from oil to watercolor painting. "On occasion Borein would decorate place cards for dinners with small watercolor sketches of cowboys, vaqueros, Indians and Bucking horses". (Santa Fe Auction) From his studio, which again attracted many of his friends, he depicted Indians, cowboys, and California ranch life and was financially successful.
Bernard Vetter Relics of the Southwest Painting
Lot #575 (Sale Order 575 of 1017)
Title is Relics of the Southwest or Pottery of the Southwest. 18" by 30" unframed. 27 1/2" by 39 1/2" framed. Watercolor on Paper. Provenance: From the Meyer Estate Bernard (Bernie) Vetter (Born 1940) is active/lives in Texas. Bernard Vetter is known for Landscape with figure, still life paintings. Bernard Vetter graduated from the University of Texas at El Paso and has been a professional artist since 1972. He uses a dry brush technique to paint realistic watercolors of Southwestern and wildlife/sporting subjects, including fly-fishing scenes. In his oil paintings he specializes in Southwestern landscapes, typical of Southeastern Arizona, New Mexico and West Texas. Vetter's paintings are a part of a number of collections including the Favell Museum in Klamath Falls, Oregon; the Pabst Collection in Milwaukee, Wisconsin; and the Miller Collection in Ft. Worth, Texas as well as many private collections. In 1994 his work became part of the acquisition of the Huthsteiner Fine Arts Trust.
William Hawkins Arizona Giclee on Canvas
Lot #576 (Sale Order 576 of 1017)
13" by 25". Signed.
David Ewart Montana Indian Giclee Print
Lot #577 (Sale Order 577 of 1017)
Giclee on Canvas. 22 3/4" by 26 3/4" framed.
Native American Indian War Club Print
Lot #578 (Sale Order 578 of 1017)
Signed and Numbered. 12 7/8" by 16 3/4" framed.
Native American Indian War Club Print
Lot #579 (Sale Order 579 of 1017)
Signed and Numbered. 12 7/8" by 16 3/4" framed.
Jay Rummel Missoula Montana Eddies Club Poster
Lot #580 (Sale Order 580 of 1017)
11" by 17" A Missoula artist, Rummel was known for his love of Native American and pioneer storytelling, the paintings of Charlie Russell, 1960's psychedelia, folk music and modern art. The Five Valleys Trilogy is one of his most significant works. Three panels are titled, from left to right: Road to the Buffalo, When First Unto this Country, and Lady from Missoula County. MAM's prints are from an edition of photolithographs derived from the original large-scale paintings that Rummel created between 1981-1983 with assistance from Doug Grimm. The paintings were commissioned originally for the Top Hat Bar and are on long-term loan to the University of Montana. The Road to the Buffalo is translated from the Nez Perce name for the Blackfoot River corridor, Cokahlah-ishkit. Local tribes used the foot trail to cross the Continental Divide into the Rocky Mountain Front. Lewis & Clark used the trail in 1806, followed by the Big Blackfoot Railroad, which in the early 1900s transported lumber to the Anaconda mill in Bonner. More recently, conservation efforts have helped the Road to the Buffalo recover from industrial pollution to host excellent fishing and biking trails. When First Unto this Country depicts the landscape and Native American culture that flourished for 10,000 years before Europeans arrived. Lady from Missoula County is the contemporary local art and music scene that Rummel knew well. The print features Missoula most well-known downtown watering holes, local musicians like the Snake River Outlaws, and a crew of Eddie's Club regulars -- including Rummel and Lee Nye, the bartender-photographer who so famously documented the bar's patrons.
Jay Rummel Missoula Montana Lukes Bar Poster
Lot #581 (Sale Order 581 of 1017)
Luke's Bar Talent Contest. Woodblock print. 11" by 17". A Missoula artist, Rummel was known for his love of Native American and pioneer storytelling, the paintings of Charlie Russell, 1960's psychedelia, folk music and modern art. The Five Valleys Trilogy is one of his most significant works. Three panels are titled, from left to right: Road to the Buffalo, When First Unto this Country, and Lady from Missoula County. MAM's prints are from an edition of photolithographs derived from the original large-scale paintings that Rummel created between 1981-1983 with assistance from Doug Grimm. The paintings were commissioned originally for the Top Hat Bar and are on long-term loan to the University of Montana. The Road to the Buffalo is translated from the Nez Perce name for the Blackfoot River corridor, Cokahlah-ishkit. Local tribes used the foot trail to cross the Continental Divide into the Rocky Mountain Front. Lewis & Clark used the trail in 1806, followed by the Big Blackfoot Railroad, which in the early 1900s transported lumber to the Anaconda mill in Bonner. More recently, conservation efforts have helped the Road to the Buffalo recover from industrial pollution to host excellent fishing and biking trails. When First Unto this Country depicts the landscape and Native American culture that flourished for 10,000 years before Europeans arrived. Lady from Missoula County is the contemporary local art and music scene that Rummel knew well. The print features Missoula most well-known downtown watering holes, local musicians like the Snake River Outlaws, and a crew of Eddie's Club regulars -- including Rummel and Lee Nye, the bartender-photographer who so famously documented the bar's patrons.
European Landscape Oil Painting
Lot #582 (Sale Order 582 of 1017)
18" by 24" framed.
Tucker Smith Madison Crossing Print
Lot #583 (Sale Order 583 of 1017)
Signed and numbered. 21" by 39".
Jay Contway Montana Print
Lot #584 (Sale Order 584 of 1017)
Signed and Numbered. 16 1/2" by 17 1/2"
Harry L. Lopp Mount Citadel Glacier Park Painting
Lot #585 (Sale Order 585 of 1017)
Title is Mount Citadel Glacier National Park Montana. 12" by 16" unframed. 16 1/2" by 21" framed. Oil on Canvas. Harry Leonard Lopp (1888 - 1974) was active/lived in Montana, South Dakota, Oregon / Canada. Harry Lopp is known for National park landscape paintings, often with animals, architectural design. Leonard Lopp (May 1, 1888 - December 3, 1974) was an American painter and muralist of the Pacific Northwest. He exhibited his work in the United States and Canada, and he did five murals in Kalispell, Montana. His paintings were collected by President Harry Truman and FBI director J. Edgar Hoover. Lopp became a painter and muralist of the Pacific Northwest. He did five murals in Kalispell, Montana: four in the Conrad National Bank, and one in the Seventh-Day Adventist Church. He was a member of the Montana Institute of the Arts, and he exhibited his work in the United States and Canada. His paintings often came in handmade frames. Lopp also restored paintings in the C. M. Russell Museum Complex in Great Falls, Montana.
Tom Lucas Still Life Oil on Board Painting
Lot #586 (Sale Order 586 of 1017)
Title is Still Life. 8" by 10" unframed. 10 1/4" by 12 1/4" framed. Oil on Board. Tom Lucas is known for Painting. A Wyoming artist, Tom Lucas, has dedicated the past forty years engaging in his pursuit of painting distinctive western art. Tom Lucas was recently accepted as an Associated Member of the Oil Painters of America based in Illinois. His biggest influences have been Charlie Russell, Carl Rungius, Bob Kuhn, Ken Carlson, Nicolas Fechin, and David Leffell, to name a few. Tom lives near the Wind River Mountains with his wife Tammy who stands by his side in all his endeavors to persevere.
Conrad Schwiering Silent Solitude Print
Lot #587 (Sale Order 587 of 1017)
Signed and numbered. 24 3/4" by 30 3/4" framed.
Elmer Schock Montana Oil on Canvas Painting
Lot #588 (Sale Order 588 of 1017)
Title is Geese Landing. 16" by 20" unframed. 19 1/2" by 23 1/2" framed. Oil on Canvas. Elmer Schock is active/lives in United States. Elmer Schock is known for Painting.
Joel Ostlind Etching
Lot #589 (Sale Order 589 of 1017)
13 3/4" by 16 7/8" framed.
E.A. Stout Pastel Indian Drawing
Lot #590 (Sale Order 590 of 1017)
18" by 21" framed. Pastel on paper.
Jack (Jac) Elmo King Cowboy Drawing
Lot #591 (Sale Order 591 of 1017)
4 1/2" by 8" unframed. 17 1/2" by 20 1/2" framed. Pen and Ink on Paper. Jack (Jac) Elmo King (1920 - 1998) was active/lived in Montana, Arizona. Jack King is known for Western landscape, sporting painting. A soprting and Western painter, he was born in Phoenix, Arizona on December 31, 1920 and went to High School and Community College in Glendale, California. In 1941, he went to work as a draftsman at Douglas Aircraft. He went into the U. S. Navy in April of 1944. After World War II, they bought an acre and a half tract near Redlands, California where Jack built an adobe house. Then after eighteen months, he and his wife sold the home so that he could attend the Los Angeles Art Center School. He was accepted on the GI Bill in 1947 and attended for two years. In 1949, he got a job in Dallas, Texas with per diem for a year as a draftsman with the Carter Engineering Group. He did not graduate from college but they were continually promoting him in mechanical engineering positions. He then worked in Wichita, Kansas as a draftsman again. At the end of his work day, Jack would paint until midnight on freelance work for his own enjoyment. The King's moved back to West Covina, California in 1952. He went to work for Aerojet Aerospace Engineering and then worked in Tacoma, Washington until 1972. They again came back to California. Then they moved again to Idaho Falls again with Aerojet Aerospace for one year. Jack got sick so they came back to California where he retired in 1970. Despite working full-time he continued to paint whenever possible; after retirement in 1970 he painted full-time and his work was marketed exclusively through an agent in Canada. He exhibited for many years at the Calgary Stampede Western Art Auction.
Frank Magsino Indian Camp Pencil Drawing
Lot #592 (Sale Order 592 of 1017)
6" by 8" unframed. 13 1/2" by 15 1/2" framed. Pencil on Paper. Frank Magsino (1937 - 2020) was active/lived in California. Frank Magsino is known for Miniature artwork, western-Indian genre, landscape. One of the world’s finest miniaturists, Frank Magsino, grew up among the broad vistas and rugged mountain scenery of San Jose Mindoro in the Philippines. Born in 1937, the grandchild of pioneers who settled there and built a ranch in the wilderness, Magsino was always more attracted to art than to ranching. Fortunately, his parents recognized his natural talent and encouraged it. They saw to it that his education had an art emphasis, which continued throughout his studies at the University of Santo Tomas and later at the San Francisco Academy of Art. Magsino began to exhibit and sell his work in 1968. However, in 1971 after a period of travel, his style underwent a major change. He began experimenting with miniature painting, and soon found this was a medium perfectly suited to his unique talents. Working with acrylic on masonite, Magsino often uses a magnifying glass to paint incredibly minute details. At times he uses a brush with only a single hair. The resulting miniatures are delicate masterpieces, each a world unto themselves. Few other artists have captured the range, detail and human feeling as Magsino does in his miniature paintings. Magsino’s work may be found in fine art collections throughout the world, including 20 paintings currently at the Favell Museum. "Tilting at Windmills" is pleased to include the works of Frank Magsino in our collection of quality artists.
Alexander Phimister Proctor Bull Elk Etching
Lot #593 (Sale Order 593 of 1017)
8 1/2" by 5 7/8", 17 1/4" by 14 1/8" framed. Alexander Phimister Proctor (1862 - 1950) was active/lived in New York, California, Ontario. Alexander Proctor is known for Life size animal and figure sculpture. Alexander Phimister Proctor was born in Ontario Canada in 1862 to second generation pioneers. In the spring of 1871 the family moved to Denver, Colorado with the hope of prosperity. Exploring the Colorado Rockies with his father, Proctor developed a permanent interest in wildlife. Through studying and sketching specimens he developed a deep visual understanding of their artistic merits. Proctor moved to New York in 1885 where he enrolled at the National Academy of Design and the Art Student's League. In 1887 he met the sculptor John Rodgers and under his tutelage took up the modeling of wild animals seriously. After several years of winter studies in New York and summer adventures in the mountains of Washington and Colorado, Proctor's plans were to return to New York. On his return he was intercepted by a telegram from Chicago inviting him there for what was to be his greatest opportunity. In 1891 he arrived in Chicago to begin his newly commissioned work for the World's Colombian Exposition that was to open in 1893. He sculpted thirty-five life-size animals depicting those he hunted and studied in his mountain adventures. He also created two enormous equestrian sculptures. The work brought Proctor into the international spotlight and financial stability. Seeking a more formal education he moved to Paris for a year and studied at the Julien Academy under the tutelage of Denys Puech. There his work won the admiration of Parisian art critics and Augustas Saint-Gauden. Returning to the states, he began work on sculptures of General Logan and General Sherman for Saint-Gauden. In 1896 Proctor received the Rinehart Scholarship and was back in Paris for three years of study. His bronzes 'Stalking Panther' and 'The Indian Warrior' were exhibited at the Paris Exposition of Nineteen hundred and won him the Gold Medal. Proctor had as many commissions as he could handle. He often was overlapping them to satisfy his demand. Over the course of his life he created a prodigious amount of art. His enthusiasm and love of life is seen in all his sculptures that can be found across the states and around the world.
Anita Munman Japanese Grape Vine Gouache on Paper
Lot #594 (Sale Order 594 of 1017)
Title is Japanese Grape Vine. Gouache on paper. 17" long by 9 1/4"; 26 7/8" long by 19 3/8" framed. Anita Munman worked in sales for a telecommunication company in the 1980s. She left the work and returned to school to study the influences of Japanese culture on American art and architecture. Then, together her husband, decided to renovate their home discovered that the money their had was not enough to buy art so Anita decided to create her own art - her husband is a professor of art history and architecture. Anita made gouache paintings and ink drawings based on works by artists of the Arts and Crafts era, many of whom were inspired by the Japanese drawings and landscape prints that flooded this country from the 1920s through to the 1930s. During that time, there was an obsession with Japanese things. People were captivated by the different approach, which wasn't as realistic or symmetrical. Once her own walls were covered, Anita placed an ad in Arts & Crafts Quarterly magazine. Surprisingly, sales boomed and a catalog followed. Most recently, L. & J.G. Stickely Furniture Co. spotted her work and convinced her to sell through its catalog. She now has a stable of 6 artists who produce thirty five paintings every week. The paintings are in the style of the Arts and Crafts, influenced by woodblock prints with simple trees from Japan. Since 1993 the artist has been offering fresh works of art in the Arts & Crafts/Mission style, which are produced from her original paintings. The arts are also influenced by Japanese bugs and beetles, and swamp and bark plants. Anita continues the Arts & Crafts tradition by offering a growing selection of Limited Edition canvas giclees, a large selection of Open Edition Canvas lithographs, and once in awhile an original painting.
Monte Dolack Enjoying the Bob Marshall Print
Lot #595 (Sale Order 595 of 1017)
Signed artist proof. 39 1/4" by 30 1/4" framed.
