Heritae Auctions - Art of the American West Art Auction 5085 - Dallas Texas

November 5, 2011 | Dallas

art of the americaN west . & ,

texas art auctioNs

Front Cover Lot 70041Back Cover Lot 76034Inside Front Cover Lot 76027Inside Back Cover Lot 70050

22540

Heritage Signature® Auction #5085/5070

LIVE AUCTION Signature® Floor Sessions 1-2(Floor, Telephone, HERITAGE Live!,™ Internet, Fax, and Mail)

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Session 1 – Art of the American West #5085Saturday, November 5 • 1:00 PM CT • Lots 70001–70075

Session 2 – Texas Art #5070Saturday, November 5 • 3:00 PM CT • Lots 76001–76098

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This auction is subject to a 19.5% Buyer’s Premium.

TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Scott Peterson 13256; Bob Merrill 13408; Mike Sadler 16129; Andrea Voss 16406; Jacob Walker 16413; Eric Thomas 16421; Marsha Dixey 16493; Tim Rigdon 16519; Cori Mikeals 16582; Stewart Huckaby 16590; Wayne Shoemaker 16600; Chris Dykstra 16601; Teia Baber 16624; Associates under sponsorship of Tim Rigdon 16519: Kathleen Guzman 16142; 16519; Peter Wiggins 16635; Ed Beardsley 16632; Nicholas Dawes 16784.

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This Auction is presented and cataloged by Heritage Auctions

© 2011 Heritage Auctioneers & Galleries, Inc.

Art of the American West & Texas Art Featuring: Highlights of the Phillip Jonsson Collection

November 5, 2011 | Dallas

3500 Maple Avenue • Dallas, Texas 75219Phone 214-528-3500 • 800-872-6467

HA.com/FineArt

Consignment Directors: Kirsty Buchanan, Atlee Phillips, Ed Jaster

Cataloged by: Laura Howard

Steve IvyCEO

Co-Chairman of the Board

Jim HalperinCo-Chairman of the Board

Paul MinshullChief Operating Officer

Todd ImhofExecutive Vice President

Greg RohanPresident

Fine & Decorative Arts Specialists

Kirsty Buchanan Consignment Director

Ed Jaster Sr. Vice President

Ed Beardsley Vice President and Managing Director,

Fine and Decorative Arts

Atlee Phillips Director, Texas Art

ART OF THE AMERICAN WESTFloor, Telephone, Heritage Live!™, Internet, Fax, and Mail Signature® Auction # 5085

Saturday, November 5, 2011 | 1:00PM CT | Dallas | Lots 70001 - 70075

4 To view full descriptions, enlargeable images and bid online, visit HA.com/5085

70001

GUSTAVE BAUMANN (German/American, 1881-1971)Pines - Grand Cañon, 1920Color woodcut on Zanders Bergisch Gladbach paperImage: 13 x 13 inches (33.0 x 33.0 cm)Paper: 17-1/4 x 14-1/4 inches (43.8 x 36.2 cm)Ed: 7/100Signed lower right: Gustave Baumann with artist’s hand-in-heart stampTitled lower left: Pines - Grand Cañon

Estimate: $4,000-$6,000

70002

WALTER GONSKE (American, b. 1942)Taos CharmOil on canvas32 x 26 inches (81.3 x 66.0 cm)Signed lower left: Gonske / NAWASigned, titled, and numbered verso: Gonske / Taos Charm / #1052

Estimate: $3,000-$5,000

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 5

70003

WILSON HURLEY (American, 1924-2008)Sunlight on Falling RainOil on canvas30 x 48 inches (76.2 x 121.9 cm)Signed lower left: Wilson HurleyArtist’s label verso.

For master landscape painter, Wilson Hurley, the land and sky of New Mexico with their constantly changing colors and tones, were an endless source of inspiration. From his home tucked into the foothills of the Sandia Mountains near Albuquerque, Hurley could observe and study the drama of an approaching thunderstorm, the nuances that a fading evening light created on the darkening landscape, or the bright colors of distant mountains lit by the noonday sun. He turned those daily observations into panoramic paintings that deftly captured the natural beauty of the world around him. Hurley was a true Renaissance man; a graduate of West Point, he was a pilot, engineer, and successful attorney before taking up art as a full time pursuit. As a young artist, he sharpened his eye for detail and his general technique under the tutelage of Santa Fe artist Theodore Van Soelen.

In Sunlight on Falling Rain, Hurley demonstrates his ability to infuse the New Mexican landscape with a sense of high drama while at the same time capturing the beauty and grandeur of nature. He fills the foreground with highly realistic details of rock and foliage and skillfully leads the viewer’s eye toward the storm on the horizon. The bright white sunlight shining through the storm serves as a counterpoint to the blues, grays, and pinks of the thunderhead which anchors the entire frame of the painting. Hurley’s ability to convey the enormous power of a thunderstorm and the subtle colorations of the landscape below in a single scene sets him apart as one of the most accomplished painters of the modern era.

Estimate: $15,000-$20,000


70004

CLARK HULINGS (American, 1922-2011)Landscape #2 (Horses Before the Storm), 1973Oil on canvas24 x 36 inches (61.0 x 91.4 cm)Signed and dated lower left: Hulings 1973

Estimate: $40,000-$60,000


70005

FRANCOIS KOCH (South African/American, b. 1944)Plato Country, 2010Oil on canvas30 x 20 inches (76.2 x 50.8 cm)Signed and dated lower right: Francois Koch 10Signed on tacking edge: Francois Koch, Tucson, AZ

Estimate: $9,000-$12,000


70006

MAYNARD DIXON (American, 1875-1946)Calico Hills (Virgin Valley, Nevada; No.350), 1927Oil on canvas16 x 20-1/4 inches (40.6 x 51.4 cm)Signed, inscribed, and dated lower right: Maynard Dixon / Virgin Valley, Nev. 1927Numbered, titled, and dated verso: 350 / Calico Hills / Virgin Valley, Nev. / Aug. 1927

PROVENANCEEdward Grabhorn, San Francisco.

EXHIBITEDWichita Art Association, Wichita, Kansas. An Exhibition of Oil Paintings and Drawings by Maynard Dixon. April 15-29, 1928.

This work will be included in Donald J. Hagerty’s forthcoming Catalogue Raisonné of the artist’s works.

Estimate: $30,000-$50,000


70007

ILA MAE MCAFEE (American, 1897-1995)New Mexico LandscapeOil on canvas laid on masonite20 x 28 inches (50.8 x 71.1 cm)Signed lower left: Ila McAfee

Estimate: $5,000-$7,000

70008

PETER HURD (American, 1904-1984)Taos SunsetWatercolor on paper17 x 23 inches (43.2 x 58.4 cm)Signed lower left: Peter Hurd

Estimate: $6,000-$9,000


70009

OSCAR EDWARD BERNINGHAUS (American, 1874-1952)Covered Wagon in Rio Grande Gorge (double sided: Portrait of Little Joe)Oil on board11-3/4 x 14 inches (29.8 x 35.6 cm)Signed lower right: O.E. Berninghaus

Estimate: $20,000-$30,000


70010

JOHN MODESITT (American, b. 1955)The Journey West - Canyon de ChellyOil on canvas16 x 20 inches (40.6 x 50.8 cm)Signed lower right: ModesittTitled and signed on stretcher: The Journey West - Canyon de Chelly, Modesitt

Estimate: $4,000-$6,000

70011

GEORGE PHIPPEN (American, 1915-1966)Prairie Skies, 1948Oil on canvas16 x 20 inches (40.6 x 50.8 cm)Signed and dated lower left: Geo. Phippen / 48Titled and numbered on stretcher: Prairie Skies #25

Estimate: $4,000-$6,000


70012

JOSEPH AMADEUS FLECK (American, 1892-1977)Indian FlowerOil on canvas34-1/2 x 30-1/2 inches (87.6 x 77.5 cm)Signed lower left: Fleck

Indian Flower is one of a series of notable portraits Fleck painted in the mid and late 1920s of Pueblo Indians and New Mexican Hispanics. With only a few exceptions, nearly all the figures are depicted from the waist up against the picture plane, posed against a Taos landscape. Indian Flower depicts a rather dramatic cloudscape behind the figure, incorporating a pueblo and the Taos Mountains in the distance. The figure balances what appears to be a Zuni bread bowl on her head, replacing the typical olla. She wears a black rebozo and red dress similar to the clothing appearing in Fleck’s Sagebrush Madonna of 1925. Indian Flower may have been exhibited under that title A Desert Flower in Fleck’s one-man exhibition at the Kansas City Art Institute in 1929 and at the Galerie Bernheim-Jeune in Paris in 1931. These early portraits are among the most sought-after paintings of Fleck’s oeuvre, and consequently are found almost exclusively in institutional collections.

Sharing similar academic training with most artists working in Taos in the 1920s, Fleck’s Taos paintings were consistent with those produced by the Taos Society of Artists. However, during the 1930s his paintings took on a definite Regionalist style perhaps due to his ties to Kansas City and Benton as well as the Texas Regionalists. By the 1950s, his brushwork became looser and more expressionistic, and he turned more often to landscapes.

Born in Austria, Fleck studied printmaking at the Kunstgewerbeschule (Institute of Applied Arts) and drawing and painting at the Akademie der bildenden Künste Wien (Academy of Fine Arts) in Vienna. His primary instructors at the Akademie, Hans Tichi and Rudolph Bacher, were fringe members of the Vienna Secession led by Gustav Klimt. When Fleck immigrated to Kansas City in 1922, he found work as a designer for Tiffany’s. He also painted portraits of notable Kansas citizens, including the city’s mayor. In the summer 1924, Fleck first visited Taos after seeing a Taos Society of Artists exhibition in Kansas City. He moved to Taos in 1925 with his new wife, Mabel Davidson Mantz, who had family connections in Kansas City and Fort Worth, Texas, that would aid Fleck’s art career. Eventually Fleck had a studio on La Loma, a neighborhood just west of Taos Plaza, where artists W. Herbert Dunton and Blanche Grant also lived. Fleck was especially close to Taos artists E. Martin Hennings and Leon Gaspard.

When the Great Depression decreased tourist traffic to Taos, Fleck “resolved to go to the clients” according to his son, Joseph Fleck Jr. At the time this meant Oklahoma and Texas, where oil was still putting money in people’s pockets. This time period also saw several WPA mural commissions undertaken by the artist including Raton, New Mexico; Hugo, Oklahoma; and the New Mexico State Capitol at Santa Fe (never finished). During the 1940s, Fleck taught at the Kansas City Art Institute and the University of Kansas City (now the University of Missouri at Kansas City), succeeding Thomas Hart Benton. He painted murals for the student union at UMKC that still hang there. In the late 1940s, Fleck built a new studio at Talpa, another village south of Taos and near the communities of Ranchos de Taos and Llano Quemado. Taos moderns Ward Lockwood and Andrew Dasburg lived in the Talpa area.

Michael R. Grauer, Associate Director for Curatorial Affairs/Curator of ArtPanhandle-Plains Historical Museum

Estimate: $50,000-$75,000



70013

GRACE CARPENTER HUDSON (American, 1865-1937)Portrait of Garland Mitchell, 1906Oil on artists’ board7 x 5 inches (17.8 x 12.7 cm)No. 299Signed lower right: G. HudsonSigned and numbered verso: G. Hudson, 299 / Ukiah Cal.

LITERATURE:S.R. Boynton, The Painter Lady: Grace Carpenter Hudson, Ukiah, California, 1980.

The original portrait of Garland Mitchell (artist’s archive #288) was destroyed in the 1906 San Francisco earthquake. This beautiful portrait of a Pomo child was commissioned by the Mitchell family to replace the lost work done the previous year. The Mitchells had been at the St. Francis Hotel when the earthquake occurred, and the resulting fires that swept through San Francisco destroyed the historic hotel including the original portrait.

We would like to extend our special thanks to Mr. Marvin Schenck, Curator of the Grace Hudson Museum in Ukiah, California, for his assistance.

Estimate: $8,000-$12,000


70014

JOSEPH HENRY SHARP (American, 1859-1953)ChrysanthemumsOil on canvas20-1/2 x 24-1/2 inches (52.1 x 62.2 cm)Signed lower right: J.H.SharpInscribed verso: Calif. Chrys.

Estimate: $10,000-$15,000


70015

TONY EUBANKS (American, b. 1939)Flower Girl of San Miguel Oil on canvas24 x 30 inches (61.0 x 76.2 cm)Signed lower right: Eubanks

Estimate: $7,000-$10,000

70016

GEORGE MOLNAR (American, b. 1953)All Gussied Up for the FairOil on masonite9 x 12 inches (22.9 x 30.5 cm)Signed lower left: George MolnarTitled, signed, and numbered verso: All Gussied Up For the Fair / George Molnar / NBM-52

Estimate: $4,000-$6,000


70017

GEORGE HALLMARK (American, b. 1949)Calor del Sol, 1997Oil on canvas24 x 36 inches (61.0 x 91.4 cm)Signed lower left: Hallmark

Estimate: $15,000-$20,000


70018

DAN T. BODELSON (American, b. 1949)Wood for the Cooking FireOil on canvas40 x 28 inches (101.6 x 71.1 cm)Signed lower center: BodelsonTitled and signed verso: Wood for the Cooking Fire / Dan T. Bodelson

Estimate: $12,000-$18,000


70019

RAY SWANSON (American, 1937-2004)Corn HarvestOil on masonite40 x 30 inches (101.6 x 76.2 cm)Signed lower right: Ray SwansonTitled, numbered, and signed verso: Corn Harvest #76024 / Ray Swanson

Estimate: $15,000-$20,000


70020

BIRGER SANDZÉN (American, 1871-1954)Early Fall, Smoky River (Kansas), 1940Oil on masonite27-1/2 x 36 inches (69.9 x 91.4 cm)Signed lower center: Birger SandzénTitled, signed, and dated verso: Early Fall / Smoky River, Kansas / Birger Sandzén / Lindsborg, Kansas / 1940

PROVENANCE:The Artist’s private collection;Pratt Community College, Kansas (1941).

EXHIBITED:Pratt High School, Sandzén Exhibit, March 1941;Delmar Riney Art Gallery, Pratt Community College, Kansas.

An associate member of the Taos Society of Artists, Birger Sandzén was a Swedish-born artist famous for his vibrant landscape paintings of the American southwest. The son of a minister, Sandzén displayed an early artistic talent, which was encouraged and cultivated by his parents. His formal artistic training was completed in Europe, and in 1894 he immigrated to America, where he had accepted a teaching position at Bethany College. For more than 52 years, Sandzén was a professor of art history, drawing, and painting in the small Kansas town of Lindsborg. He was a staunch advocate of the arts and worked within his community to organize art clubs, exhibitions, and lectures. Throughout his career, however, Sandzén’s own painting was relegated to late night sessions until 1945, when he retired from teaching in order to devote himself to painting full time.

Sandzén’s early artistic style was heavily influenced by Tonalism and Scandinavian Romanticism, but once he began spending his summers in the American southwest, his palette exploded with color. He began visiting Taos in the summer of 1918 at the height of the artist colony. Four years later Sandzén was elected an associate member of the Taos Society of Artists. That same year, 1922, he exhibited with the group in New York, where he also had a one-man exhibition at the Babcock Gallery.

Early Fall, Smoky River is a vibrant example of Sandzén’s work, here being offered by the Pratt Community College Foundation. This painting was exhibited at the local high school in Pratt, Kansas, in March of 1941 after which it was acquired by the college. A thick impasto layer, reminiscent of Impressionism, is tempered by a modernist execution in Early Fall, Smoky River. Sandzén’s Fauvist palette and strong brushwork energize his plein air landscapes while leaving the viewer with a sense of visual purity

All proceeds of the sale of this work benefit the scholarship fund of Pratt Community College Foundation.

We would like to extend our appreciation to Mr. Ron Michael, Curator of the Birger Sandzén Memorial Gallery, Lindsborg, Kansas, for his assistance.

Estimate: $70,000-$100,000



70021

BIRGER SANDZÉN (American, 1871-1954)Cottonwood Trees and Pond, 1922Oil on canvas20 x 14 inches (50.8 x 35.6 cm)Signed lower left: Birger SandzénTitled, signed, inscribed, and dated on stretchers: Cottonwood Trees and Pond / Birger Sandzén, Lindsborg, Ks. / 1922.

Estimate: $30,000-$50,000


70022

CURT WALTERS (American, b. 1950)Bodeful Comber (Point Lobos)Oil on canvas30 x 60 inches (76.2 x 152.4 cm)Signed lower right: Curt Walters

“Great waves, the result of a winter storm at Point Lobos, swell and strike the rocks, producing sprays well over sixty-feet high. I spent hours of thrilling delight watching the storm come in as I painted. High winds finally forced me to abandon the site.” -Curt Walters

Estimate: $15,000-$20,000


70023

FREDERICK MACHETANZ (American, 1908-2002)Sparkling Sea Hunt, 1989Oil on masonite10 x 12 inches (25.4 x 30.5 cm)Signed and dated lower left: F. Machetanz / 1989Titled, signed, and dated verso: Sparkling Sea Hunt / Fred Machetanz / 1989

Estimate: $8,000-$12,000


70024

SYDNEY M. LAURENCE (American, 1865-1940)Keeping Warm, 1921Oil on artists’ board16 x 8 inches (40.6 x 20.3 cm)Signed lower left: Sydney Laurence

EXHIBITED:Charles and Emma Frye Art Museum, Seattle, 1970.

