The Great

AmericanWest

WILLIAM ACHEFF

D. ELEINNE BASA

MARK BOEDGES

HARLEY BROWN

ROSS BUCKLAND

STEVE BURGESS

STEPHANIE CAMPOS

SHEILA COTTRELL

A. T. COX

MICK DOELLINGER

MIKEL DONAHUE

ROBERT DUNCAN

PAUL DYKMAN

MICHAEL EWING

JONI FALK

JOHN FAWCETT

CHARLES FRITZ

LINDA GLOVER GOOCH

ROBERT GRIFFING

ADELINE HALVORSON

ANN HANSON

TOM HILL

CHAUNCEY HOMER

COLT IDOL

D. EDWARD KUCERA

BRUCE K. LAWES

LAWRENCE W. LEE

BONNIE MARRIS

KENNY MCKENNA

DAN MIEDUCH

DENIS MILHOMME

DON OELZE

ORELAND JOE

DARCIE PEET

ALLEN POLT

SCOTT TALLMAN POWERS

IAN RAMSAY

R. S. RIDDICK

BONITA ROBERTS

SCOTT ROGERS

ALFREDO RODRIGUEZ

FRANCISCO RODRIGUEZ

BRADLEY SCHMEHL

DANIEL SMITH

PHIL STARKE

DANIEL K. TENNANT

SUSAN TERPNING

MICHAEL UNTIEDT

DUSTIN VAN WECHEL

JEREMY WINBORG

KENNETH YARUS

COVER

JEREMY WINBORGSun Bleached Bonesoil 40 x 35$19,000

THIS PAGE

MIKEL DONAHUEBorn to Cowboymixed 24 x 16 $4,000

OPPOSITE PAGE

DANIEL SMITHRed Crossacrylic 15 x 21$7,500

BACK COVER

DUSTIN VAN WECHELOn To Greener Pasturesoil 24 x 36$9,000

Saturday, November 23, 2019 | 5:30 pm | purchase draw 7 pm

6420 NORTH CAMPBELL TUCSON, ARIZONA 85718 tel 520.299.2607 info@settlerswest.com

SETTLERS WEST GALLERIES

Additional paintings and sculpture by participating artists can be viewed on our website: www.settlerswest.com

for further information, please contact Mike Salkowski or Stuart Johnson

The Great

American West

In The Morning Hunt Shoshone hunters head out early to find game. As the sun rises they crest a hill and catch sight of a group of buffalo crossing the river. The hunt is on!

—Robert Duncan

ROBERT DUNCANThe Morning Hunt oil 36 x 48$32,000

CHARLES FRITZAt Closing Timeoil 28 x 24$12,500

The fascinating history of the West can be traced through the cities that evolved as railheads, commercial centers and market places. The level of sophistication, the architecture, and the infrastructure are truly amazing, and a great challenge to conceptualize in paint.

— Charles Fritz

BRUCE K. LAWESSpottedoil 16 x 20$6,800

IAN RAMSAYEvening Light, Newport, Oregonwatercolor 18 x 24 $2,800

BONITA ROBERTSCamila and the White Rabbitoil 20 x 16$2,500

STEPHANIE CAMPOSIron Shellcharcoal 13 x 10$2,550

I wanted to show the late afternoon shadows as sunlight ebbs in Oaxaca. As many head homeward, merchants can be seen setting up their sidewalk stands for the evening trade.

— Scott Tallman Powers

SCOTT TALLMAN POWERSAfternoon Shadows–Oaxacaoil 30 x 40$14,500

This scene was so compelling in real life, I felt all I had to do was get it down on canvas. I find high mountain lakes, like this one, to be eternally refreshing. Although I am not a geologist, I do very much enjoy trying to capture that sense of uplift and erosion that creates these magical places.

—Mark Boedges

MARK BOEDGESAvalanche Lake oil 30 x 40$15,100

HARLEY BROWNChild of Cheyennepastel 14 x 11$4,200

Two things reached out to me while portraying this child: a natural innocence surrounded by a steady determination. She is totally unforgettable.