Russell Chatham Late Afternoon Lithograph
Lot #596 (Sale Order 596 of 1017)
Signed and Numbered print 201 of 275. 22 7/8" by 18 7/8" framed. Russell Chatham (1939 - 2019) was active/lived in Montana, California. Russell Chatham is known for Tonalist western landscape painting, lithographs. A painter, lithographer, and writer of the American West, Russell Chatham has had several hundred exhibitions of his paintings and prints and is "considered one of the world's foremost lithographers" (27). He has written numerous essays and short stories on hunting, fishing and conservation as well as on food and wine and has had his work published in Sports Illustrated, Esquire, The Atlantic and Outdoor Life. Based in Livingston, Montana, he settled there in 1972, and operates a literary press, a gallery, and a company that produces catalogs, prints and posters. He also spends much time fly fishing. Chatham's paintings focus on the landscape of his surroundings and include Missouri River headwater scenes and Yellowstone National Park. He is fascinated by changing seasons and changing light and the silent, spiritual aspects of landscape. Of his work, he says: "Creating art is an attempt to search for something beyond ourselves". (29). In 1990, he began a commission of twelve large-size paintings that are odes to the Montana seasons for the Museum of the Rockies in Bozeman. The main image is titled The Seasons: The Headwaters of the Missouri River in April and is fourteen by ten feet and based on extensive trips to study the river from various vantage points. Chatham was raised in Carmel Valley, California, and there developed a love for the landscape. An inspiration for his painting was his grandfather, Gottardo Piazzoni, one of the foremost California painters in the early 20th century. Chatham inherited and uses his painting tools, easel and sketch box. As an artist, Chatham is mostly self-taught with a stated intent of remaining distanced from the contemporary art world. He is not prolific and sometimes finishes only six or seven large paintings a year.
Russell Chatham Squall in Late November Lithograph
Lot #597 (Sale Order 597 of 1017)
Title is Squall in Late November. Signed and numbered 217 of 275. 43" by 31" framed. Russell Chatham (1939 - 2019) was active/lived in Montana, California. Russell Chatham is known for Tonalist western landscape painting, lithographs. A painter, lithographer, and writer of the American West, Russell Chatham has had several hundred exhibitions of his paintings and prints and is "considered one of the world's foremost lithographers" (27). He has written numerous essays and short stories on hunting, fishing and conservation as well as on food and wine and has had his work published in Sports Illustrated, Esquire, The Atlantic and Outdoor Life. Based in Livingston, Montana, he settled there in 1972, and operates a literary press, a gallery, and a company that produces catalogs, prints and posters. He also spends much time fly fishing. Chatham's paintings focus on the landscape of his surroundings and include Missouri River headwater scenes and Yellowstone National Park. He is fascinated by changing seasons and changing light and the silent, spiritual aspects of landscape. Of his work, he says: "Creating art is an attempt to search for something beyond ourselves". (29). In 1990, he began a commission of twelve large-size paintings that are odes to the Montana seasons for the Museum of the Rockies in Bozeman. The main image is titled The Seasons: The Headwaters of the Missouri River in April and is fourteen by ten feet and based on extensive trips to study the river from various vantage points. Chatham was raised in Carmel Valley, California, and there developed a love for the landscape. An inspiration for his painting was his grandfather, Gottardo Piazzoni, one of the foremost California painters in the early 20th century. Chatham inherited and uses his painting tools, easel and sketch box. As an artist, Chatham is mostly self-taught with a stated intent of remaining distanced from the contemporary art world. He is not prolific and sometimes finishes only six or seven large paintings a year.
Edward Curtis Photogravure A Hill Camp Spokan
Lot #598 (Sale Order 598 of 1017)
Photogravure of 1910 Photo of Spokane Indian Tee pees. 18 1/8" by 14 1/8" framed.
Edward Curtis Photogravure Blackfoot Burial
Lot #599 (Sale Order 599 of 1017)
14" by 18" framed.
Edward Curtis Photogravure Kaktsamah Cowlitz
Lot #600 (Sale Order 600 of 1017)
14" by 18" framed.
Edward Curtis Photogravure Making Camp
Lot #601 (Sale Order 601 of 1017)
14" by 18" framed.
Clarence Basil Cuts the Rope Montana Print
Lot #602 (Sale Order 602 of 1017)
11" by 17"
Winchester on The Frontier Print Set
Lot #603 (Sale Order 603 of 1017)
Fred Fellows. 12 1/2" by 17"
Ace Powell Engraving Montana Indian
Lot #604 (Sale Order 604 of 1017)
9" by 12" unframed. 12" by 15 1/4" in matte.
Clarence Basil Cuts the Rope Montana Print
Lot #605 (Sale Order 605 of 1017)
17 1/2" by 22 1/2"
Edward Curtis Photogravure Under the Palms
Lot #606 (Sale Order 606 of 1017)
Under the Palms Cahuilla. 18" by 22".
Edward Curtis Photogravure Andres Canon
Lot #607 (Sale Order 607 of 1017)
18" by 22". Pen mark as shown.
Edward Curtis Photogravure A Koskimo House Post
Lot #608 (Sale Order 608 of 1017)
18" by 22".
Collection of Assorted Artwork
Lot #609 (Sale Order 609 of 1017)
Largest is 16" by 20"
Clarence Basil Cuts the Rope Montana Print
Lot #610 (Sale Order 610 of 1017)
11" by 17"
Ace Powell Montana Prints
Lot #611 (Sale Order 611 of 1017)
Signed and Numbered. 20" by 26".
Ron Jenkins Owl Prints
Lot #612 (Sale Order 612 of 1017)
Signed and numbered. 8 1/2" by 11"
Tucker Smith Print
Lot #613 (Sale Order 613 of 1017)
Signed and numbered. 8 1/2" by 11"
Marvin Enes Montana Cowboy Pen and Ink Drawing
Lot #614 (Sale Order 614 of 1017)
Title is Pony Express. 7 1/2" by 10" unframed, 10" by 13" in matte. Marvin Enes (1946 - 2003) was active/lived in United States. Marvin Enes is known for Painting.
Mountains of Aboo in Guzerat Ackermann Lithograph
Lot #615 (Sale Order 615 of 1017)
Mountains of Aboo in Guzerat, fifth plate in the incomplete book Scenery, Costumes and Architecture, chiefly on the Western Side of India by Captain Robert Melville Grindlay (London: R. Ackermann, 1826). Color aquatint with hand coloring. 16 1/4" by 18 1/2" framed.
Cotton Factory New Orleans Blockade Broadside
Lot #616 (Sale Order 616 of 1017)
Quite an interesting old broadside circular. 12 1/4" by 14" framed.
National Geographic Southwestern United States Map
Lot #617 (Sale Order 617 of 1017)
28 1/2" by 37 1/2" framed.
Hare Shooting J. Thomson Lithograph
Lot #618 (Sale Order 618 of 1017)
18 3/4" by 21"
1849 Tallis Rapkin North America Map
Lot #619 (Sale Order 619 of 1017)
16 1/2" by 20 1/2" framed.
The Relief of Lucknow Indian Rebellion 1857
Lot #620 (Sale Order 620 of 1017)
15" by 18 1/4" framed.
View in the Bore Ghaut Lithograph
Lot #621 (Sale Order 621 of 1017)
Captain Robert Melville Grindlay. 16 1/2" by 18 1/2" framed.
30th New York Civil War Document Signed
Lot #622 (Sale Order 622 of 1017)
12 3/8" by 16 5/8" framed.
Quail Unlimited Stamp and Print
Lot #623 (Sale Order 623 of 1017)
14" by 15 1/2"
1853 Milk River Crossing Columbia River Map
Lot #624 (Sale Order 624 of 1017)
30" by 67 1/2". Large and very expensive to ship framed.
1938 State of Montana Map
Lot #625 (Sale Order 625 of 1017)
27" by 38" framed.
Dying Buffalo Bull in Snow Drift George Catlin
Lot #626 (Sale Order 626 of 1017)
George Catlin 1844. 24 1/2" by 29" framed.
William Cornwallis Harris Blesbok Antelope
Lot #627 (Sale Order 627 of 1017)
20" by 23" framed. This large folio lithograph is from Sir William Cornwallis Harris's Portraits of the Game and Wild Animals of Southern Africa, delineated in their native haunts, during a hunting expedition from the Cape Colony as far as the Tropic of Capricorn, in 1836 and 1837, with sketches of the field sports. The lithography was completed by Frank Howard. The work was printed in London by Green & Martin between 1840 and 1842.
Alexander William Phillips The Early Repast
Lot #628 (Sale Order 628 of 1017)
18 1/2" by 25 1/2" framed. Boar Hunting: The Early Repast; The Jungle Side, The Boar Breaking; The Wounded Boar, Charging; and The Death of the Boar hand colored lithographs, published by J. Watson, London, 1851.
Godfrey Douglas Giles Tiger Hunt Lithograph
Lot #629 (Sale Order 629 of 1017)
Signed. 21 3/4" by 23" framed.
Godfrey Douglas Giles Tiger Hunt Lithograph
Lot #630 (Sale Order 630 of 1017)
Signed. 21 3/4" by 23" framed.
Gary Carter Five Minute Furlough Print
Lot #631 (Sale Order 631 of 1017)
Signed and Numbered. 29" by 40" framed.
Frederick Courteney Selous Hunter Explorer Letter
Lot #632 (Sale Order 632 of 1017)
Framed Letter with signature and Vanity Fair Excerpt. 20" by 35" framed
The Wounded Boar Charging Will Tayler Lithograph
Lot #633 (Sale Order 633 of 1017)
18 1/2" by 25 3/4" framed.
Australia Great Barrier Reef Travel Poster
Lot #634 (Sale Order 634 of 1017)
16 1/2" by 26 1/2" framed.
Sir Winston Churchill Marrakech Print
Lot #635 (Sale Order 635 of 1017)
15 1/2" by 18 3/4" framed.
Collection of Winston Churchill Prints
Lot #636 (Sale Order 636 of 1017)
Largest is 20 3/4" by 25 3/4".
Among the Prairie Chickens Edwin Forbes
Lot #637 (Sale Order 637 of 1017)
15" by 18 3/4" framed.
Winston Churchill Debossed Paper Print
Lot #638 (Sale Order 638 of 1017)
13 1/4" by 14 1/4" framed.
Godfrey Douglas Giles Tiger Hunt Lithograph
Lot #639 (Sale Order 639 of 1017)
Signed. 21 5/8" by 23"
Oriental Field Sports Hog Hunters Lithograph
Lot #640 (Sale Order 640 of 1017)
19 5/8" by 24" framed.
Fox Hounds Henry Thomas Alken Aquatint
Lot #641 (Sale Order 641 of 1017)
London 1820. 16" by 19" framed.
Antique Mughal Empire Painting
Lot #642 (Sale Order 642 of 1017)
11 1/2" by 15 1/2" framed.
A.H. Payne The Tiger Hunt Lithograph
Lot #643 (Sale Order 643 of 1017)
11 3/4" by 13 1/4" framed.
William Gamradt Cape Buffalo Etching
Lot #644 (Sale Order 644 of 1017)
15 1/2" by 16 1/2" framed.
Roualeyn Gordon Cumming Hunter Lithograph
Lot #645 (Sale Order 645 of 1017)
10 5/8" by 12 3/4" framed.
1910 Yellowstone National Park Map
Lot #646 (Sale Order 646 of 1017)
25 1/2" by 31" framed.
Godfrey Douglas Giles Tiger Hunt Lithograph
Lot #647 (Sale Order 647 of 1017)
Signed. 21 1/2" by 23" framed.
William Tayler The Jungle Side The Boar Breaking
Lot #648 (Sale Order 648 of 1017)
Aquatint. 18" by 25 1/2" framed.
Hunting Tigers on Elephants Lithograph
Lot #649 (Sale Order 649 of 1017)
21" by 26" framed.
William Tayler The Death of the Boar
Lot #650 (Sale Order 650 of 1017)
Aquatint. 18 1/2" by 26" framed.
Henry Thomas Alken Pointers Lithograph
Lot #651 (Sale Order 651 of 1017)
16" by 19" framed.
The Wonderful West of Charles M Russell
Lot #652 (Sale Order 652 of 1017)
10" by 13". Historical Society of Montana 1956
Very Large Native American Indian Oil Painting
Lot #653 (Sale Order 653 of 1017)
Signed. Oil on Canvas. 60" by 60". Pickup required at our facility, shipping not available.
Jay Rummel Missoula Montana Studio Pottery Charger
Lot #654 (Sale Order 654 of 1017)
13 1/2" diameter. Damaged and repaired. A Missoula artist, Rummel was known for his love of Native American and pioneer storytelling, the paintings of Charlie Russell, 1960's psychedelia, folk music and modern art. The Five Valleys Trilogy is one of his most significant works. Three panels are titled, from left to right: Road to the Buffalo, When First Unto this Country, and Lady from Missoula County. MAM's prints are from an edition of photolithographs derived from the original large-scale paintings that Rummel created between 1981-1983 with assistance from Doug Grimm. The paintings were commissioned originally for the Top Hat Bar and are on long-term loan to the University of Montana. The Road to the Buffalo is translated from the Nez Perce name for the Blackfoot River corridor, Cokahlah-ishkit. Local tribes used the foot trail to cross the Continental Divide into the Rocky Mountain Front. Lewis & Clark used the trail in 1806, followed by the Big Blackfoot Railroad, which in the early 1900s transported lumber to the Anaconda mill in Bonner. More recently, conservation efforts have helped the Road to the Buffalo recover from industrial pollution to host excellent fishing and biking trails. When First Unto this Country depicts the landscape and Native American culture that flourished for 10,000 years before Europeans arrived. Lady from Missoula County is the contemporary local art and music scene that Rummel knew well. The print features Missoula most well-known downtown watering holes, local musicians like the Snake River Outlaws, and a crew of Eddie's Club regulars -- including Rummel and Lee Nye, the bartender-photographer who so famously documented the bar's patrons.
Megan Bogonovich Studio Pottery Bowl
Lot #655 (Sale Order 655 of 1017)
Title is The Great Antlered Monkey. 4 1/4" diameter, 1 1/4" tall.
Julia Galloway Montana Studio Pottery Pitcher
Lot #656 (Sale Order 656 of 1017)
3 1/2" diameter, 3 1/2" tall. Julia Galloway (Born 1966) is active/lives in New York, Montana. Julia Galloway is known for Sculpture. Artist Julia Galloway was born in 1966. Julia is a professor and director of the school of art at the University of Missoula, Montana.
Sarah Jaeger Montana Studio Pottery Vase
Lot #657 (Sale Order 657 of 1017)
5 1/2" tall, 3 1/4" diameter. Sarah Jaeger (20/21st century) is active/lives in Montana. Sarah Jaeger is known for Ceramic dishes, teaching. Sarah Jaeger, Helena, received a BA in English literature from Harvard College and a BFA from the Kansas City Art Institute. She was a resident artist at the Archie Bray Foundation and a recipient of an Individual Artist Fellowship from the Montana Arts Council and a Target Fellowship from United States Artists. In 2007 she was profiled in the PBS documentary Craft in America. Her work is in numerous private and public collections including the Los Angeles County Museum of Art.
