Heritae Auctions Art of The American West Art Auction 5085 Dallas Texas

Art of the American west
. & ,
Texas Art Auctions
November 5, 2011 | Dallas
Front Cover Lot 70041
Back Cover Lot 76034
Inside Front Cover Lot 76027
Inside Back Cover Lot 70050
Heritage Signature® Auction #5085/5070
Art of the American West

& Texas Art
Featuring: Highlights of the Phillip Jonsson Collection
November 5, 2011 | Dallas

LIVE AUCTION Signature® Floor Sessions 1-2 PRELIMINARY LOT VIEWING Select Highlights
(Floor, Telephone, HERITAGE Live!,™ Internet, Fax, and Mail) Heritage Auctions, New York
Heritage Auctions Design District Annex 445 Park Avenue • New York, NY 10022
1518 Slocum Street • Dallas, TX 75207 Monday, October 24 – Thursday, October 27
10:00 – 6:00 PM ET
Please join us for beer and barbeque
prior to the auction at 12:00 PM LOT VIEWING
Heritage Auctions Design District Annex
Session 1 – Art of the American West #5085 1518 Slocum Street • Dallas, TX 75207
Saturday, November 5 • 1:00 PM CT • Lots 70001–70075
Thursday, November 3 – Friday, November 4
Session 2 – Texas Art #5070 10:00 AM – 5:00 PM CT
Saturday, November 5 • 3:00 PM CT • Lots 76001–76098 Saturday, November 5 • 10:00AM – 1:00 PM CT
View lots & auction results online at

LOT SETTLEMENT AND PICK-UP HA.com/5085 and HA.com/5070
Available immediately following session or weekdays BIDDING METHODS:

9:00 AM - 5:00 PM CT by appointment only Bidding
Lots are sold at an approximate rate of 75 lots per hour, but it
Bid live on your computer or mobile, anywhere in the world,
is not uncommon to sell 60 lots or 100 lots in any given hour. during the Auction using our HERITAGE Live!™ program at
This auction is subject to a 19.5% Buyer’s Premium. HA.com/Live
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 Live Floor Bidding
16421; Marsha Dixey 16493; Tim Rigdon 16519; Cori Mikeals 16582; Stewart Huckaby Bid in person during the floor sessions.
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.
Live Telephone Bidding (floor sessions only)
Phone bidding must be arranged on or before
Friday, November 4, by 12:00 PM CT.
Client Service: 866-835-3243.
Internet Bidding
Internet absentee bidding ends at 10:00 PM CT
the evening before each session. HA.com/5085 or
HA.com/5070
Fax Bidding
Fax bids must be received on or before Friday,
November 4, by 12:00 PM CT. Fax: 214-409-1425
Mail Bidding
Mail bids must be received on or before Friday, November 4.
Phone: 214-528-3500 • 800-872-6467

Fax: 214-409-1425
Direct Client Service Line: 866-835-3243
Email: Bid@HA-com
This Auction is presented and cataloged by Heritage Auctions

© 2011 Heritage Auctioneers & Galleries, Inc.
22540
Fine & Decorative Arts Specialists
Steve Ivy
CEO
Co-Chairman of the Board
Ed Beardsley Ed Jaster
Vice President and Sr. Vice President
Managing Director,
Fine and Decorative Arts
Jim Halperin
Co-Chairman of the Board
Kirsty Buchanan Atlee Phillips

Consignment Director Director, Texas Art
Greg Rohan
President
Paul Minshull
Chief Operating Officer
3500 Maple Avenue • Dallas, Texas 75219

Phone 214-528-3500 • 800-872-6467
HA.com/FineArt
Consignment Directors: Kirsty Buchanan, Atlee Phillips, Ed Jaster

Cataloged by: Laura Howard
Todd Imhof
Executive Vice President
ART OF THE AMERICAN WEST
Floor, Telephone, Heritage Live!™, Internet, Fax, and Mail Signature® Auction # 5085
Saturday, November 5, 2011 | 1:00PM CT | Dallas | Lots 70001 - 70075
70001
GUSTAVE BAUMANN (German/American, 1881-1971)
Pines - Grand Cañon, 1920
Color woodcut on Zanders Bergisch Gladbach paper
Image: 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: 7/100
Signed lower right: Gustave Baumann with
artist’s hand-in-heart stamp
Titled lower left: Pines - Grand Cañon
Estimate: $4,000-$6,000
70002
WALTER GONSKE (American, b. 1942)
Taos Charm
Oil on canvas
32 x 26 inches (81.3 x 66.0 cm)
Signed lower left: Gonske / NAWA
Signed, titled, and numbered verso:
Gonske / Taos Charm / #1052
Estimate: $3,000-$5,000

4 To view full descriptions, enlargeable images and bid online, visit HA.com/5085
70003
WILSON HURLEY (American, 1924-2008)
Sunlight on Falling Rain
Oil on canvas
30 x 48 inches (76.2 x 121.9 cm)
Signed lower left: Wilson Hurley
Artist’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
Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 5

70004
CLARK HULINGS (American, 1922-2011)
Landscape #2 (Horses Before the Storm), 1973
Oil on canvas
24 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, 2010
Oil on canvas
30 x 20 inches (76.2 x 50.8 cm)
Signed and dated lower right: Francois Koch 10
Signed 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), 1927
Oil on canvas
16 x 20-1/4 inches (40.6 x 51.4 cm)
Signed, inscribed, and dated lower right: Maynard Dixon / Virgin Valley, Nev. 1927
Numbered, titled, and dated verso: 350 / Calico Hills / Virgin Valley, Nev. / Aug. 1927
PROVENANCE
Edward Grabhorn, San Francisco.
EXHIBITED
Wichita 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 Landscape
Oil on canvas laid on masonite
20 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 Sunset
Watercolor on paper
17 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 board
11-3/4 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 Chelly
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower right: Modesitt
Titled and signed on stretcher:
The Journey West - Canyon de Chelly,
Modesitt
Estimate: $4,000-$6,000
70011
GEORGE PHIPPEN
(American, 1915-1966)
Prairie Skies, 1948
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower left:
Geo. Phippen / 48
Titled and numbered on stretcher:
Prairie Skies #25
Estimate: $4,000-$6,000


70012
JOSEPH AMADEUS FLECK (American, 1892-1977)
Indian Flower
Oil on canvas
34-1/2 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 Art
Panhandle-Plains Historical Museum
Estimate: $50,000-$75,000
70013
GRACE CARPENTER HUDSON (American, 1865-1937)
Portrait of Garland Mitchell, 1906
Oil on artists’ board
7 x 5 inches (17.8 x 12.7 cm)
No. 299
Signed lower right: G. Hudson
Signed 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)
Chrysanthemums
Oil on canvas
20-1/2 x 24-1/2 inches (52.1 x 62.2 cm)
Signed lower right: J.H.Sharp
Inscribed verso: Calif. Chrys.
Estimate: $10,000-$15,000

70015
TONY EUBANKS
(American, b. 1939)
Flower Girl of San Miguel
Oil on canvas
24 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 Fair
Oil on masonite
9 x 12 inches (22.9 x 30.5 cm)
Signed lower left: George Molnar
Titled, 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, 1997
Oil on canvas
24 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 Fire
Oil on canvas
40 x 28 inches (101.6 x 71.1 cm)
Signed lower center: Bodelson
Titled and signed verso: Wood for the Cooking Fire / Dan T. Bodelson
Estimate: $12,000-$18,000
70019
RAY SWANSON (American, 1937-2004)
Corn Harvest
Oil on masonite
40 x 30 inches (101.6 x 76.2 cm)
Signed lower right: Ray Swanson
Titled, 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), 1940
Oil on masonite
27-1/2 x 36 inches (69.9 x 91.4 cm)
Signed lower center: Birger Sandzén
Titled, 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, 1922
Oil on canvas
20 x 14 inches (50.8 x 35.6 cm)
Signed lower left: Birger Sandzén
Titled, 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 canvas
30 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, 1989
Oil on masonite
10 x 12 inches (25.4 x 30.5 cm)
Signed and dated lower left: F. Machetanz / 1989
Titled, signed, and dated verso: Sparkling Sea Hunt / Fred Machetanz / 1989
Estimate: $8,000-$12,000
70025
EUSTACE PAUL ZIEGLER (American, 1881-1969)
On the Trail (Alaska), 1923
7 x 5 inches (17.8 x 12.7 cm)
Signed and dated lower left: Ziegler / 1923 (with artist’s monogram)
70024 Inscribed, signed, and dated verso: Prospector & Packhorse on Trail -
SYDNEY M. LAURENCE (American, 1865-1940) Alaska / E.P. Ziegler - Cordova, Alaska / July 1923
Keeping Warm, 1921 Estimate: $3,000-$5,000
16 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