Estimate: $6,000-$8,000

70025

EUSTACE PAUL ZIEGLER (American, 1881-1969)On the Trail (Alaska), 1923Oil on artists’ board7 x 5 inches (17.8 x 12.7 cm)Signed and dated lower left: Ziegler / 1923 (with artist’s monogram)Inscribed, signed, and dated verso: Prospector & Packhorse on Trail - Alaska / E.P. Ziegler - Cordova, Alaska / July 1923

Estimate: $3,000-$5,000


70026

MORT SOLBERG (American, b. 1935)Home From the IceWatercolor and acrylic on board5 x 19 inches (12.7 x 48.3 cm) windowSigned lower right: Morten E. Solberg

Estimate: $4,000-$6,000

70027

MORT SOLBERG (American, b. 1935)Solitary HunterWatercolor and acrylic on board21-1/2 x 15-1/2 inches (54.6 x 39.4 cm) windowSigned lower left: Morten E. Solberg

Estimate: $6,000-$8,000


70028

MORT SOLBERG (American, b. 1935)Antelope RidgeWatercolor and acrylic on board22 x 29-1/2 inches (55.9 x 74.9 cm)Signed lower right: Morten E. Solberg, NWS

“The most impressive thing about pronghorn antelopes is their grace and beauty. They seem to float just above the ground when they run. They are beautiful and curious at the same time. With the loose flow of shapes and subtle melding of colors, their grace, mystery, and energetic movements are captured.” - Mort Solberg

Estimate: $9,000-$12,000


70029

DANIEL SMITH (American, b. 1954)Echo Bay Loons, 1993Oil on masonite19 x 36 inches (48.3 x 91.4 cm)Signed and dated lower left: Smith ‘93

Estimate: $8,000-$12,000


70030

KENT ULLBERG (American, b. 1945)Making Waves IIBronze with polychrome and gilt26 x 21 inches (66.0 x 53.3 cm)Ed. 7/30Signed and numbered on base: Ullberg / 7/30 / ACC

Estimate: $4,000-$6,000

70031

GENE TOBEY (American, 1945-2006)REBECCA TOBEY (American, b. 1948)BuffaloPainted metal and ceramic28 x 30-1/2 x 15-1/2 inches (71.1 x 77.5 x 39.4 cm)Signed verso: Tobey

Estimate: $5,000-$7,000


70032

WILLIAM HART (American, 1823-1894)The Cattle Drive, 1872Oil on canvas12-1/2 x 21-1/2 inches (31.8 x 54.6 cm)Signed and dated lower left: WM Hart / 1872

Estimate: $7,000-$9,000


70033

EDWARD BOREIN (American, 1873-1945)The Pottery VendorPen and ink on tracing paper7-1/2 x 12 inches (19.1 x 30.5 cm)Signed lower right: Edward Borein

Estimate: $1,500-$2,500

70034

PRIVATE COLLECTION, NORTHERN CALIFORNIA

EDWARD BOREIN (American, 1873-1945)Cowboy on Horseback Ink and pencil on paper4-1/2 x 4-1/2 inches (11.4 x 11.4 cm)

Estimate: $600-$800

70035


EDWARD BOREIN (American, 1873-1945)Two IndiansPen and ink on paper8 x 9-1/2 inches (20.3 x 24.1 cm)

Estimate: $1,500-$2,000

70036


EDWARD BOREIN (American, 1873-1945)Pair of sketches: Five Riders and Ropers; Five CowboysPen and ink on paper7 x 11 inches (17.8 x 27.9 cm); 7 x 10 inchesAuthentication label verso: Harold G. Davidson, 1999.

Estimate: $1,200-$1,800


70037

OLAF WIEGHORST (American, 1899-1988)Sketch Book10 pages (bound)Pen and ink on paper 9 x 12 inches (22.9 x 30.5 cm)Signed along right edge of cover: Olaf Weighorst

All Images available online at HA.com

Estimate: $6,000-$8,000


70038

EDWARD BOREIN (American, 1873-1945)Indian on HorsebackWatercolor on cardstock4-1/4 x 5-1/4 inches (10.8 x 13.3 cm)Pencil signed lower right: Edward Borein

Estimate: $3,000-$5,000

70039

GENE KLOSS (American, 1903-1996)Christmas Eve - Taos Pueblo II, 1946drypoint and aquatint11-7/8 x 15 inches (30.2 x 38.1 cm)Ed. 75Signed in pencil lower right: Gene Kloss Imp.Inscribed in pencil lower left: Christmas Eve - Taos Pueblo II

LITERATURE:P. Kloss, Gene Kloss Etchings, p405.

Estimate: $1,200-$1,800


70040

THE PROPERTY OF PHILIP JONSSON

WILLIAM ROBINSON LEIGH (American, 1866-1955)Home, Sweet Home, 1932Oil on canvas40 x 60 inches (101.6 x 152.4 cm)Signed and dated lower left: W.R. Leigh 1932

PROVENANCE:Grand Central Galleries, New York (label verso);Mr. Eric Jonsson, Dallas, Texas;Thence by descent.

Home Sweet Home, W. R. Leigh’s evocative painting of three men sharing a campfire set against a golden Southwestern sky, contains all the elements that have made the artist’s work a perennial favorite among Western art collectors. It is masterfully drawn, saturated with the colors and tones of the western landscape, and it tells a compelling story of camaraderie on the plains. It was completed in 1931 at the height of Leigh’s skill as a painter. By that time, the artist had spent many years traveling throughout the West, but with a particular interest in the Indian lands of New Mexico and Arizona. He used his travels to make meticulous sketches and oil studies of the land and people of the Southwest, often producing over one hundred images in any single location. Later, back in his New York studio, he referred to those sketches to create large works such as this painting.

William Robinson Leigh was born in 1866 and grew up in rural West Virginia where he showed a very early aptitude for art. Born into a family that had lost their fortune in the Civil War, Leigh was able to attend the Maryland Institute in Baltimore at the age of fourteen through the generosity of his aunt and uncle. He excelled at the institute and left to study at the Royal Academy in Munich only a few years later. He studied in Germany for another 12 years and returned to America with a mastery of the techniques of the Old European masters. While he had long dreamed of venturing into the American West to stoke his artistic imagination, the necessity of earning a living led to his decade long work as an illustrator for the leading illustrated publications of the day, such as Collier’s and Scribner’s. Like his contemporary Frederic Remington, Leigh bristled at the constraints and lack of creativity in terms of subject matter and style that were necessary in the illustration market. He felt that his true artistic talent would not reach its full potential until he could put aside his work as an illustrator.

In 1897, he had made a brief trip to Wyoming for Scribner’s magazine to gather material for a story on western wheat farmers. That trip whetted his appetite for more travels in the West, but economic necessity would keep him away from fulfilling that dream until 1906, when he entered into a mutually beneficial arrangement with the Santa Fe Railroad. In exchange for free passage to the Southwest, Leigh agreed to paint images of the Grand Canyon and other western subjects for use in the Railroad’s advertising campaigns. Leigh had been invited by a friend from his Munich days to visit Laguna, New Mexico and his contract with the Santa Fe railroad allowed him to spend several weeks soaking up the Southwestern landscape and culture. That initial trip was profoundly influential on his career and development as an artist. During the next several years, he traveled extensively in the Southwest and throughout the West, including the Yellowstone territory of Wyoming and Montana. At each location, he spent as much time as possible painting outside, often under the shade of a large umbrella. He painted throughout the day and often arose in the middle of the night to capture the cool colors of the moonlit landscape.

In Home Sweet Home, Leigh utilized the long hours he spent painting directly in the field to present a quiet scene that is rich in detail and color. His three companions, two cowboys and a Navaho Indian are dramatically lit by a small campfire and are surrounded by their provisions and gear, the placement of which and the attention to such details as the labels on the cans in the camp boxes adds an extra touch of authenticity to the scene. In the background the three riders’ horses are tethered at the horizon line and are contrasted against a brilliantly colored sky. All of Leigh’s skills as an artist and storyteller are amply displayed in this one scene that was the result of hours of sketching and preparation. Home Sweet Home and Renegade at Bay were originally acquired by Mr. Eric Jonsson, former mayor of Dallas from 1964 to 1971. Heritage is pleased to present these exceptional paintings on behalf of the Jonsson family.

Estimate: $400,000-$600,000



70041

THE PROPERTY OF PHILIP JONSSON

WILLIAM ROBINSON LEIGH (American, 1866-1955)Renegade at Bay, 1941Oil on canvas24 x 29 inches (61.0 x 73.7 cm)Signed and dated lower left: W.R. Leigh 1941

PROVENANCE:Kennedy Galleries, New York (label verso);Mr. Eric Jonsson, Dallas, Texas;Thence by descent.

Beginning in 1906, W. R. Leigh made many trips to the American West while maintaining his studio and home in New York City. While his travels covered a wide range of western territory, he had a particular interest in and affection for the Indian lands of Arizona and New Mexico and spent much time there. Leigh was a highly trained artist who had spent twelve years in the Royal Academy in Munich and had worked as an illustrator for ten years in New York before he made his first extensive trip to the West. While he painted other subjects in his long career, most notably a series of murals depicting the African landscape for the American Museum of Natural History in New York, his favorite subjects were the Indians, the landscape, and the cowboys of the Southwest. When an art critic complimented him on one of his western scenes, he said that “the West brings out the best in me.”

Painted in 1941, Renegade at Bay, is indicative of Leigh’s talents as both a figure painter and a landscapist. Leigh’s skill in each discipline was honed through his rigorous training in the European academies. Also contributing to his skill was Leigh’s practice of making hundreds of field sketches that he would later use as color and tonal references for his finished works. Each of his paintings was meticulously constructed in the same manner. He began with the backgrounds and worked his way slowly to the primary figures in the foreground. Each figure was drawn in charcoal and then colored over with oil. While on location, Leigh would paint the landscape at several different times during the day to make sure that he could accurately depict the quality of the southwestern light at any given hour. Renegade at Bay shows his figures in the brilliant light of midday. The colorful horse and dismounted rider are skillfully contrasted with the more subtle colorings and shadings of the arid landscape. As always, Leigh deftly incorporates details and nuances that add to the painting’s overall feeling of reality. A meandering stream pools water just to the left of the rider adding yet another authentic detail, while the cowboy’s hat lies in the sand to the horse’s right giving the viewer the sense of having just walked up on the scene as it is unfolding.

At the forefront of the scene is a beautifully drawn and painted horse whose calm demeanor is an effective contrast to the tension displayed by the cowboy who is awaiting whatever danger lies just around the bend. Leigh’s earlier experience as an illustrator no doubt gave him ample experience in constructing a visual narrative, but paintings such as this one sprang completely from his own imagination. They were conceived as dramatic vignettes of the Old West, stories of a time and place that continue to have a powerful hold on the popular imagination.

Unlike his contemporaries in the field of western art, Frederic Remington and Charles M. Russell, Leigh achieved his greatest recognition and success relatively late in his career. He was 75 when he produced this work and his skill as an artist had not been diminished in any way by his advanced age. While both Remington and Russell had highly successful but relatively brief careers, Leigh captured the beauty and drama of the American West with consistent quality for almost fifty years. In many ways his career marked the end of one era: the nineteenth century heyday of the great western illustrators and eye-witness artists, and the beginning of another: the modern era of contemporary western artists. For serious collectors of western art, Renegade at Bay stands as one of Leigh’s most accomplished paintings from his mature period.

Estimate: $300,000-$500,000



70042

WAYNE JUSTUS (American, b. 1952)New Calves, 1981Watercolor and gouache on paper9-1/2 x 19-1/2 inches (24.1 x 49.5 cm)Signed lower center: W. Justus / AICATitled and numbered verso: New Calves #364

Estimate: $4,000-$6,000

70043

WAYNE JUSTUS (American, b. 1952)New Ties on an Old Saddle, 1984Watercolor and gouache on paper19 x 13 inches (48.3 x 33.0 cm)Signed lower right: W. Justus

EXHIBITED:8th Annual AICA Western Arts Exhibition and Sale, 1984, #398 (label verso).

Estimate: $2,000-$4,000


70044

BILL ANTON (American, b. 1957)The RancherOil on canvas laid on board24 x 30 inches (61.0 x 76.2 cm)Signed lower right: Bill AntonTitled and signed verso: The Rancher / Bill Anton

Estimate: $8,000-$12,000


70045

FRANK MCCARTHY (American, 1924-2002)The SentinelOil on masonite10 x 8 inches (25.4 x 20.3 cm)Signed lower left: McCarthyNumbered verso: B207

Estimate: $5,000-$7,000

70046

JIM NORTON (American, b. 1953)Checking the Herd, 1988Oil on masonite12 x 16 inches (30.5 x 40.6 cm)Signed lower left: Jim C. Norton, NWRArtist’s label verso: Checking the Herd / Jim C. Norton / #4024, NWR, 1988

Estimate: $6,000-$8,000


70047

G. HARVEY (American, b. 1933)Range Pals, 1973Oil on canvas16 x 12 inches (40.6 x 30.5 cm)Signed and dated lower left : G. Harvey 1973Signed, titled, and numbered on stretcher: G. Harvey / #3964 Range Pals

Estimate: $8,000-$10,000

70048

JOHN WADE HAMPTON (American, 1918-1999)Round Up, 1971Oil on canvas14 x 11 inches (35.6 x 27.9 cm)Signed and dated lower left: J.W. Hampton (with artist’s monogram)

Estimate: $2,000-$4,000


70049

DAVID MANN (American, b. 1948)Big Horn MoonOil on canvas24 x 36 inches (61.0 x 91.4 cm)Signed lower right: D. Mann

Estimate: $10,000-$15,000


70050

TOM LOVELL (American, 1909-1997)The Raven Followers, 1975Oil on board19 x 32 inches (48.3 x 81.3 cm)Signed lower left Tom Lovell NWA

EXHIBITED:National Academy of Western Art (Prix de West Invitational, National Cowboy and Western Heritage Museum) 1975 (label verso).

Tom Lovell called himself “a storyteller with a brush,” a description appropriate for an artist who spent over five decades capturing the sweep of American history on canvas and paper. Born in New York City in 1909 and educated at Syracuse University, Lovell began earning his living as an illustrator while still in college. After graduating in 1931, he launched a successful free lance career as a magazine and book illustrator that stretched over forty years. His work appeared in all of the leading publications of the day including Life, McCalls, Saturday Evening Post, and Collier’s. He was called on to depict a wide range of subjects from contemporary life to ancient history, but his favorite subject and the one that he would eventually devote himself to on a full time basis was the history of the American West. Within that subject, he was particularly fascinated with the history and culture of North American Indians.

Lovell’s painting The Raven Followers, shows his skill as an artist, an historian, and a visual storyteller. As an artist, Lovell was painstaking in his approach, often producing several preparatory sketches in pencil, charcoal, watercolor, and oil. Before proceeding to work on a large oil, he often drew the entire painting in charcoal at the same scale that he would use for the finished painting. By the time he began work on a painting like this one, he had already worked out the composition and color. In effect, each of his large paintings was the end result of many weeks and months of preparation, both in terms of artistic technique and in historical research. Lovell wanted his paintings to be visually interesting and also to tell a good story that was grounded in authenticity. Many of his paintings, such as this one, were accompanied by a note on the back of the canvas giving the historical context of the scene. Lovell was the consummate professional artist, adept at capturing figures and the beauty of the landscape and also in conveying the look and feel of historical periods. His work has been widely collected and has been recognized with numerous awards and citations. While grateful for that recognition, he felt that the greatest award was the knowledge that in paintings like The Raven Followers“ he was able to “tell a good story, while giving the viewer a sense of another time and place.”

Estimate: $150,000-$200,000


70051

MARTIN GRELLE (American, b. 1954)Headin’ Home, 1980Acrylic on linen16 x 24 inches (40.6 x 61.0 cm)Signed and dated lower right: Martin Grelle / 1980

This lot is accompanied by the original bill of sale.

Estimate: $10,000-$15,000


70052

MARTIN GRELLE (American, b. 1954)Snowbound, 1984Oil on canvas12 x 16 inches (30.5 x 40.6 cm)Signed and dated lower right: Martin Grelle / 1984

This lot is accompanied by the original bill of sale.

Estimate: $5,000-$7,000

70053

JACK SORENSON (American, b. 1955)The Mystery at Rosa’s CantinaOil on canvas48 x 36 inches (121.9 x 91.4 cm)Signed lower right: Jack Sorenson

Estimate: $4,000-$6,000


70054

ROBERT WILLIAM WOOD (American, 1889-1979)The Sierra Nevadas,Oil on canvas30 x 36 inches (76.2 x 91.4 cm)Signed lower left: Robt. Wood

Estimate: $5,000-$7,000

70055

PROPERTY FROM A PRIVATE COLLECTION, SAN DIEGO

FREMONT F. ELLIS (American, 1897-1985)The Mission Gate, 1956Oil on artists’ board10 x 13-1/4 inches (25.4 x 33.7 cm)Signed lower left: Fremont Ellis

PROVENANCE: Collection of Campbell H. Elkins, Lubbock, Texas;Jerome H. Sharpe, San Diego; by bequest from the above.