Steven Young Lee Studio Pottery Plate
Lot #658 (Sale Order 658 of 1017)
10 1/2" diameter. Steven Young Lee (Born 1975) is active/lives in United States. Steven Lee is known for Sculpture. As the son of immigrant parents, I am often situated between cultures. Living and working in metropolitan centers such as New York, Chicago, Shanghai, Seoul and Vancouver, as well as the rural communities of Alfred, Jingdezhen and Helena has continually raised questions of identity and assimilation. My experiences range from being an outsider in the country of my heritage to that of being a minority in Montana. Growing up as a second generation Korean American, my identity has felt neither fully Korean or American, and it is through my work where I investigate topics of place and belonging. I cross-reference historical forms and traditional decorative elements, East and West, to set up unfamiliar, discordant or ironic relationships. Examples include the iconic Moon Jar, a revered vessel from Korea’s rich ceramic history that has become a symbol of Korean culture, identity and pride. Contemporary Asian figures and characters like Bruce Lee and Godzilla were the rare relatable heroes in my youth that were accepted into mainstream culture. I am also fascinated by the power of color symbolism which can be used to convey patriotism or to categorize race dependent on the culture and context they are viewed in. By utilizing these references, it helps me reflect upon my identity as a Korean American and the imperfect relationship regarding dualities of cultural association. Intentionally deconstructing vessels recalibrates notions of classical perfection and beauty and seeks to critique ideas of failure and expectation, craft skill and the innate value of an object. By making porcelain vessels intended to crack in the firing and morphing decorative practices, I am challenging a deep history of craft protocols and questioning the boundaries and authenticity of identity, ownership and intent.
Charles M Russell Montana Bighorn Sheep Bronze
Lot #659 (Sale Order 659 of 1017)
Title is Bighorn Sheep. 10" by 9" by 7". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared odd—that cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? It’s quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russell’s guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawking—somewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys slept—until 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersman—unlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlie’s life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russell’s creative genius. He understood that the mountains don’t need us, we need the mountains. Charlie’s favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "
Philip R Goodwin Bobcat Bronze
Lot #660 (Sale Order 660 of 1017)
Title is Bobcat. 5 1/2" by 3 1/8" by 2 1/8" Philip Russell Goodwin (1881 - 1935) was active/lived in New York, Connecticut. Philip Goodwin is known for Animal, field-stream illustration. Known for his illustrations of hunting, fishing, and cowboy scenes, especially scenes featuring firearms, Philip R. Goodwin was from Norwich, Connecticut. By the age of eleven, he had already sold his first illustrations to Collier's magazine. He was educated at the Rhode Island School of Design in Providence and the Art Students' League in New York. He also studied with Howard Pyle in Pennsylvania. His works exhibit much of Pyle's earnestness and discipline, but are restricted almost entirely to subjects of hunting and fishing. In this limited area, however, he produced many notable pictures, the subject matter always convincing and dramatic in color. In his early twenties, he established a studio in New York and met Charles Russell, whose paintings of western subjects provided a great influence on Goodwin's work in that genre. Goodwin's interest in scenes of cowboys and ranch life is evident in Bronco Buster. The two men traveled together on several occasions, sketching source material for their paintings. Meanwhile, Goodwin appeared in such books as Jack London's Call of the Wild. Goodwin's pictures were also published in Harper's Monthly and Weekly, Outing, Scribner's, and Everybody's magazines, in addition to calendar subjects for Brown & Bigelow, advertising for Winchester Arms and the Marlin Firearms Company. He also illustrated African Game Trails for Theodore Roosevelt. Goodwin's interest in Charles Russell is seen not only in Goodwin's use of bright, vivid colors, but also in the romanticized subject matter, which appears to celebrate the bonding of rider and mount.
Philip R Goodwin Mountain Lion Bronze
Lot #661 (Sale Order 661 of 1017)
3 1/2" tall, 2 1/2" long, 1 1/4" wide. Philip Russell Goodwin (1881 - 1935) was active/lived in New York, Connecticut. Philip Goodwin is known for Animal, field-stream illustration. Known for his illustrations of hunting, fishing, and cowboy scenes, especially scenes featuring firearms, Philip R. Goodwin was from Norwich, Connecticut. By the age of eleven, he had already sold his first illustrations to Collier's magazine. He was educated at the Rhode Island School of Design in Providence and the Art Students' League in New York. He also studied with Howard Pyle in Pennsylvania. His works exhibit much of Pyle's earnestness and discipline, but are restricted almost entirely to subjects of hunting and fishing. In this limited area, however, he produced many notable pictures, the subject matter always convincing and dramatic in color. In his early twenties, he established a studio in New York and met Charles Russell, whose paintings of western subjects provided a great influence on Goodwin's work in that genre. Goodwin's interest in scenes of cowboys and ranch life is evident in Bronco Buster. The two men traveled together on several occasions, sketching source material for their paintings. Meanwhile, Goodwin appeared in such books as Jack London's Call of the Wild. Goodwin's pictures were also published in Harper's Monthly and Weekly, Outing, Scribner's, and Everybody's magazines, in addition to calendar subjects for Brown & Bigelow, advertising for Winchester Arms and the Marlin Firearms Company. He also illustrated African Game Trails for Theodore Roosevelt. Goodwin's interest in Charles Russell is seen not only in Goodwin's use of bright, vivid colors, but also in the romanticized subject matter, which appears to celebrate the bonding of rider and mount.
Charles M Russell Sleeping Thunder Bronze
Lot #662 (Sale Order 662 of 1017)
Title is Sleeping Thunder. 7 1/4" by 6 1/2" by 4". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared odd—that cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? It’s quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russell’s guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawking—somewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys slept—until 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersman—unlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlie’s life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russell’s creative genius. He understood that the mountains don’t need us, we need the mountains. Charlie’s favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy ar
Frederic Remington The Bronco Buster Bronze
Lot #663 (Sale Order 663 of 1017)
Title is The Bronco Buster. 4 3/4" by 3 1/4" by 2 1/8". Frederic Sackrider Remington (1861 - 1909) was active/lived in New York, Kansas, Connecticut. Frederic Remington is known for Western painting and sculpture, illustration. In his lifetime polymath Frederic Remington was the most successful and famous Western American artist. His immense talents included excelling as an illustrator, author, sculptor, and fine artist. His was a life tragically cut short. Born on October 4, 1861 in Canton, a small berg in bucolic upper state New York, he was much influenced by his father Seth Pierpont Remington, a Republican journalist who founded the St. Lawrence Plaindealer. His father had been a captain in the Civil War, and in 1870 President Ulysses S. Grant appointed him United States Collector of the Port of Ogdensburg, New York. In 1876 young Frederic enrolled at Highland Military Academy in Worcester, Massachusetts where he studied for the next two years. Two years later he enrolled at Yale for one year to study in the School of Fine Arts. His two loves were art and football. Only three months into school, he published his first illustration in the on-campus newspaper Yale Courant. On the gridiron he was a natural, demonstrating great strength and agility. Like Theodore Roosevelt, Remington also enjoyed boxing. A year later he met his future wife Eva Caten from Gloversville, New York. After the death of Remington’s father from tuberculosis on February 18, 1879, Eva rejected his first marriage proposal. Floundering, Remington headed to the American West to find himself—much like Theodore Roosevelt did when his mother and wife died on the same day. That led to a trip to Montana where he completed a number of sketches. Invigorated by his Western experiences, in February 1883 he headed to Kansas and with part of his inheritance bought a 160 acre sheep ranch near Peabody, Kansas. That failed adventure lasted about a year, and he then relocated to Kansas City, Missouri where Eva would join him as his wife. Yet he squandered the rest of his inheritance on a saloon there. After more illustrations were sold to Harper’s Weekly, in 1885 the Remingtons moved to New York City, and in 1886 he attended the Art Students League. By then Remington was earning $1,200 a year, twice the income of a school teacher. Other magazines such as St. Nicholas and Outing also published his art. His work certainly impressed a young Theodore Roosevelt who was chronicling his life in Medora—now in North Dakota—for a serial that ran in The Century Magazine. It was very common at the time for authors to serialize their works in magazines before they were published in book form. In the fall of 1887 Remington was commissioned to illustrate the magazine stories which ended up in Roosevelt’s 1888 classic book Ranch Life and the Hunting Trail. Early on, a lasting friendship between the two was cemented through these publications. By 1889 he had garnered national notoriety as one of the most accomplished illustrators in the country. He was a national celebrity. In 1889 his monumental canvas A Dash for the Timber was exhibited at the National Academy of Design. The New York Times reported, "The picture at the Autumn exhibition of the Academy of Design before which stands the largest number of people is Frederic Remington’s Dash for the Timber." A Silver medal for Last Lull in the Fight followed at the Exposition Universelle in Paris. In 1891 the National Academy of Design elected Remington as an Associate member. Yet he was never admitted as National Academician, despite support from fellow artists Gilbert Gaul, Childe Hassam, and others. His financial success allowed the Remingtons to move into a grand home he named Ednion Algonquin for "a place where I live in New Rochelle, New York. A young Norman Rockwell would someday paint in his studio. Through his travels, Remington embraced social Darwinism survival of the fittest that championed the U.S. military’s domination of the inferior Native Americans. Theodore Roosevelt, George Armstrong Custer, and Remington along with most other Americans—idolized Charles Darwin. As early as 1888 Remington started contributing short stories along with illustrations to magazines. His writings teemed with romantic Western stories chalk full of drama and violence. Initially, they presented the cavalryman as the hero and the Indian as the villain, especially when the Indian had been tainted with the vices of the white man. His West was the "frontier model where the fittest were rugged individuals from northern Europe and white Americans. Even though he was an accomplished author and painter, perhaps his greatest talent was as a sculptor. His bronzes are more famous and collectible than any other Western American artist. And yet his bronze repertoire was completed in just fourteen years. Starting in order of modeling, they are: The Broncho Buster, The Wounded Bunkie, The Wicked Pony, The Scalp, The Norther, The Cheyenne, The
Frederic Remington Trooper of the Plains Bronze
Lot #664 (Sale Order 664 of 1017)
Title is Trooper of the Plains. 5 1/2" by 5" by 2 3/4". Frederic Sackrider Remington (1861 - 1909) was active/lived in New York, Kansas, Connecticut. Frederic Remington is known for Western painting and sculpture, illustration. In his lifetime polymath Frederic Remington was the most successful and famous Western American artist. His immense talents included excelling as an illustrator, author, sculptor, and fine artist. His was a life tragically cut short. Born on October 4, 1861 in Canton, a small berg in bucolic upper state New York, he was much influenced by his father Seth Pierpont Remington, a Republican journalist who founded the St. Lawrence Plaindealer. His father had been a captain in the Civil War, and in 1870 President Ulysses S. Grant appointed him United States Collector of the Port of Ogdensburg, New York. In 1876 young Frederic enrolled at Highland Military Academy in Worcester, Massachusetts where he studied for the next two years. Two years later he enrolled at Yale for one year to study in the School of Fine Arts. His two loves were art and football. Only three months into school, he published his first illustration in the on-campus newspaper Yale Courant. On the gridiron he was a natural, demonstrating great strength and agility. Like Theodore Roosevelt, Remington also enjoyed boxing. A year later he met his future wife Eva Caten from Gloversville, New York. After the death of Remington’s father from tuberculosis on February 18, 1879, Eva rejected his first marriage proposal. Floundering, Remington headed to the American West to find himself—much like Theodore Roosevelt did when his mother and wife died on the same day. That led to a trip to Montana where he completed a number of sketches. Invigorated by his Western experiences, in February 1883 he headed to Kansas and with part of his inheritance bought a 160 acre sheep ranch near Peabody, Kansas. That failed adventure lasted about a year, and he then relocated to Kansas City, Missouri where Eva would join him as his wife. Yet he squandered the rest of his inheritance on a saloon there. After more illustrations were sold to Harper’s Weekly, in 1885 the Remingtons moved to New York City, and in 1886 he attended the Art Students League. By then Remington was earning $1,200 a year, twice the income of a school teacher. Other magazines such as St. Nicholas and Outing also published his art. His work certainly impressed a young Theodore Roosevelt who was chronicling his life in Medora—now in North Dakota—for a serial that ran in The Century Magazine. It was very common at the time for authors to serialize their works in magazines before they were published in book form. In the fall of 1887 Remington was commissioned to illustrate the magazine stories which ended up in Roosevelt’s 1888 classic book Ranch Life and the Hunting Trail. Early on, a lasting friendship between the two was cemented through these publications. By 1889 he had garnered national notoriety as one of the most accomplished illustrators in the country. He was a national celebrity. In 1889 his monumental canvas A Dash for the Timber was exhibited at the National Academy of Design. The New York Times reported, "The picture at the Autumn exhibition of the Academy of Design before which stands the largest number of people is Frederic Remington’s Dash for the Timber." A Silver medal for Last Lull in the Fight followed at the Exposition Universelle in Paris. In 1891 the National Academy of Design elected Remington as an Associate member. Yet he was never admitted as National Academician, despite support from fellow artists Gilbert Gaul, Childe Hassam, and others. His financial success allowed the Remingtons to move into a grand home he named Ednion Algonquin for "a place where I live in New Rochelle, New York. A young Norman Rockwell would someday paint in his studio. Through his travels, Remington embraced social Darwinism survival of the fittest that championed the U.S. military’s domination of the inferior Native Americans. Theodore Roosevelt, George Armstrong Custer, and Remington along with most other Americans—idolized Charles Darwin. As early as 1888 Remington started contributing short stories along with illustrations to magazines. His writings teemed with romantic Western stories chalk full of drama and violence. Initially, they presented the cavalryman as the hero and the Indian as the villain, especially when the Indian had been tainted with the vices of the white man. His West was the "frontier model where the fittest were rugged individuals from northern Europe and white Americans. Even though he was an accomplished author and painter, perhaps his greatest talent was as a sculptor. His bronzes are more famous and collectible than any other Western American artist. And yet his bronze repertoire was completed in just fourteen years. Starting in order of modeling, they are: The Broncho Buster, The Wounded Bunkie, The Wicked Pony, The Scalp, The Norther, The Cheyenne, The