70026
MORT SOLBERG (American, b. 1935)
Home From the Ice
Watercolor and acrylic on board
5 x 19 inches (12.7 x 48.3 cm) window
Signed lower right: Morten E. Solberg
Estimate: $4,000-$6,000
70027
Solitary Hunter
21-1/2 x 15-1/2 inches (54.6 x 39.4 cm) window
Signed lower left: Morten E. Solberg
Estimate: $6,000-$8,000
70028
Antelope Ridge
22 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, 1993
Oil on masonite
19 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 II
Bronze with polychrome and gilt
26 x 21 inches (66.0 x 53.3 cm)
Ed. 7/30
Signed and numbered on base: Ullberg / 7/30 / ACC
Estimate: $4,000-$6,000
70031
GENE TOBEY (American, 1945-2006)
REBECCA TOBEY (American, b. 1948)
Buffalo
Painted metal and ceramic
28 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, 1872
Oil on canvas
12-1/2 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 70035
PRIVATE COLLECTION, NORTHERN CALIFORNIA
EDWARD BOREIN (American, 1873-1945)
The Pottery Vendor
Pen and ink on tracing paper
Two Indians
7-1/2 x 12 inches (19.1 x 30.5 cm)
Pen and ink on paper
Signed lower right: Edward Borein
8 x 9-1/2 inches (20.3 x 24.1 cm)
Estimate: $1,500-$2,500
Estimate: $1,500-$2,000
70034
PRIVATE COLLECTION, NORTHERN CALIFORNIA
70036
Cowboy on Horseback PRIVATE COLLECTION, NORTHERN CALIFORNIA
Ink and pencil on paper
4-1/2 x 4-1/2 inches (11.4 x 11.4 cm) EDWARD BOREIN (American, 1873-1945)
Pair of sketches: Five Riders and Ropers; Five Cowboys
Estimate: $600-$800 Pen and ink on paper
7 x 11 inches (17.8 x 27.9 cm); 7 x 10 inches
Authentication label verso: Harold G. Davidson, 1999.
Estimate: $1,200-$1,800

70037
OLAF WIEGHORST (American, 1899-1988)
Sketch Book
10 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 Horseback
Watercolor on cardstock
4-1/4 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,
1946
drypoint and aquatint
11-7/8 x 15 inches
(30.2 x 38.1 cm)
Ed. 75
Signed 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, 1932
Oil on canvas
40 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, 1941
Oil on canvas
24 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, 1981
Watercolor and gouache on paper
9-1/2 x 19-1/2 inches (24.1 x 49.5 cm)
Signed lower center: W. Justus / AICA
Titled and numbered verso: New Calves #364
Estimate: $4,000-$6,000
70043
WAYNE JUSTUS (American, b. 1952)
New Ties on an Old Saddle, 1984
19 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 Rancher
Oil on canvas laid on board
24 x 30 inches (61.0 x 76.2 cm)
Signed lower right: Bill Anton
Titled and signed verso: The Rancher / Bill Anton
Estimate: $8,000-$12,000

70045
FRANK MCCARTHY (American, 1924-2002)
The Sentinel
Oil on masonite
10 x 8 inches (25.4 x 20.3 cm)
Signed lower left: McCarthy
Numbered verso: B207
Estimate: $5,000-$7,000
70046
JIM NORTON (American, b. 1953)
Checking the Herd, 1988
Oil on masonite
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left: Jim C. Norton,
NWR
Artist’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, 1973
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed and dated lower left : G. Harvey 1973
Signed, titled, and numbered on stretcher: G. Harvey / #3964 Range Pals
Estimate: $8,000-$10,000
70048
JOHN WADE HAMPTON (American, 1918-1999)
Round Up, 1971
Oil on canvas
14 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 Moon
Oil on canvas
24 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, 1975
Oil on board
19 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, 1980
Acrylic on linen
16 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, 1984
Oil on canvas
12 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 Cantina
Oil on canvas
48 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 canvas
30 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, 1956
10 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, 1906
Oil on canvas
30-1/4 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 Songs
Oil on canvas
28 x 40 inches (71.1 x 101.6 cm)
Signed lower left: Ross Stefan
Signed, titled, and numbered on stretcher: Ross Stefan, Heirs of the Ancient Songs, 51
Estimate: $6,000-$8,000
70058
Canyon Spirits
Oil on canvas
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: Ross Stefan
Signed and titled on stretcher: Ross Stefan, Canyon Spirits
Estimate: $2,000-$3,000
70059
Along the South Rim
Oil on canvas
30 x 36 inches (76.2 x 91.4 cm)
Signed, titled, and numbered on stretcher:
Ross Stefan, Along the South Rim, 55
Estimate: $3,000-$5,000

70060
Nambe Maidens
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed and titled on stretcher: Ross Stefan, Nambe Maidens
Estimate: $2,000-$3,000

70061
O. B. JACOBSON (American, 1882-1966) and
Jeanne D’Ucel (French, 20th Century)
Portfolio of American Indian Painters, 1950
Published by Szwedzicki (Nice, France)
Ed. 149/750 (77 plates)
Bound in two volumes with English and French texts
18-1/4 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 Potter
Bronze with patina
21-1/2 x 6 inches (54.6 x 15.2 cm)
Ed. 1/20
Signed 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,
1975-1979
Five color woodcuts on rice paper
Signed and numbered at bottom.
His Hair Flows Like a River

Ed. 113/200
Image: 19-1/2 x 15 in (49.5 x 38
cm)
Woman at the Window

Ed. 113/200
Image: 17 x 15 in (43 x 38 cm)
Collector #5
Ed. 113/200
Image: 17-1/2 x 14-3/4 in (44.5 x
37.5 cm)
Hopi with Manta

Ed. 113/200
Image: 17 x 14-3/4 in (43 x 37.5
cm)
Two Guns Arikara

Ed. 112/200
Image: 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, 1993
Oil on canvas
25-1/2 x 30-1/2 inches (64.8 x 77.5 cm)
Signed and dated lower left: Schenck ‘93
Signed, dated, and titled verso: Schenck / Sept 93 / Raging in Pecos
Estimate: $5,000-$7,000

70065
ALEXANDER DZIGURSKI (1911-1995)
California Seascape
Oil on canvas
30 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 onion 70067
Oil on masonite
ALEXANDER DZIGURSKI (1911-1995)
18 x 24 inches (45.7 x 61.0 cm)
California Coastline
Signed lower left: McGrath
Oil on canvas
Estimate: $800-$1,200 20 x 24 inches (50.8 x 61.0 cm)
Signed lower right: A. Dzigurski
Numbered verso: F2215 with artist’s stamp
Estimate: $1,500-$3,000
70068
ARTHUR W. BEST
(American, 1859-1935)
Indian Encampment
Oil on canvas
19-1/2 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 Man
12 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 Women
Mixed media on board
20 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)
Navajo
Oil on canvas
22 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 Bonnet
Bronze with patina
28 x 11 x 17 inches (71.1 x 27.9 x 43.2 cm) including base
Ed. 2/25
Signed and numbered on base: Fritz White / 2/25 / CA
Estimate: $2,000-$4,000
70074
STAPLETON KEARNS (American, b. 1952)
Illustrated Personal Letter from the Artist, 2004
After the Spring Rain (Palo Duro Canyon, Texas)
Ink and gouache on paper
7 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
70073
WAYNE BAIZE (American, b. 1943)
Lazy Days of Summer
Pencil on paper
17 x 16 inches (43.2 x 40.6 cm) window
Signed lower right: Wayne Baize
Estimate: $800-$1,200

70075
NICOLAS DE GRANDMAISON (Canadian, 1892-1978)
Dan Wildman (Stony Sioux)
Pastel on paper
23 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 art
Floor, 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 Yucca
Oil 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 Fall
Oil 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

76003
FRANK KLEPPER (American, 1890-
1952)
The Cabin
Oil on canvas
16 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 Bluebonnets
Oil 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

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 61
76005
BROR ALEXANDER UTTER (American, 1913-1993)
Abstract Forms III, 1984
Watercolor and ink on paper
20 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 76007
other to develop their work in styles that included the influence of art
movements such as Surrealism, Modernism, and Regionalism. GEORGE GRAMMER (American, b. 1928)
A Collection of 21 Works
Estimate: $2,000-$3,000 Mixed 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

76006
BROR ALEXANDER UTTER (American, 1913-1993)
Untitled Abstraction, 1961
Pencil and watercolor on paper laid on board
13 x 24 inches (33.0 x 61.0 cm)
Signed and dated lower right: 4/61 / Bror Utter
Estimate: $400-$600
76008
BETTY WINN (American, 1916-2000)
Still Life by Moonlight, 1956
Oil on panel
28 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, 1939
Watercolor 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 Boat
Oil 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, 1953
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Signed and dated lower right: Robert Wood ‘53
Estimate: $15,000-$25,000

76012
Texas Springtime
Oil on canvas
20 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
Bluebonnets in the Hill Country
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed lower right: Robt Wood
Estimate: $10,000-$15,000

76014
Texas Prickly Pears on a Stormy Day
Oil on board
18 x 24 inches (45.7 x 61.0 cm)
Signed lower left: Trebor
Estimate: $8,000-$12,000


76015
Texas Sunset
Oil on masonite
18 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 Hours
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Inscribed verso: Golden Hours
Estimate: $6,000-$8,000

76019
76017 Crashing Waves, 1957
ROBERT WILLIAM WOOD (American, 1889-1979) Oil on canvas
Western Mountain Landscape, 1942 24 x 36 inches (61.0 x 91.4 cm)
Oil on canvas Signed and dated lower left: Robert Wood / ‘57
25 x 30 inches (63.5 x 76.2 cm) Estimate: $2,000-$3,000
Inscribed verso: August 31, 1942
Estimate: $5,000-$7,000