Estimate: $4,000-$6,000


70056

PHILIP RUSSELL GOODWIN (American, 1882-1935)Wake Up Call, 1906Oil on canvas30-1/4 x 15-1/2 inches (76.8 x 39.4 cm)

LITERATURE:Laflin & Rand Powder Company Calendar (1906);S. Latham, Great Sporting Posters of the Golden Age, Baltimore, MD, 1978, pg. 8, illus.;Cabela’s Fall Preview Catalogue (2005).

This lot is accompanied by a copy of Latham’s book Great Sporting Posters of the Golden Age.

Estimate: $30,000-$40,000


70057

ROSS STEFAN (American, 1934-1999)Heirs of the Ancient SongsOil on canvas28 x 40 inches (71.1 x 101.6 cm)Signed lower left: Ross StefanSigned, titled, and numbered on stretcher: Ross Stefan, Heirs of the Ancient Songs, 51

Estimate: $6,000-$8,000


70058

ROSS STEFAN (American, 1934-1999)Canyon SpiritsOil on canvas12 x 16 inches (30.5 x 40.6 cm)Signed lower right: Ross StefanSigned and titled on stretcher: Ross Stefan, Canyon Spirits

Estimate: $2,000-$3,000

70059

ROSS STEFAN (American, 1934-1999)Along the South RimOil on canvas30 x 36 inches (76.2 x 91.4 cm)Signed lower left: Ross StefanSigned, titled, and numbered on stretcher: Ross Stefan, Along the South Rim, 55

Estimate: $3,000-$5,000

70060

ROSS STEFAN (American, 1934-1999)Nambe MaidensOil on canvas16 x 12 inches (40.6 x 30.5 cm)Signed lower left: Ross StefanSigned and titled on stretcher: Ross Stefan, Nambe Maidens

Estimate: $2,000-$3,000


70061

O. B. JACOBSON (American, 1882-1966) andJeanne D’Ucel (French, 20th Century)Portfolio of American Indian Painters, 1950Published by Szwedzicki (Nice, France)Ed. 149/750 (77 plates)Bound in two volumes with English and French texts18-1/4 x 13-1/4 x 1 inches (46.4 x 33.7 x 2.5 cm)Title page signed by O.B Jacobson

Featuring the works of such notable American Indian artists as Woody Crumbo, Allan Houser, Narcisco Abeyta, Thomas Vigil, and Alfonso Roybal; this pair of portfolios is a collection of images depicting various aspects of traditional native American life. Volume One contains text and images of the Woodland and the Plains tribes, while Volume Two contains text and images of the Pueblo, Navajo, and Apache tribes.

Estimate: $8,000-$12,000


70062

ALLAN C. HOUSER (American, 1914-1994)Pueblo PotterBronze with patina21-1/2 x 6 inches (54.6 x 15.2 cm)Ed. 1/20Signed and numbered verso: Allan Houser 1/20

Allan Houser is considered the father of contemporary American Indian sculpture. Also known by his Apache name “Haozous” which means the sound of pulling roots, Houser’s grandfather was the chief who served as Geronimo’s English translator. Trained at the Santa Fe Indian Art School, Houser went on to a highly successful career as a sculptor and muralist - receiving a Guggenheim Fellowship in 1949. He returned shortly thereafter to teach art at the Indian School, instilling his experience and knowledge in the next generation of artists.

Estimate: $6,000-$8,000


70063

T.C. CANNON (American, 1946-1978)Portraits of the Brave Heart People, 1975-1979Five color woodcuts on rice paperSigned and numbered at bottom.

His Hair Flows Like a River Ed. 113/200Image: 19-1/2 x 15 in (49.5 x 38 cm)

Woman at the Window Ed. 113/200Image: 17 x 15 in (43 x 38 cm)

Collector #5 Ed. 113/200Image: 17-1/2 x 14-3/4 in (44.5 x 37.5 cm)

Hopi with Manta Ed. 113/200Image: 17 x 14-3/4 in (43 x 37.5 cm)

Two Guns Arikara Ed. 112/200Image: 19 x 15 in (48 x 38 cm)

Estimate: $7,000-$9,000

All images available online at Ha.com.


70064

BILL SCHENCK (American, b. 1947)Raging in Pecos, 1993Oil on canvas25-1/2 x 30-1/2 inches (64.8 x 77.5 cm)Signed and dated lower left: Schenck ‘93Signed, dated, and titled verso: Schenck / Sept 93 / Raging in Pecos

Estimate: $5,000-$7,000


70065

ALEXANDER DZIGURSKI (1911-1995)California SeascapeOil on canvas30 x 50 inches (76.2 x 127 cm)Signed lower right: A. Dzigurski

Estimate: $3,000-$5,000

70066

W. CLARENCE MCGRATH (American, 1938-2007)Abalone and onionOil on masonite18 x 24 inches (45.7 x 61.0 cm)Signed lower left: McGrath

Estimate: $800-$1,200

70067

ALEXANDER DZIGURSKI (1911-1995)California CoastlineOil on canvas20 x 24 inches (50.8 x 61.0 cm)Signed lower right: A. DzigurskiNumbered verso: F2215 with artist’s stamp

Estimate: $1,500-$3,000


70068

ARTHUR W. BEST (American, 1859-1935)Indian EncampmentOil on canvas19-1/2 x 29-1/2 inches (49.5 x 74.9 cm)Signed lower left: A.W. Best

Estimate: $4,000-$6,000

70069

GERRY METZ (American, b. 1943)The Mountain ManOil on artists’ board12 x 16 inches (30.5 x 40.6 cm)Signed lower right: Gerry Metz

Estimate: $1,000-$2,000


70070

R. C. GORMAN (American, 1932-2005)Three Navajo WomenMixed media on board20 x 22 inches (50.8 x 55.9 cm)Signed lower left: R.C. Gorman

Estimate: $3,000-$5,000

70071

BETTINA STEINKE (American, 1913-1999)NavajoOil on canvas22 x 18 inches (55.9 x 45.7 cm)Signed lower right: Bettina Steinke

Estimate: $2,000-$4,000


70072

FRITZ WHITE (American, b. 1930)Mandan BonnetBronze with patina28 x 11 x 17 inches (71.1 x 27.9 x 43.2 cm) including baseEd. 2/25Signed and numbered on base: Fritz White / 2/25 / CA

Estimate: $2,000-$4,000

70073

WAYNE BAIZE (American, b. 1943)Lazy Days of SummerPencil on paper17 x 16 inches (43.2 x 40.6 cm) windowSigned lower right: Wayne Baize

Estimate: $800-$1,200

70074

STAPLETON KEARNS (American, b. 1952)Illustrated Personal Letter from the Artist, 2004After the Spring Rain (Palo Duro Canyon, Texas)Ink and gouache on paper7 x 11 inches (17.8 x 27.9 cm)

This letter was written by Kearns as an accompaniment to his work After the Spring Rain (Palo Duro Canyon, Texas) which is illustrated and diagramed within the body of the text.

Estimate: $800-$1,200


70075

NICOLAS DE GRANDMAISON (Canadian, 1892-1978)Dan Wildman (Stony Sioux)Pastel on paper23 x 17-1/2 inches (58.4 x 44.5 cm)Bears sitter’s signature at lower right.

“Unless we appreciate the past, we will never have a future.“ - Nicholas de Grandmaison

Estimate: $15,000-$20,000

END OF SESSION ONE

Texas arTFloor, Telephone, Heritage Live!™, Internet, Fax, and Mail Signature® Auction # 5070

Saturday, November 5, 2011 | 3:00PM CT | Dallas | Lots 76001 - 76095


76001

WILLIaM a. sLaUGHTer (american, 1923-2003)Landscape with YuccaOil on canvas 8 x 10 inches (20.3 x 25.4 cm)Signed lower left: W.A. Slaughter

Estimate: $2,000-$3,000

76002

WILLIaM a. sLaUGHTer (american, 1923-2003)Texas in the FallOil on canvas 8 x 9-3/4 inches (20.3 x 24.8 cm)Signed lower left: W.A. Slaughter

Estimate: $2,000-$3,000

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 61

76003

FraNK KLePPer (american, 1890-1952)The CabinOil on canvas16 x 19 inches (40.6 x 48.3 cm)Signed lower right: Klepper

A Plano native reared in McKinney, Texas, Frank Klepper (1890-1952) studied in Dallas at the Aunspaugh Art School and at the Art Institute of Chicago. While in France serving in World War I, he studied in Paris. He taught in various art schools around Dallas beginning in 1927 and painted New Deal murals in McKinney, Hempstead, and Plano, Texas. In the late 1920s and early 1930s, Klepper turned his impressionist brush to African-American genre scenes - so-called “Deep South” subjects - creating a suite of these types of paintings of which this work is an excellent example.

Estimate: $3,000-$6,000

76004

FROM THE ESTATE OF ELO A. HOPPE

WaLTON LeaDer (american, 1877-1966)Texas Landscape with BluebonnetsOil on canvas 24 x 28-1/2 inches (61.0 x 72.4 cm)Signed lower right: Walton Leader

Born in Marshall, Leader studied art in New York and at the Art Institute of Chicago, with Peter Hohnstedt, Harry Anthony De Young, Frederick W. Becker, and Edna Collins in Austin. A lifelong bachelor and professional paint contractor, he lived most of his life in Austin, painting landscapes of the Texas Hill Country. A member of the Texas Fine Arts Association, the Four Arts Guild, and the Guild of Austin Artists, Leader began exhibiting in San Antonio at the Witte Museum in 1932. Recognized for his skills in the 1940s, he was given a solo exhibition in Houston in 1948. Leader rarely painted bluebonnets, and this example is likely a very early canvas.

Estimate: $2,000-$3,000


76005

BrOr aLexaNDer UTTer (american, 1913-1993)Abstract Forms III, 1984Watercolor and ink on paper20 x 14 inches (50.8 x 35.6 cm)Signed and dated lower right: Bror Utter / ‘84

Utter was a leading member of the Fort Worth Circle, a group of artists that also included Bill Bomar, Veronica Helfensteller, and Dickson Reeder. In the 1930s and 1940s, these friends and collaborators helped each other to develop their work in styles that included the influence of art movements such as Surrealism, Modernism, and Regionalism.

Estimate: $2,000-$3,000

76006

BrOr aLexaNDer UTTer (american, 1913-1993)Untitled Abstraction, 1961Pencil and watercolor on paper laid on board13 x 24 inches (33.0 x 61.0 cm)Signed and dated lower right: 4/61 / Bror Utter

Estimate: $400-$600

76007

GeOrGe GraMMer (american, b. 1928)A Collection of 21 WorksMixed media on paper/board 16-1/2 x 13-1/2 inches (41.9 x 34.3 cm) (largest)Six signed

Estimate: $2,000-$3,000


76008

BeTTY WINN (american, 1916-2000)Still Life by Moonlight, 1956Oil on panel28 x 36 inches (71.1 x 91.4 cm)Signed and dated lower right: B. Winn / ‘56

Estimate: $1,500-$2,500

76009

CeCILIa NeUHeIseL sTeINFeLDT (american, b. 1915)Baptist Church, San Antonio, 1939Watercolor on paper 24-1/2 x 18-1/2 inches (62.2 x 47.0 cm)Signed and dated lower right: C. Neuheisel ‘39

Cecilia Steinfeldt spent most of her life in San Antonio. Beginning in 1926, she worked at the Witte Museum and eventually became the senior curator. She has written several major books about Texas art, and was a talented artist in her own right.

Estimate: $2,000-$3,000

76010

CYNTHIa BraNTs (american, 1924-2006)Abstract Landscape with BoatOil on canvas board 15-1/2 x 20 inches (39.4 x 50.8 cm)Signed lower right: CBrants

Cynthia Brants was a member of a group of mid-twentieth-century modernists and regionalists known as the Fort Worth Circle. Abstract Landscape with Boat is a classic example of her mature style. Using small fields of color, she created complex images in a dynamic style.

Estimate: $1,000-$1,500


76011

rOBerT WILLIaM WOOD (american, 1889-1979)Texas Hills, 1953Oil on canvas25 x 30 inches (63.5 x 76.2 cm)Signed and dated lower right: Robert Wood ‘53

Estimate: $15,000-$25,000


76012

rOBerT WILLIaM WOOD (american, 1889-1979)Texas SpringtimeOil on canvas20 x 30 inches (50.8 x 76.2 cm)Signed lower left: R. Wood

Robert Wood traveled the American continent painting beautiful landscapes. After settling in Texas, Wood studied with Jose Arpa and was influenced by the work of Robert and Julian Onderdonk. He is among the most collectable Texas artists.

Estimate: $15,000-$25,000


76013

rOBerT WILLIaM WOOD (american, 1889-1979)Bluebonnets in the Hill CountryOil on canvas18 x 24 inches (45.7 x 61.0 cm)Signed lower right: Robt Wood

Estimate: $10,000-$15,000


76014

rOBerT WILLIaM WOOD (american, 1889-1979)Texas Prickly Pears on a Stormy DayOil on board 18 x 24 inches (45.7 x 61.0 cm)Signed lower left: Trebor

Estimate: $8,000-$12,000


76015

rOBerT WILLIaM WOOD (american, 1889-1979)Texas SunsetOil on masonite18 x 22 inches (45.7 x 55.9 cm)Signed lower left: Robert Wood Inscribed verso: “Texas Sunset”

Estimate: $4,000-$6,000

76016

rOBerT WILLIaM WOOD (american, 1889-1979)Golden HoursOil on canvas 24 x 36 inches (61.0 x 91.4 cm)Signed lower left: Robert WoodInscribed verso: Golden Hours

Estimate: $6,000-$8,000


76017

rOBerT WILLIaM WOOD (american, 1889-1979)Western Mountain Landscape, 1942Oil on canvas25 x 30 inches (63.5 x 76.2 cm)Signed lower left: Robert WoodInscribed verso: August 31, 1942

Estimate: $5,000-$7,000

76018

rOBerT WILLIaM WOOD (american, 1889-1979)Sunlit CoveOil on canvas 24 x 36 inches (61.0 x 91.4 cm)Signed lower left: Robert WoodInscribed verso: “Sunlit Cove”Artist’s stamp verso.

Estimate: $3,000-$5,000

76019

rOBerT WILLIaM WOOD (american, 1889-1979)Crashing Waves, 1957Oil on canvas24 x 36 inches (61.0 x 91.4 cm)Signed and dated lower left: Robert Wood / ‘57

Estimate: $2,000-$3,000

76020

rOBerT PreUsser (american, 1919-1992)Untitled AbstractMixed media on board6 x 8-1/2 inches (15.2 x 21.6 cm)Signed lower right: Preusser

Estimate: $750-$1,500


76021

CHarLes UMLaUF (american, 1911-1994)SupplicationBronze12 x 8-3/4 x 4-1/2 inches (30.5 x 22.2 x 11.4 cm)Signed on base: C. Umlauf

One of the premier sculptors in Texas in the second half of the 20th century, Charles Umlauf’s sculptures range in style from realism and abstract expressionism to lyrical abstraction. Born in South Haven, Michigan, to German immigrant parents, Umlauf studied at the Chicago School of Sculpture and the Art Institute of Chicago (AIC) under Albin Polasek. Beginning about 1932, Umlauf worked at various jobs in Chicago before becoming an assistant to another famed Chicago sculptor, Lorado Taft. Returning to the AIC, where he remained until 1937, Umlauf did sculpture commissions for public buildings for the Works Progress Administration’s Federal Art Project (WPA/FAP). Umlauf moved to Austin, Texas, in 1941 with his family where he taught for 40 years in the new art department of the University of Texas. Fellow faculty included Ward Lockwood, William Lester, Constance Forsyth, and Everett Spruce. From 1960 until 1991, he personally supervised the casting of his sculptures at various foundries in Italy. His sculptures are found in public collections across the United States. These include the Museum of Fine Arts, Houston; the Witte Museum; the Dallas Museum of Art; the Smithsonian Institution; and the Metropolitan Museum of Art. During his career, Umlauf was presented nearly every professional award, including both a Guggenheim Fellowship and a Ford Foundation Grant. In Texas, he was honored in 1985 by the Houston Art League as “Texas Artist of the Year” and in 1993 by the City of San Antonio as “Alcalde.” In 1985, he and his wife, Angeline Allen Umlauf, gave their home and studio with sculptures, drawings, and paintings to the city of Austin. Today the Umlauf Sculpture Garden and Museum is a destination site for lovers of sculpture.

Umlauf began to explore spirituality-especially Judeo-Christianity-in his sculpture before he left Chicago. Consequently, he was one of very few Texas artists bold enough to make spirituality a significant segment of his oeuvre. Supplication speaks directly to the surrender of human beings to a Higher Power and the appeal for succor from an Almighty in humanity’s struggles. Notwithstanding the spiritual angst of Supplication, it is a very powerful example of figure sculpture.

Estimate: $4,000-$6,000


76022

DICKsON reeDer (american, 1912-1970)Portrait of Joe Harris, circa 1938-1939Oil on canvas 26 x 17 inches (66.0 x 43.2 cm)

PROVENANCE:Estate of Flora Blanc Reeder The Fort Worth Gallery Earl Weed III Russell Tether Fine Art, Dallas (label verso).

EXHIBITED: Amon Carter Museum, Fort Worth, February 16, 2008- May 11, 2008 (label verso).