Frederic Remington The Bronco Buster Bronze
Lot #665 (Sale Order 665 of 1017)
Title is The Bronco Buster. 6" by 5 3/8" by 3 1/4". Frederic Sackrider Remington (1861 - 1909) was active/lived in New York, Kansas, Connecticut. Frederic Remington is known for Western painting and sculpture, illustration. In his lifetime polymath Frederic Remington was the most successful and famous Western American artist. His immense talents included excelling as an illustrator, author, sculptor, and fine artist. His was a life tragically cut short. Born on October 4, 1861 in Canton, a small berg in bucolic upper state New York, he was much influenced by his father Seth Pierpont Remington, a Republican journalist who founded the St. Lawrence Plaindealer. His father had been a captain in the Civil War, and in 1870 President Ulysses S. Grant appointed him United States Collector of the Port of Ogdensburg, New York. In 1876 young Frederic enrolled at Highland Military Academy in Worcester, Massachusetts where he studied for the next two years. Two years later he enrolled at Yale for one year to study in the School of Fine Arts. His two loves were art and football. Only three months into school, he published his first illustration in the on-campus newspaper Yale Courant. On the gridiron he was a natural, demonstrating great strength and agility. Like Theodore Roosevelt, Remington also enjoyed boxing. A year later he met his future wife Eva Caten from Gloversville, New York. After the death of Remington’s father from tuberculosis on February 18, 1879, Eva rejected his first marriage proposal. Floundering, Remington headed to the American West to find himself—much like Theodore Roosevelt did when his mother and wife died on the same day. That led to a trip to Montana where he completed a number of sketches. Invigorated by his Western experiences, in February 1883 he headed to Kansas and with part of his inheritance bought a 160 acre sheep ranch near Peabody, Kansas. That failed adventure lasted about a year, and he then relocated to Kansas City, Missouri where Eva would join him as his wife. Yet he squandered the rest of his inheritance on a saloon there. After more illustrations were sold to Harper’s Weekly, in 1885 the Remingtons moved to New York City, and in 1886 he attended the Art Students League. By then Remington was earning $1,200 a year, twice the income of a school teacher. Other magazines such as St. Nicholas and Outing also published his art. His work certainly impressed a young Theodore Roosevelt who was chronicling his life in Medora—now in North Dakota—for a serial that ran in The Century Magazine. It was very common at the time for authors to serialize their works in magazines before they were published in book form. In the fall of 1887 Remington was commissioned to illustrate the magazine stories which ended up in Roosevelt’s 1888 classic book Ranch Life and the Hunting Trail. Early on, a lasting friendship between the two was cemented through these publications. By 1889 he had garnered national notoriety as one of the most accomplished illustrators in the country. He was a national celebrity. In 1889 his monumental canvas A Dash for the Timber was exhibited at the National Academy of Design. The New York Times reported, "The picture at the Autumn exhibition of the Academy of Design before which stands the largest number of people is Frederic Remington’s Dash for the Timber." A Silver medal for Last Lull in the Fight followed at the Exposition Universelle in Paris. In 1891 the National Academy of Design elected Remington as an Associate member. Yet he was never admitted as National Academician, despite support from fellow artists Gilbert Gaul, Childe Hassam, and others. His financial success allowed the Remingtons to move into a grand home he named Ednion Algonquin for "a place where I live in New Rochelle, New York. A young Norman Rockwell would someday paint in his studio. Through his travels, Remington embraced social Darwinism survival of the fittest that championed the U.S. military’s domination of the inferior Native Americans. Theodore Roosevelt, George Armstrong Custer, and Remington along with most other Americans—idolized Charles Darwin. As early as 1888 Remington started contributing short stories along with illustrations to magazines. His writings teemed with romantic Western stories chalk full of drama and violence. Initially, they presented the cavalryman as the hero and the Indian as the villain, especially when the Indian had been tainted with the vices of the white man. His West was the "frontier model where the fittest were rugged individuals from northern Europe and white Americans. Even though he was an accomplished author and painter, perhaps his greatest talent was as a sculptor. His bronzes are more famous and collectible than any other Western American artist. And yet his bronze repertoire was completed in just fourteen years. Starting in order of modeling, they are: The Broncho Buster, The Wounded Bunkie, The Wicked Pony, The Scalp, The Norther, The Cheyenne, The Buf
Harley Brown Blood Woman Bronze
Lot #666 (Sale Order 666 of 1017)
Title is Blood Woman. 6 1/8" by 5" by 4 5/8". 1/20. Harley W. Brown (Born 1939) is active/lives in Arizona, Alberta / Canada. Harley Brown is known for Portrait and animal painting, ethnic caricature, teaching. A Western painter and sculptor of figures and domestic animals, Harley Brown was born in Edmonton, Alberta, Canada in 1939, and lives in Tucson, Arizona. His father was an amateur artist who encouraged his young son from age seven to pursue art. After graduation from high school, young Brown began doing department store window displays for an impressive $150 a month. Later, he attended the Alberta College of Art in Calgary, supporting himself by selling his drawings door to door, and playing piano professionally. After studying at the Camberwell School of Art in England for two years, Brown began to make a name for himself in Western art, and in 1966, he returned to Canada. Shortly after, Brown met Bob Morgan, curator of the Montana State Historical Society. Morgan put together a one-man show for Brown, where he sold all 70 of his paintings. His career made another leap forward when he received a call from Bob Lougheed to submit some of his work for the National Academy of Western Art show, where he won a gold medal for drawing in 1977. He is a member of the Northwest Rendezvous Artists, Helena, Montana; National Association of Watercolor Artists; Oil Painters of America*; Cowboy Hall of Fame, Oklahoma City, Oklahoma; and Cowboy Artists of America* since 2004. In 2005, he won two gold medals at the CAA annual exhibition. He says of membership in the CAA: "Being allowed to join them is a monumental event in my life." (CA) Brown's work is in the collections of the C. M. Russell Museum; National Cowboy and Western Heritage Museum; and Gene Autry Museum in Los Angeles. Harley Brown was commissioned to paint Prime Minister Winston Churchill, and has painted many portraits of other well-known persons including President Ronald Reagan. His painting media include oil, watercolor and pastel.
Charles M Russell Indian Head Bronze
Lot #667 (Sale Order 667 of 1017)
Title is Indian Head. 3 7/8" by 1 5/8" by 1 1/4". 62/250. Provenance: The Art Collection of Tom and Virginia Coblentz Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared odd—that cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? It’s quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russell’s guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawking—somewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys slept—until 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersman—unlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlie’s life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russell’s creative genius. He understood that the mountains don’t need us, we need the mountains. Charlie’s favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a
Glenna Maxey Goodacre Buffalo Dance Bronze
Lot #668 (Sale Order 668 of 1017)
Title is Buffalo Dance. 20" by 26". 6/10. Glenna Maxey Goodacre (1939 - 2020) was active/lived in New Mexico, Texas. Glenna Goodacre is known for Child genre and figure sculpture. With a career spanning nearly five decades, Glenna Goodacre has become well-known for her bronze sculptures, specializing in sensitive portraits of children in action. Another subject matter is American Indians including the New Mexico Pueblo Indians exemplified by her depiction of a sacred ceremony, The Basket Dance. Likely her most important commission is the women's memorial in Washington D.C. commemorating the women who served in the Vietnam War. Another prestigious work, "After the Ride," a seven-foot high statue of President Ronald Reagan, was unveiled in Fall, 1998 at the Reagan Library in Southern California. She was born in Texas, graduated from Colorado College, and then studied at the Art Students League in New York. From 1983, her home has been in Santa Fe, New Mexico. She has won numerous awards from the National Sculpture Society and Allied Artists of America as well as the Gold Medal from the National Academy of Design of which she is an Associate member. In 1993, she was awarded the Knickerkbocker Artists' Gold Medal for Distinguished Achievement in American Art.
Larry Yazzie The Wagerer Alabaster Carving
Lot #669 (Sale Order 669 of 1017)
8 7/8" by 6 5/8" by 4 1/2". Larry Yazzie (Born 1958) is active/lives in Arizona. Larry Yazzie is known for Sculptor-abstract Indian figure. A resident of Camp Verde, Arizona near the Navajo Reservation where he grew up, he depicts his native people in sculpture, often using Carrarra marble. Yazzie studied art at Peninsula College in Port Angeles, Washington and at the institute of American Indian Arts which he graduated from with honors. Rather than work from sketches Yazzie prefers to allow his creativity to flow freely and let the stone direct him. His artwork is often influenced by Native American stories passed down from his elders. Yazzie believes we are all spiritual beings having a human experience and that if we connect with our spiritual side we are capable of creating wonderful things.
Bobbie Carlyle Mustang Relief Bronze
Lot #670 (Sale Order 670 of 1017)
Title is Mustang Relief. 51 1/4" by 67 1/4". 2/25. Original Gallery Price was $24,400. Lot is exceptionally heavy and large. Will require Pickup at our Facility or LTL Freight Shipment. Bobbie Carlyle (Born 1957) is active/lives in Colorado. Bobbie Carlyle is known for Sculptor-wildlife and figure. Bobbie could be called the quintessence of a sculptor of our age, crossing two millennia and several decades. Bobbie collects ideas and inspiration from personal experience, her seven children and many grandchildren. Bobbie has dedication and love for art and sculpture and this led her to earn her degree in Fine Arts from Brigham Young University while raising all seven children. Bobbie lives life to the fullest. She sees the positive in every situation and learns from it. Bobbie's inner strength, depth and intelligence are reflected in her bronze sculptures. She has studied under many of today's notable artists and takes influence from Leonardo Bistolfi, Solon and Gutzon Borglum, Daniel Chester French, and Michaelangelo. The result is a style that ranges from classical to art nouveau to contemporary, and always pure Bobbie. The essence of the sculpture of Bobbie Carlyle is captured in the words "bold strength" and "provocative intelligence". She has established herself in fine art, particularly during the past decade. She creates sculptures in bronze, all executed with imagination and vitality. Her subjects range from figurative to liturgical, wildlife to western, in sizes from maquette to monumental. She excels at getting to the crux of the moment, the inspiration behind the idea, and presenting that in her own dynamic way. Perhaps her best known work is her bronze piece titled "Self Made Man" depicting man carving himself and his future from the raw stone from which he emerges. Bobbie Carlyle has created some of the most compelling figurative work in the art world today, work that captures the essence of her subject. Indeed, it is work that carries a strong psychological element: dealing with the full spectrum and complexity of emotion, the struggles and triumphs of life.
John Louis Clarke JL Clarke Mountain Goat Bronze
Lot #671 (Sale Order 671 of 1017)
Title is Mountain Goat. 13/100. 5" by 4" by 2 7/8". John Louis (Cutapuis) Clarke (1881 - 1970) was active/lived in Montana, Wisconsin. John Clarke is known for Wildlife wood carving-panels, Indian genre painting. How could a Native American boy lacking the ability to hear or speak and raised at the edge of what would become Glacier National Park grow to become one of the most celebrated and collected wood sculptors in American history? It’s quite a story. John L. Clarke (1881-1970) experienced a meteoric rise to national notoriety. Many individuals and the Native American experience molded this man—who was made with the bark on. John L. Clarke was born the grandson of Blackfeet Chief Stands Alone and infamous frontiersman Malcom Clarke (1817-1869). Malcom’s murder led in part to the 1870 Baker Massacre of 217 Blackfeet on the Marias River in northern Montana—an event burned into the memory of every Blackfeet. Andrew R. Graybill, author of The Red and the White: A Family Saga of the American West wrote, "The Clarkes thus offer a rich historical lens through which to view the shifting grounds of race in the West and the wider nation during the mid-nineteenth century. They are also ideal in another sense: their individual stories are enormously compelling, for both the historian and the general reader." Robbed of his hearing by scarlet fever at just two years old, John and his family moved from the hardscrabble ranch life of central Montana near Highwood to Midvale, now East Glacier Park, on the western end of the Blackfeet Indian Reservation. As cultural historian and John L. Clarke biographer Larry Len Peterson wrote in Blackfeet John L. "Cutapuis" Clarke and the Silent Call of Glacier National Park: America’s Wood Sculptor, "He felt a visceral fascination with the natural world and found his home in the grandeur of Glacier country in northwestern Montana. Wilderness, especially big wilderness, is where wildness most often happens, and it was where Clarke discovered himself and subjects for his art. After attending several deaf schools in North Dakota, Montana, and Wisconsin, Clarke worked in Milwaukee, Wisconsin as a master wood carver for several years and then returned to Midvale around 1910, started sculpting, and never wavered. He rose to fame by applying his passions for the Glacier country, its wildlife, and Native Americans to the arts of wood carving, sculpture, sketching, and painting. Louis W. Hill, Great Northern Railway president and unflagging promoter of Glacier National Park, played a significant part in that rise by including Clarke in a clever and well-planned promotional campaign that was initiated soon after the park was created in 1910. John L. Clarke and his wife Mamie were very moved by the visits of their dear friend Charles M. Russell (1864-1926) who in 1918 urged Clarke to embrace his Native American heritage. Russell understood that it would play well to tourists visiting the park. Soon, Clarke’s carvings often were signed not only with "J. L. Clarke, but also at times "Cutapuis, Piegan for "Doesn’t Talk. Taking a cue from Russell, Clarke eventually illustrated his letters to friends and patrons and also began using an Indian head cipher with his signature. Clarke and Joe De Yong would be close friends for fifty years. In 1918 there was national recognition for Clarke when a prestigious gold medal was presented by the Pennsylvania Academy of Fine Arts in Philadelphia for a carving of a bear. Clarke exhibited there in 1917, 1918, 1922, 1923-1932, and 1935. Many more national honors would follow. Clarke created art that was collected not only by adoring tourists, but also by the famous such as his friends Charles M. Russell and Joe De Yong—who was also deaf; John D. Rockefeller, Jr.; and President William Harding, among many others. His 1956 masterwork, The Blackfeet Encampment, four feet by thirteen feet, graces the Montana Historical Society in Helena. Well-received retrospective exhibitions followed at the MHS in 1993/1994 and 2014. On March 1, 2003, John L. Clarke was inducted into the Gallery of Outstanding Montanans at the MHS. The citation for John L. Clarke in part read, "Facing odds that would have deterred lesser men, he crafted a career as a renowned Blackfeet artist. His legacy survives as a worthy inspiration for all Montanans. Spokesman for the nominating committee, Kirby Lambert, gave special praise and lauded Clarke as "…one of my personal favorites of the almost three dozen individuals in the Gallery. The Montana Historical Society in Helena; Charles M. Russell Museum, Great Falls, Montana; Museum of the Plains Indian, Browning, Montana; Miracle of America Museum, Polson, Montana; and Glacier County Museum, Cut Bank, Montana have impressive collections of his art, among others. His archival collection is located at the John L. Clarke Gallery, East Glacier Park, Montana.