76020
76018 ROBERT PREUSSER (American, 1919-1992)
Untitled Abstract
Mixed media on board
Sunlit Cove
6 x 8-1/2 inches (15.2 x 21.6 cm)
Oil on canvas
Signed lower right: Preusser
24 x 36 inches (61.0 x 91.4 cm)
Signed lower left: Robert Wood Estimate: $750-$1,500
Inscribed verso: “Sunlit Cove”
Artist’s stamp verso.
Estimate: $3,000-$5,000


76021
CHARLES UMLAUF (American, 1911-1994)
Supplication
Bronze
12 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 1938-1939
Oil 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 Dock
Oil on canvas board
12 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 Mountain
Oil on canvas
16 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 Mexico
Oil on board
10 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, 1919
Watercolor and pencil on paper
4-3/4 x 7-1/4 inches (12.1 x 18.4 cm)
Signed lower left: E.G. Eisenlohr
Inscribed lower right: Santa Fé 1919
Estimate: $2,000-$3,000

76027
JULIAN ONDERDONK (American, 1882-1922)
Bluebonnets at Sunrise
Oil on board
13-1/2 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 Landscape
Oil on board
9 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 Fall
Oil on canvas
25 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 Country
Oil on canvas
12 x 16 inches (30.5 x 40.6 cm)
Estimate: $8,000-$10,000

76032
PORFIRIO SALINAS
(American, 1910-1973)
Spanish Oak
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Estimate: $8,000-$10,000

76033
PORFIRIO SALINAS
(American, 1910-1973)
Hill Country in the Snow
Oil on canvas
12 x 16 inches (30.5 x 40.6 cm)
Estimate: $8,000-$10,000


76034
OTIS DOZIER (American, 1904-1987)
Old Houses, McKinney Ave Dallas, 1932
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower right: Otis Dozier / ‘32
Inscribed 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, 1977
Oil on canvas
30 x 47-3/4 inches (76.2 x 121.3
cm)
Signed and dated lower right: Otis
Dozier / ‘77
PROVENANCE:
Estimate: $12,000-$18,000

76036
OTIS DOZIER
(American, 1904-1987)
Black, White, and Orange, 1958
Oil on board
18 x 36 inches (45.7 x 91.4 cm)
Signed and dated lower right: Otis
Dozier ‘58
Inscribed verso: O. Dozier 1-58-
001
PROVENANCE:
Estimate: $4,000-$8,000


76037
DAWSON DAWSON-WATSON (British/American, 1864-1939)
Bluebonnet Landscape, 1936
Oil 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 Trees
Oil on canvas
16 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 Landscape
Oil 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 paper
4-1/2 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
Mesa Landscape
7 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 Rocks
Pastel on paper
3-1/2 x 3-1/2 inches (8.9 x 8.9 cm)
Partially signed: F. Reaugh
Estimate: $4,000-$6,000

76043
Landscape in Black and Grey
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,
1920
3 x 7 inches (7.6 x 17.8 cm)
Initialed lower right: R 20
Estimate: $4,000-$6,000

76045
Study for “Twilight-Rest”
4 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) 76047
Unfinished Landscape, 1924
Pastel on grit paper FRANK REAUGH (American, 1860-1945)
3 x 7 inches (7.6 x 17.8 cm) Untitled (Unfinished Landscape)
Initialed and dated lower right: R 24 Pastel on grit paper
3-1/2 x 9 inches (8.9 x 22.9 cm)
Estimate: $2,000-$3,000 Inscribed lower left: 28
Estimate: $2,000-$3,000


76048
CLEMENTINE HUNTER (American, 1886-1988)
Black Christ on Cross
Oil on board
24 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
Saturday Night at the Honkey Tonk
Oil on board
16 x 24 inches (40.6 x 61.0 cm)
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)
Estimate: $3,000-$5,000

76051
Africa House, 1970
Oil 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
Zinnias
Oil on canvas board
13 x 9-1/2 inches (33.0 x 24.1 cm)
Estimate: $1,000-$2,000

76053
KERMIT OLIVER
(American, b. 1943)
Cows in a Row with Bunny
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)
Gravel
Acrylic on masonite
10 x 10 inches (25.4 x 25.4 cm)
Inscribed verso: Gravel / Kermit Oliver
Estimate: $1,500-$2,500

76055
Portrait of a Girl
Mixed media on masonite
28 x 19 inches (71.1 x 48.3 cm)
Estimate: $2,000-$3,000

76056
Rooster with Bird
18 x 24-1/4 inches (45.7 x 61.6 cm)
Estimate: $1,800-$2,400


76057
FRED DARGE (American, 1900-1978)
The Pack Train, circa 1944
Oil on canvas
25 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 Steers
9-1/2 x 11-1/2 inches (24.1 x 29.2 cm)
Estimate: $3,000-$5,000

76059
FRED DARGE
(American, 1900-1978)
In the Creek
Oil on board
12 x 16 inches (30.5 x 40.6 cm)
Inscribed verso: C306 / In the Creek
Estimate: $2,000-$3,000


76060
PETER LANZ HOHNSTEDT (American, 1872-1957)
Untitled (Texas Landscape)
Oil on canvas
30 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 Landscape
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Estimate: $2,000-$3,000

76062
PETER LANZ HOHNSTEDT (American, 1872-1957)
Texas Landscape
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Estimate: $2,000-$3,000


76063
BILL BOMAR (American, 1919-1991)
Infinity, 1968
Oil 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

76065
Seated Nude
Ink 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
76064
Nude with Bracelet
Ink 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
76066
Nude Torso
Charcoal 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

76068
DAN RIZZIE (American, b. 1951)
Little Tantric, 2002
Gouache, watercolor, and collage on board
7-3/4 x 5-3/4 inches (19.7 x 14.6 cm)
Initialed lower left: D.R.
Estimate: $600-$800

76067
DAN RIZZIE (American, b. 1951)
South Cross, Black Tulip, 2002
Flashe 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
76069

DAVID MICHAEL BATES (American, b. 1952)
Christmas Wrap
Oil 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 Silos
Oil on masonite
24 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, 1981
Bronze
9 x 7 x 4 inches (22.9 x 17.8 x 10.2 cm)
Ed. 2/11
Signed, 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, 1959
Oil on canvas
16 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 board
9 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, 1969
Oil 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, 1961
Oil 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 Gentleman
Oil on canvas
26 x 20 inches (66.0 x 50.8 cm)
Signed upper left: Adickes
Estimate: $2,000-$3,000

76080
HERBERT RICHARD MEARS (American, 1923-1999)
Gentleman Standing on Dock
Acrylic on masonite
13-1/2 x 10-1/2 inches (34.3 x 26.7 cm)
Signed lower left: Mears
Estimate: $1,000-$2,000

76079
CHARLES PEBWORTH (American, b. 1926)
Untitled Triptych
Mixed media on panel
6 x 5-1/2 inches (15.2 x 14.0 cm) (largest)
Each signed
Estimate: $1,500-$2,500

76081
A. D. GREER
(American, 1904-1998)
Autumn Landscape
Oil 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 Hills
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Estimate: $3,000-$5,000

76083
A. D. GREER (American, 1904-1998)
Chrysanthemums in Vase
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Estimate: $2,000-$3,000

76085
White Roses in Vase
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Estimate: $1,500-$2,500

76084
Vase of Roses
Oil on canvas
30 x 25 inches (76.2 x 63.5 cm)
Signed upper right: A.D. Greer
Estimate: $2,000-$3,000

76086
G. (GERALD HARVEY JONES)
HARVEY (American, b. 1933)
Golden Elms, 1966
Oil 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 Landscape
Oil 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, 2011
Pastel on paper
10-3/8 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 Landscape
Oil on canvas
12 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 Flowers
Oil on canvas
40-1/2 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, 1980
Oil 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 Hillside
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower left: Don Warren
Estimate: $4,000-$6,000

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 Crowell
Inscribed on stretcher verso: Christmas Eve in the Clearing
76093 Estimate: $800-$1,200
VIVEANO LOPEZ (American, 1906-1983)
Grandmother
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed lower right: Viveano Lopez
Estimate: $2,000-$3,000