In 1931, Dickson Reeder went to New York to study portraiture with Wayman Adams. He moved to Europe in 1936 and eventually settled in Paris, where he met his future wife, Flora Blanc. In 1940, the couple settled in Fort Worth, where they quickly became two of the central figures in a group of mid-century modernists known as the Fort Worth Circle. Dickson’s entry into the 1941 Local show, The Shannon Children, quickly established him as one of the most avant-garde and popular portraitists in Fort Worth during this period. In Portrait of Joe Harris, Dickson Reeder demonstrates why he is such a celebrated portraitist. In 2008, this portrait was included in an exhibition at the Amon Carter Museum titled Intimate Modernism: Fort Worth Circle Artists in the 1940s, as one example of the level of brilliance that Reeder, who did not always enjoy painting portraits, could achieve when he felt an affinity toward his subject. Joe Harris was an intimate of the Fort Worth Circle and friend of the artist. Therefore, the final product captures so much more personality and spirit than your average portrait. It is a stunning example of Reeder’s modernist approach to traditional subject matter. This is a rare opportunity to acquire a painting that has been lauded greatly by both scholars and collectors.

Estimate: $5,000-$10,000


76023

PaUL rICHarD sCHUMaNN (american, 1876-1946)Sailboats at DockOil on canvas board12 x 15-3/4 inches (30.5 x 40.0 cm)Signed lower right: Paul R. Schumann

Most art students emulate the work of their teachers. Consequently, the influence of Galveston painter Julius Stockfleth on this very early Paul Schumann painting is very clear. Its naïve feel - particularly in the treatment of the figures - is indicative of the burgeoning student’s travails in rendering the human form. Moreover, Stockfleth specialized in ship portraits and Galveston wharf scenes; views Schumann painted rarely, preferring instead, in his mature work, to focus on fishing-related genre scenes and seascapes, with some landscapes done in other parts of Texas.

Estimate: $8,000-$12,000


76024

PaUL rICHarD sCHUMaNN (american, 1876-1946)Cross MountainOil on canvas16 x 22 inches (40.6 x 55.9 cm)Signed lower left: Paul R. Schumann

Born in Germany, Schumann settled at Galveston about 1882. He studied under Galveston artist Julius Stockfleth and became a well-known painter of Gulf scenes, although he also painted in West Texas and New Mexico. Schumann was a member of the Southern States Art League, the Texas Fine Arts Association, and the Galveston Art League. This rare inland landscape by Schumann depicts Cross Mountain just north of Fredericksburg, a site also painted by Edward G. Eisenlohr. This view could very well be looking south with Fredericksburg visible in the background. Although Schumann was known especially for his palette-knife paintings, this work appears to be made up almost entirely of brushwork; a rarity in his oeuvre.

Estimate: $8,000-$12,000


76025

eDWarD G. eIseNLOHr (american, 1872-1961)Santa Fé, New MexicoOil on board10 x 14 inches (25.4 x 35.6 cm)Signed lower left: E. G. Eisenlohr

Beginning in the teens, Edward G. Eisenlohr spent a part of every year in Santa Fe, New Mexico, and was a constant entrant in Santa Fe art exhibitions. Consequently, he is considered both an early Texas artist and a member of the Santa Fe art colony. Santa Fe Landscape is an example of what he called his “little gems,” and underscores Eisenlohr’s importance to both Texas and New Mexico art collectors.

Eisenlohr first studied art with Frank Reaugh and Robert Jenkins Onderdonk, later attending the Art Students League in New York. Over the next twenty years, he was known as one of the most accomplished artists in North Texas. He exhibited widely, and his credits include the Art Institute of Chicago; the National Academy of Design; the Texas Centennial Exposition; the New York World’s Fair; the Museum of Fine Arts, Santa Fe; and museum exhibitions across the state of Texas.

Estimate: $8,000-$12,000

76026

eDWarD G. eIseNLOHr (american, 1872-1961)The House with the Blue Porch, Santa Fé, 1919Watercolor and pencil on paper 4-3/4 x 7-1/4 inches (12.1 x 18.4 cm)Signed lower left: E.G. EisenlohrInscribed lower right: Santa Fé 1919

Estimate: $2,000-$3,000


76027

JULIaN ONDerDONK (american, 1882-1922)Bluebonnets at SunriseOil on board13-1/2 x 9-1/2 inches (34.3 x 24.1 cm)Signed lower right: Julian Onderdonk

Bluebonnets at Sunrise has the quality of light and atmosphere found in Julian Onderdonk’s beautiful depictions of bluebonnets blanketed in mist, as dawn begins to glow on the horizon. Indeed, this painting subject has been rendered in a particularly hazy manner, giving the painting an almost abstract quality, which, when combined with its fairly unusual vertical composition, makes it a very special example of his work.

“There are bluebonnet paintings, and then there are bluebonnet paintings. Certain Julian Onderdonk paintings transcend the pejorative designations; this is one of those works.” -- Michael Grauer, Associate Director for Curatorial Affairs/Curator of Art at the Panhandle Plains Historical Museum.

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

Estimate: $60,000-$80,000


76028

JULIaN ONDerDONK (american, 1882-1922)Fall LandscapeOil on board9 x 12 inches (22.9 x 30.5 cm)Signed lower left: Julian Onderdonk

Estimate: $12,000-$18,000


76029

POrFIrIO saLINas (american, 1910-1973)Texas in the FallOil on canvas25 x 30 inches (63.5 x 76.2 cm)Signed lower left: P. Salinas

Porfirio Salinas stands among the most widely collected and beloved Texas artists. His impressionistic depictions of the Texas landscape have helped to inspire the rising popularity of Texas art as a focus for collectors, scholars, and exhibitions. Born on a farm near Austin in 1910, Salinas never lost touch with the land, and his work reflects his personal relationship with the beauty of the Texas Hill Country. His career was significantly advanced by the introduction of his work to important private collectors such as Texas Governor John Connally and President Lyndon Johnson. Landscapes by Salinas skyrocketed in value after President Johnson endorsed Salinas as his “favorite artist” despite the derision of regionalist art often expressed by critics of the time.

Estimate: $20,000-$25,000


76030

POrFIrIO saLINas (american, 1910-1973)Spring in Texas Oil on canvas 12 x 16 inches (30.5 x 40.6 cm)Signed lower left: Porfirio Salinas

Estimate: $10,000-$15,000

76031

POrFIrIO saLINas (american, 1910-1973)Goat CountryOil on canvas 12 x 16 inches (30.5 x 40.6 cm)Signed lower left: Porfirio Salinas

Estimate: $8,000-$10,000


76032

POrFIrIO saLINas (american, 1910-1973)Spanish OakOil on canvas 16 x 12 inches (40.6 x 30.5 cm)Signed lower left: Porfirio Salinas

Estimate: $8,000-$10,000

76033

POrFIrIO saLINas (american, 1910-1973)Hill Country in the SnowOil on canvas 12 x 16 inches (30.5 x 40.6 cm)Signed lower left: Porfirio Salinas

Estimate: $8,000-$10,000


76034

OTIs DOZIer (american, 1904-1987)Old Houses, McKinney Ave Dallas, 1932Oil on canvas 16 x 20 inches (40.6 x 50.8 cm)Signed and dated lower right: Otis Dozier / ‘32Inscribed verso: 1932 / Old Houses / McKinney Ave Dallas / Otis Dozier

PROVENANCE: From the estate of the artist.

These are three excellent examples of Dozier’s work from various periods of his career. A pillar of Lone Star Regionalism, Dozier’s 1930s work is extremely rare. The Houses is a special opportunity to acquire one of his regionalist works. By the 1950s, he settled into a tectonic modernist style to which he remained true for the rest of his career. Southwest Texas Landscape and Black, White, and Orange are strong examples of his later style.

Born in Forney, Texas, Otis Dozier studied under Vivian Aunspaugh, at the Art Institute of Dallas with Olin Travis and Thomas Stell, and at the Colorado Springs Fine Arts Center with Boardman Robinson. In 1932, he helped found the Dallas Artists League. He showed in the Dallas Allied Arts exhibitions and at the Texas Centennial Exposition. Dozier also made lithographs and was a member of the Lone Star Printmakers. He became Robinson’s assistant and traveled to Colorado Springs annually until 1945. By the 1960s, Dozier had moved away from his Regionalist beginnings to a semi-abstract style based on observation of natural landforms across the American West. The Davis Mountains, Big Bend, and the Terlingua area became favorite spots in which he “set” his paintings by the late 1950s and through the 1970s.

Estimate: $20,000-$30,000


76035

OTIs DOZIer (american, 1904-1987)Southwest Texas Landscape, 1977Oil on canvas 30 x 47-3/4 inches (76.2 x 121.3 cm)Signed and dated lower right: Otis Dozier / ‘77

PROVENANCE:From the estate of the artist.

Estimate: $12,000-$18,000

76036

OTIs DOZIer (american, 1904-1987)Black, White, and Orange, 1958Oil on board18 x 36 inches (45.7 x 91.4 cm)Signed and dated lower right: Otis Dozier ‘58Inscribed verso: O. Dozier 1-58-001

PROVENANCE:From the estate of the artist.

Estimate: $4,000-$8,000


76037

DaWsON DaWsON-WaTsON (British/american, 1864-1939)Bluebonnet Landscape, 1936Oil on canvas 16 x 21 inches (40.6 x 53.3 cm)Signed and dated lower right: Dawson-Watson / ‘36

Estimate: $11,000-$13,000


76038

HarOLD arTHUr rONeY (american, 1899-1986)View with Two TreesOil on canvas16 x 14 inches (40.6 x 35.6 cm)Signed lower right: Harold A. Roney

An Illinois native, Roney moved to Houston in 1925, then to San Antonio in 1928, and later to Boerne. He studied at the Art Institute of Chicago, the Chicago Academy of Fine Arts, and the Glenwood School of Landscape Painting. Roney exhibited in most major Texas exhibitions, as well as with the Southern States Art League. Roney painted in Palo Duro Canyon, and this work could depict the Canyon as seen from the south rim.

Estimate: $2,500-$3,500

76039

DWIGHT HOLMes (american, 1900-1986)Bluebonnet LandscapeOil on canvas 25 x 30 inches (63.5 x 76.2 cm)Signed lower right: Dwight C. Holmes

Dwight Holmes was a prolific artist, especially during the 1950s. However, Bluebonnets was painted in the 1930s; that coupled with his masterful use of heavy impasto, particularly in his handling of the road, make this a special and rare offering.

Estimate: $3,000-$6,000


76040

FraNK reaUGH (american, 1860-1945)Untitled Pastel on grit paper4-1/2 x 8-1/2 inches (11.4 x 21.6 cm)Signed lower right: F. Reaugh

Born in 1860, Frank Reaugh was an artist who devoted a great deal of his considerable artistic skills to impressionistic depictions of West Texas and its legendary longhorns. Most of Reaugh’s pastels are small in size. Therefore, they are well adapted to transport and use in open country, allowing him to travel the vast expanses of the state easily and to work in the outdoors with relatively little fuss. He has been called the “Dean of Texas Artists” because in the 1890s, the first of many art students began accompanying him on the frequent sketching trips he made to West Texas. His pastel landscapes are considered some of the most poetic depictions of Texas ever produced. Pastels are beautiful when blended by a master to create the atmospheric effects, vivid colors, and ever changing light of West Texas, capturing the dramatic far-off horizons and spectacular skies found in the region.

An excellent example of Frank Reaugh’s work in West Texas, this circa 1910 pastel was likely painted somewhere west of the Wichita River Breaks and east of the forks of the Brazos. Reaugh frames the “Texas cattle” coming over the hill with a yucca in the foreground left and a mesquite tree in the background right, all Reaugh staples.

Estimate: $10,000-$15,000


76041

FraNK reaUGH (american, 1860-1945)Mesa LandscapePastel on grit paper7 x 4 inches (15.2 x 10.2 cm)Signed lower right: F. Reaugh

This fine Frank Reaugh pastel (dating from about 1910) could have been painted anywhere south of the Canadian River and north of the Brazos where exposed caliche turns white on the top layer of canyon walls. This layer is part of what geologists call the Ogallala Formation, molded from 1.8 to 12.5 million years ago. Reaugh delighted in the contrast between the white Ogallala Formation juxtaposed against the orange and orange-reds of the other layers of sedimentary rock in the canyonlands of northwest Texas.

Estimate: $8,000-$12,000


76042

FraNK reaUGH (american, 1860-1945)(Untitled) Steer with Pink RocksPastel on paper3-1/2 x 3-1/2 inches (8.9 x 8.9 cm)Partially signed: F. Reaugh

Estimate: $4,000-$6,000

76043

FraNK reaUGH (american, 1860-1945)Landscape in Black and GreyPastel on grit paper 3 x 7 inches (7.6 x 17.8 cm)Inscribed lower left: 879

Estimate: $4,000-$6,000

76044

FraNK reaUGH (american, 1860-1945)Landscape in Blue and Green, 1920Pastel on grit paper 3 x 7 inches (7.6 x 17.8 cm)Initialed lower right: R 20

Estimate: $4,000-$6,000


76045

FraNK reaUGH (american, 1860-1945)Study for “Twilight-Rest”Pastel on grit paper4 x 8-3/4 inches (10.2 x 22.2 cm)

Frank Reaugh frequently made smaller versions of sometimes-later larger paintings, as seen here in his Twilight-Rest, the larger version of which is at the University of Texas. These small versions should not be considered mere preparatory sketches, but as stand-alone works of art in their own right. Night paintings or “nocturnes” were extremely popular in the United States between about 1900 and 1910 and are very difficult to paint well. Recently an entire exhibition of Frederic Remington’s “nocturnes” toured the country. Reaugh also painted a number of “nocturnes” from which a similar exhibition could be drawn, including Twilight-Rest.

Estimate: $3,000-$5,000

76046

FraNK reaUGH (american, 1860-1945)Unfinished Landscape, 1924Pastel on grit paper 3 x 7 inches (7.6 x 17.8 cm)Initialed and dated lower right: R 24

Estimate: $2,000-$3,000

76047

FraNK reaUGH (american, 1860-1945)Untitled (Unfinished Landscape)Pastel on grit paper3-1/2 x 9 inches (8.9 x 22.9 cm)Inscribed lower left: 28

Estimate: $2,000-$3,000


76048

CLeMeNTINe HUNTer (american, 1886-1988)Black Christ on CrossOil on board24 x 10-1/4 inches (61.0 x 26.0 cm)Initialed lower right: CH

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

These works by Clementine Hunter include some of her most popular and recognizable subjects. Black Christ on Cross, in particular, is among her most coveted works. Hunter often favored religious scenes in her art - going to church, baptisms, funerals, and weddings. She also painted works based on biblical texts such as the Nativity and the Crucifixion. Her depictions of the Crucifixion featuring black religious figures are some of her most powerful works. Of one of her Crucifixions, Hunter said, “That’s Black Jesus. . . . I don’t know if [he is] black or white . . . nearly everybody says ‘Black Jesus’ so I thought I’d make him black like.”

Estimate: $2,500-$3,500

76049

CLeMeNTINe HUNTer (american, 1886-1988)Saturday Night at the Honkey TonkOil on board 16 x 24 inches (40.6 x 61.0 cm)Initialed lower right: CH

Estimate: $3,000-$5,000


76050

CLeMeNTINe HUNTer (american, 1886-1988)Baptismal Oil on board 16 x 24 inches (40.6 x 61.0 cm)Initialed lower right: CH

Estimate: $3,000-$5,000

76051

CLeMeNTINe HUNTer (american, 1886-1988)Africa House, 1970Oil on board 12 x 16 inches (30.5 x 40.6 cm)Initialed and dated lower right: CH / 1970

Estimate: $2,000-$3,000 76052

CLeMeNTINe HUNTer (american, 1886-1988)ZinniasOil on canvas board13 x 9-1/2 inches (33.0 x 24.1 cm)Initialed lower right: CH

Estimate: $1,000-$2,000


76053

KerMIT OLIVer (american, b. 1943)Cows in a Row with BunnyWatercolor and gouache on paper 20 x 26 inches (50.8 x 66.0 cm)Signed lower right: Oliver

Estimate: $2,500-$3,500

76054

KerMIT OLIVer (american, b. 1943)GravelAcrylic on masonite 10 x 10 inches (25.4 x 25.4 cm)Inscribed verso: Gravel / Kermit Oliver

Estimate: $1,500-$2,500


76055

KerMIT OLIVer (american, b. 1943)Portrait of a GirlMixed media on masonite28 x 19 inches (71.1 x 48.3 cm)Signed lower right: Oliver

Estimate: $2,000-$3,000

76056

KerMIT OLIVer (american, b. 1943)Rooster with BirdWatercolor and gouache on paper 18 x 24-1/4 inches (45.7 x 61.6 cm)Signed lower right: Oliver

Estimate: $1,800-$2,400


76057

FreD DarGe (american, 1900-1978)The Pack Train, circa 1944Oil on canvas25 x 32 inches (63.5 x 81.3 cm)Signed lower right: F. Darge

Born in Germany, Fred Darge came to America in 1924 and studied at the Art Institute of Chicago. During the early 1930s, he worked as a cowhand in the Southwest. After 1945, Darge began making annual sketching trips to West Texas and New Mexico. Part of Darge’s charm as an artist is his naïveté with respect to anatomy and certain details. An avid and talented woodcarver, Darge probably “posed” his carved paint horse in his studio as the “live” horse at left in The Pack Train. Moreover, the cowboy adjusts the saddle on the paint horse, but there is neither cinch nor latigo, and the saddle under the cowboy at center has no cantle. Yet, the same saddle sports “monkey-nose” tapaderos on its stirrups, a sign of status among cowboys in West Texas and New Mexico. This painting is in the original frame, hand-carved by the artist and created specifically for this painting.