Jay Contway Bear and Cub Bronze
Lot #672 (Sale Order 672 of 1017)
Rare casting. Measures 9" by 6 1/4" by 5 1/2". Jay Contway is a native Montana artist who raises working Quarter Horses. He spent time on the rodeo circuit and his knowledge and respect for the working cowboy show clearly in his art. Appreciation for the history, his own native ancestry and the people and animals of the west he loves is illustrated in his work. The horses and the equipment used by Cowboys and Native Americans has changed greatly over the years. Jay considers attention to historical detail very important. He knows first hand the trappings, saddles, bridles, animals and action that you see in his work. Jay was born in Malta, in eastern Montana and was raised on a ranch in the area. His ancestry includes Native American, French and Irish. He attended Northern Montana College in Havre, and the College of Great Falls. Jay's home, just outside Great Falls, Montana, is another extension of his appreciation for art. The self designed Spanish-style adobe is modeled after ancient pueblos and filled with paintings and sculpture from other well-known artists. Jay's commitment to the quality of his art includes his own foundry, adjacent to his studio, where all Jay Contway sculptures are cast. This enables him to oversee the many details of each bronze he creates. All sculptures are limited in number and cast only in bronze or silver. Jay does not sell the original models.
Ron Herron Sport of Kings Indian Bronze
Lot #673 (Sale Order 673 of 1017)
12 3/4" by 10 1/4" by 5 1/4". Ron Herron (20/21st century) is active/lives in Montana. Ron Herron is known for Sculpture.
H. Meyer Bird Bronze
Lot #674 (Sale Order 674 of 1017)
4 1/2" by 4 1/8" by 3"
Joshua Tobey Shaman's Shadow Bronze
Lot #675 (Sale Order 675 of 1017)
Title is Shaman's Shadow. 15 3/4" by 5 1/8" by 4". Joshua Tobey (Born 1977) is active/lives in Texas, Oregon. Joshua Tobey is known for Wildlife sculpture. Josh grew up in Santa Fe, New Mexico, the son of renowned ceramic and bronze sculptors Gene and Rebecca Tobey. Josh began sculpting in clay and casting in bronze at the age of six. "My childhood was full of gallery shows and art foundries. Many of the people I grew up around are today’s most established western artists." By ten years old, Josh was helping his father in the studio drilling marble bases for sculpture, working ceramic molds and polishing jewelry. After receiving a Bachelors of Fine Arts degree from Western State College in Gunnison, Colorado, Josh returned home to apprentice his father and step-mother where he began enlarging their sculpture for monument commissions. During this time, he began working on his own professional body of work. Distinguishing Patinas Lead to National Notoriety At 35 years old, he is well established in the Western art world, creating bronze sculptures of wildlife featuring a contemporary patina. Known for this patina work, Josh combines his love of art and his lifelong passion for the outdoors in his bronze sculpture. Sometimes called whimsical, Josh’s work also has a serious side; it depicts the “interdependence of wildlife and humanity” by revealing aspects of human emotion, experience and culture through wildlife sculpture. His work ranges in size from miniature to monumental. Josh’s work has been featured in several national magazines, including the cover artist for Wildlife Art. He was honored in 2012 as the poster artist for the Loveland Sculpture Invitational. Josh has also participated in several museum exhibits and events across the country including: Wheel Wright Museum in Santa Fe, New Mexico; Minneapolis Institute of Arts in Minneapolis, Minnesota; National Museum of Wildlife Art in Jackson Hole, Wyoming; Buffalo Bill Historical Center in Cody, Wyoming for the third consecutive year; The Governors Invitational in Loveland, Co. His work has been on display at the Booth Western Art Museum as part of an exhibit, titled “21st Century Regionalist: Art of the New West” and has become a part of the permanent collection. 2013 will be the second year he has been invited to the Small Works Great Wonders Show at the National Cowboy and Western Heritage Museum in Oklahoma City. Most recently, Tobey was invited to the Collectors’ Reserve Show at the Gilcrease Museum in Tulsa, Oklahoma. Other honors include Three major works in the collection of Raymond James Financial art collection. Public Works in the collections of Na ‘Aina Kai Botanical Gardens and Sculpture Park in Kauai, HI. Two monuments at his alma mater Western state University, Gunnison, Co; Medical Center of the Rockies in Loveland, Co; Phoenix Children’s Hospital, Phoenix, AZ. Josh became an elected member of the National Sculpture Society in 2012 and currently serves as a board member of the Artist Charitable Fund, a nonprofit organization.
J. R. Eason A Tough Breed Cowboy Bronze
Lot #676 (Sale Order 676 of 1017)
Title is A Tough Breed. 13 1/2" by 14" by 19". J. R. Eason (late 20th century) was active/lived in Montana, Arizona. J Eason is known for Sculptor-figurative, Indian. JR Eason sculpts what she knows best - people and their universal emotions. In doing this, she draws from her own well of emotion and finds it unnecessary to rely on photos or any means outside of her "self". Eason’s sculpture is easily recognized. With each piece, representational or stylized, the viewer is immediately drawn to the face. Here, you see and feel the emotion and relate to the message the artist portrays. Her unique, stylized form lends an earthiness that maximizes the subject of the piece. JR’s confidence in her own unique style developed after she determined to step out of the norm of ‘Western sculpture?, and fulfill her own expressive urges. Once gaining the credibility and success through museums and galleries, JR let go of her boundaries and her distinctive style came through. Born on a rural Idaho ranch, JR currently resides in Scottsdale, AZ, showing her works, and connecting with those who appreciate, and collect her figurative sculpture. JR has enjoyed a successful career as a full-time professional artist since 1988. JR’s work is collected throughout the United States and Canada, as well as over seas. She is represented with Fine Art Galleries throughout the states.
Sleeping Jaguar Bronze
Lot #677 (Sale Order 677 of 1017)
15" by 12" by 5 1/2"
Rick Nez Navajo Drummer Alabaster Carving
Lot #678 (Sale Order 678 of 1017)
Tile is Navajo Drummer. 14 5/8" by 13" by 8 1/4". Rick Nez (20/21st century) is active/lives in New Mexico. Rick Nez is known for Native American theme sculpture. Navajo sculptor, Ricky Nez, is a young aspiring artist, whose goal is to bring Navajo stories to reality through his sculpture. In his early thirties, Nez is completely self-taught. Once he has sketched his ideas, he then begins to chisel the stone by utilizing hand and power tools. After the figure has emerged, the tedious finishing process begins; meticulously sanding every part of the sculpture until it gleams like a jewel and is silky smooth to the touch.
Rick Nez Pueblo Maiden Carving
Lot #679 (Sale Order 679 of 1017)
Tile is Pueblo Maiden. 14 5/8" by 12 5/8" by 8 5/8". Rick Nez (20/21st century) is active/lives in New Mexico. Rick Nez is known for Native American theme sculpture. Navajo sculptor, Ricky Nez, is a young aspiring artist, whose goal is to bring Navajo stories to reality through his sculpture. In his early thirties, Nez is completely self-taught. Once he has sketched his ideas, he then begins to chisel the stone by utilizing hand and power tools. After the figure has emerged, the tedious finishing process begins; meticulously sanding every part of the sculpture until it gleams like a jewel and is silky smooth to the touch.
Joffa Kerr Resting Bear Bronze
Lot #680 (Sale Order 680 of 1017)
Title is Resting Bear. 10" by 10" by 7 1/8". Joffa Kerr (Born 1935) is active/lives in Wyoming, Texas. Joffa Kerr is known for Animal and wildlife sculpture. Joffa Kerr was born in Nacodoches, Texas. She attended the University of Oklahoma and studied interior design and art. Joffa and her husband of 39 years, William G. Kerr, have raised four children, six dogs and numerous horses. In 1982 Joffa began a serious art career and has since studied anatomy with several artists. She has attended a series of Scottsdale Artist School courses with noted sculptors Ken Bunn, Sherry Sander, Kent Ullberg and Glenna Goodacre. The artist admits to a certain affection for bears and other animals of large mass, which turned her attention to pigs, on which she bestows funky names such as Swinelet O'Hara. Her husband teases her about the current obsession, saying, "Honey, do you want to be known as a pig sculptor?" The good-natured Kerr responds with a laugh, "I don't care just so long as I'm known." Her work is presently available in galleries in Arizona, California, Colorado, New Mexico, New York, Oklahoma, Texas and Wyoming. Prior exhibits include the Albuquerque Museum, Gilcrease Museum and Oklahoma City Museum of Art. Joffa has done commissions for The Nature Conservancy, The Grand Teton Music Festival and Lori Corporation. Public and corporate collectors besides those just mentioned, include Nichols Hills Park, and The Williams Companies, Inc. In 1987 the artist and her husband donated 250 artworks to what was then called the Wildlife of the American West Art Museum in Jackson Hole, WY. Not content with the status-quo, they were instrumental in launching a $10 million fundraising effort for a museum expansion in 1993. "All of our friends were artists, and we thought more people should see their work," says Kerr. The museum, now called the National Museum of Wildlife Art, moved to its new 51,000-square-foot facility in 1994. With 12 galleries with changing exhibitions showcasing 2,200 artworks, the museum tells the story of the western frontier—the native cultures, wildlife, and landscape. "Some of our visitors have never been to a museum before, and we hope we're educating them," Kerr says. The museum's contribution to the cultural life of the Rocky Mountain region can be seen in the statistics: 2,200 members, 125,000 visitors annually, and education programs reaching 7,200 children.
Charles M Russell The Last Laugh Bronze Montana
Lot #681 (Sale Order 681 of 1017)
Title is The Last Laugh. 9 3/8" by 6 1/4" by 4 1/2". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared odd—that cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? It’s quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russell’s guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawking—somewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys slept—until 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersman—unlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlie’s life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russell’s creative genius. He understood that the mountains don’t need us, we need the mountains. Charlie’s favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy
Jim Knox Wood Carrier Bronze
Lot #682 (Sale Order 682 of 1017)
Title is Wood Carrier. 23 3/4" by 15 3/4" by 13 3/4". Jim Knox is active/lives in Arizona. Jim Knox is known for Sculptor-western, Native American.
Jeffrey Rudolph Having Her Own Way Bronze
Lot #683 (Sale Order 683 of 1017)
Title is Having Her Own Way. 16 5/8" by 16 1/2" by 10 3/4". 8/25. Jeffrey Rudolph (20/21st century) is active/lives in Wyoming. Jeffrey Rudolph is known for Western motif sculpture. A native of Cody, Wyoming, Jeffrey Rudolph devotes his art to "playing out the dramas of the Old West." He spends many hours carving, an interest that began in his father's carpentry shop. He worked for a bronze foundry and then graduated with a Bachelor of Arts Degree from Brigham Young University. He has been sculpting since his graduation from college in 1981. He works in a variety of mediums, including bronze, stone, wood, terracotta and paper. Rudolph's awards include the William E. Weiss Purchase Award, the Spirit of Cody monument commission, as well as two Wyoming State Historical awards in the field of fine arts. The artist completed a heroic seventeen-foot equestrian bronze statue of United States Senator Ben Nighthorse Campbell in full Cheyenne dress. The bronze sits upon a large granite pedestal that has two waterfalls flowing below the horse's front legs. Rudolph's tribute to Colorado's Native American Senator will be unveiled in the Denver area, Fall 2003. Jeff Rudolph has always had a love of the third dimension. As a boy he was attracted to the art of the hammer and chisel; this attraction captured his soul. While earning his degree at Brigham Young University, he worked in a bronze foundry. Upon graduation he created a self styled apprenticeship working with other artists. Currently he is working on a series of stone carvings. His work continues to attract awards and honors and can be seen in many collections and museums, with monuments in Wyoming, Colorado, and Ohio.
Michael Thomas Living on the Edge Bronze
Lot #684 (Sale Order 684 of 1017)
Title is Living on the Edge. 14 3/4" by 10 5/8" by 7 3/4". Michael Thomas (Born 1954) is active/lives in Wyoming. Michael Thomas is known for Sculptor-animal, history, cowboy. A cowboy and sculptor whose highly detailed cowboy sculpture reflect his own life, D Michael Thomas has a studio and barn together on his Wyoming property overlooking the town of Buffalo. He models his bronzes after real people but works primarily from memory and not from photos. He was born in Big Piney, Wyoming to a five-generation Western family that includes the famous mountain man, Joe Meek. His father was a game warden and taught him about animals including the raising and riding of horses and the life of a cowboy. In his family, art was encouraged by his mother who was an accomplished easel painter. She introduced her son to the work of Charles Russell. A second grade teacher reinforced him by displaying his paintings in the school hallways. But Thomas didn't really get serious about art until he attended the University of Wyoming majoring in Animal Science. One of his friends was sculpting in bronze, gave him some clay, and he was very taken with it, quickly losing himself in the creative process. He earned the degree in Animal Science, worked for the Production Credit Association, and later managed a feed and ranching supply store. He was also selling his sculpture on the side, and in 1993, made the full commitment to this endeavor as a profession. Soon after he was winning awards at the George Phippen Show. He is also a musician and performs on trail rides by playing the guitar and singing. He is on the Board of Directors of the Jim Gatchell Memorial Museum in Buffalo and is part of the volunteer fire department.
Edward H. Bohlin Sterling 14k Money Clip
Lot #685 (Sale Order 685 of 1017)
77.5 grams. New in original box.
Stunning Navajo Sterling Turquoise Belt Buckle
Lot #686 (Sale Order 686 of 1017)
Exceptionally impressive. Signed as shown. 3 1/2" long. 89 grams.
Georg Jensen Sterling Silver Labradorite Brooch
Lot #687 (Sale Order 687 of 1017)
Catalog number 152. 2 1/8" wide. 17.50 grams total weight.
Saunsa Foya Navajo 14k Gold Cobblestone Ring
Lot #688 (Sale Order 688 of 1017)
21 grams. Size 6 1/2. Coral and Lapis Lazuli. Lot requires payment via non credit card.
Edward Curtis Getting Water Havasupai Photogravure
Lot #689 (Sale Order 689 of 1017)
Large Size. Getting Water - Havasupai Plate 75. From copyright 1903 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Resting In The Harvest Field
Lot #690 (Sale Order 690 of 1017)
Qahatika Photogravure. Resting In The Harvest Field - Qahatika Plate 55. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Saguaro Fruit Gatherers Maricopa
Lot #691 (Sale Order 691 of 1017)
Photogravure. Saguaro Fruit Gatherers - Maricopa Plate 69. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Gathering Hanamh Papago Photogravure
Lot #692 (Sale Order 692 of 1017)
Gathering Hanamh - Papago Plate 49. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Mohave Chief Photogravure
Lot #693 (Sale Order 693 of 1017)
Mohave Chief Plate 57. From copyright 1903 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Havachach Maricopa Photogravure
Lot #694 (Sale Order 694 of 1017)
Havachach - Maricopa Plate 64. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Carlos Rios Papago Chief
Lot #695 (Sale Order 695 of 1017)
Photogravure. Carlos Rios - Papago Chief Plate 50. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Pachilawa Walapai Chief Photogravure
Lot #696 (Sale Order 696 of 1017)
Pachilawa - Walapai Chief Plate 73. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18". Small scratches on right side of photogravure.