76095
ROBIN UTTERBACK (American, b. 1949)
Clown 202, 1987
Mixed 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 Hills
Oil on canvas
12-1/4 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
Terms and Conditions of Auction
Auctioneer and Auction: MAY PAY A REDUCED COMMISSION ON THOSE LOTS. ”Minimum Bids” are generally posted
1. This Auction is presented by Heritage Auction Galleries, a d/b/a/ of Heritage Auctions, Inc., or online several days prior to the Auction closing. For any successful bid placed by a consignor on
its affiliates Heritage Numismatic Auctions, Inc., or Heritage Vintage Sports Auctions, Inc., or his Property on the Auction floor, or by any means during the live session, or after the ”Minimum
Currency Auctions of America, Inc., as identified with the applicable licensing information on the Bid” for an Auction have been posted, we will require the consignor to pay full Buyer’s Premium
title page of the catalog or on the HA.com Internet site (the “Auctioneer”). The Auction is conducted and Seller’s Commissions on such lot.
under these Terms and Conditions of Auction and applicable state and local law. Announcements 14. The highest qualified Bidder recognized by the Auctioneer shall be the Buyer. In the event of
and corrections from the podium and those made through the Terms and Conditions of Auctions a tie bid, the earliest bid received or recognized wins. In the event of any dispute between any
appearing on the Internet at HA.com supersede those in the printed catalog. Bidders at an Auction, Auctioneer may at his sole discretion reoffer the lot. Auctioneer’s decision
Buyer’s Premium: and declaration of the winning Bidder shall be final and binding upon all Bidders. Bids properly
2. On bids placed through Auctioneer, a Buyer’s Premium of fifteen percent (15%) will be added to offered, whether by floor Bidder or other means of bidding, may on occasion be missed or go
the successful hammer price bid on lots in Coin, Currency, and Firearms Auctions or nineteen and unrecognized; in such cases, the Auctioneer may declare the recognized bid accepted as the
one-half percent (19.5%) on lots in all other Auctions. There is a minimum Buyer’s Premium of winning bid, regardless of whether a competing bid may have been higher.
$14.00 per lot. In Gallery Auctions (sealed bid auctions of mostly bulk numismatic material), the 15. Auctioneer reserves the right to refuse to honor any bid or to limit the amount of any bid, in
Buyer’s Premium is 19.5%. its sole discretion. A bid is considered not made in “Good Faith” when made by an insolvent
Auction Venues: or irresponsible person, a person under the age of eighteen, or is not supported by satisfactory
3. The following Auctions are conducted solely on the Internet: Heritage Weekly Internet Auctions credit, collectibles references, or otherwise. Regardless of the disclosure of his identity, any bid
(Coin, Currency, Comics, Rare Books, Jewelry & Watches, Guitars & Musical Instruments, and by a consignor or his agent on a lot consigned by him is deemed to be made in “Good Faith.” Any
Vintage Movie Posters); Heritage Monthly Internet Auctions (Sports, World Coins and Rare Wine). person apparently appearing on the OFAC list is not eligible to bid.
Signature® Auctions and Grand Format Auctions accept bids from the Internet, telephone, fax, or 16. Nominal Bids. The Auctioneer in its sole discretion may reject nominal bids, small opening bids,
mail first, followed by a floor bidding session; HeritageLive! and real- time telephone bidding are or very nominal advances. If a lot bearing estimates fails to open for 40–60% of the low estimate,
available to registered clients during these auctions. the Auctioneer may pass the item or may place a protective bid on behalf of the consignor.
Bidders: 17. Lots bearing bidding estimates shall open at Auctioneer’s discretion (approximately 50%-60% of
4. Any person participating or registering for the Auction agrees to be bound by and accepts these the low estimate). In the event that no bid meets or exceeds that opening amount, the lot shall
Terms and Conditions of Auction (“Bidder(s)”). pass as unsold.
5. All Bidders must meet Auctioneer’s qualifications to bid. Any Bidder who is not a client in good 18. All items are to be purchased per lot as numerically indicated and no lots will be broken.
standing of the Auctioneer may be disqualified at Auctioneer’s sole option and will not be awarded Auctioneer reserves the right to withdraw, prior to the close, any lots from the Auction.
lots. Such determination may be made by Auctioneer in its sole and unlimited discretion, at any 19. Auctioneer reserves the right to rescind the sale in the event of nonpayment, breach of a warranty,
time prior to, during, or even after the close of the Auction. Auctioneer reserves the right to exclude disputed ownership, auctioneer’s clerical error or omission in exercising bids and reserves, or
any person from the auction. for any other reason and in Auctioneer’s sole discretion. In cases of nonpayment, Auctioneer’s
6. If an entity places a bid, then the person executing the bid on behalf of the entity agrees to election to void a sale does not relieve the Bidder from their obligation to pay Auctioneer its fees
personally guarantee payment for any successful bid. (seller’s and buyer’s premium) and any other damages or expenses pertaining to the lot.
Credit: 20. Auctioneer occasionally experiences Internet and/or Server service outages, and Auctioneer
7. Bidders who have not established credit with the Auctioneer must either furnish satisfactory credit periodically schedules system downtime for maintenance and other purposes, during which
information (including two collectibles-related business references) well in advance of the Auction Bidders cannot participate or place bids. If such outages occur, we may at our discretion extend
or supply valid credit card information. Bids placed through our Interactive Internet program bidding for the Auction. Bidders unable to place their Bids through the Internet are directed to
will only be accepted from pre-registered Bidders; Bidders who are not members of HA.com or contact Client Services at 1-800-872-6467.
affiliates should pre-register at least 48 hours before the start of the first session (exclusive of 21. The Auctioneer, its affiliates, or their employees consign items to be sold in the Auction, and may
holidays or weekends) to allow adequate time to contact references. Credit may be granted at the bid on those lots or any other lots. Auctioneer or affiliates expressly reserve the right to modify
discretion of Auctioneer. Additionally Bidders who have not previously established credit or who any such bids at any time prior to the hammer based upon data made known to the Auctioneer
wish to bid in excess of their established credit history may be required to provide their social or its affiliates. The Auctioneer may extend advances, guarantees, or loans to certain consignors.
security number or the last four digits thereof to us so a credit check may be performed prior to 22. The Auctioneer has the right to sell certain unsold items after the close of the Auction. Such lots
Auctioneer’s acceptance of a bid. 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.
Bidding Options:
8. Bids in Signature® Auctions or Grand Format Auctions may be placed as set forth in the printed Payment:
catalog section entitled “Choose your bidding method.” For auctions held solely on the Internet, 23. All sales are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier
see the alternatives on HA.com. Review at HA.com/common/howtobid.php. checks, travelers checks, eChecks, and bank money orders, all subject to reporting requirements).
9. Presentment of Bids: Non-Internet bids (including but not limited to podium, fax, phone and mail All are subject to clearing and funds being received in Auctioneer’s account before delivery of
bids) are treated similar to floor bids in that they must be on-increment or at a half increment the purchases. Auctioneer reserves the right to determine if a check constitutes “good funds”
(called a cut bid). Any podium, fax, phone, or mail bids that do not conform to a full or half when drawn on a U.S. bank for ten days, and thirty days when drawn on an international bank.
increment will be rounded up or down to the nearest full or half increment and this revised Credit Card (Visa or Master Card only) and PayPal payments may be accepted up to $10,000
amount will be considered your high bid. from non-dealers at the sole discretion of the Auctioneer, subject to the following limitations:
10. Auctioneer’s Execution of Certain Bids. Auctioneer cannot be responsible for your errors in a) sales are only to the cardholder, b) purchases are shipped to the cardholder’s registered and
bidding, so carefully check that every bid is entered correctly. When identical mail or FAX bids are verified address, c) Auctioneer may pre-approve the cardholder’s credit line, d) a credit card
submitted, preference is given to the first received. To ensure the greatest accuracy, your written transaction may not be used in conjunction with any other financing or extended terms offered by
bids should be entered on the standard printed bid sheet and be received at Auctioneer’s place the Auctioneer, and must transact immediately upon invoice presentation, e) rights of return are
of business at least two business days before the Auction start. Auctioneer is not responsible for governed by these Terms and Conditions, which supersede those conditions promulgated by the
executing mail bids or FAX bids received on or after the day the first lot is sold, nor Internet bids card issuer, f) floor Bidders must present their card.
submitted after the published closing time; nor is Auctioneer responsible for proper execution of 24. Payment is due upon closing of the Auction session, or upon presentment of an invoice. Auctioneer
bids submitted by telephone, mail, FAX, e-mail, Internet, or in person once the Auction begins. reserves the right to void an invoice if payment in full is not received within 7 days after the close
Bids placed electronically via the internet may not be withdrawn until your written request is of the Auction. In cases of nonpayment, Auctioneer’s election to void a sale does not relieve the
received and acknowledged by Auctioneer (FAX: 214-443-8425); such requests must state the Bidder from their obligation to pay Auctioneer its fees (seller’s and buyer’s premium) on the lot
reason, and may constitute grounds for withdrawal of bidding privileges. Lots won by mail and any other damages pertaining to the lot.
Bidders will not be delivered at the Auction unless prearranged. 25. Lots delivered to you, or your representative in the States of Texas, California, New York, or
11. Caveat as to Bid Increments. Bid increments (over the current bid level) determine the lowest other states where the Auction may be held, are subject to all applicable state and local taxes,
amount you may bid on a particular lot. Bids greater than one increment over the current bid unless appropriate permits are on file with Auctioneer. (Note: Coins are only subject to sales tax
can be any whole dollar amount. It is possible under several circumstances for winning bids to be in California on invoices under $1500 and in Texas on invoices under $1000. Check the Web site
between increments, sometimes only $1 above the previous increment. Please see: “How can I lose at: http://coins.ha.com/c/ref/sales-tax.zx for more details.) Bidder agrees to pay Auctioneer
by less than an increment?” on our website. Bids will be accepted in whole dollar amounts only. No the actual amount of tax due in the event that sales tax is not properly collected due to: 1) an
“buy” or “unlimited” bids will be accepted. 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
The following chart governs current bidding increments. 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
Current Bid......................Bid Increment Current Bid........................Bid Increment
made. Lots from different Auctions may not be aggregated for sales tax purposes.
<$10..................................... $1 $20,000 - $29,999..................$2,000
26. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the
$10 - $29.............................. $2 $30,000 - $49,999..................$2,500
maximum statutory processing fee set by applicable state law. If you attempt to pay via eCheck
$30 - $49.............................. $3 $50,000 - $99,999..................$5,000
and your financial institution denies this transfer from your bank account, or the payment cannot
$50 - $99.............................. $5 $100,000 - $199,999..............$10,000
be completed using the selected funding source, you agree to complete payment using your credit
$100 - $199.......................... $10 $200,000 - $299,999..............$20,000
card on file.
$200 - $299.......................... $20 $300,000 - $499,999..............$25,000
27. If any Auction invoice submitted by Auctioneer is not paid in full when due, the unpaid balance
$300 - $499.......................... $25 $500,000 - $999,999..............$50,000
will bear interest at the highest rate permitted by law from the date of invoice until paid. Any
$500 - $999.......................... $50 $1,000,000 - $1,999,999........$100,000