Estimate: $8,000-$12,000


76058

FreD DarGe (american, 1900-1978)Runaway SteersOil on artists’ board9-1/2 x 11-1/2 inches (24.1 x 29.2 cm)Signed lower right: F. Darge

Estimate: $3,000-$5,000

76059

FreD DarGe (american, 1900-1978)In the CreekOil on board12 x 16 inches (30.5 x 40.6 cm)Signed lower right: F. DargeInscribed verso: C306 / In the Creek

Estimate: $2,000-$3,000


76060

PeTer LaNZ HOHNsTeDT (american, 1872-1957)Untitled (Texas Landscape)Oil on canvas30 x 36 inches (76.2 x 91.4 cm)Signed lower right: P. L. Hohnstedt

Born in Ohio, Peter Hohnstedt was self taught. After settling in San Antonio in 1929, he moved to Comfort, Texas, in the early 1940s, painting in the surrounding countryside, the Big Bend and Pecos River areas, and Mexico. He exhibited extensively, and his work can be found in the collection of the Witte Museum, San Antonio. Even in these charming late works, Hohnstedt never ceased to be inspired by the Texas landscape.

Estimate: $4,000-$6,000


76061

PeTer LaNZ HOHNsTeDT (american, 1872-1957)Texas LandscapeOil on canvas25 x 30 inches (63.5 x 76.2 cm)Signed lower right: P. L. Hohnstedt

Estimate: $2,000-$3,000

76062

PeTer LaNZ HOHNsTeDT (american, 1872-1957)Texas LandscapeOil on canvas25 x 30 inches (63.5 x 76.2 cm)Signed lower right: P. L. Hohnstedt

Estimate: $2,000-$3,000


76063

BILL BOMar (american, 1919-1991)Infinity, 1968Oil on canvas 30 x 34-1/2 inches (76.2 x 87.6 cm)Initialed on bottom: B B

Bill Bomar is considered to be a leader of the Fort Worth Circle. At various times, he lived in New York and New Mexico but remained an active member of the North Texas art community for many years.

Estimate: $2,000-$4,000


76064

BILL BOMar (american, 1919-1991)Nude with BraceletInk on silk paper 34 x 23 inches (86.4 x 58.4 cm)Signed lower right: Bill Bomar

PROVENANCE:The Old Jail Art Center, Texas, 1945-1955 (label verso).

Estimate: $1,500-$3,000

76065

BILL BOMar (american, 1919-1991)Seated NudeInk on silk paper 33-3/4 x 23-3/4 inches (85.7 x 60.3 cm)Initialed lower right: BB

Estimate: $1,500-$3,000

76066

BILL BOMar (american, 1919-1991)Nude TorsoCharcoal on paper 24-1/2 x 18-1/2 inches (62.2 x 47.0 cm)Signed lower right: Bill Bomar

Estimate: $1,000-$2,000


76067

DaN rIZZIe (american, b. 1951)South Cross, Black Tulip, 2002Flashe matte and collage on paper 30 x 22 inches (76.2 x 55.9 cm)Signed lower right: D R 02

Estimate: $3,000-$5,000

76068

DaN rIZZIe (american, b. 1951)Little Tantric, 2002Gouache, watercolor, and collage on board7-3/4 x 5-3/4 inches (19.7 x 14.6 cm)Initialed lower left: D.R.

Estimate: $600-$800

76069

DaVID MICHaeL BaTes (american, b. 1952)Christmas WrapOil on paper 13 x 13 inches (33.0 x 33.0 cm)Inscribed on bottom edge: To Don from David

Estimate: $400-$600


76070

JON FLaMING (american, b. 1962)Abandoned SilosOil on masonite24 x 36 inches (61.0 x 91.4 cm)Monogrammed and signed lower left: Jon Flaming

Jon Flaming works in what has been called a neo-regionalist style that combines many of the moods, tonal qualities, and subjects of the mid-twentieth-century regionalists with a thoroughly contemporary sensibility. Abandoned Silos is an excellent example of his work. It is both timeless and relevant to twenty-first-century life, as well as aesthetically and intellectually compelling.

Estimate: $2,000-$3,000

76071

DON eDeLMaN (american, b. 1925)Woman with a Floppy Hat, 1981Bronze9 x 7 x 4 inches (22.9 x 17.8 x 10.2 cm)Ed. 2/11Signed, dated, and numbered on base: Don Edelman 1981 2/11

Estimate: $1,500-$2,000


76072 rOLLa sIMs TaYLOr (american, 1872-1970)San Miguel Oil on canvas board 16 x 20 inches (40.6 x 50.8 cm) Signed and inscribed lower left: Rolla Taylor / San Miguel

Rolla Sims Taylor was born in Galveston and reared in Cuero, Texas. Moving to San Antonio with his family in 1889, he studied under José Arpa and Robert Julian Onderdonk. Taylor was one of the earliest painters to work in the Big Bend. He loved painting views of San Antonio and San Miguel de Allende, Mexico. Rolla Sims Taylor’s work has been exhibited all around the state and is in the collections of many Texas institutions.

Estimate: $4,000 - $6,000

76073

rOLLa sIMs TaYLOr (american, 1872-1970)Street of Guanajuato, 1959Oil on canvas16 x 20 inches (40.6 x 50.8 cm)Signed and dated lower left: Rolla Taylor / 1959

Estimate: $4,000-$6,000


76074

rOLLa sIMs TaYLOr (american, 1872-1970)Goat Ranch Oil on canvas board 12 x 16 inches (30.5 x 40.6 cm)Signed lower right: Rolla Taylor

Estimate: $2,000-$3,000

76075

rOLLa sIMs TaYLOr (american, 1872-1970)Ferry Landing Saugatuck, Mich.Oil on canvas board9 x 12 inches (22.9 x 30.5 cm)Label verso: Ferry Landing Saugatuck, Mich. / By Rolla Taylor

Estimate: $2,000-$4,000


76076

xaVIer GONZÁLeZ (american, 1898-1993)The Quarry, 1969Oil on canvas 30 x 40 inches (76.2 x 101.6 cm)Initialed lower right: X.G.Inscribed verso: No. 25 The Quarry / 1969 / X.G.

Estimate: $4,000-$8,000

76077

CHaPMaN KeLLeY (american, b.1932)Skate, 1961Oil on canvas 20-1/4 x 20-1/4 inches (51.4 x 51.4 cm)Signed lower left: Chapman Kelley

Estimate: $2,000-$3,000


76078

DaVID PrYOr aDICKes (american, b. 1927)Abstract Portrait of a GentlemanOil on canvas 26 x 20 inches (66.0 x 50.8 cm)Signed upper left: Adickes

Estimate: $2,000-$3,000

76079

CHarLes PeBWOrTH (american, b. 1926)Untitled TriptychMixed media on panel6 x 5-1/2 inches (15.2 x 14.0 cm) (largest)Each signed

Estimate: $1,500-$2,500

76080

HerBerT rICHarD Mears (american, 1923-1999)Gentleman Standing on DockAcrylic on masonite13-1/2 x 10-1/2 inches (34.3 x 26.7 cm)Signed lower left: Mears

Estimate: $1,000-$2,000


76081

a. D. Greer (american, 1904-1998)Autumn LandscapeOil on canvas 30 x 40 inches (76.2 x 101.6 cm)Signed lower right: A.D. Greer

Estimate: $3,000-$5,000

76082

a. D. Greer (american, 1904-1998)Autumn HillsOil on canvas 24 x 30 inches (61.0 x 76.2 cm)Signed lower right: A.D. Greer

Estimate: $3,000-$5,000


76083

a. D. Greer (american, 1904-1998)Chrysanthemums in VaseOil on canvas 25 x 30 inches (63.5 x 76.2 cm)Signed lower right: A.D. Greer

Estimate: $2,000-$3,000

76084

a. D. Greer (american, 1904-1998)Vase of RosesOil on canvas 30 x 25 inches (76.2 x 63.5 cm)Signed upper right: A.D. Greer

Estimate: $2,000-$3,000

76085

a. D. Greer (american, 1904-1998)White Roses in VaseOil on canvas 16 x 20 inches (40.6 x 50.8 cm)Signed lower right: A.D. Greer

Estimate: $1,500-$2,500


76086

G. (GeraLD HarVeY JONes) HarVeY (american, b. 1933)Golden Elms, 1966Oil on canvas 24 x 30 inches (61.0 x 76.2 cm)Signed and dated lower left: G. Harvey / 1966

Estimate: $8,000-$12,000

76087

WILLIaM rOBerT THrasHer (american, 1908-1997)Bluebonnet Texas LandscapeOil on canvas 16 x 20 inches (40.6 x 50.8 cm)Signed lower left: W.R. Thrasher

Estimate: $2,000-$4,000


76088

MICHaeL eTIe (american, b. 1948)Summer in Palo Duro Canyon, 2011Pastel on paper10-3/8 x 9-5/8 inches (26.5 x 24.5 cm)Signed lower left: Mike Etie

Estimate: $4,000-$6,000

76089

LOIs HOGUe sHaW (american, 1897-2001)Sweetwater LandscapeOil on canvas12 x 16 inches (30.5 x 40.6 cm)Signed lower right: Lois Hogue Shaw

Lois Hogue Shaw was born in 1897 and attended Sweetwater High School. After she received her B.A. degree in art from Baylor Female College, she studied at several art schools, including the Art Institute of Chicago and the Art Students League in New York. Hogue would go on to teach at Abilene Christian College, Baylor Female College, and McMurry College. She eventually married and settled in Sweetwater, Texas.

Estimate: $1,000-$2,000

76090

DONaLD sTaNLeY VOGeL (american, 1917-2004)Woman with FlowersOil on canvas40-1/2 x 46 inches (102.9 x 116.8 cm)Signed lower left: D. Vogel

Estimate: $1,000-$2,000


76091

DaLHarT WINDBerG (american, b. 1933)Untitled, 1980Oil on canvas 48 x 30 inches (121.9 x 76.2 cm)Signed and dated lower right: Windberg © 1980

Estimate: $12,000-$15,000


76092

DON WarreN (american, 1935-2006)Rain on the HillsideOil on canvas 24 x 30 inches (61.0 x 76.2 cm)Signed lower left: Don Warren

Estimate: $4,000-$6,000

76093

VIVeaNO LOPeZ (american, 1906-1983)GrandmotherOil on canvas16 x 12 inches (40.6 x 30.5 cm)Signed lower right: Viveano Lopez

Estimate: $2,000-$3,000

76094

reID KeNDrICK CrOWeLL (american, 1911-1991)Christmas Eve in the Clearing Oil on canvas 24 x 25 inches (61.0 x 63.5 cm)Signed lower right: Reid CrowellInscribed on stretcher verso: Christmas Eve in the Clearing

Estimate: $800-$1,200


76095

rOBIN UTTerBaCK (american, b. 1949)Clown 202, 1987Mixed media on canvas 51 x 95-1/2 inches (129.5 x 242.6 cm)

Estimate: $4,000-$6,000


76096

FreDerICK JarVIs (american, 1868-1944)Desert Landscape Oil on canvas 18 x 24 inches (45.7 x 61.0 cm) Signed lower left: Frederick Jarvis

Estimate: $2,000-$3,000

76097

PeTer LaNZ HOHNsTeDT (american, 1872-1957) Rolling HillsOil on canvas12-1/4 x 16-1/4 inches (31.1 x 41.3 cm)Signed lower right: P.L. Hohnstedt

Estimate: $1,500-$2,500

76098

rOLLa sIMs TaYLOr (american, 1872-1970) Cabin Yard Oil on canvas 12 x 16 inches (30.5 x 40.6 cm) Signed lower right: Rolla Taylor

Estimate: $1,000-$2,000

End of Auction

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Terms and Conditions of Auction (“Bidder(s)”). 5. All Bidders must meet Auctioneer’s qualifications to bid. Any Bidder who is not a client in good

standing of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude any person from the auction.

6. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid.

Credit: 7. Bidders who have not established credit with the Auctioneer must either furnish satisfactory credit

information (including two collectibles-related business references) well in advance of the Auction or supply valid credit card information. Bids placed through our Interactive Internet program will only be accepted from pre-registered Bidders; Bidders who are not members of HA.com or affiliates should pre-register at least 48 hours before the start of the first session (exclusive of holidays or weekends) to allow adequate time to contact references. Credit may be granted at the discretion of Auctioneer. Additionally Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide their social security number or the last four digits thereof to us so a credit check may be performed prior to Auctioneer’s acceptance of a bid.

Bidding Options: 8. Bids in Signature® Auctions or Grand Format Auctions may be placed as set forth in the printed

catalog section entitled “Choose your bidding method.” For auctions held solely on the Internet, see the alternatives on HA.com. Review at HA.com/common/howtobid.php.

9. Presentment of Bids: Non-Internet bids (including but not limited to podium, fax, phone and mail bids) are treated similar to floor bids in that they must be on-increment or at a half increment (called a cut bid). Any podium, fax, phone, or mail bids that do not conform to a full or half increment will be rounded up or down to the nearest full or half increment and this revised amount will be considered your high bid.

10. Auctioneer’s Execution of Certain Bids. Auctioneer cannot be responsible for your errors in bidding, so carefully check that every bid is entered correctly. When identical mail or FAX bids are submitted, preference is given to the first received. To ensure the greatest accuracy, your written bids should be entered on the standard printed bid sheet and be received at Auctioneer’s place of business at least two business days before the Auction start. Auctioneer is not responsible for executing mail bids or FAX bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is Auctioneer responsible for proper execution of bids submitted by telephone, mail, FAX, e-mail, Internet, or in person once the Auction begins. Bids placed electronically via the internet may not be withdrawn until your written request is received and acknowledged by Auctioneer (FAX: 214-443-8425); such requests must state the reason, and may constitute grounds for withdrawal of bidding privileges. Lots won by mail Bidders will not be delivered at the Auction unless prearranged.

11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest amount you may bid on a particular lot. Bids greater than one increment over the current bid can be any whole dollar amount. It is possible under several circumstances for winning bids to be between increments, sometimes only $1 above the previous increment. Please see: “How can I lose by less than an increment?” on our website. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted.

The following chart governs current bidding increments.

Current Bid .....................Bid Increment Current Bid .......................Bid Increment <$10 .................................... $1 $20,000 - $29,999 .................$2,000 $10 - $29 ............................. $2 $30,000 - $49,999 .................$2,500 $30 - $49 ............................. $3 $50,000 - $99,999 .................$5,000 $50 - $99 ............................. $5 $100,000 - $199,999 .............$10,000 $100 - $199 ......................... $10 $200,000 - $299,999 .............$20,000 $200 - $299 ......................... $20 $300,000 - $499,999 .............$25,000 $300 - $499 ......................... $25 $500,000 - $999,999 .............$50,000 $500 - $999 ......................... $50 $1,000,000 - $1,999,999 .......$100,000 $1,000 - $1,999 ................... $100 $2,000,000 - $2,999,999 .......$200,000 $2,000 - $2,999 ................... $200 $3,000,000 - $4,999,999 .......$250,000 $3,000 - $4,999 ................... $250 $5,000,000 - $9,999,999 .......$500,000 $5,000 - $9,999 ................... $500 >$10,000,000 ........................$1,000,000 $10,000 - $19,999 ............... $1,000

12. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at half of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue to participate only at full increments. Off-increment bids may be accepted by the Auctioneer at Signature® Auctions and Grand Format Auctions. If the Auctioneer solicits bids other than the expected increment, these bids will not be considered Cut Bids.

Conducting the Auction: 13. Notice of the consignor’s liberty to place bids on his lots in the Auction is hereby made in

accordance with Article 2 of the Texas Business and Commercial Code. A “Minimum Bid” is an amount below which the lot will not sell. THE CONSIGNOR OF PROPERTY MAY PLACE WRITTEN ”Minimum Bids” ON HIS LOTS IN ADVANCE OF THE AUCTION; ON SUCH LOTS, IF THE HAMMER PRICE DOES NOT MEET THE “Minimum Bid”, THE CONSIGNOR

MAY PAY A REDUCED COMMISSION ON THOSE LOTS. ”Minimum Bids” are generally posted online several days prior to the Auction closing. For any successful bid placed by a consignor on his Property on the Auction floor, or by any means during the live session, or after the ”Minimum Bid” for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium and Seller’s Commissions on such lot.

14. The highest qualified Bidder recognized by the Auctioneer shall be the Buyer. In the event of a tie bid, the earliest bid received or recognized wins. In the event of any dispute between any Bidders at an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly offered, whether by floor Bidder or other means of bidding, may on occasion be missed or go unrecognized; in such cases, the Auctioneer may declare the recognized bid accepted as the winning bid, regardless of whether a competing bid may have been higher.

15. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, in its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent or irresponsible person, a person under the age of eighteen, or is not supported by satisfactory credit, collectibles references, or otherwise. Regardless of the disclosure of his identity, any bid by a consignor or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any person apparently appearing on the OFAC list is not eligible to bid.

16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids, or very nominal advances. If a lot bearing estimates fails to open for 40–60% of the low estimate, the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.

17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50%-60% of the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall pass as unsold.