Edward Curtis Pakit Maricopa Photogravure
Lot #697 (Sale Order 697 of 1017)
Pakit - Maricopa Plate 70. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis The Burden Bearer Pima Photogravure
Lot #698 (Sale Order 698 of 1017)
The Burden Bearer - Pima Plate 43. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Quniaika Mohave Photogravure
Lot #699 (Sale Order 699 of 1017)
Quniaika - Mohave Plate 60. From copyright 1903 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Tonovige Havasupai Photogravure
Lot #700 (Sale Order 700 of 1017)
Tonovige - Havasupai Plate 74. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Hwalya Yuma Photogravure
Lot #701 (Sale Order 701 of 1017)
Hwalya - Yuma Plate 63. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Maricopa Girl Photogravure
Lot #702 (Sale Order 702 of 1017)
Maricopa Girl Plate 65. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Hipah With Arrow-Brush Maricopa
Lot #703 (Sale Order 703 of 1017)
Photogravure. Hipah With Arrow-Brush - Maricopa Plate 67. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Judith Mohave Photogravure
Lot #704 (Sale Order 704 of 1017)
Judith - Mohave Plate 59. From copyright 1903 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Captain Charley Maricopa
Lot #705 (Sale Order 705 of 1017)
Photogravure. Captain Charley - Maricopa Plate 71. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Mat Stams Maricopa Photogravure
Lot #706 (Sale Order 706 of 1017)
Mat Stams - Maricopa Plate 66. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Chijako Pima Photogravure
Lot #707 (Sale Order 707 of 1017)
Chijako - Pima Plate 47. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Pima Matron Photogravure
Lot #708 (Sale Order 708 of 1017)
Pima Matron Plate 46. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Mohave Water Carrier Photogravure
Lot #709 (Sale Order 709 of 1017)
Mohave Water Carrier Plate 58. From copyright 1903 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis Kaviu Pima Photogravure
Lot #710 (Sale Order 710 of 1017)
Kaviu - Pima Plate 42. From copyright 1907 photograph by Edward Curtis The North American Indian Portfolio Volume Two. Published by John Andrew & Son. Holland Van Gelder paper. Measures 22" by 18".
Edward Curtis The North American Indian Portfolio
Lot #711 (Sale Order 711 of 1017)
Volume II fitting size 22" by 18" plates. Published by John Andrew & Son. Includes title page and portfolio cover ONLY. All previous large sized photogravure's are from this binding.
Meissen Limoges Style Porcelain Vanity Mirror
Lot #712 (Sale Order 712 of 1017)
Leg support brace is cracked as shown. 27 3/4" by 19 3/8" by 12 1/4".
Arts & Crafts Micarta Shade Table Lamp
Lot #713 (Sale Order 713 of 1017)
Contemporary but quite nice. A few areas of loss on the shade. 25 1/2" tall, 14" diameter.
Mid Century Stiffel Turquoise Lamp
Lot #714 (Sale Order 714 of 1017)
35" tall to top of socket, 7" diameter.
Chicago Mosaic Tree Trunk Slag Glass Table Lamp
Lot #715 (Sale Order 715 of 1017)
29" tall. Shade is 20" by 17 1/2".
Bradley & Hubbard Arts & Crafts Slag Lamp
Lot #716 (Sale Order 716 of 1017)
19" tall, 11" diameter shade. Two shade panels are cracked.
Andre Ricard Metalarte Mid Century Desk Lamp
Lot #717 (Sale Order 717 of 1017)
15" by 10 3/8" by 5".
White Eagle Gas Service Station Sign Statue
Lot #718 (Sale Order 718 of 1017)
Made from aluminum, a later casting. Still appears to have a bit of age and exhibits some paint wear from being outside. 18" by 13" by 31 1/2".
Mid Century Carved Wood Bird
Lot #719 (Sale Order 719 of 1017)
8 5/8" by 5 5/8" by 3 1/8"
Three Seasons Underwear Clothing Sign
Lot #720 (Sale Order 720 of 1017)
15 3/4" by 9 1/4"
Fly Fishing Creel
Lot #721 (Sale Order 721 of 1017)
8" by 7 1/4" by 12"
Western Texas Longhorn Steer Metal Bull Sculpture
Lot #722 (Sale Order 722 of 1017)
25 7/8" by 24 7/8" by 10 1/4"
Shristy Hardware Brass Stag Door Knocker
Lot #723 (Sale Order 723 of 1017)
6" by 3 3/8" by 1 1/4"
Antique Primitive Farmhouse Wood Dough Bowl
Lot #724 (Sale Order 724 of 1017)
14 3/4" diameter, 4 1/8" tall.
Aztec Pattern Mexico Painted Rawhide Drum
Lot #725 (Sale Order 725 of 1017)
19 3/4" diameter, 4" height.
Danger 11000 Volts India Porcelain Warning Sign
Lot #726 (Sale Order 726 of 1017)
9 3/4" by 7 7/8"
Fenton Emerald Crest Milk Glass Bowl
Lot #727 (Sale Order 727 of 1017)
7" in Diameter by 3 5/8" tall.
Antique Safety Shaving Razors
Lot #728 (Sale Order 728 of 1017)
Includes Samples by Schick, Gillette and GEM Blades.
Oxford Ware Refrigerator Water Pitcher
Lot #729 (Sale Order 729 of 1017)
6 1/2" by 5 1/8" by 8 1/2" tall.
Pair of Fenton Rose Crest Milk Glass Crimped Vases
Lot #730 (Sale Order 730 of 1017)
Each Vase has a diameter of 5 1/4" and a height of 6 1/2"
Decorative Tin Metal Garden Owl Wind Rocker
Lot #731 (Sale Order 731 of 1017)
This is a nodding owl. With just a little breeze, the owl kinetic sculptures can rock back and forth. The owl's wings and feet have delicate gravity structures and weighted balls, which make it more stable and cute when swaying. Stands 5 feet 3 inches tall. Wings spread to 24"
Rainier Brewing Beer Bar Mirror Sign
Lot #732 (Sale Order 732 of 1017)
20 1/2" by 14 3/8"
Antique Lorraine Metal Crank Handle Cheese Grater
Lot #733 (Sale Order 733 of 1017)
Can be Mounted on a Table. 8 5/8" Tall
Rustic Cast Iron Cow Plant Hanger
Lot #734 (Sale Order 734 of 1017)
13 1/4" by 12"
Rustic Cast Iron Moose Wall Sculpture
Lot #735 (Sale Order 735 of 1017)
9 1/8" by 6"
Cast Iron Weathervane Lightning Rod
Lot #736 (Sale Order 736 of 1017)
41 1/2" by 15"
Collection of Barbie Dolls & Accessories
Lot #737 (Sale Order 737 of 1017)
Nice Grouping.
Rustic Metal Moose Wall Art
Lot #738 (Sale Order 738 of 1017)
21 1/4" by 18 1/4"
Rustic Cast Iron Nautical Compass Wall Sculpture
Lot #739 (Sale Order 739 of 1017)
11" Diameter
Cast Iron On this Site in 1897 Satire Sign
Lot #740 (Sale Order 740 of 1017)
11 5/8" by 4 1/8"
Arthur Court Aluminum Cow Carving Set
Lot #741 (Sale Order 741 of 1017)
Knife is 14" long and Fork is 12" Long.
North and Judd Montana Cowboy Spurs
Lot #742 (Sale Order 742 of 1017)
7 1/8" long. Horse Head.
Fenton Footed Amethyst Carnival Glass Vase
Lot #743 (Sale Order 743 of 1017)
6 3/4" diameter, 6" tall.
Fenton Opalescent June Birthstone Cat Paperweight
Lot #744 (Sale Order 744 of 1017)
3 5/8" by 2 3/4" by 2 1/4"
Cast Iron Zen Meditating Cat Paperweight
Lot #745 (Sale Order 745 of 1017)
7 3/4" by 5 7/8" by 3"
Cast Iron Turtle Paperweight
Lot #746 (Sale Order 746 of 1017)
4 3/4" by 3 1/4" by 1 1/2"
Hanging Glass Parrot Wall Sculpture
Lot #747 (Sale Order 747 of 1017)
9 5/8" by 2 7/8" by 2"
Animals Playing Poker Wall Tapestry
Lot #748 (Sale Order 748 of 1017)
28" by 33 1/2"
Playstation 2 3 Rock Band Video Games
Lot #749 (Sale Order 749 of 1017)
Nice grouping.
Mexican Ironwood Seal Carvings
Lot #750 (Sale Order 750 of 1017)
Largest is 8" by 3 3/8" by 2 1/2"
Decorative Tin Metal Garden Cardinal
Lot #751 (Sale Order 751 of 1017)
9 7/8" by 6 1/2" by 2 1/4"
Sterling Silver Enamel Toothpick Holder
Lot #752 (Sale Order 752 of 1017)
1 1/2" by 1" by 1"
Decorative Tin Metal Garden Rooster
Lot #753 (Sale Order 753 of 1017)
11 7/8" by 11" by 4 1/2"
Decorative Tin Metal Garden Crow
Lot #754 (Sale Order 754 of 1017)
21" by 12 3/4" by 6 1/2"
Decorative Tin Metal Garden Woodpecker
Lot #755 (Sale Order 755 of 1017)
10 1/4" by 5 3/4" by 2 1/2"
Decorative Tin Metal Garden Hummingbird
Lot #756 (Sale Order 756 of 1017)
8" by 8" by 3"
Montana Made Ironwood Elk Antler Belt Buckle
Lot #757 (Sale Order 757 of 1017)
2 5/8" by 1 3/4".
Montana Made Ironwood Elk Antler Belt Buckle
Lot #758 (Sale Order 758 of 1017)
2 5/8" by 1 3/4"
Montana Made Ironwood Elk Antler Belt Buckle
Lot #759 (Sale Order 759 of 1017)
2 3/8" by 1 3/4"
Alaska Pewter Belt Buckle
Lot #760 (Sale Order 760 of 1017)
3" by 2 1/2"
Cast Iron Garden Tool Hook
Lot #761 (Sale Order 761 of 1017)
15" by 9 1/2" by 1 5/8"
Vintage Tomler Sanforized Cotton Shirt
Lot #762 (Sale Order 762 of 1017)
Torn on breast as shown.
Local Farmers Market Metal Pig Sign
Lot #763 (Sale Order 763 of 1017)
24 1/4" by 15 3/4"
Antique Folk Art Crazy Quilt Pillow
Lot #764 (Sale Order 764 of 1017)
Decent example. 19 3/4" by 19 1/4" by 5".
Nora Williamson Folk Art Crazy Quilt
Lot #765 (Sale Order 765 of 1017)
71" by 52"
Pheasants in Forest Tapestry
Lot #766 (Sale Order 766 of 1017)
46 1/2" by 70"
Antique Grandmothers Fans Quilt
Lot #767 (Sale Order 767 of 1017)
78 1/2" by 78 1/2"
Antique Lion Head Wool Sleigh Lap Blanket
Lot #768 (Sale Order 768 of 1017)
46 1/2" by 59". Made by Chase.
Congolese Topoke Lokele Currency Sword Blade
Lot #769 (Sale Order 769 of 1017)
58 1/2" long.
Democratic Republic of the Congo Ngombe Sword
Lot #770 (Sale Order 770 of 1017)
27" long.
African Zulu Assegai Iklwa Lion Hunting Spear
Lot #771 (Sale Order 771 of 1017)
75" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #772 (Sale Order 772 of 1017)
62" long.
African Zulu Assegai Iklwa Lion Hunting Spear
Lot #773 (Sale Order 773 of 1017)
81 1/2" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #774 (Sale Order 774 of 1017)
52 1/2" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #775 (Sale Order 775 of 1017)
51" long.
Congolese Wood Spear
Lot #776 (Sale Order 776 of 1017)
47 1/2" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #777 (Sale Order 777 of 1017)
57 3/4" long.
Congolese Kuba Lion Hunting Spear
Lot #778 (Sale Order 778 of 1017)
Nice example. 47" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #779 (Sale Order 779 of 1017)
55 1/2" long.
African Maasai Lion Hunting Spear
Lot #780 (Sale Order 780 of 1017)
31 5/8" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #781 (Sale Order 781 of 1017)
32" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #782 (Sale Order 782 of 1017)
26 3/4" long.
Congolese Mongo Ngbandi Lion Hunting Spear Shaft
Lot #783 (Sale Order 783 of 1017)
31" long.
North African Tuareg Silver Dagger
Lot #784 (Sale Order 784 of 1017)
16 3/8" long.
Ngbandi Ngombe Poto Ifangbwa Short Sword
Lot #785 (Sale Order 785 of 1017)
23" long. The Ifangbwa, was used primarily by the Mbudja, but also by the Ngombe, Doko, Ngbandi, Ndunga, Poto, and other smaller groups. They were mainly found in the area between the Congo River and the Mongala and Ebola Rivers in D.R. Congo. Aside from their shields, the armament of the Mbudja, Poto, Ngombe and Doko was very similar. Swords of this type were usually worn without a sheath (although there are some examples with a braided sleeve), especially among the Ngombe. The flared ends of this blade were surely inspired by the smaller but similarly designed blades of the Yakoma, Ngbandi, and Sango, who used them ceremonially.
Boa Zonde Congolese Sword Dagger
Lot #786 (Sale Order 786 of 1017)
16 5/8" long.
Javanese Indonesian Keris Kris Dagger
Lot #787 (Sale Order 787 of 1017)
16 7/8" long.
Democratic Republic of the Congo Ngombe Sword
Lot #788 (Sale Order 788 of 1017)
24 1/4" long.
Baule Ivory Coast African Mask
Lot #789 (Sale Order 789 of 1017)
15" by 7 1/2" by 4 1/4"
Lega Democratic Republic of the Congo Mask
Lot #790 (Sale Order 790 of 1017)
18 1/4" by 12" by 3 1/2".
LwaLwa Democratic Republic of the Congo Mask
Lot #791 (Sale Order 791 of 1017)
12 3/8" by 9" by 5".
Dan Ivory Coast Mask
Lot #792 (Sale Order 792 of 1017)
13 3/8" by 6 1/2" by 4 3/4".
Papua New Guinea Feather Shell Mask
Lot #793 (Sale Order 793 of 1017)
14 1/2" diameter.
Papua New Guinea Feather Shell Mask
Lot #794 (Sale Order 794 of 1017)
13" diameter. Some loss as shown.
Pende Mbuya Kiwoyo Muyombo Mask
Lot #795 (Sale Order 795 of 1017)
16 1/4" by 8 5/8" by 5".
Dogon Ancestor Figure
Lot #796 (Sale Order 796 of 1017)
20 3/8" by 3 3/8" by 3 1/8".
African Zulu Assegai Iklwa Lion Hunting Spear
Lot #797 (Sale Order 797 of 1017)
74" long.
Congolese Kuba Lion Hunting Spear
Lot #798 (Sale Order 798 of 1017)
59 1/2" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #799 (Sale Order 799 of 1017)
Nice example. 72 7/8" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #800 (Sale Order 800 of 1017)
Nice example. 56 1/4" long.