invoice not paid when due will bear a three percent (3%) late fee on the invoice amount or three
$1,000 - $1,999.................... $100 $2,000,000 - $2,999,999........$200,000
percent (3%) of any installment that is past due. If the Auctioneer refers any invoice to an attorney
$2,000 - $2,999.................... $200 $3,000,000 - $4,999,999........$250,000
for collection, the buyer agrees to pay attorney’s fees, court costs, and other collection costs
$3,000 - $4,999.................... $250 $5,000,000 - $9,999,999........$500,000
incurred by Auctioneer. If Auctioneer assigns collection to its in-house legal staff, such attorney’s
$5,000 - $9,999.................... $500 >$10,000,000.........................$1,000,000
time expended on the matter shall be compensated at a rate comparable to the hourly rate of
$10,000 - $19,999................ $1,000
independent attorneys.
28. In the event a successful Bidder fails to pay any amounts due, Auctioneer reserves the right to sell
12. If Auctioneer calls for a full increment, a bidder may request Auctioneer to accept a bid at half
the lot(s) securing the invoice to any underbidders in the Auction that the lot(s) appeared, or at
of the increment (“Cut Bid”) only once per lot. After offering a Cut Bid, bidders may continue
subsequent private or public sale, or relist the lot(s) in a future auction conducted by Auctioneer.
to participate only at full increments. Off-increment bids may be accepted by the Auctioneer at
A defaulting Bidder agrees to pay for the reasonable costs of resale (including a 10% seller’s
Signature® Auctions and Grand Format Auctions. If the Auctioneer solicits bids other than the
commission, if consigned to an auction conducted by Auctioneer). The defaulting Bidder is liable to
expected increment, these bids will not be considered Cut Bids.
pay any difference between his total original invoice for the lot(s), plus any applicable interest, and
Conducting the Auction: the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less
13. Notice of the consignor’s liberty to place bids on his lots in the Auction is hereby made in the 10% seller’s commissions, if sold at an Auctioneer’s auction.
accordance with Article 2 of the Texas Business and Commercial Code. A “Minimum Bid” is 29. Auctioneer reserves the right to require payment in full in good funds before delivery of the
an amount below which the lot will not sell. THE CONSIGNOR OF PROPERTY MAY PLACE merchandise.
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
30. Auctioneer shall have a lien against the merchandise purchased by the buyer to secure payment of 46. Auctioneer in no event shall be responsible for consequential damages, incidental damages,
the Auction invoice. Auctioneer is further granted a lien and the right to retain possession of any compensatory damages, or any other damages arising or claimed to be arising from the auction of
other property of the buyer then held by the Auctioneer or its affiliates to secure payment of any any lot. In the event that Auctioneer cannot deliver the lot or subsequently it is established that the
Auction invoice or any other amounts due the Auctioneer or affiliates from the buyer. With respect lot lacks title, or other transfer or condition issue is claimed, in such cases the sole remedy shall be
to these lien rights, Auctioneer shall have all the rights of a secured creditor under Article 9 of limited to rescission of sale and refund of the amount paid by Bidder; in no case shall Auctioneer’s
the Texas Uniform Commercial Code, including but not limited to the right of sale. In addition, maximum liability exceed the high bid on that lot, which bid shall be deemed for all purposes the
with respect to payment of the Auction invoice(s), the buyer waives any and all rights of offset he value of the lot. After one year has elapsed, Auctioneer’s maximum liability shall be limited to any
might otherwise have against the Auctioneer and the consignor of the merchandise included on commissions and fees Auctioneer earned on that lot.
the invoice. If a Bidder owes Auctioneer or its affiliates on any account, Auctioneer and its affiliates 47. In the event of an attribution error, Auctioneer may at its sole discretion, correct the error on
shall have the right to offset such unpaid account by any credit balance due Bidder, and it may the Internet, or, if discovered at a later date, to refund the buyer’s purchase price without further
secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession. obligation.
31. Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility 48. Dispute Resolution for Consumers and Non-Consumers: Any claim, dispute, or controversy
of the buyer to provide adequate insurance coverage for the items once they have been delivered in connection with, relating to and /or arising out of the Auction, participation in the Auction,
to a common carrier or third-party shipper. award of lots, damages of claims to lots, descriptions, condition reports, provenance, estimates,
Delivery; Shipping; and Handling Charges: return and warranty rights, any interpretation of these Terms and Conditions, any alleged verbal
32. Buyer is liable for shipping and handling. Please refer to Auctioneer’s website www.HA.com/ modification of these Terms and Conditions and/or any purported settlement whether asserted in
common/shipping.php for the latest charges or call Auctioneer. Auctioneer is unable to combine contract, tort, under Federal or State statute or regulation shall or any other matter: a) if presented
purchases from other auctions or affiliates into one package for shipping purposes. Lots won will by a consumer, be exclusively heard by, and the parties consent to, exclusive in personam
be shipped in a commercially reasonable time after payment in good funds for the merchandise jurisdiction in the State District Courts of Dallas County, Texas. THE PARTIES EXPRESSLY
and the shipping fees is received or credit extended, except when third-party shipment occurs. WAIVE ANY RIGHT TO TRIAL BY JURY. Any appeals shall be solely pursued in the appellate
33. Successful international Bidders shall provide written shipping instructions, including specified courts of the State of Texas; or b) for any claimant other than a consumer, the claim shall be
customs declarations, to the Auctioneer for any lots to be delivered outside of the United States. presented in confidential binding arbitration before a single arbitrator, that the parties may agree
NOTE: Declaration value shall be the item’(s) hammer price together with its buyer’s premium upon, selected from the JAMS list of Texas arbitrators. The case is not to be administrated by
and Auctioneer shall use the correct harmonized code for the lot. Domestic Buyers on lots JAMS; however, if the parties cannot agree on an arbitrator, then JAMS shall appoint the arbitrator
designated for third-party shipment must designate the common carrier, accept risk of loss, and and it shall be conducted under JAMS rules. The locale shall be Dallas Texas. The arbitrator’s
prepay shipping costs. award may be enforced in any court of competent jurisdiction. Any party on any claim involving
34. All shipping charges will be borne by the successful Bidder. On all domestic shipments, any risk the purchase or sale of numismatic or related items may elect arbitration through binding PNG
of loss during shipment will be borne by Heritage until the shipping carrier’s confirmation of arbitration. Any claim must be brought within one (1) year of the alleged breach, default or
delivery to the address of record in Auctioneer’s file (carrier’s confirmation is conclusive to prove misrepresentation or the claim is waived. This agreement and any claims shall be determined and
delivery to Bidder; if the client has a Signature release on file with the carrier, the package is construed under Texas law. The prevailing party (party that is awarded substantial and material
considered delivered without Signature) or delivery by Heritage to Bidder’s selected third-party relief on its claim or defense) may be awarded its reasonable attorneys’ fees and costs.
shipper. On all foreign shipments, any risk of loss during shipment will be borne by the Bidder 49. No claims of any kind can be considered after the settlements have been made with the
following Auctioneer’s delivery to the Bidder’s designated common carrier or third-party shipper. consignors. Any dispute after the settlement date is strictly between the Bidder and consignor
35. Due to the nature of some items sold, it shall be the responsibility for the successful Bidder to without involvement or responsibility of the Auctioneer.
arrange pick-up and shipping through third-parties; as to such items Auctioneer shall have no 50. In consideration of their participation in or application for the Auction, a person or entity (whether
liability. Failure to pick-up or arrange shipping in a timely fashion (within ten days) shall subject the successful Bidder, a Bidder, a purchaser and/or other Auction participant or registrant) agrees
Lots to storage and moving charges, including a $100 administration fee plus $10 daily storage that all disputes in any way relating to, arising under, connected with, or incidental to these Terms
for larger items and $5.00 daily for smaller items (storage fee per item) after 35 days. In the event and Conditions and purchases, or default in payment thereof, shall be arbitrated pursuant to
the Lot is not removed within ninety days, the Lot may be offered for sale to recover any past due the arbitration provision. In the event that any matter including actions to compel arbitration,
storage or moving fees, including a 10% Seller’s Commission. construe the agreement, actions in aid or arbitration or otherwise needs to be litigated, such
36. The laws of various countries regulate the import or export of certain plant and animal properties, litigation shall be exclusively in the Courts of the State of Texas, in Dallas County, Texas, and if
including (but not limited to) items made of (or including) ivory, whalebone, turtleshell, coral, necessary the corresponding appellate courts. For such actions, the successful Bidder, purchaser,
crocodile, or other wildlife. Transport of such lots may require special licenses for export, import, or Auction participant also expressly submits himself to the personal jurisdiction of the State of
or both. Bidder is responsible for: 1) obtaining all information on such restricted items for both Texas.
export and import; 2) obtaining all such licenses and/or permits. Delay or failure to obtain any 51. These Terms & Conditions provide specific remedies for occurrences in the auction and delivery
such license or permit does not relieve the buyer of timely compliance with standard payment process. Where such remedies are afforded, they shall be interpreted strictly. Bidder agrees that
terms. For further information, please contact Ron Brackemyre at 800-872-6467 ext. 1312. any claim shall utilize such remedies; Bidder making a claim in excess of those remedies provided
37. Any request for shipping verification for undelivered packages must be made within 30 days of in these Terms and Conditions agrees that in no case whatsoever shall Auctioneer’s maximum
shipment by Auctioneer. liability exceed the high bid on that lot, which bid shall be deemed for all purposes the value of
Cataloging, Warranties and Disclaimers: the lot.
38. NO WARRANTY, WHETHER EXPRESSED OR IMPLIED, IS MADE WITH RESPECT TO ANY Miscellaneous:
DESCRIPTION CONTAINED IN THIS AUCTION OR ANY SECOND OPINE. Any description of 52. Agreements between Bidders and consignors to effectuate a non-sale of an item at Auction, inhibit
the items or second opine contained in this Auction is for the sole purpose of identifying the bidding on a consigned item to enter into a private sale agreement for said item, or to utilize the
items for those Bidders who do not have the opportunity to view the lots prior to bidding, and Auctioneer’s Auction to obtain sales for non-selling consigned items subsequent to the Auction,
no description of items has been made part of the basis of the bargain or has created any express are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of
warranty that the goods would conform to any description made by Auctioneer. Color variations this provision, Auctioneer reserves the right to charge Bidder the applicable Buyer’s Premium and
can be expected in any electronic or printed imaging, and are not grounds for the return of any lot. consignor a Seller’s Commission as determined for each auction venue and by the terms of the
NOTE: Auctioneer, in specified auction venues, for example, Fine Art, may have express written seller’s agreement.
warranties and you are referred to those specific terms and conditions. . 53. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be
39. Auctioneer is selling only such right or title to the items being sold as Auctioneer may have by contacted by Heritage in the future. In conformity with “do-not-call” regulations promulgated by
virtue of consignment agreements on the date of auction and disclaims any warranty of title to the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being
the Property. Auctioneer disclaims any warranty of merchantability or fitness for any particular contacted at the phone number shown in his application and this consent shall remain in effect until