18. All items are to be purchased per lot as numerically indicated and no lots will be broken. Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction.

19. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a warranty, disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, or for any other reason and in Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) and any other damages or expenses pertaining to the lot.

20. Auctioneer occasionally experiences Internet and/or Server service outages, and Auctioneer periodically schedules system downtime for maintenance and other purposes, during which Bidders cannot participate or place bids. If such outages occur, we may at our discretion extend bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to contact Client Services at 1-800-872-6467.

21. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction, and may bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify any such bids at any time prior to the hammer based upon data made known to the Auctioneer or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors.

22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

Payment: 23. All sales are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier

checks, travelers checks, eChecks, and bank money orders, all subject to reporting requirements). All are subject to clearing and funds being received in Auctioneer’s account before delivery of the purchases. Auctioneer reserves the right to determine if a check constitutes “good funds” when drawn on a U.S. bank for ten days, and thirty days when drawn on an international bank. Credit Card (Visa or Master Card only) and PayPal payments may be accepted up to $10,000 from non-dealers at the sole discretion of the Auctioneer, subject to the following limitations: a) sales are only to the cardholder, b) purchases are shipped to the cardholder’s registered and verified address, c) Auctioneer may pre-approve the cardholder’s credit line, d) a credit card transaction may not be used in conjunction with any other financing or extended terms offered by the Auctioneer, and must transact immediately upon invoice presentation, e) rights of return are governed by these Terms and Conditions, which supersede those conditions promulgated by the card issuer, f) floor Bidders must present their card.

24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Auctioneer reserves the right to void an invoice if payment in full is not received within 7 days after the close of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot and any other damages pertaining to the lot.

25. Lots delivered to you, or your representative in the States of Texas, California, New York, or other states where the Auction may be held, are subject to all applicable state and local taxes, unless appropriate permits are on file with Auctioneer. (Note: Coins are only subject to sales tax in California on invoices under $1500 and in Texas on invoices under $1000. Check the Web site at: http://coins.ha.com/c/ref/sales-tax.zx for more details.) Bidder agrees to pay Auctioneer the actual amount of tax due in the event that sales tax is not properly collected due to: 1) an expired, inaccurate, inappropriate tax certificate or declaration, 2) an incorrect interpretation of the applicable statute, 3) or any other reason. The appropriate form or certificate must be on file at and verified by Auctioneer five days prior to Auction or tax must be paid; only if such form or certificate is received by Auctioneer within 4 days after the Auction can a refund of tax paid be made. Lots from different Auctions may not be aggregated for sales tax purposes.

26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck and your financial institution denies this transfer from your bank account, or the payment cannot be completed using the selected funding source, you agree to complete payment using your credit card on file.

27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance will bear interest at the highest rate permitted by law from the date of invoice until paid. Any invoice not paid when due will bear a three percent (3%) late fee on the invoice amount or three percent (3%) of any installment that is past due. If the Auctioneer refers any invoice to an attorney for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs incurred by Auctioneer. If Auctioneer assigns collection to its in-house legal staff, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

28. In the event a successful Bidder fails to pay any amounts due, Auctioneer reserves the right to sell the lot(s) securing the invoice to any underbidders in the Auction that the lot(s) appeared, or at subsequent private or public sale, or relist the lot(s) in a future auction conducted by Auctioneer. A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 10% seller’s commission, if consigned to an auction conducted by Auctioneer). The defaulting Bidder is liable to pay any difference between his total original invoice for the lot(s), plus any applicable interest, and the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less the 10% seller’s commissions, if sold at an Auctioneer’s auction.

29. Auctioneer reserves the right to require payment in full in good funds before delivery of the merchandise.

Terms and Conditions of Auction30. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of

the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any Auction invoice or any other amounts due the Auctioneer or affiliates from the buyer. With respect to these lien rights, Auctioneer shall have all the rights of a secured creditor under Article 9 of the Texas Uniform Commercial Code, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the buyer waives any and all rights of offset he might otherwise have against the Auctioneer and the consignor of the merchandise included on the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.

31. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the buyer to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

Delivery; Shipping; and Handling Charges: 32. Buyer is liable for shipping and handling. Please refer to Auctioneer’s website www.HA.com/

common/shipping.php for the latest charges or call Auctioneer. Auctioneer is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs.

33. Successful international Bidders shall provide written shipping instructions, including specified customs declarations, to the Auctioneer for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price together with its buyer’s premium and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

34. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk of loss during shipment will be borne by Heritage until the shipping carrier’s confirmation of delivery to the address of record in Auctioneer’s file (carrier’s confirmation is conclusive to prove delivery to Bidder; if the client has a Signature release on file with the carrier, the package is considered delivered without Signature) or delivery by Heritage to Bidder’s selected third-party shipper. On all foreign shipments, any risk of loss during shipment will be borne by the Bidder following Auctioneer’s delivery to the Bidder’s designated common carrier or third-party shipper.

35. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to arrange pick-up and shipping through third-parties; as to such items Auctioneer shall have no liability. Failure to pick-up or arrange shipping in a timely fashion (within ten days) shall subject Lots to storage and moving charges, including a $100 administration fee plus $10 daily storage for larger items and $5.00 daily for smaller items (storage fee per item) after 35 days. In the event the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due storage or moving fees, including a 10% Seller’s Commission.

36. The laws of various countries regulate the import or export of certain plant and animal properties, including (but not limited to) items made of (or including) ivory, whalebone, turtleshell, coral, crocodile, or other wildlife. Transport of such lots may require special licenses for export, import, or both. Bidder is responsible for: 1) obtaining all information on such restricted items for both export and import; 2) obtaining all such licenses and/or permits. Delay or failure to obtain any such license or permit does not relieve the buyer of timely compliance with standard payment terms. For further information, please contact Ron Brackemyre at 800-872-6467 ext. 1312.

37. Any request for shipping verification for undelivered packages must be made within 30 days of shipment by Auctioneer.

Cataloging, Warranties and Disclaimers: 38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY

DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of the items or second opine contained in this Auction is for the sole purpose of identifying the items for those Bidders who do not have the opportunity to view the lots prior to bidding, and no description of items has been made part of the basis of the bargain or has created any express warranty that the goods would conform to any description made by Auctioneer. Color variations can be expected in any electronic or printed imaging, and are not grounds for the return of any lot. NOTE: Auctioneer, in specified auction venues, for example, Fine Art, may have express written warranties and you are referred to those specific terms and conditions. .

39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular purposes. All images, descriptions, sales data, and archival records are the exclusive property of Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any other uses deemed appropriate.

40. Translations of foreign language documents may be provided as a convenience to interested parties. Auctioneer makes no representation as to the accuracy of those translations and will not be held responsible for errors in bidding arising from inaccuracies in translation.

41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any benefit of these Terms and Conditions and any rights, if any, established hereunder are personal to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion and does not constitute a warranty or representation. No employee of Auctioneer may alter these Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null and void.

42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such defects, in any event, shall not be a basis for any claim for return or reduction in purchase price.

Release: 43. In consideration of participation in the Auction and the placing of a bid, Bidder expressly releases

Auctioneer, its officers, directors and employees, its affiliates, and its outside experts that provide second opines, from any and all claims, cause of action, chose of action, whether at law or equity or any arbitration or mediation rights existing under the rules of any professional society or affiliation based upon the assigned description, or a derivative theory, breach of warranty express or implied, representation or other matter set forth within these Terms and Conditions of Auction or otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred therein are strictly construed as specifically declared herein; e.g., authenticity, typographical error, etc. and are the exclusive remedy. Bidder, by non-compliance to these express terms of a granted remedy, shall waive any claim against Auctioneer.

44. Notice: Some Property sold by Auctioneer are inherently dangerous e.g. firearms, cannons, and small items that may be swallowed or ingested or may have latent defects all of which may cause harm to a person. Purchaser accepts all risk of loss or damage from its purchase of these items and Auctioneer disclaims any liability whether under contract or tort for damages and losses, direct or inconsequential, and expressly disclaims any warranty as to safety or usage of any lot sold.

Dispute Resolution and Arbitration Provision: 45. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and

Conditions of Auction, and specifically agrees to the dispute resolution provided herein. Consumer disputes shall be resolved through court litigation which has an exclusive Dallas, Texas venue clause and jury waiver. Non-consumer dispute shall be determined in binding arbitration which arbitration replaces the right to go to court, including the right to a jury trial.

46. Auctioneer in no event shall be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction of any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title, or other transfer or condition issue is claimed, in such cases the sole remedy shall be limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

47. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further obligation.

48. Dispute Resolution for Consumers and Non-Consumers: Any claim, dispute, or controversy in connection with, relating to and /or arising out of the Auction, participation in the Auction, award of lots, damages of claims to lots, descriptions, condition reports, provenance, estimates, return and warranty rights, any interpretation of these Terms and Conditions, any alleged verbal modification of these Terms and Conditions and/or any purported settlement whether asserted in contract, tort, under Federal or State statute or regulation shall or any other matter: a) if presented by a consumer, be exclusively heard by, and the parties consent to, exclusive in personam jurisdiction in the State District Courts of Dallas County, Texas. THE PARTIES EXPRESSLY WAIVE ANY RIGHT TO TRIAL BY JURY. Any appeals shall be solely pursued in the appellate courts of the State of Texas; or b) for any claimant other than a consumer, the claim shall be presented in confidential binding arbitration before a single arbitrator, that the parties may agree upon, selected from the JAMS list of Texas arbitrators. The case is not to be administrated by JAMS; however, if the parties cannot agree on an arbitrator, then JAMS shall appoint the arbitrator and it shall be conducted under JAMS rules. The locale shall be Dallas Texas. The arbitrator’s award may be enforced in any court of competent jurisdiction. Any party on any claim involving the purchase or sale of numismatic or related items may elect arbitration through binding PNG arbitration. Any claim must be brought within one (1) year of the alleged breach, default or misrepresentation or the claim is waived. This agreement and any claims shall be determined and construed under Texas law. The prevailing party (party that is awarded substantial and material relief on its claim or defense) may be awarded its reasonable attorneys’ fees and costs.

49. No claims of any kind can be considered after the settlements have been made with the consignors. Any dispute after the settlement date is strictly between the Bidder and consignor without involvement or responsibility of the Auctioneer.

50. In consideration of their participation in or application for the Auction, a person or entity (whether the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees that all disputes in any way relating to, arising under, connected with, or incidental to these Terms and Conditions and purchases, or default in payment thereof, shall be arbitrated pursuant to the arbitration provision. In the event that any matter including actions to compel arbitration, construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such litigation shall be exclusively in the Courts of the State of Texas, in Dallas County, Texas, and if necessary the corresponding appellate courts. For such actions, the successful Bidder, purchaser, or Auction participant also expressly submits himself to the personal jurisdiction of the State of Texas.

51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of the lot.

Miscellaneous: 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit

bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, Auctioneer reserves the right to charge Bidder the applicable Buyer’s Premium and consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.

53. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by Heritage in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. Heritage may from time to time contact Bidder concerning sale, purchase, and auction opportunities available through Heritage and its affiliates and subsidiaries.

54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Terms and Conditions of Auction by these additional rules and shall be construed to give force and effect to the rules in their entirety.

State Notices: Notice as to an Auction in California. Auctioneer has in compliance with Title 2.95 of the California Civil Code as amended October 11, 1993 Sec. 1812.600, posted with the California Secretary of State its bonds for it and its employees, and the auction is being conducted in compliance with Sec. 2338 of the Commercial Code and Sec. 535 of the Penal Code. Notice as to an Auction in New York City. These Terms and Conditions of Sale are designed to conform to the applicable sections of the New York City Department of Consumer Affairs Rules and Regulations as Amended. This sale is a Public Auction Sale conducted by Heritage Auction Galleries, Inc. #41513036. The New York City licensed auctioneers are: Sam Foose, #095260; Kathleen Guzman, #0762165; Nicholas Dawes, #1304724; Ed Beardsley, #1183220; Scott Peterson, #1306933; Andrea Voss, #1320558, who will conduct the Sale on behalf of Heritage Numismatic Auctions, Inc. (for Coins and Currency) and Heritage Auction Galleries Inc. (for other items). All lots are subject to: the consignor’s rights to bid thereon in accord with these Terms and Conditions of Sale, consignor’s option to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited extended financing to registered bidders, in accord with Auctioneer’s internal credit standards. A registered bidder may inquire whether a lot is subject to an advance or a reserve. Auctioneer has made advances to various consignors in this sale. On lots bearing an estimate, the term refers to a value range placed on an item by the Auctioneer in its sole opinion but the final price is determined by the bidders. Notice as to an Auction in Texas. In compliance with TDLR rule 67.100(c)(1), notice is hereby provided that this auction is covered by a Recovery Fund administered by the Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711 (512) 463-6599. Any complaints may be directed to the same address.Notice as to an Auction in Ohio: Auction firm and Auctioneer are licensed by the Dept. of Agriculture, and either the licensee is bonded in favor of the state or an aggrieved person may initiate a claim against the auction recovery fund created in Section 4707.25 of the Revised Code as a result of the licensee’s actions, whichever is applicable.

Rev. 7-25-11

Terms and Conditions of Auction

New York State Auctions OnlyThese Terms and Conditions of Sale are designed to conform to the applicable sections of the New York City Department of Consumer Affairs Rules and Regulations as Amended. This sale is a Public Auction Sale conducted by Heritage Auction Galleries, Inc. #41513036. The New York City licensed auctioneers are: Sam Foose, #095260; Kathleen Guzman, #0762165; Nicholas Dawes, #1304724; Ed Beardsley, #1183220; Scott Peterson, #1306933; Andrea Voss, #1320558, who will conduct the Sale on behalf of Heritage Numismatic Auctions, Inc. (for Coins and Currency) and Heritage Auction Galleries Inc. (for other items). All lots are subject to: the consignor’s rights to bid thereon in accord with these Terms and Conditions of Auction, consignor’s option to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited extended financing to registered bidders, in accord with Auctioneer’s internal credit standards. A registered bidder may inquire whether a lot is subject to an advance or a reserve. Auctioneer has made advances to various consignors in this sale. On lots bearing an estimate, the term refers to a value range placed on an item by the Auctioneer in its sole opinion but the final price is determined by the bidders.

Additional Terms & Conditions: FINE & DECORATIVE ARTS AUCTIONS

FINE AND DECORATIVE ARTS TERM A: LIMITED WARRANTY: Auctioneer warrants authorship, period or culture of each lot sold in this catalog as set out in the BOLD-face type heading in the catalog description of the lot, with the following exclusions. This warranty does not apply to:

i. authorship of any paintings, drawings or sculpture created prior to 1870, unless the lot is determined to be a counterfeit which has a value at the date of the claim for rescission which is materially less than the purchase price paid for the lot; or

ii. any catalog description where it was specifically mentioned that there is a conflict of specialist opinion on the authorship of a lot; or

iii. authorship which on the date of sale was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or

iv. the identification of periods or dates of execution which may be proven inaccurate by means of scientific processes not generally accepted for use until after publication of the catalog, or which were unreasonably expensive or impractical to use at the time of publication of the catalog.

The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago with the intent to deceive. The authenticity of signatures, monograms, initials or other similar indications of authorship is expressly excluded as a controlling factor in determining whether a work is a counterfeit under the meaning of these Terms and Conditions of Auction.

FINE AND DECORATIVE ARTS TERM B: GLOSSARY OF TERMS: Terms used in this catalog have the following meanings. Please note that all statements in this catalog, excluding those in BOLD-face type, regarding authorship, attribution, origin, date, age, provenance and condition are statements of opinion and are not treated as a statement of fact.

1. THOMAS MORANIn our opinion, the work is by the artist.2. ATTRIBUTED TO THOMAS MORAN In our opinion, the work is of the period of the artist which may be whole or in part the work of

the artist.3. STUDIO, (CIRCLE OR WORKSHOP) OF THOMAS MORAN In our opinion, the work is of the period and closely relates to his style.4. SCHOOL OF THOMAS MORAN In our opinion, the work is by a pupil or a follower of the artist.5. MANNER OF THOMAS MORAN In our opinion, the work is in the style of the artist and is of a later period.6. AFTER THOMAS MORAN In our opinion, this work is a copy of the artist.7. ASCRIBED TO THOMAS MORAN In our opinion, this work is not by the artist, however, previous scholarship has noted this to be

a work by the artist. 8. SIGNED (OR DATED) The work has a signature (or date) which is in our opinion is genuine.9. BEARS SIGNATURE (OR DATE) The work has a signature (or date) which in our opinion is not authentic. FINE AND DECORATIVE ARTS TERM C: PRESENTMENT: The warranty as to authorship is

provided for a period of one (1) year from the date of the auction and is only for the benefit of the original purchaser of record and is not transferable.

FINE AND DECORATIVE ARTS TERM D: The Auction is not on approval. Under extremely limited

circumstances (e.g. gross cataloging error), not including attributions in BOLD-face type, which are addressed in Term F below, a purchaser who did not bid from the floor may request Auctioneer to evaluate voiding a sale; such request must be made in writing detailing the alleged gross error, and submission of the lot to Auctioneer must be pre-approved by Auctioneer. A bidder must notify the appropriate department head (check the inside front cover of the catalog or our website for a listing of department heads) in writing of the purchaser’s request within three (3) days of the non-floor bidder’s receipt of the lot. Any lot that is to be evaluated for return must be received in our offices within 40 days after Auction. AFTER THAT 40-DAY PERIOD, NO LOT MAY BE RETURNED FOR ANY REASON. Lots returned must be in the same condition as when sold and must include any Certificate of Authenticity. No lots purchased by floor bidders (including those bidders acting as agents for others) may be returned. Late remittance for purchases may be considered just cause to revoke all return privileges.