Papua New Guinea Spear
Lot #801 (Sale Order 801 of 1017)
76" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #802 (Sale Order 802 of 1017)
55" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #803 (Sale Order 803 of 1017)
60" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #804 (Sale Order 804 of 1017)
46 1/2" long.
Congolese Kuba Lion Hunting Spear
Lot #805 (Sale Order 805 of 1017)
39" long.
Ancient Roman Glass Balsamarium Perfume Bottle
Lot #806 (Sale Order 806 of 1017)
4 1/2" by 2 1/4" by 1". Circa 4th-5th Century A.D.
Western Pende Kiwoyo Muyombo Mask
Lot #807 (Sale Order 807 of 1017)
16" by 10" by 3 3/4".
1484 Austrian Guldiner Silver Wine Taster
Lot #808 (Sale Order 808 of 1017)
4 1/4" by 3 1/2" by 3/4". 28.10 grams.
1648 French Coin Silver Wine Taster
Lot #809 (Sale Order 809 of 1017)
4 1/4" by 3 1/2" by 3/4". 64.50 grams.
Sudanese Mahdi Dervish Dagger
Lot #810 (Sale Order 810 of 1017)
11 1/4" long.
Sudanese Mahdi Dervish Dagger
Lot #811 (Sale Order 811 of 1017)
11 1/2" long.
Sudanese Mahdi Dervish Dagger
Lot #812 (Sale Order 812 of 1017)
10 1/2" long.
Sudanese Mahdi Dervish Dagger
Lot #813 (Sale Order 813 of 1017)
11 1/2" long.
Madura Keris Kris Dagger
Lot #814 (Sale Order 814 of 1017)
16 3/4" long.
Javanese Indonesian Keris Kris Dagger
Lot #815 (Sale Order 815 of 1017)
18 3/4" long.
Konda Haute Zaire Short Sword
Lot #816 (Sale Order 816 of 1017)
17 1/2" long.
Democratic Republic of the Congo Poto Knife
Lot #817 (Sale Order 817 of 1017)
25 1/2" long.
Chokwe African Tribal Wood Mask
Lot #818 (Sale Order 818 of 1017)
8" by 6" by 3 3/4".
Dan Passport Mask
Lot #819 (Sale Order 819 of 1017)
11" by 6 3/4" by 4".
Papua New Guinea Feather Shell Mask
Lot #820 (Sale Order 820 of 1017)
16" diameter. Some loss.
Papua New Guinea Sepik River Mask
Lot #821 (Sale Order 821 of 1017)
17" by 6 1/2" by 5 1/2"
Chokwe Mask Mwana Pwo Fertility Mask Bag
Lot #822 (Sale Order 822 of 1017)
13" by 7 7/8" by 3 1/8" with net. Unusual small size.
Dogon Ancestor Figure
Lot #823 (Sale Order 823 of 1017)
17 1/8" tall.
Dogon Ancestor Figure
Lot #824 (Sale Order 824 of 1017)
17 1/2" tall.
Dan Ge Gon Society Liberia Ivory Coast Mask
Lot #825 (Sale Order 825 of 1017)
21 1/8" by 10 1/4" by 6"
Unusual African Race Jockey Mask
Lot #826 (Sale Order 826 of 1017)
Has an ace of spades on his hat. 13 1/2" by 7" by 6".
Kuba Palm Wine Cup
Lot #827 (Sale Order 827 of 1017)
7 7/8" by 4 1/2" by 3 3/4".
West African Ashanti Slave Trade Bronze Anklet
Lot #828 (Sale Order 828 of 1017)
6 1/4" by 3 3/8" by 2 3/8".
West African Ashanti Slave Trade Bronze Anklet
Lot #829 (Sale Order 829 of 1017)
5 1/2" by 3" by 2".
Democratic Republic of the Congo Luba Axe Adze
Lot #830 (Sale Order 830 of 1017)
19 3/4" long.
Democratic Republic of the Congo Luba Axe Adze
Lot #831 (Sale Order 831 of 1017)
20 3/4" long.
Kuba Democratic Republic of Congo Tukula Box
Lot #832 (Sale Order 832 of 1017)
10" by 4 1/4" by 2 1/2".
Democratic Republic of the Congo Kuba Knife
Lot #833 (Sale Order 833 of 1017)
17 3/4" long.
Democratic Republic of the Congo Kuba Knife
Lot #834 (Sale Order 834 of 1017)
16 5/8" long.
Democratic Republic of the Congo Kuba Knife
Lot #835 (Sale Order 835 of 1017)
20 3/4" long.
Pende Galukoji Divination Instrument
Lot #836 (Sale Order 836 of 1017)
10 5/8" by 6 1/4" by 3" folded.
India Bronze Kalasha Pot
Lot #837 (Sale Order 837 of 1017)
5 3/8" diameter, 4 1/2" tall.
India Bronze Kalasha Pot
Lot #838 (Sale Order 838 of 1017)
6" diameter, 5 1/4" tall.
Democratic Republic of the Congo Yaka Cup
Lot #839 (Sale Order 839 of 1017)
4 1/2" by 2 3/4" by 2 1/2"
Democratic Republic of the Congo Kuba Scoop
Lot #840 (Sale Order 840 of 1017)
6 1/2" by 3" by 1 1/4"
Turkana Kenya Africa Meat Food Container
Lot #841 (Sale Order 841 of 1017)
9 3/8" by 7 3/4" by 7 1/4"
Turkana Kenya Africa Meat Food Container
Lot #842 (Sale Order 842 of 1017)
9 3/8" by 5 1/2" by 5 1/8"
Turkana Kenya Africa Meat Food Container
Lot #843 (Sale Order 843 of 1017)
11 1/2" by 8 3/8" by 7 3/4"
African Hoof Pick Tool
Lot #844 (Sale Order 844 of 1017)
12 5/8" long.
Mali Senufo Mask
Lot #845 (Sale Order 845 of 1017)
26 5/8" by 20 3/4" by 5".
Democratic Republic of the Congo Kuba Drum
Lot #846 (Sale Order 846 of 1017)
9 3/4" by 5 1/8" by 4 1/2".
Dogon Mali West Africa Bowl Lid
Lot #847 (Sale Order 847 of 1017)
13" tall, 10 3/4" diameter.
Democratic Republic of the Congo Poto Knife
Lot #848 (Sale Order 848 of 1017)
21 3/4" long.
Rwanda Tutsi Hutu Billhook
Lot #849 (Sale Order 849 of 1017)
11 1/4" long.
Democratic Republic of the Congo Ikul Kuba Knife
Lot #850 (Sale Order 850 of 1017)
14 3/4" long.
Democratic Republic of the Congo Mongo Knife
Lot #851 (Sale Order 851 of 1017)
20 1/4" long.
Javanese Indonesian Keris Kris Dagger
Lot #852 (Sale Order 852 of 1017)
16 5/8" long.
Chokwe Mwana Pwo Fertility Mask
Lot #853 (Sale Order 853 of 1017)
8 1/4" by 6 1/4" by 3 3/4".
Lega Democratic Republic of the Congo Mask
Lot #854 (Sale Order 854 of 1017)
17" by 11 1/4" by 3 1/2".
Dan Ivory Coast Bete Mask
Lot #855 (Sale Order 855 of 1017)
16 1/8" by 8 3/4" by 5". Gallery price of $8500.
African Teke Mask
Lot #856 (Sale Order 856 of 1017)
10 3/8" by 9" by 2".
Dan Ivory Coast Passport Mask
Lot #857 (Sale Order 857 of 1017)
10 1/4" by 6 1/2" by 3 1/4".
Dan Ivory Coast Circumcision Mask
Lot #858 (Sale Order 858 of 1017)
10 1/2" by 7" by 2 7/8". Gallery Price $4000
Mali Senufo Mask
Lot #859 (Sale Order 859 of 1017)
15" by 5 7/8" by 1 7/8".
Benin Bronze Warrior Bust
Lot #860 (Sale Order 860 of 1017)
13" by 5" by 4 1/4".
Ibibio Reliquary Guardian Figure
Lot #861 (Sale Order 861 of 1017)
11 3/4" by 2 3/4" by 2 1/2".
Dogon Ancestor Figure
Lot #862 (Sale Order 862 of 1017)
24 3/4" tall, 6 1/8" by 4 7/8".
Luba Shankadi Maternity Stool
Lot #863 (Sale Order 863 of 1017)
9 1/8" tall, 5 3/8" diameter.
Zaire Kuba Society Ceremonial Box
Lot #864 (Sale Order 864 of 1017)
7 5/8" by 2 3/4" by 1 3/8".
Congo Teke Tsayi Kidumu Mask
Lot #865 (Sale Order 865 of 1017)
13 1/2" by 13 5/8".
Congo Teke Tsayi Kidumu Mask
Lot #866 (Sale Order 866 of 1017)
12" by 13".
Republic of the Congo Dengese Wood Ceremonial Ax
Lot #867 (Sale Order 867 of 1017)
20" long
Democratic Republic of the Congo Mangbetu Knife
Lot #868 (Sale Order 868 of 1017)
14" long.
Kuba Ancestor Figure
Lot #869 (Sale Order 869 of 1017)
7" tall.
Yaka Nkoko Ngombo Drum
Lot #870 (Sale Order 870 of 1017)
10 3/4" long.
Yaka Nkoko Ngombo Drum
Lot #871 (Sale Order 871 of 1017)
13 1/2" long.
Benin Bronze Warrior Bust
Lot #872 (Sale Order 872 of 1017)
17 3/4" by 9 5/8" by 7".
Chokwe Mwana Pwo Fertility Mask
Lot #873 (Sale Order 873 of 1017)
8 1/4" by 5 1/2" by 2 1/2".
Dan Ivory Coast Circumcision Mask
Lot #874 (Sale Order 874 of 1017)
Nice example. 10 5/8" by 7 1/8".
Kuba Ancestor Figure
Lot #875 (Sale Order 875 of 1017)
12" tall.
Dogon Wood Figure
Lot #876 (Sale Order 876 of 1017)
14 1/8" long.
Luba Shankadi Maternity Stool
Lot #877 (Sale Order 877 of 1017)
15 1/4" tall, 10 3/4" diameter.
Indonesian South Pacific Knife Set
Lot #878 (Sale Order 878 of 1017)
Nice set.
Javanese Indonesian Keris Kris Dagger
Lot #879 (Sale Order 879 of 1017)
18 3/8" long.
Ivory Coast Baule Mask
Lot #880 (Sale Order 880 of 1017)
10" by 5 1/2" by 5 1/8".
Mali Senufo Mask
Lot #881 (Sale Order 881 of 1017)
19 1/2" by 8 3/4" by 4 3/4".
Ivory Coast Baule Mask
Lot #882 (Sale Order 882 of 1017)
18" by 7 1/4" by 3 1/2".
Ivory Coast Dan Guere Mask
Lot #883 (Sale Order 883 of 1017)
13" by 10 5/8" by 6".
Democratic Republic of the Congo Bindji Helmet
Lot #884 (Sale Order 884 of 1017)
16 3/8" by 13" by 9".
Kuba Reliquary Guardian Maternity Figure
Lot #885 (Sale Order 885 of 1017)
29 1/2" tall.
Democratic Republic of the Congo Kuba Wood Knife
Lot #886 (Sale Order 886 of 1017)
12 3/8" long.
Democratic Republic Congo Mbole Currency Anklet
Lot #887 (Sale Order 887 of 1017)
9" diameter, 4 1/2" tall. 1482 grams.
Yoruba Africa Beaded Bracelet
Lot #888 (Sale Order 888 of 1017)
3 1/2" outside diameter, 1 1/8" wide.
Democratic Republic Congo Mbole Currency Anklet
Lot #889 (Sale Order 889 of 1017)
5 3/8" by 5" by 3"
Democratic Republic Congo Mbole Currency Anklet
Lot #890 (Sale Order 890 of 1017)
7" diameter, 3 1/2" wide.
Ivory Coast Yombe Maternity Statue
Lot #891 (Sale Order 891 of 1017)
15" tall on stand.
Ivory Coast Baule Mask
Lot #892 (Sale Order 892 of 1017)
16 1/4" by 5 3/4" by 2 7/8".
Chokwe Mwana Pwo Fertility Mask
Lot #893 (Sale Order 893 of 1017)
6 1/4" by 5 1/2" by 2 7/8"
Zambia Imbila Xylophone
Lot #894 (Sale Order 894 of 1017)
Two sticks broken. 11 3/4" by 8 1/2" by 5 1/2"
Turkana Kenya Africa Meat Food Container
Lot #895 (Sale Order 895 of 1017)
13 3/8" tall.
Turkana Kenya Africa Meat Food Container
Lot #896 (Sale Order 896 of 1017)
15" tall.
Benin Trumpet Montana Residents Only
Lot #897 (Sale Order 897 of 1017)
18 1/4" long. Montana Residents Only. No shipping outside of the state of Montana. Only for sale to Montana Residents. Anyone else bidding, who does not reside in the state will have their bidding privilege's revoked immediately.
Congo Kuba Trumpet Montana Residents Only
Lot #898 (Sale Order 898 of 1017)
21 3/4" long. Montana Residents Only. No shipping outside of the state of Montana. Only for sale to Montana Residents. Anyone else bidding, who does not reside in the state will have their bidding privilege's revoked immediately.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #899 (Sale Order 899 of 1017)
56" long.
Congolese Mongo Ngbandi Lion Hunting Spear
Lot #900 (Sale Order 900 of 1017)
59" long.
Konda Ikakalaka Short Sword
Lot #901 (Sale Order 901 of 1017)
21" long.
Plains Montana Whole Wheat Flour Sacks
Lot #902 (Sale Order 902 of 1017)
Victor M. Wood Plains Montana. Largest is 8" by 16"
Van Briggle Colorado Pottery Yucca Vase
Lot #903 (Sale Order 903 of 1017)
5 1/2" diameter, 4 3/8" tall.
Apothecary Druggist Pharmacy Show Globe Jar
Lot #904 (Sale Order 904 of 1017)
Stopper is Chipped, but overall a nice example. 23" tall, 10" diameter.
Thermos Jim Muppets Lunchbox
Lot #905 (Sale Order 905 of 1017)
No thermos.
Aladdin Junior Miss Metal Lunchbox
Lot #906 (Sale Order 906 of 1017)
With handle and thermos.
Thermos Star Wars Return of the Jedi Lunchbox
Lot #907 (Sale Order 907 of 1017)
Metal body with handle. No thermos.
Aladdin Annie Metal Lunchbox
Lot #908 (Sale Order 908 of 1017)
With handle and thermos.
Thermos Cabbage Patch Kids Metal Lunchbox
Lot #909 (Sale Order 909 of 1017)
With handle and thermos.
Thermos Hallmark Metal Lunchbox
Lot #910 (Sale Order 910 of 1017)
With handle and thermos.
Thermos The Partridge Family Metal Lunchbox
Lot #911 (Sale Order 911 of 1017)
With handle, no thermos.