purposes. All images, descriptions, sales data, and archival records are the exclusive property of it is revoked in writing. Heritage may from time to time contact Bidder concerning sale, purchase,
Auctioneer, and may be used by Auctioneer for advertising, promotion, archival records, and any and auction opportunities available through Heritage and its affiliates and subsidiaries.
other uses deemed appropriate. 54. Rules of Construction: Auctioneer presents properties in a number of collectible fields, and as
40. Translations of foreign language documents may be provided as a convenience to interested such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall
parties. Auctioneer makes no representation as to the accuracy of those translations and will not be construed to waive the general Terms and Conditions of Auction by these additional rules and
be held responsible for errors in bidding arising from inaccuracies in translation. shall be construed to give force and effect to the rules in their entirety.
41. Auctioneer disclaims all liability for damages, consequential or otherwise, arising out of or in State Notices:
connection with the sale of any Property by Auctioneer to Bidder. No third party may rely on any Notice as to an Auction in California. Auctioneer has in compliance with Title 2.95 of the California
benefit of these Terms and Conditions and any rights, if any, established hereunder are personal Civil Code as amended October 11, 1993 Sec. 1812.600, posted with the California Secretary of State
to the Bidder and may not be assigned. Any statement made by the Auctioneer is an opinion its bonds for it and its employees, and the auction is being conducted in compliance with Sec. 2338 of
and does not constitute a warranty or representation. No employee of Auctioneer may alter these the Commercial Code and Sec. 535 of the Penal Code.
Terms and Conditions, and, unless signed by a principal of Auctioneer, any such alteration is null
Notice as to an Auction in New York City. These Terms and Conditions of Sale are designed to
and void.
conform to the applicable sections of the New York City Department of Consumer Affairs Rules and
42. Auctioneer shall not be liable for breakage of glass or damage to frames (patent or latent); such
Regulations as Amended. This sale is a Public Auction Sale conducted by Heritage Auction Galleries,
defects, in any event, shall not be a basis for any claim for return or reduction in purchase price.
Inc. #41513036. The New York City licensed auctioneers are: Sam Foose, #095260; Kathleen Guzman,
Release:
#0762165; Nicholas Dawes, #1304724; Ed Beardsley, #1183220; Scott Peterson, #1306933; Andrea
43. In consideration of participation in the Auction and the placing of a bid, Bidder expressly releases
Voss, #1320558, who will conduct the Sale on behalf of Heritage Numismatic Auctions, Inc. (for
Auctioneer, its officers, directors and employees, its affiliates, and its outside experts that provide
Coins and Currency) and Heritage Auction Galleries Inc. (for other items). All lots are subject to: the
second opines, from any and all claims, cause of action, chose of action, whether at law or equity
consignor’s rights to bid thereon in accord with these Terms and Conditions of Sale, consignor’s option
or any arbitration or mediation rights existing under the rules of any professional society or
to receive advances on their consignments, and Auctioneer, in its sole discretion, may offer limited
affiliation based upon the assigned description, or a derivative theory, breach of warranty express
extended financing to registered bidders, in accord with Auctioneer’s internal credit standards. A
or implied, representation or other matter set forth within these Terms and Conditions of Auction
registered bidder may inquire whether a lot is subject to an advance or a reserve. Auctioneer has
or otherwise. In the event of a claim, Bidder agrees that such rights and privileges conferred
made advances to various consignors in this sale. On lots bearing an estimate, the term refers to a
therein are strictly construed as specifically declared herein; e.g., authenticity, typographical error,
value range placed on an item by the Auctioneer in its sole opinion but the final price is determined
etc. and are the exclusive remedy. Bidder, by non-compliance to these express terms of a granted
by the bidders.
remedy, shall waive any claim against Auctioneer.
44. Notice: Some Property sold by Auctioneer are inherently dangerous e.g. firearms, cannons, and Notice as to an Auction in Texas. In compliance with TDLR rule 67.100(c)(1), notice is hereby
small items that may be swallowed or ingested or may have latent defects all of which may cause provided that this auction is covered by a Recovery Fund administered by the Texas Department of
harm to a person. Purchaser accepts all risk of loss or damage from its purchase of these items and Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711 (512) 463-6599. Any complaints may
Auctioneer disclaims any liability whether under contract or tort for damages and losses, direct or be directed to the same address.
inconsequential, and expressly disclaims any warranty as to safety or usage of any lot sold. Notice as to an Auction in Ohio: Auction firm and Auctioneer are licensed by the Dept. of Agriculture,
Dispute Resolution and Arbitration Provision: and either the licensee is bonded in favor of the state or an aggrieved person may initiate a claim
45. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and against the auction recovery fund created in Section 4707.25 of the Revised Code as a result of the
Conditions of Auction, and specifically agrees to the dispute resolution provided herein. licensee’s actions, whichever is applicable.
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 Rev. 7-25-11
which arbitration replaces the right to go to court, including the right to a jury trial.
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
Additional Terms & Conditions: a lot must notify Auctioneer in writing within forty (40) days of the Auction’s conclusion. In
FINE & DECORATIVE ARTS AUCTIONS 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
FINE AND DECORATIVE ARTS TERM A: LIMITED WARRANTY: Auctioneer warrants authorship, claimed, Auctioneer’s liability shall be limited to rescission of sale and refund of purchase price.
period or culture of each lot sold in this catalog as set out in the BOLD-face type heading in the In no case shall Auctioneer’s maximum liability exceed the successful bid on that lot, which bid
catalog description of the lot, with the following exclusions. This warranty does not apply to: shall be deemed for all purposes the value of the lot. After one year has elapsed from the close
i. authorship of any paintings, drawings or sculpture created prior to 1870, unless the lot is of the Auction, Auctioneer’s maximum liability shall be limited to any commissions and fees
determined to be a counterfeit which has a value at the date of the claim for rescission which is Auctioneer earned on that lot.
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 FINE AND DECORATIVE ARTS TERM F: Any claim as to authorship, provenance, authenticity,
opinion on the authorship of a lot; or or other matter under the remedies provided in the Fine Arts Terms and Conditions or
iii. authorship which on the date of sale was in accordance with the then generally accepted opinion otherwise must be first transmitted to Auctioneer by credible and definitive evidence within
of scholars and specialists, despite the subsequent discovery of new information, whether the applicable claim period. Auctioneer, in processing the written claim, may require the
historical or physical, concerning the artist or craftsman, his students, school, workshop or Purchaser to obtain the written opinion of two recognized experts in the field who are mutually
followers; or accepted by Auctioneer and Purchaser. Upon receipt of the two opinions, Auctioneer shall
iv. the identification of periods or dates of execution which may be proven inaccurate by means of determine whether to rescind the sale. The Purchaser’s claim must be presented in accord
scientific processes not generally accepted for use until after publication of the catalog, or which with the remedies provided herein and is subject to the limitations and restrictions provided
were unreasonably expensive or impractical to use at the time of publication of the catalog. (including within the described time limitations). Regardless of Purchaser’s submissions there
The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago is no assurance after such presentment that Auctioneer will validate the claim. Authentication
with the intent to deceive. The authenticity of signatures, monograms, initials or other similar is not an exact science and contrary opinions may not be recognized by Auctioneer. Even if
indications of authorship is expressly excluded as a controlling factor in determining whether a Auctioneer agrees with the contrary opinion of such authentication and provides a remedy
work is a counterfeit under the meaning of these Terms and Conditions of Auction. 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
FINE AND DECORATIVE ARTS TERM B: GLOSSARY OF TERMS: Terms used in this catalog provided in these Terms and Conditions, or any other applicable law, does not extend to
have the following meanings. Please note that all statements in this catalog, excluding those in authorship of any lot which at the date of Auction was in accordance with the then generally
BOLD-face type, regarding authorship, attribution, origin, date, age, provenance and condition accepted opinion of scholars and specialists, despite the subsequent discovery of new
are statements of opinion and are not treated as a statement of fact. information, whether historical or physical, concerning the artist, his students, school, workshop
1. THOMAS MORAN or followers. Purchaser by placing a bid expressly waives any claim or damage based on such
In our opinion, the work is by the artist. subsequent information as described herein. It is specifically understood that any refund agreed
2. ATTRIBUTED TO THOMAS MORAN to by the Auctioneer would be limited to the purchase price.
In our opinion, the work is of the period of the artist which may be whole or in part the work of
the artist. FINE AND DECORATIVE ARTS TERM G: Provenance and authenticity, excluding attributions in
3. STUDIO, (CIRCLE OR WORKSHOP) OF THOMAS MORAN BOLD-face type, are guaranteed by neither the consignor nor Auctioneer. While every effort is
In our opinion, the work is of the period and closely relates to his style. made to determine provenance and authenticity, it is the responsibility of the Bidder to arrive at
4. SCHOOL OF THOMAS MORAN their own conclusion prior to bidding.
In our opinion, the work is by a pupil or a follower of the artist. FINE AND DECORATIVE ARTS TERM H: On the fall of Auctioneer’s hammer, Buyers of Fine Arts
5. MANNER OF THOMAS MORAN and Decorative Arts lots assumes full risk and responsibility for lot, including shipment by
In our opinion, the work is in the style of the artist and is of a later period. common carrier or third-party shipper, and must provide their own insurance coverage for
6. AFTER THOMAS MORAN shipments.
In our opinion, this work is a copy of the artist. FINE AND DECORATIVE ARTS TERM I: Auctioneer complies with all Federal and State rules and
7. ASCRIBED TO THOMAS MORAN regulations relating to the purchasing, registration and shipping of firearms. A purchaser is
In our opinion, this work is not by the artist, however, previous scholarship has noted this to be required to provide appropriate documents and the payment of associated fees, if any. Purchaser
a work by the artist. is responsible for providing a shipping address that is suitable for the receipt of a firearm.
8. SIGNED (OR DATED)
The work has a signature (or date) which is in our opinion is genuine. Heritage Auction Galleries strongly encourages in-person inspection of lots by the Bidder. While
9. BEARS SIGNATURE (OR DATE) Heritage is not obligated to provide a condition report of each lot, Bidders may feel free to contact
The work has a signature (or date) which in our opinion is not authentic. 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.
FINE AND DECORATIVE ARTS TERM C: PRESENTMENT: The warranty as to authorship is The Bidder should review online descriptions as the descriptions supercede catalog descriptions
provided for a period of one (1) year from the date of the auction and is only for the benefit of and those condition reports otherwise provided. Statements by Heritage regarding the condition
the original purchaser of record and is not transferable. 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
FINE AND DECORATIVE ARTS TERM D: The Auction is not on approval. Under extremely limited regardless of a condition report are sold “AS IS”.
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 For wiring instructions call the Credit department at 1-800-872-6467
bidder must notify the appropriate department head (check the inside front cover of the catalog or e-mail: CreditDept@HA.com
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.
New York State Auctions Only