FINE AND DECORATIVE ARTS TERM E: The catalog descriptions are provided for identification purposes only. Bidders who intend to challenge a BOLD-face provision in the description of a lot must notify Auctioneer in writing within forty (40) days of the Auction’s conclusion. In the event Auctioneer cannot deliver the lot or subsequently it is established that the lot lacks title or the BOLD-face section of description is incorrect, or other transfer or condition issue is claimed, Auctioneer’s liability shall be limited to rescission of sale and refund of purchase price. In no case shall Auctioneer’s maximum liability exceed the successful bid on that lot, which bid shall be deemed for all purposes the value of the lot. After one year has elapsed from the close of the Auction, Auctioneer’s maximum liability shall be limited to any commissions and fees Auctioneer earned on that lot.

FINE AND DECORATIVE ARTS TERM F: Any claim as to authorship, provenance, authenticity,

or other matter under the remedies provided in the Fine Arts Terms and Conditions or otherwise must be first transmitted to Auctioneer by credible and definitive evidence within the applicable claim period. Auctioneer, in processing the written claim, may require the Purchaser to obtain the written opinion of two recognized experts in the field who are mutually accepted by Auctioneer and Purchaser. Upon receipt of the two opinions, Auctioneer shall determine whether to rescind the sale. The Purchaser’s claim must be presented in accord with the remedies provided herein and is subject to the limitations and restrictions provided (including within the described time limitations). Regardless of Purchaser’s submissions there is no assurance after such presentment that Auctioneer will validate the claim. Authentication is not an exact science and contrary opinions may not be recognized by Auctioneer. Even if Auctioneer agrees with the contrary opinion of such authentication and provides a remedy within these Terms and Conditions or otherwise, our liability for reimbursement for bidder’s third party opines shall not exceed $500. The right of rescission, return, or any other remedy provided in these Terms and Conditions, or any other applicable law, does not extend to authorship of any lot which at the date of Auction was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist, his students, school, workshop or followers. Purchaser by placing a bid expressly waives any claim or damage based on such subsequent information as described herein. It is specifically understood that any refund agreed to by the Auctioneer would be limited to the purchase price.

FINE AND DECORATIVE ARTS TERM G: Provenance and authenticity, excluding attributions in BOLD-face type, are guaranteed by neither the consignor nor Auctioneer. While every effort is made to determine provenance and authenticity, it is the responsibility of the Bidder to arrive at their own conclusion prior to bidding.

FINE AND DECORATIVE ARTS TERM H: On the fall of Auctioneer’s hammer, Buyers of Fine Arts and Decorative Arts lots assumes full risk and responsibility for lot, including shipment by common carrier or third-party shipper, and must provide their own insurance coverage for shipments.

FINE AND DECORATIVE ARTS TERM I: Auctioneer complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A purchaser is required to provide appropriate documents and the payment of associated fees, if any. Purchaser is responsible for providing a shipping address that is suitable for the receipt of a firearm.

Heritage Auction Galleries strongly encourages in-person inspection of lots by the Bidder. While Heritage is not obligated to provide a condition report of each lot, Bidders may feel free to contact the department for a Condition Report and Heritage will attempt to furnish one, but shall not be liable for failing to do so. Condition is often detailed online, but is not included in our catalogues. The Bidder should review online descriptions as the descriptions supercede catalog descriptions and those condition reports otherwise provided. Statements by Heritage regarding the condition of objects are for guidance only and should not be relied upon as statements of fact, and do not constitute a representation, warranty, or assumption of liability by Heritage. All lots offered regardless of a condition report are sold “AS IS”.

For wiring instructions call the Credit department at 1-800-872-6467 or e-mail: [email protected]

Rev.12-23-10

How to Ship Your Purchases

Shippers that Heritage has used are listed below. However, you are not obligated to choose from the following and may provide Heritage with information of your preferred shipper.

Navis Pack & Ship The Packing & Moving Center Craters & Freighters 161 Pittsburgh St 2040 E. Arkansas Lane, Ste #222 2220 Merritt Drive, Suite 200 Dallas, TX 75207 Arlington, TX 76011 Garland, TX 75041 Ph: 972-870-1212 Ph: 817-795-1999 Ph: 972-840-8147 Fax: 214-409-9001 Fax: 214-409-9000 Fax: 214-780-5674 [email protected] [email protected] [email protected]

• ItistheThirdPartyShipper’sresponsibilitytopack(orcrate)andship(orfreight)yourpurchasetoyou.Please make all payment arrangements for shipping with your Shipper of choice.

• AnyquestionsconcerningThirdPartyShippingcanbeaddressedthroughourClientServicesDepartment at 1-866-835-3243.

• Successfulbiddersareadvisedthatpick-uporshippingarrangementsshouldbemadewithinten(10)daysoftheauctionortheymaybesubjecttostoragefeesasstatedinHeritage’sTerms&ConditionsofAuction,item 35.

Agent Shipping Release Authorization form

Heritage Auction Galleries requires “Third Party Shipping” for certain items in this auction not picked up in person by the buyer. It shall be the responsibility of the successful bidder to arrange pick up and shipping through a third party; as to such items auctioneer shall have no liability.

Steps to follow:

1. Select a shipping company from the list below or a company of your choosing.

2. Complete, sign, and return an Agent Shipping Release Authorization formtoHeritage(thisformwillautomaticallybeemailedtoyou alongwithyourwinningbid(s)noticeormaybeobtainedbycalling ClientServicesat866-835-3243).Thecompletedformmaybe faxed to 214-409-1425.

3. HeritageAuctions’shippingdepartmentwillcoordinatewiththeshipping company you have selected to pick up your purchases.

DALLAS|NEWYORK|BEVERLYHILLS|SANFRANCISCO|PARIS|GENEVA

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATC22540 or call 866-835-3243 and reference code CATC22540.

For the most up-to-date information, visit HA.com/5069

Annual Sales Exceed $700 Mil l ion | 600,000+ Online Bidder-Members

3500 Maple Avenue | Dallas, Texas 75219 | 800-872-6467 | HA.com/FineArt

TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. These auctions subject to a 19.5% buyer's premium.

Inquiries, 800-872-6467: AMERICAN ART - Ariana Hartsock, ext. 1283 or [email protected] EUROPEAN ART – Marianne Berardi, Ph.D., ext. 1506 or [email protected]

AMERICAN & EUROPEAN ART AUCTION N Ov E M b E R 8 , 2 0 1 1 | DA l l A s | l I v E & O N l I N E

WILLARD LEROY METCALF Woman in a Field, 1878 Oil on canvas 14 x 17 in. Estimate: $40,000 - $60,000 HA.com/5069-24004

VALENTIN DE ZUBIAURRE Aqueduct of Segovia, circa 1920 Oil on canvas 32 x 38 in. Estimate: $15,000 - $25,000 HA.com/5069-48008

EDOUARD-LÉON CORTÈS Cafe de la Paix Oil on canvas 13 x 18 in. Estimate: $25,000 - $35,000 HA.com/5069-24008 FRANk VINCENT DUMOND Monastic Life, circa 1861 Oil on canvas 64.5 x 80 in. Estimate: $15,000 - $20,000 HA.com/5069-48001

TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. These auctions subject to a 19.5% buyer's premium.

MARCh 20, 2012 | bEvERly hIlls | lIvE & ONlINE

CAlIfORNIA ART AUCTION

Annual Sales Exceed $700 Million | 600,000+ Online Bidder-Members

3500 Maple Avenue | Dallas, Texas 75219 | 800.872.6467 | HA.com/5103

DALLAS|NEWYORK|BEVERLYHILLS|SANFRANCISCO | PARIS|GENEVA

TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Theseauctionsaresubjecttoa19.5%buyer’spremium.

CARL SAMMONS | Wildflowers, Carmel Coast

Inquiries: 800-872-6467Beverly Hills | Deborah Solon | ext. 1843 | [email protected] Francisco | Alissa Ford | ext. 1926 | [email protected]

CONSIGN NOW!OUR INAUGURAL AUCTION OF CALIFORNIA ART

For a free auction catalog in any category, plus a copy of The Collector’s Handbook (combined value $65), visit HA.com/CATA22540 or call 866-835-3243 and reference code CATA22540.

OCTObER 26, 2011 | DAllAs | lIvE & ONlINE

MODERN & CONTEMPORARy ART

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATB22540 or call 866-835-3243 and reference code CATB22540.

350 0 Map le Avenue | Da l l a s , Texas 75219 | 8 0 0 - 872- 6 4 67 | HA .com

A n n u a l S a l e s E xc e e d $70 0 M i l l i o n | 6 0 0 , 0 0 0+ O n l i n e B i d d e r- M e m b e r s

TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Theseauctionsaresubjecttoa19.5%buyer’spremium.

DALLAS | NEW YORk | BEVERLY HILLS | SAN FRANCISCO | PARIS | GENEVA

Visit HA.com/5083

Inquiries:

Frank Hettig

214-409-1157

[email protected]

Featuring over 300 works from the Estate of Dr. Edmund P. Pillsbury

Bernard Frize (French, 1941)Roxy, 2000Acrylic and resin on canvas86 ½ x 70 ½ in.From the estate of Dr. Edmund P. PillsburyEstimate: $30,000 - $50,000HA.com/5083-37024

vINTAgE & CONTEMPORARy PhOTOgRAPhy

A U C T I O N SHA.com

Annual Sales Exceed $700 Mill ion | 600,000+ Online Bidder-Members

3500 Maple Avenue | Dallas, Texas 75219 | 800-872-6467 | HA.com/FineArt

NOvEMbER 19, 2011 | NEw yORk | lIvE & ONlINE

TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. Auctions are subject to a 19.5% buyer’s premium.

DALLAS|NEWYORK|BEVERLYHILLS|SANFRANCISCO|PARIS|GENEVA

For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65), visit HA.com/CATA22209 or call 866-835-3243 and reference code CATA22209.

anSeL adaMS (american, 1902-1984)

Mount Williamson, Sierra Nevada from Manzanar, 1944 Gelatin silver, printed later

15-1/4 x 18-1/2 in. Estimate: $20,000 - $30,000

HA.com/5077-15001

Inquiries: 800-872-6467

Ed Jaster, ext. 1288 [email protected]

Rachel Peart, ext. 1625 [email protected]

Steve Ivy Jim Halperin Greg Rohan Warren Tucker Todd Imhof Michael Moline

2150

9OTH

3500MAPLEAVE•DALLAS,TExAS75219•800-872-6467•HA.com

Annual Sales Exceed $700 Million | 600,000+ Online Bidder-Members

FL licenses: Heritage Numismatic Auctions, Inc.: AB665; Currency Auctions of America: AB2218; FL Auctioneer licenses: Samuel Foose AU3244; Mike Sadler AU3795; Andrea Voss AU4034.

This auction subject to a 15% buyer’s premium.

SUPPORT THE SMITHSONIAN’SNATIONAL NUMISMATIC COLLECTION

HOW YOU CAN HELPIn January 2012, Heritage will host an auction of coins and notes donated by collectors to create an endowment for the National Numismatic Collection. This special auction will feature no seller’s commissions and no buyer’s premiums. Heritage is donating all of our commissions and services, so 100% of your numismatic or cash donation will go directly to the Smithsonian.

Here’s how it will work:

1. Call 800-872-6467 to speak with a Consignment Director.

2. Consign a coin/currency valued over $500 or a group of coins/currency valued over $1,000. Or, designate the proceeds of an existing consignment toward the NNC Endowment Fund.

3. After the auction, receive a gift receipt from the Smithsonian for the sale price of your consignment.

4. All proceeds raised benefitting the NNC Endowment will be transferred to the National Museum of American History after each auction.

Visit HA.com/Smithsonian for more information.

J A N UA Ry 2 0 1 2 | O R l A N D O

b E N E f I T A U C T I O N

No coins from the Smithsonian or the NNC will be auctioned and the consigned coins are not intended for acquisition by the Smithsonian or the NNC. Neither the NNC nor the Smithsonian makes any representation or warranty as to the provenance, condition, grading, or value of any coin for auction.

DALLAS | NEw YORk | BEVERLY HILLS | SAN FRANCISCO | PARIS | GENEVA

3500MapleAvenue•Dal las, Texas75219•800 -872-6467

AnnualSalesExceed$700Million•600,000+OnlineBidder-Members

DALLAS3500 Maple Avenue Dallas, Texas 75219

214.528.3500

Hours:Mon-Fri: 9:00 AM CT - 5:00 PM CTSaturday: 9:00 AM CT - 1:00 PM CT

3 U.S. Locations to Serve You

Coast to Coast

BEVERLYHILLS9478 West Olympic Boulevard Beverly Hills, California 90212

310.492.8600

Hours:Mon-Fri: 9:00 AM PT - 5:00 PM PTSaturday: By Appointment

NEW YORK445ParkAvenue(at57thStreet) New York, New York 10022

212.486.3500

Hours:Mon-Fri: 10:00 AM ET - 6:00 PM ETSaturday: 10:00 AM ET - 3:00 PM ET

DALLAS | NEWYORK | BEVERLY H ILLS | SANFRANCISCO | PAR IS | GENEVA

3500 Maple Avenue | Dal las, Texas 75219 | 214-409-1444 | 800-872-6467 ext. 1444 | HA.com

D A L L A S | N E w Y O R k | B E V E R LY H I L L S | S A N F R A N C I S C O | PA R I S | G E N E VA

A n n u a l S a l e s E x c e e d $ 7 0 0 M i l l i o n | 6 0 0 , 0 0 0 + O n l i n e B i d d e r- M e m b e r s

For a free auction catalog in any category, plus a copy of The Collector’s Handbook (combined value $65), visit HA.com/WAC21980 or call 866-835-3243 and reference code WAC21980

Visit HA.com/5085 for lot viewing and auction schedules.

INquIRIES: 800-872-6467

kirsty Buchanan | ext. 1741 [email protected].

TX Auctioneer licenses: Samuel Foose 11727; Robert korver 13754; Andrea Voss 16406 | This auction is subject to a 19.5% buyer’s premium.

WiLLiaM rOBinSOn LeiGH Renegade at Bay, 1941 Oil on canvas 24 x 29 in. Estimate: $300,000 - $500,000 HA.com/5085-28002

WiLLiaM rOBinSOn LeiGH Home, Sweet Home, 1932 Oil on canvas 40 x 60 in. Estimate: $400,000 - $600,000 HA.com/5085-28001

NOvEMbER 5 , 2011 | DAllAs | l IvE & ONlINE

ART Of ThE AMERICAN wEsT AUCTION

Artist IndexAdickes, David Pryor .....................................................76078 Anton, Bill ......................................................................70044 Baize, Wayne .................................................................70073 Bates, David Michael .....................................................76069 Baumann, Gustave ........................................................70001 Berninghaus, Oscar Edward ..........................................70009 Best, Arthur W. ..............................................................70068 Bill Schenck ...................................................................70064 Bodelson, Dan T. ...........................................................70018 Bomar, Bill ..............................76063, 76064, 76065, 76066 Borein, Edward ..........70033, 70034, 70035, 70036, 70038 Brants, Cynthia ..............................................................76010 Cannon, T.C. ..................................................................70063 Crowell, Reid Kendrick ..................................................76094 Darge, Fred .........................................76057, 76058, 76059 Dawson-Watson, Dawson .............................................76037 Dixon, Maynard .............................................................70006 Don Edelman .................................................................76071 Dozier, Otis ..........................................76034, 76035, 76036 Dzigurski, Alexander ........................................70065, 70067 Eisenlohr, Edward G. ........................................76025, 76026 Ellis, Fremont F. .............................................................70055 Etie, Michael ..................................................................76088 Eubanks, Tony ...............................................................70015 Fleck, Joseph Amadeus ................................................70012 Gonske, Walter ..............................................................70002 González, Xavier ............................................................76076 Goodwin, Philip Russell .................................................70056 Gorman, R. C. ...............................................................70070 Grammer, George .........................................................76007 Grandmaison, Nicolas de ..............................................70075 Greer, A. D. ...............76081, 76082, 76083, 76084, 76085 Grelle, Martin ...................................................70051, 70052 Hallmark, George ..........................................................70017 Hampton, John Wade ...................................................70048 Hart, William ..................................................................70032 Harvey,G.(GeraldHarveyJones) .................................70047 Harvey,G.(GeraldHarveyJones) .................................76086 Hohnstedt, Peter Lanz .........................76048, 76060, 76061, 76062, 76097 Holmes, Dwight .............................................................76039 Houser, Allan C. .............................................................70062 Hudson, Grace Carpenter .............................................70013 Hulings, Clark ................................................................70004 Hunter, Clementine .............................76048, 76049, 76050, 76051, 76052 Hurd, Peter ....................................................................70008 Hurley, Wilson ...............................................................70003 Jacobson, Oscar Brousse ..............................................70061 Jarvis, Frederick ............................................................76096 Jon Flaming ...................................................................76070 Justus, Wayne ...................................................70042, 70043 Kearns, Stapleton ..........................................................70074 Kelley, Chapman ............................................................76077 Klepper, Frank ...............................................................76003 Kloss, Gene ...................................................................70039 Koch, Francois ...............................................................70005 Laurence, Sydney M. .....................................................70024 Leader, Walton ..............................................................76004