—Harley Brown

A few years ago, I did a painting called A Lot Like Heaven of a cowboy looking out the sunrise, and since then I have wanted to do one of a cowgirl with the same theme; it resulted in Her Own Kind Of Heaven.

A. T. COXHer Own Kind of Heavenoil 24 x 18$22,500

JONI FALKFading Light oil 24 x 24$5,900

ANN HANSONApsaalooke Proudoil 20 x 16$6,200

A young mother patiently waits for the cradleboard to be finished. In the Haudenosaunee (Iroquois) culture the female line or clan is the family into which a child is born. The maternal uncle and aunt become the secondary parents for the child, so in this case the cradleboard, also known as the “Second Mother,” is being made by the maternal uncle who seems unfazed by the familiy’s social gathering around him.

— Robert Griffing

ROBERT GRIFFINGThe Cradleboardoil 30 x 36 $45,000

SCOTT ROGERSCochitibronze 22h$3,200

A Cheyenne rider breaks away from his companion to get a closer look at something he sees. Perhaps there is something in the distance that is foreign to him that may be a threat to him or his people. From the expression on his face, whatever he’s seen is of concern.

—D. Edward KuceraTOM HILLOld Timerswatercolor 17 x 29$6,600

D. EDWARD KUCERASomething Of Concernoil 36 x 48$21,000

KENNY MCKENNACanyon Solitudeoil 30 x 40$15,900

FRANCISCO RODRIGUEZRIDING HIGHoil 24 x 30$3,400

STEVE BURGESSMahalaoil 24 x 18$3,500

ADELINE HALVORSON Mama’s Shadowoil 36 x 18$4,000

The abstract shapes and natural patina of the towering walls of Canyon de Chelly itself provides enough interesting material to paint. Coupled with the Navajo people tending the sheep, huge cottonwoods and the calming waters, Canyon Solitude seemed an appropriate title.

—Kenny McKenna

The ceremonial 17-karat gold final spike joining the rails of the Central Pacific and Union Pacific railroads was driven by Leland Stanford on May 10, 1869, at Promontory Summit, Utah Territory. On May 10, in anticipation of the ceremony, Union Pacific No. 119 and Central Pacific No. 60 (better known as the Jupiter) locomotives were drawn up face-to-face on Promontory Summit. Attendance estimates run from as low as 500 to as many as 3,000; government and railroad officials, family members, and track workers were present to witness the event.

In addition to the final spike, there were three other commemorative spikes driven into pre-bored holes in the special ceremonial tie made of polished California laurel. These spikes - one of gold, one of silver, and one a combination of iron, silver and gold, were supplied by the San Fransisco News Letter, the State of Nevada, and the Arizona Territory.

Reports from the time indicated that the last two rails on the Union Pacific side were laid by Irishmen, and the last two rails on the Central Pacific side were laid by Chinese. At the conclusion of the Golden Spike ceremony, the Chinese participating were honored by the CPRR officials at a dinner in the private dining car of that road’s construction chief, J.H. Strobridge.

The ceremonial golden spike, which was the brainchild of David Hewes, a San Francisco financier and contractor, is displayed in the collection of the California State Railroad Museum.

—Bradley Schmehl

BRADLEY SCHMEHL The Golden Spike oil 24 x 36$21,500

In the spring of 1869, Tall Bull the Dog Soldier led his band northward to the Buffalo country of the Republican River in Nebraska. Many battles were fought with the Bluecoats along the Platte River. The Cheyenne were only defending the Mother land of their ancestors.

—Oreland Joe

MICHAEL EWINGSnow and Ice– Canyon de Chellyoil 28 x 22$4,800

DARCIE PEETMay Melt and Tumbleoil 30 x 20$4,900

ORELAND JOEWarriors of the Half Moon oil 24 x 36$9,700

Three Blackfeet tipis sit like landmarks against the horizon in Northern Montana. This is the heart of Big Sky country where the night sky meets the warmth of the day.