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 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.
Rev.12-23-10
How to Ship Your Purchases
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

form to Heritage (this form will automatically be emailed to you
along with your winning bid(s) notice or may be obtained by calling
Client Services at 866-835-3243). The completed form may be
faxed to 214-409-1425.
3. Heritage Auctions’ shipping department will coordinate with the

shipping company you have selected to pick up your purchases.
Agent Shipping Release

Authorization form
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
Navis.Dallas@GoNavis.com thepackman@sbcglobal.net dallas@cratersandfreighters.com
• It is the Third Party Shipper’s responsibility to pack (or crate) and ship (or freight) your purchase to you.
Please make all payment arrangements for shipping with your Shipper of choice.
• Any questions concerning Third Party Shipping can be addressed through our Client Services Department
at 1-866-835-3243.
• Successful bidders are advised that pick-up or shipping arrangements should be made within ten (10) days
of the auction or they may be subject to storage fees as stated in Heritage’s Terms & Conditions of Auction,
item 35.
AMERICAN & EUROPEAN ART AUCTION
no v em b er 8 , 2 0 1 1 | D a l l a s | Li v e & O n l ine
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
For the most up-to-date information, visit HA.com/5069
For a free auction catalog in any category, plus Inquiries, 800-872-6467:

a copy of The Collector's Handbook (combined AMERICAN ART - Ariana Hartsock, ext. 1283 or ArianaH@HA.com
value $65), visit HA.com/CATC22540 or call EUROPEAN ART – Marianne Berardi, Ph.D., ext. 1506 or MarianneB@HA.com
866-835-3243 and reference code CATC22540.
Annual Sales Exceed $700 Million | 600,000+ Online Bidder-Members
3500 Maple Avenue | Dallas, Texas 75219 | 800-872-6467 | HA.com/FineArt

DALLAS | NEW YORK | BEVERLY HILLS | San Francisco | PARIS | GENEVA
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.
california art auction
march 20, 2012 | beverly hills | live & Online
CONSIGN NOW!
OUR INAUGURAL AUCTION OF CALIFORNIA ART
CARL SAMMONS | Wildflowers, Carmel Coast
Inquiries: 800-872-6467 For a free auction catalog in any category, plus a

copy of The Collector’s Handbook (combined value
Beverly Hills | Deborah Solon | ext. 1843 | DeborahS@HA.com $65), visit HA.com/CATA22540 or call 866-835-3243
San Francisco | Alissa Ford | ext. 1926 | AlissaF@HA.com and reference code CATA22540.

3500 Maple Avenue | Dallas, Texas 75219 | 800.872.6467 | HA.com/5103
DALLAS | NEW YORK | BEVERLY HILLS | san francisco | PARIS | GENEVA
TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661.
These auctions are subject to a 19.5% buyer’s premium.
modern & CONTEMPORARY art
october 26, 2011 | dallas | Live & Online
Featuring over 300 works

from the Estate of
Dr. Edmund P. Pillsbury
Visit HA.com/5083
Inquiries:
Frank Hettig
214-409-1157
FrankH@HA.com
Bernard Frize (French, 1941)

Roxy, 2000
Acrylic and resin on canvas
86 ½ x 70 ½ in.
From the estate of Dr. Edmund P. Pillsbury
Estimate: $30,000 - $50,000
HA.com/5083-37024
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.
A n n u al S al e s E xc e e d $70 0 Milli o n | 6 0 0, 0 0 0+ O nli n e B i d d e r- M e m b e r s
3 5 0 0 M a p l e A v e n u e | D a l l a s , Te x a s 75 2 19 | 8 0 0 - 8 72- 6 4 67 | H A . c o m
DALL AS | NEW YORK | BEVERLY HILLS | san francisco | PARIS | GENEVA
TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661.
These auctions are subject to a 19.5% buyer’s premium.
vintage & Contemporary photography
november 19, 2011 | new york | LIVE & ONLINE
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
For a free auction catalog in any category, plus a copy Inquiries: 800-872-6467
of The Collector's Handbook (combined value $65), visit Ed Jaster, ext. 1288
HA.com/CATA22209 or call 866-835-3243 and reference EdJ@HA.com
code CATA22209.
Rachel Peart, ext. 1625
RPeart@HA.com

HA.com
3500 Maple Avenue | Dallas, Texas 75219 | 800-872-6467 | HA.com/FineArt A U C T I O N S

DALLAS | NEW YORK | BEVERLY HILLS | san francisco | PARIS | GENEVA
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.
J anuar y 2 0 1 2 | O r l ando
BENEFIT AUCTION
SUPPORT THE SMITHSONIAN’S

NATIONAL NUMISMATIC COLLECTION
HOW YOU CAN HELP
In 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.
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.
3500 Maple Ave • Dallas, Texas 75219 • 800-872-6467 • HA.com