Leigh, William Robinson ...................................70040, 70041 Lovell, Tom ....................................................................70050 Machetanz, Frederick ....................................................70023 Mann, David ..................................................................70049 McAfee,IlaMae ............................................................70007 McCarthy, Frank ............................................................70045 McGrath, W. Clarence ...................................................70066 Metz, Gerry ...................................................................70069 Modesitt, John ..............................................................70010 Molnar, George .............................................................70016 Norton, Jim ...................................................................70046 Oliver, Kermit .........................76053, 76054, 76055, 76056 Onderdonk, Julian ............................................76027, 76028 Pebworth, Charles .........................................................76079 Phippen, George ...........................................................70011 Preusser, Robert ............................................................76020 Reaugh, Frank ........................76040, 76041, 76042, 76043, 76044, 76045, 76046, 76047 Reeder, Dickson ............................................................76022 Richard Mears, Herbert .................................................76080 Rizzie, Dan ........................................................76067, 76068 Roney, Harold Arthur .....................................................76038 Salinas, Porfirio ..........76029, 76030, 76031, 76032, 76033 Sandzén, Birger ................................................70020, 70021 Schumann, Paul Richard ...................................76023, 76024 Sharp, Joseph Henry .....................................................70014 Shaw, Lois Hogue ..........................................................76089 Slaughter, William A. .........................................76001, 76002 Smith, Daniel .................................................................70029 Solberg, Mort ........................................70026, 70027, 70028 Sorenson, Jack ..............................................................70053 Stefan, Ross .............................70057, 70058, 70059, 70060 Steinfeldt, Cecilia Neuheisel ........................................76009 Steinke, Bettina .............................................................70071 Swanson, Ray .................................................................70019 Taylor, Rolla Sims ........76072, 76073, 76074, 76075, 76098 Thrasher, William Robert ...............................................76087 Tobey, Rebecca .............................................................70031 Ullberg, Kent .................................................................70030 Umlauf, Charles .............................................................76021 Utter, Bror Alexander ........................................76005, 76006 Utterback, Robin ...........................................................76095 Viveano Lopez ...............................................................76093 Vogel, Donald Stanley ...................................................76090 Walters, Curt .................................................................70022 Warren, Don ..................................................................76092 White, Fritz ....................................................................70072 Wieghorst, Olaf .............................................................70037 Windberg, Dalhart .........................................................76091 Winn, Betty ....................................................................76008 Wood, Robert William ...........................70054, 76011, 76012, 76013, 76014, 76015, 76016, 76017, 76018, 76019 Ziegler, Eustace Paul .....................................................70025

Department Specialists For the extensions below, please dial 800.872.6467

Handbags & Luxury AccessoriesHA.com/Luxury

Matt Rubinger,Ext.1419•[email protected]

HistoricalAmericanIndianArtHA.com/AmericanIndian

Delia Sullivan,Ext.1343•[email protected]

Americana & PoliticalHA.com/Historical

Tom Slater,Ext.1441•[email protected]

John Hickey,Ext.1264•[email protected]

Michael Riley,Ext.1467•[email protected]

DonAckerman,Ext.1736•[email protected]

Arms & Armor HA.com/Arms

GregMartin,Ext.1883•[email protected]

JemisonBeshears,Ext.1886•[email protected]

CliffChappell,Ext.1887•[email protected]

RogerLake,Ext.1884•[email protected]

DavidCarde,Ext.1881•[email protected]

Civil War & MilitariaHA.com/CivilWar

Dennis Lowe,Ext.1182•[email protected]

Historical ManuscriptsHA.com/Manuscripts

Sandra Palomino,Ext.1107•[email protected]

Rare BooksHA.com/Books

James Gannon,Ext.1609•[email protected]

Joe Fay,Ext.1544•[email protected]

Space ExplorationHA.com/Space


Michael Riley,Ext.1467•[email protected]

TexanaHA.com/Historical

Sandra Palomino,Ext.1107•[email protected]

JewelryHA.com/Jewelry

Jill Burgum,Ext.1697•[email protected]

Movie PostersHA.com/MoviePosters

Grey Smith,Ext.1367•[email protected]

Bruce Carteron,Ext.1551•[email protected]

Comics & Comic ArtHA.com/Comics

Ed Jaster,Ext.1288•[email protected]

Lon Allen,Ext.1261•[email protected]

Barry Sandoval,Ext.1377•[email protected]

Todd Hignite,Ext.1790•[email protected]

Fine ArtAmerican, Western & European ArtHA.com/FineArt


Marianne Berardi, Ph.D., Ext.1506•[email protected]

Ariana Hartsock, Ext.1283•[email protected]

Kirsty Buchanan, Ext.1741•[email protected]

DeborahSolon,Ext.1843•[email protected]

California ArtHA.com/FineArt

Alissa Ford,Ext.1926•[email protected]

Decorative Arts & DesignHA.com/Decorative

Tim Rigdon, Ext.1119•[email protected]

Karen Rigdon, Ext.1723•[email protected]

NicholasDawes,Ext.1605•[email protected]

CarolynMani,Ext.1677•[email protected]

IllustrationArtHA.com/Illustration


Todd Hignite,Ext.1790•[email protected]

Lalique&ArtGlassHA.com/Design

NicholasDawes,Ext.1605•[email protected]

Modern & Contemporary ArtHA.com/Modern

Frank Hettig,Ext.1157•[email protected]

Silver & VertuHA.com/Silver

Tim Rigdon,Ext.1119•[email protected]

Karen Rigdon, Ext.1723•[email protected]

Texas Art HA.com/TexasArt

Atlee Phillips,Ext.1786•[email protected]

Vintage & Contemporary PhotographyHA.com/ArtPhotography


Rachel Peart,Ext.1625•[email protected]

Music & Entertainment Memorabilia HA.com/Entertainment

MargaretBarrett,Ext.1912•[email protected]

KristenPainter,Ext.1149•[email protected]


Garry Shrum,Ext.1585•[email protected]

VintageGuitars&MusicalInstrumentsHA.com/Guitar

MikeGutierrez,Ext.1183•[email protected]

IsaiahEvans,Ext.1201•[email protected]

Natural HistoryHA.com/NaturalHistory

David Herskowitz,Ext.1610•[email protected]

NumismaticsCoins – United StatesHA.com/Coins

David Mayfield,Ext.1277•[email protected]

Jessica Aylmer,Ext.1706•[email protected]

Win Callender,Ext.1415•[email protected]

Chris Dykstra,Ext.1380•[email protected]

Sam Foose,Ext.1227•[email protected]

Jim Jelinski,Ext.1257•[email protected]

Bob Marino,Ext.1374•[email protected]

Mike Sadler,Ext.1332•[email protected]

BeauStreicher,Ext.1645•[email protected]

Rare CurrencyHA.com/Currency

Len Glazer,Ext.1390•[email protected]

Allen Mincho,Ext.1327•[email protected]

Dustin Johnston,Ext.1302•[email protected]

Michael Moczalla,Ext.1481•[email protected]

Jason Friedman,Ext.1582•[email protected]

Brad Ciociola,Ext.1752•[email protected]

World & Ancient CoinsHA.com/WorldCoins

Cristiano Bierrenbach,Ext.1661•[email protected]

Warren Tucker,Ext.1287•[email protected]

DavidMichaels,Ext.1606•[email protected]

Scott Cordry,Ext.1369•ScottC@HA

Sports CollectiblesHA.com/Sports

ChrisIvy,Ext.1319•[email protected]

Peter Calderon,Ext.1789•[email protected]

DerekGrady,Ext.1975•[email protected]

Mike Gutierrez,Ext.1183•[email protected]

LeeIskowitz,Ext.1601•[email protected]

Mark Jordan,Ext.1187•[email protected]

ChrisNerat,Ext.1615•[email protected]

Jonathan Scheier,Ext.1314•[email protected]

Services

Locations

TimepiecesHA.com/Timepieces

Jim Wolf,Ext.1659•[email protected]

WineHA.com/Wine

Frank Martell,Ext.1753•[email protected]

Poppy Davis,Ext.1559•[email protected]

Appraisal ServicesHA.com/Appraisals

MeredithMeuwly,Ext.1631•[email protected]

Corporate&InstitutionalCollections/VenturesKarlChiao,Ext.1958•[email protected]

Credit DepartmentMarti Korver,Ext.1248•[email protected] Thomas,Ext.1241•[email protected]

Media & Public RelationsNoah Fleisher,Ext.1143•[email protected]

Trusts & EstatesHA.com/Estates

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Corporate OfficersR.StevenIvy,Co-ChairmanJames L. Halperin, Co-ChairmanGregory J. Rohan, PresidentPaul Minshull, Chief Operating OfficerToddImhof,ExecutiveVicePresidentKathleen Guzman, Managing Director-New York

HA.com/Consign • Consignment Hotline 800-872-6467 • All dates and auctions subject to change after press time. Go to HA.com for updates.

Auctioneers: Samuel Foose: TX 11727; CA Bond #RSB2004178; FL AU3244; GA AUNR3029; IL 441001482; NC 8373; OH 2006000048; MA 03015; PA AU005443; TN 6093; WI 2230-052; NYC 0952360; Denver 1021450; Phoenix 07006332. Robert Korver: TX 13754; CA Bond #RSB2004179; FL AU2916; GA AUNR003023; IL 441001421; MA 03014; NC 8363; OH 2006000049; TN 6439; WI 2412-52; Phoenix 07102049; NYC 1096338; Denver 1021446. Teia Baber: TX 16624; CA Bond #RSB2005525. Ed Beardsley: TX Associate 16632; NYC 1183220. Nicholas Dawes: NYC 1304724. Marsha Dixey: TX 16493. Chris Dykstra: TX 16601; FL AU4069; WI 2566-052; TN 6463; IL 441001788; CA #RSB2005738. Jeff Engelken: CA Bond #RSB2004180. Alissa Ford: CA Bond #RSB2005920. Leo Frese: CA Bond #RSB2004176; NYC 1094963. Shaunda Fry: TX 16448; FL AU3915; WI 2577-52; CA Bond #RSB2005396. Kathleen Guzman: NYC 0762165. Stewart Huckaby: TX 16590. Cindy Isennock, participating auctioneer: Baltimore Auctioneer license #AU10. Carolyn Mani: CA Bond #RSB2005661; Bob Merrill: TX 13408; MA 03022; WI 2557-052; FL AU4043; IL 441001683; CA Bond #RSB2004177. Cori Mikeals: TX 16582; CA #RSB2005645. Scott Peterson: TX 13256; NYC 1306933; IL 441001659; WI 2431-052; CA Bond #RSB2005395. Tim Rigdon: TX 16519. Michael J. Sadler: TX 16129; FL AU3795; IL 441001478; MA 03021; TN 6487; WI 2581-052; NYC 1304630; CA Bond #RSB2005412. Eric Thomas: TX 16421; PA AU005574; TN 6515. Andrea Voss: TX 16406; FL AU4034; MA 03019; WI 2576-052; CA Bond #RSB2004676; NYC #1320558. Jacob Walker: TX 16413; FL AU4031; WI 2567-052; IL 441001677; CA Bond #RSB2005394. Peter Wiggins: TX 16635. (Rev. 5-15-11)

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HERITAGE WEEKLY INTERNET COIN AUCTIONS • Begin and end every Sunday & Tuesday of each week at 10 PM CT.HERITAGE MONTHLY INTERNET WORLD COIN AUCTIONS • Begin and end the second Tuesday of each month at 10 PM CT.HERITAGE TUESDAY INTERNET CURRENCY AUCTIONS • Begin and end every Tuesday at 10 PM CT.HERITAGE WEEKLY INTERNET COMICS AUCTIONS • Begin and end every Sunday at 10 PM CT.HERITAGE WEEKLY INTERNET MOVIE POSTER AUCTIONS • Begin and end every Sunday at 10 PM CT. HERITAGE WEEKLY INTERNET SPORTS AUCTIONS • Begin and end every Sunday at 10 PM CT, with extended bidding available.HERITAGE WEEKLY INTERNET WATCH & JEWELRY AUCTIONS • Begin and end every Tuesday at 10 PM CT.HERITAGE WEEKLY INTERNET VINTAGE GUITAR & MUSICAL INSTRUMENT AUCTIONS • Begin and end every Thursday at 10 PM CT.HERITAGE WEEKLY INTERNET RARE BOOKS AUCTIONS • Begin and end every Thursday at 10 PM CT.HERITAGE MONTHLY INTERNET WINE AUCTIONS • Begin and end the second Thursday of each month at 10 PM CT

U.S. Rare Coin Auctions Location Auction Dates Consignment DeadlineU.S. Coin ANA Pittsburgh October 13-16, 2011 ClosedU.S. Rare Coins Beverly Hills November 7-9, 2011 ClosedU.S. Rare Coins New York December 7-11, 2011 October 28, 2011F.U.N. Orlando January 3-8, 2012 November 25, 2011World & Ancient Coin Auctions Location Auction Dates Consignment DeadlineWorld Coin New York January 2-3, 2012 November 5, 2011World Coin Online Dallas January 10, 2012 November 5, 2011Rare Currency Auctions Location Auction Dates Consignment DeadlineCurrency Orlando January 4-9, 2012 November 19, 2011 Fine & Decorative Arts Auctions Location Auction Dates Consignment DeadlineIllustration Art New York October 22, 2011 ClosedModern & Contemporary Art Dallas October 26, 2011 ClosedTexas Art Dallas November 5, 2011 ClosedArt of the American West Dallas November 5, 2011 ClosedAmerican & European Art Dallas November 8, 2011 ClosedLalique and Art Glass New York November 19, 2011 ClosedVintage & Contemporary Photography New York November 19, 2011 ClosedFine Silver & Vertu Dallas December 7, 2011 ClosedDecorative Arts Dallas December 7, 2011 ClosedThe Estate Auction Dallas February 7, 2012 December 6, 2011Illustration Art Beverly Hills February 21-22, 2012 December 20, 2011California Art Beverly Hills March 20, 2012 January 17, 2012Fine Silver & Vertu Dallas April 10, 201 February 7, 2012Texas Art Dallas May 5, 2012 March 3, 2012Art of the American West Dallas May 5, 2012 March 3, 2012American & European Art Dallas May 15, 2012 March 13, 2012Vintage & Contemporary Photography New York May 21, 2012 March 20, 2012Modern & Contemporary Art Dallas May 29, 2012 March 27, 2012Decorative Arts Dallas June 11, 2012 April 9, 2012Jewelry, Timepieces & Luxury Accessory Auctions Location Auction Dates Consignment DeadlineWatches & Fine Timepieces New York November 18, 2011 ClosedFine Jewelry Dallas December 5, 2011 ClosedHandbags & Luxury Accessories Dallas December 6, 2011 ClosedFine Jewelry New York April 30, 2012 February 27, 2012Handbags & Luxury Accessories New York May 1, 2012 February 29, 2012Watches & Fine Timepieces New York May 21, 2012 March 20, 2012Vintage Movie Posters Auctions Location Auction Dates Consignment DeadlineVintage Movie Posters Dallas November 18-19, 2011 ClosedVintage Movie Posters Beverly Hills July 16-20, 2012 May 25, 2012Comics Auctions Location Auction Dates Consignment DeadlineComics & Original Comic Art Beverly Hills November 15-17, 2011 ClosedComics & Original Comic Art Dallas February 23-24, 2012 January 10, 2012Music & Entertainment Memorabilia Auctions Location Auction Dates Consignment DeadlineVintage Guitars & Musical Instruments Dallas October 21-22, 2011 ClosedMusic, Celebrity & Hollywood Memorabilia Dallas December 13-14, 2011 October 22, 2011Vintage Guitars & Musical Instruments Dallas December 16-17, 2011 October 25, 2011Historical Grand Format Auctions Location Auction Dates Consignment DeadlineMilitaria Dallas November 12, 2011 ClosedAmericana & Political Dallas November 30, 2011 ClosedSpace Exploration Dallas November 30, 2011 ClosedRare Books New York City December 8-9, 2011 October 17, 2011Historical Manuscripts New York City December 8-9, 2011 October 17, 2011Arms & Armor Las Vegas January 22-23, 2012 December 1, 2011Texana Dallas March 10, 2012 January 18, 2012Art of the Americas Dallas Spring 2012 January 12, 2012Americana & Political Dallas June 2012 April 1, 2012Militaria Dallas June 2012 April 1, 2012Space Exploration Dallas June 2012 April 1, 2012Vintage Sports Collectibles Auctions Location Auction Dates Consignment DeadlineVintage Sports Collectibles Dallas November 10-11, 2011 ClosedVintage Sports Collectibles Dallas April 26-27, 2012 March 5, 2012Natural History Auctions Location Auction Dates Consignment DeadlineNatural History Beverly Hills January 8, 2012 ClosedFine & Rare Wine Location Auction Dates Consignment DeadlineFine & Rare Wine Beverly Hills December 1-2, 2011 October 19, 2011

9-27-2011

© 2011 Heritage Auctioneers & Galleries, Inc.

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Documents

Heritae Auctions - Art of the American West Art Auction 5085 - Dallas Texas