JOHN FAWCETTBounty From Fort Robinsonwatercolor 13 x 28$6,500

PAUL DYKMANHunting the Outbackoil 24 x 36$7,200

COLT IDOLEvening Graceoil 20 x 30$3,500

R. S. RIDDICKLakota Summer Songoil 48 x 40 $62,000

DANIEL K. TENNANTRetiredgouache 22 x 38$7,800

DENIS MILHOMMEEternal Valleyoil 18 x 24$8,500

Aspens quake in the warm mountain breeze. Perhaps a chance meeting or a secret rendezvous? The young Lakota brave shares his summer courtship song, hoping to win her heart…

— R. S. Riddick

SUSAN TERPNINGGathering at the Blue Lodgeoil 22 x 33$7,500

KENNETH YARUSThe Approach oil 36 x 48$9,200

Summer is the time of ceremonies and social gathering for the western tribes such as the Crow of Montana. Gathering at the Blue Lodge is designed to portray the sense of festive excitement as the young men ride past their families and display their prowess as warriors.

— Susan TerpningIt is hard to comprehend all the steps my feet have carried me, and the countless places I’ve strode right through. Yet places like this grip my mind and heart with a feeling of wonder. Suddenly heaven doesn't seem so far away. 

—Kenneth Yarus

ALFREDO RODRIGUEZChanneling The Buffalooil 40 x 30 $22,000

CHAUNCEY HOMERFull Throttleoil 17 x 30$5,800

ROSS BUCKLANDInto The High Northwestoil 20 x 16 $3,500

Ceremonies and rituals have long played a vital and essential role in Native American culture. Their beliefs and practices form an integral and seamless part of their very being. They embrace ceremonies and rituals that provide power to conquer the difficulties of life. In this painting, a Holy Man of the Cheyenne prays to the Great Spirit or Great Mystery, with hope that the buffalo will again return for his people.

— Alfredo Rodriguez

In the mid 1800's thousands of American pioneers emigrated west with hopes of a new start in a new land. The five to six month trip across rugged terrain was not an easy task and many didn't make it. New Treasure depicts a group of warriors rummaging through a wagon and finding various treasures. What has happened to the emigrant family? Why has the wagon and possessions become available for easy plunder?

—Don Oelze

DON OELZENew Treasure oil 36 x 50$16,500

PHIL STARKERide Through Aspensoil 24 x 36$6,700

DAN MIEDUCHMoon Shadowsoil 18 x 24$9,000

ALLEN POLTPat Tyheeoil 44 x 19$7,500

A moonlit night in dappled shadows sets the perfect stage for a youth to earn a reputation as a brave warrior by stealing an enemy’s horse from right under his gaze… Always, with an accomplice to tell tales of the deed.

— Dan Mieduch

I am always fascinated by the brilliance of light right after a storm passes through the landscape. The tiny droplets act as a prism or a mirror, making colors more brilliant to the eye. Often you see a rainbow emerge as the sun hits the scat-tered droplets. This painting is about light and the moment when the sun comes back out with promise of a rainbow.

—D. Eleinne Basa

D. ELEINNE BASAThe Promise of a Rainbowoil 24 x 36 $10,200

LINDA GLOVER GOOCHCamelback Bluesoil 20 x 30$5,600

MICHAEL UNTIEDT Apache Moon in Sabino Canyonoil 24 x 30 $9,200

The stick on the table represents a water serpent and is called an Avanyu. The small pot with pollywogs is used in Zuni ceremonies to represent water for all life. I used the reflections on the large San Juan pot to also hint at the reflections of water.

—William Acheff

WILLIAM ACHEFFWater Spiritsoil 12 x 10$12,000

SHEILA COTTRELL Catchin’ Upoil 18 x 24 $4,900

MICK DOELLINGERIncoming bronze 29.5h$8,300

6420 North Campbell Tucson Arizona 85718 tel 520.299.2607 info@settlerswest.com | www.settlerswest.com

SETTLERS WEST GALLERIES

“The rich colors of the landscape and the dry, dusty atmosphere provide a backdrop to the story of the American bison that I, as an artist, can’t resist putting to canvas. It’s a story I’ve learned over countless hours of observation and is one that I never get tired of communicating through my work.”

— Dustin Van Wechel