Wild Frontier Metal Lunchbox
Lot #912 (Sale Order 912 of 1017)
With handle, no thermos.
Aladdin Pac Man Metal Lunchbox
Lot #913 (Sale Order 913 of 1017)
With handle, no thermos.
Aladdin Disney Express Metal Lunchbox
Lot #914 (Sale Order 914 of 1017)
With handle, no thermos.
Aladdin Care Bears Metal Lunchbox
Lot #915 (Sale Order 915 of 1017)
With handle and thermos.
Thermos Happy Days Metal Lunchbox
Lot #916 (Sale Order 916 of 1017)
With handle, no thermos.
Thermos Metal Lunchbox
Lot #917 (Sale Order 917 of 1017)
With handle, no thermos. Painted and stickered over.
Wild Frontier Metal Lunchbox
Lot #918 (Sale Order 918 of 1017)
With handle, no thermos.
Ohio Art Highway Signs Metal Lunchbox
Lot #919 (Sale Order 919 of 1017)
With handle, no thermos.
Aladdin Flintstones Metal Lunchbox
Lot #920 (Sale Order 920 of 1017)
With handle, no thermos.
Aladdin Junior Miss Metal Lunchbox
Lot #921 (Sale Order 921 of 1017)
With handle and thermos.
Aladdin Care Bear Cousins Metal Lunchbox
Lot #922 (Sale Order 922 of 1017)
With handle and thermos.
Thermos Wags n Whiskers Metal Lunchbox
Lot #923 (Sale Order 923 of 1017)
With handle, no thermos.
Thermos Happy Days Metal Lunchbox
Lot #924 (Sale Order 924 of 1017)
With handle and thermos.
Wild Frontier Metal Lunchbox
Lot #925 (Sale Order 925 of 1017)
With handle, no thermos.
Aladdin Plaid Metal Lunchbox
Lot #926 (Sale Order 926 of 1017)
No handle or thermos.
Thermos Mr. Merlin Lunchbox
Lot #927 (Sale Order 927 of 1017)
Nice example with thermos.
1983 Star Wars Return of the Jedi Lunchbox
Lot #928 (Sale Order 928 of 1017)
Made by Thermos. Missing thermos.
Aladdin Gremlins Lunchbox
Lot #929 (Sale Order 929 of 1017)
Missing thermos.
Aladdin Masters of the Universe Lunchbox
Lot #930 (Sale Order 930 of 1017)
Missing thermos.
Aladdin Back in 76 Lunchbox
Lot #931 (Sale Order 931 of 1017)
Missing thermos.
Aladdin Gremlins Lunchbox
Lot #932 (Sale Order 932 of 1017)
Missing Thermos.
Decorative Tin Metal Garden Chicken
Lot #933 (Sale Order 933 of 1017)
8 5/8" by 8 1/4" by 4 3/4".
Decorative Tin Metal Garden Moose
Lot #934 (Sale Order 934 of 1017)
11 1/2" by 10" by 3"
Decorative Tin Metal Garden Rooster
Lot #935 (Sale Order 935 of 1017)
11 5/8" by 11" by 4 1/2"
Decorative Tin Metal Garden Frog
Lot #936 (Sale Order 936 of 1017)
9 1/4" by 8" by 4 3/4"
Decorative Tin Metal Garden Pig
Lot #937 (Sale Order 937 of 1017)
13" by 9 3/4" by 4 3/4"
Decorative Tin Metal Garden Parrot
Lot #938 (Sale Order 938 of 1017)
8 1/2" by 5" by 2 5/8"
Large Cast Iron Door Knocker
Lot #939 (Sale Order 939 of 1017)
14 3/4" by 8 5/8" by 2 3/4"
Cast Iron Garden Wall Decoration
Lot #940 (Sale Order 940 of 1017)
10 3/4" by 10 1/2"
Rotating Jar Organizer Parts Storage Rack
Lot #941 (Sale Order 941 of 1017)
13 1/4" diameter, 5 1/2" tall
Cast Iron Hot Baths Sign
Lot #942 (Sale Order 942 of 1017)
5 3/4" by 5 1/4"
Vintage Barbie Doll and Clothing
Lot #943 (Sale Order 943 of 1017)
Nice grouping.
Uranium Vaseline Glass Dishes
Lot #944 (Sale Order 944 of 1017)
Not all pieces glow.
Military Police Baton Night Club Sap
Lot #945 (Sale Order 945 of 1017)
Made by Monadnock. 15 3/4" long
Postcard Collection
Lot #946 (Sale Order 946 of 1017)
Nice grouping
Walrus Tusk Montana Residents Only
Lot #947 (Sale Order 947 of 1017)
22 7/8" long. Native made prior to 1972. Montana Residents Only. No shipping outside of the state of Montana. Only for sale to Montana Residents. Anyone else bidding, who does not reside in the state will have their bidding privilege's revoked immediately.
Waltham 14k Gold Ladies Watch
Lot #948 (Sale Order 948 of 1017)
Working in original box.
Ukraine and Russian Currency
Lot #949 (Sale Order 949 of 1017)
Nice grouping.
Midnight Sun Festival Alaska Buttons
Lot #950 (Sale Order 950 of 1017)
Nice grouping
Group of Assorted Collectibles
Lot #951 (Sale Order 951 of 1017)
Nice grouping.
10k Gold Alaskan Gold Nugget Watch Band Tips
Lot #952 (Sale Order 952 of 1017)
1 1/8" long. 5 grams. Lot requires payment via non credit card.
10k Gold Alaskan Gold Nugget Watch Band Tips
Lot #953 (Sale Order 953 of 1017)
7/8" long. 16 grams. Lot requires payment via non credit card.
10k Gold Opal Alaskan Gold Nugget Ring
Lot #954 (Sale Order 954 of 1017)
Size 6. 1.7 grams.
10k Gold Alaskan Gold Nugget Sapphire Ring
Lot #955 (Sale Order 955 of 1017)
Size 7. 1.8 grams.
Scribner's Lumber Log Book
Lot #956 (Sale Order 956 of 1017)
S.E. Fisher. 1946
Rolland Bane a Thrilling Romance
Lot #957 (Sale Order 957 of 1017)
Dr. T.J. Pearce. 1886
The Habitant and other French Canadian Poems
Lot #958 (Sale Order 958 of 1017)
William Henry Drummond. 1897
Many Many Moons
Lot #959 (Sale Order 959 of 1017)
A Book of Wilderness Poems. Lew Sarett. 1920
Bohemian San Francisco
Lot #960 (Sale Order 960 of 1017)
Its Restaurants and their most famous recipes. Clarence E. Edwords. 1914
My Life as an Explorer
Lot #961 (Sale Order 961 of 1017)
Sven Hedin. 1925
Dwight Milligrocks Alaskan Inuit Eskimo Carving
Lot #962 (Sale Order 962 of 1017)
Blanket Toss. 4 1/4" by 4 1/4" by 3 1/4". Carved walrus material. Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
J. Kokoluk Alaskan Inuit Eskimo Mask Carving
Lot #963 (Sale Order 963 of 1017)
4 1/2" by 2" by 1 1/4". Carved walrus material. Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Alaskan Inuit Eskimo Carved Walrus Magnet
Lot #964 (Sale Order 964 of 1017)
1 1/4" by 7/8" by 7/8". Carved walrus material. Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Alaskan Inuit Eskimo Canoe Carving
Lot #965 (Sale Order 965 of 1017)
3 1/2" by 5/8" by 1/2". Carved walrus material. Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
Alaskan Inuit Eskimo Ulu Sewing Kit
Lot #966 (Sale Order 966 of 1017)
3 5/8" by 3 1/4" by 2 7/8"
Alaskan Inuit Eskimo Carvings
Lot #967 (Sale Order 967 of 1017)
Largest is 2 7/8" by 2" by 2". Carved walrus material. Native made prior to 1972. This item cannot be shipped to Oregon, California, Hawaii, New York, New Jersey, Internationally, or any other state that prohibits.
C. Alan Johnson String Game Print
Lot #968 (Sale Order 968 of 1017)
Signed and numbered. 13 3/4" by 17 3/4" framed
Wien Air Alaska Travel Poster
Lot #969 (Sale Order 969 of 1017)
24" by 36"
Wien Air Alaska Travel Poster
Lot #970 (Sale Order 970 of 1017)
24" by 36"
Wien Air Alaska Travel Poster
Lot #971 (Sale Order 971 of 1017)
24" by 36"
Wien Air Alaska Travel Poster
Lot #972 (Sale Order 972 of 1017)
24" by 36"
Rie Munoz Alaska Priest Yukon River Print
Lot #973 (Sale Order 973 of 1017)
13 1/4" by 14 5/8"
Rie Munoz Alaska Breakup Print
Lot #974 (Sale Order 974 of 1017)
10 1/4" by 21 1/2"
All Alaska Sweepstakes Iditarod Poster
Lot #975 (Sale Order 975 of 1017)
18" by 23 1/2"
The 1st Iditarod Poster Jon Van Zyle
Lot #976 (Sale Order 976 of 1017)
17" by 21 3/4"
1982 The Iditarod Poster Jon Van Zyle
Lot #977 (Sale Order 977 of 1017)
18" by 23 1/4"
Iditarod 1982 Poster
Lot #978 (Sale Order 978 of 1017)
17 1/2" by 23"
Susan Ogle United Bank Alaska Print
Lot #979 (Sale Order 979 of 1017)
Signed. 14" by 18"
Protect Against Rabies Iditarod Poster Signed
Lot #980 (Sale Order 980 of 1017)
17 5/8" by 23 1/8"
1981 Iditarod Poster Jon Van Zyle
Lot #981 (Sale Order 981 of 1017)
18" by 24"
Barbara Lavallee Prints Alaska
Lot #982 (Sale Order 982 of 1017)
Nice grouping. Largest is 12 3/4" by 15 7/8" in matte.
The Polar Curio Shop Nome Alaska Calendar
Lot #983 (Sale Order 983 of 1017)
1978 calendar. 8 3/4" by 13 3/4"
Nome Alaska City of Golden Sands Gold Nuggets
Lot #984 (Sale Order 984 of 1017)
World Cities Ltd Marble Engraving. Covered in gold nuggets. 20 3/8" by 25 1/2"
Cheech & Chong Up in Smoke Movie Poster
Lot #985 (Sale Order 985 of 1017)
22" by 34 1/2"
Map of the Peoples Republic of China
Lot #986 (Sale Order 986 of 1017)
Cartographic Printing House. 30" by 42"
Group of Assorted Russian Collectibles
Lot #987 (Sale Order 987 of 1017)
Nice grouping.
Calgary Stampede RPPC Postcards
Lot #988 (Sale Order 988 of 1017)
Nice grouping
Collection of Alaska Police Patches
Lot #989 (Sale Order 989 of 1017)
Nice grouping.
Vintage Alaska Buttons
Lot #990 (Sale Order 990 of 1017)
Nice grouping.
Collection of Soviet Russian Cigarettes
Lot #991 (Sale Order 991 of 1017)
Nice grouping. Sealed.
C. Alan Johnson Cora 1980 Figure
Lot #992 (Sale Order 992 of 1017)
5 5/8" by 3 5/8" by 3 1/4".
C. Alan Johnson Emma 1972 Figure
Lot #993 (Sale Order 993 of 1017)
5" by 2 7/8" by 2 1/2"
C. Alan Johnson Nutchuk 1972 Figure
Lot #994 (Sale Order 994 of 1017)
4 1/4" by 2 3/4" by 2 1/2"
C. Alan Johnson Ahtoon 1962 Figure
Lot #995 (Sale Order 995 of 1017)
4" by 3 1/4" by 2 3/4"
C. Alan Johnson Eetook 1964 Figure
Lot #996 (Sale Order 996 of 1017)
8 1/4" by 6" by 3 3/4".
C. Alan Johnson Mary 1963 Figure
Lot #997 (Sale Order 997 of 1017)
8 5/8" by 4 3/4" by 4 1/4"
The Wise Thrifty Pig Cast Iron Still Bank
Lot #998 (Sale Order 998 of 1017)
Nice original paint. 6 1/2" by 3" by 2 3/4".
Traditional Russian Matryoshka Nesting Doll Set
Lot #999 (Sale Order 999 of 1017)
Largest is 5 1/4" tall.
Alaskan Inuit Eskimo Beaded Moccasins
Lot #1000 (Sale Order 1000 of 1017)
10 1/2" by 5" by 3 3/8". Toes have loose stitching. Manufactured/Collected by Native Peoples prior the MMPA of 1972, legal to sell and own.
Schiotz Sklar Tonometer
Lot #1001 (Sale Order 1001 of 1017)
Nice example in case.
Mid Century Murano Blow Glass Ashtray
Lot #1002 (Sale Order 1002 of 1017)
6" by 5 1/4" by 2 1/8"
The Book of the Thousand Nights and a Night
Lot #1003 (Sale Order 1003 of 1017)
Valenti Angelo. The Heritage Press. 1934
WW2 Era USS Ticonderoga Wool Hats
Lot #1004 (Sale Order 1004 of 1017)
Size 7 1/8
Resin Alaskan Inuit Eskimo Statues
Lot #1005 (Sale Order 1005 of 1017)
Nice grouping. Largest is 10 5/8" by 4 1/4" by 3 1/8".
David Frykman Christmas Collection
Lot #1006 (Sale Order 1006 of 1017)
Nice grouping.
Steiff Club Edition 1995/96 Baby Bar Bear
Lot #1007 (Sale Order 1007 of 1017)
1946 Blond 35. New in box.
Steiff Club Edition 1999/2000 Teddybar Teddy Bear
Lot #1008 (Sale Order 1008 of 1017)
Schwarz 35. New in box. Growler.
Steiff Forget Me Not Teddy Bear
Lot #1009 (Sale Order 1009 of 1017)
New in box.
Steiff Club 2001 Miniature Teddy Bear
Lot #1010 (Sale Order 1010 of 1017)
New in box.
Steiff Club 2000 Miniature Teddy Bear
Lot #1011 (Sale Order 1011 of 1017)
New in box.
Steiff Club Teddy Bear Collection
Lot #1012 (Sale Order 1012 of 1017)
Nice grouping in box.
Steiff Caramel 1951 Growler Teddy Bear
Lot #1013 (Sale Order 1013 of 1017)
With box and certificate.
Steiff Growler Louis 44 Teddy Bear
Lot #1014 (Sale Order 1014 of 1017)
Special edition limited to 3500, with box and certificate.
Steiff Club 1997/98 Goldblond 34 Teddy Bear
Lot #1015 (Sale Order 1015 of 1017)
With box, milk jug, plates and certificate. Growler
David Frykman Portfolio Bear Figurines
Lot #1016 (Sale Order 1016 of 1017)
The Fisherman and his friend. Nice grouping. 20" laid out with all the figures.
Sat,
Jun
14,
2025
9:00 AM
Mountain