DALLAS | new york | beverly hills | SAN FRANCISCO | Paris | Geneva
21509OTH
Steve Ivy
Jim Halperin
FL licenses: Heritage Numismatic Auctions, Inc.: AB665; Currency Auctions of America: AB2218; Greg Rohan
FL Auctioneer licenses: Samuel Foose AU3244; Mike Sadler AU3795; Andrea Voss AU4034. Warren Tucker
This auction subject to a 15% buyer’s premium. Todd Imhof
Michael Moline
Coast to Coast
3 U.S. Locations to Serve You
DALLAS
3500 Maple Avenue
Dallas, Texas 75219
214.528.3500
Hours:
Mon-Fri: 9:00 AM CT - 5:00 PM CT
Saturday: 9:00 AM CT - 1:00 PM CT
NEW YORK
445 Park Avenue (at 57th Street)
New York, New York 10022
212.486.3500
Hours:
Mon-Fri: 10:00 AM ET - 6:00 PM ET
Saturday: 10:00 AM ET - 3:00 PM ET
BEVERLY HILLS
9478 West Olympic Boulevard
Beverly Hills, California 90212
310.492.8600
Hours:
Mon-Fri: 9:00 AM PT - 5:00 PM PT
Saturday: By Appointment
Annual Sales Exceed $700 Million • 600,000+ Online Bidder-Members
3 5 0 0 M a p l e Av e n u e • D a l l a s , Te x a s 75219 • 8 0 0 - 872- 6 4 67
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
Art of the American West auction
nov em b er 5 , 2 0 1 1 | DA LL A S | L I V E & O N L I N E
WILLIAM ROBINSON LEIGH
Home, Sweet Home, 1932
Oil on canvas
40 x 60 in.
Estimate: $400,000 - $600,000
HA.com/5085-28001
WILLIAM ROBINSON LEIGH

Renegade at Bay, 1941
Oil on canvas
24 x 29 in.
Estimate: $300,000 - $500,000
HA.com/5085-28002
Visit HA.com/5085 for lot viewing

and auction schedules.
Inquiries: 800-872-6467
Kirsty Buchanan | ext. 1741
KirstyB@HA.com.
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
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
3500 Maple Avenue | Da l l a s , Tex a s 75219 | 214- 409- 14 4 4 | 8 0 0 - 8 7 2 - 6 4 6 7 e xt . 1 4 4 4 | H A. c o m
DALLAS | NEW YORK | B E V E R LY H I L L S | san francisco | PA R I S | G E N E VA

TX Auctioneer licenses: Samuel Foose 11727; Robert Korver 13754; Andrea Voss 16406 | This auction is subject to a 19.5% buyer’s premium.
Artist Index
Adickes, David Pryor......................................................76078 Leigh, William Robinson....................................70040, 70041
Anton, Bill.......................................................................70044 Lovell, Tom.....................................................................70050
Baize, Wayne..................................................................70073 Machetanz, Frederick.....................................................70023
Bates, David Michael......................................................76069 Mann, David...................................................................70049
Baumann, Gustave.........................................................70001 McAfee, Ila Mae.............................................................70007
Berninghaus, Oscar Edward...........................................70009 McCarthy, Frank.............................................................70045
Best, Arthur W................................................................70068 McGrath, W. Clarence....................................................70066
Bill Schenck....................................................................70064 Metz, Gerry....................................................................70069
Bodelson, Dan T.............................................................70018 Modesitt, John...............................................................70010
Bomar, Bill...............................76063, 76064, 76065, 76066 Molnar, George..............................................................70016
Borein, Edward...........70033, 70034, 70035, 70036, 70038 Norton, Jim....................................................................70046
Brants, Cynthia...............................................................76010 Oliver, Kermit..........................76053, 76054, 76055, 76056
Cannon, T.C....................................................................70063 Onderdonk, Julian.............................................76027, 76028
Crowell, Reid Kendrick...................................................76094 Pebworth, Charles..........................................................76079
Darge, Fred..........................................76057, 76058, 76059 Phippen, George............................................................70011
Dawson-Watson, Dawson..............................................76037 Preusser, Robert.............................................................76020
Dixon, Maynard..............................................................70006 Reaugh, Frank.........................76040, 76041, 76042, 76043,
Don Edelman..................................................................76071 76044, 76045, 76046, 76047
Dozier, Otis...........................................76034, 76035, 76036 Reeder, Dickson.............................................................76022
Dzigurski, Alexander.........................................70065, 70067 Richard Mears, Herbert..................................................76080
Eisenlohr, Edward G..........................................76025, 76026 Rizzie, Dan.........................................................76067, 76068
Ellis, Fremont F...............................................................70055 Roney, Harold Arthur......................................................76038
Etie, Michael...................................................................76088 Salinas, Porfirio...........76029, 76030, 76031, 76032, 76033
Eubanks, Tony................................................................70015 Sandzén, Birger.................................................70020, 70021
Fleck, Joseph Amadeus.................................................70012 Schumann, Paul Richard....................................76023, 76024
Gonske, Walter...............................................................70002 Sharp, Joseph Henry......................................................70014
González, Xavier.............................................................76076 Shaw, Lois Hogue...........................................................76089
Goodwin, Philip Russell..................................................70056 Slaughter, William A...........................................76001, 76002
Gorman, R. C. ................................................................70070 Smith, Daniel..................................................................70029
Grammer, George..........................................................76007 Solberg, Mort.........................................70026, 70027, 70028
Grandmaison, Nicolas de...............................................70075 Sorenson, Jack...............................................................70053
Greer, A. D.................76081, 76082, 76083, 76084, 76085 Stefan, Ross..............................70057, 70058, 70059, 70060
Grelle, Martin....................................................70051, 70052 Steinfeldt, Cecilia Neuheisel .........................................76009
Hallmark, George...........................................................70017 Steinke, Bettina..............................................................70071
Hampton, John Wade....................................................70048 Swanson, Ray..................................................................70019
Hart, William...................................................................70032 Taylor, Rolla Sims.........76072, 76073, 76074, 76075, 76098
Harvey, G. (Gerald Harvey Jones)..................................70047 Thrasher, William Robert................................................76087
Harvey, G. (Gerald Harvey Jones)..................................76086 Tobey, Rebecca..............................................................70031
Hohnstedt, Peter Lanz..........................76048, 76060, 76061, Ullberg, Kent..................................................................70030
76062, 76097 Umlauf, Charles..............................................................76021
Holmes, Dwight..............................................................76039 Utter, Bror Alexander.........................................76005, 76006
Houser, Allan C...............................................................70062 Utterback, Robin............................................................76095
Hudson, Grace Carpenter..............................................70013 Viveano Lopez................................................................76093
Hulings, Clark.................................................................70004 Vogel, Donald Stanley....................................................76090
Hunter, Clementine..............................76048, 76049, 76050, Walters, Curt..................................................................70022
76051, 76052 Warren, Don...................................................................76092
Hurd, Peter.....................................................................70008 White, Fritz.....................................................................70072
Hurley, Wilson................................................................70003 Wieghorst, Olaf..............................................................70037
Jacobson, Oscar Brousse...............................................70061 Windberg, Dalhart..........................................................76091
Jarvis, Frederick.............................................................76096 Winn, Betty.....................................................................76008
Jon Flaming....................................................................76070 Wood, Robert William............................70054, 76011, 76012,
Justus, Wayne....................................................70042, 70043 76013, 76014, 76015, 76016, 76017, 76018, 76019
Kearns, Stapleton...........................................................70074 Ziegler, Eustace Paul......................................................70025
Kelley, Chapman.............................................................76077
Klepper, Frank................................................................76003
Kloss, Gene....................................................................70039
Koch, Francois................................................................70005
Laurence, Sydney M.......................................................70024
Leader, Walton...............................................................76004
Department Specialists
For the extensions below, please dial 800.872.6467
Comics & Comic Art Handbags & Luxury Accessories
HA.com/Comics HA.com/Luxury
Ed Jaster, Ext. 1288 • EdJ@HA.com Matt Rubinger, Ext. 1419 • MRubinger@HA.com
Lon Allen, Ext. 1261 • LonA@HA.com
Barry Sandoval, Ext. 1377 • BarryS@HA.com Historical
Todd Hignite, Ext. 1790 • ToddH@HA.com American Indian Art
HA.com/AmericanIndian
Fine Art Delia Sullivan, Ext. 1343 • DeliaS@HA.com
American, Western & European Art Americana & Political

HA.com/FineArt HA.com/Historical
Ed Jaster, Ext. 1288 • EdJ@HA.com Tom Slater, Ext. 1441 • TomS@HA.com
Marianne Berardi, Ph.D., Ext. 1506 • MarianneB@HA.com John Hickey, Ext. 1264 • JohnH@HA.com
Ariana Hartsock, Ext. 1283 • ArianaH@HA.com Michael Riley, Ext. 1467 • MichaelR@HA.com
Kirsty Buchanan, Ext. 1741 • KirstyB@HA.com Don Ackerman, Ext. 1736 • DonA@HA.com
Deborah Solon, Ext. 1843 • DeborahS@HA.com

Arms & Armor
California Art HA.com/Arms
HA.com/FineArt Greg Martin, Ext. 1883 • GregM@HA.com
Alissa Ford, Ext. 1926 • AlissaF@HA.com Jemison Beshears, Ext. 1886 • JemisonB@HA.com
Cliff Chappell, Ext. 1887 • CliffordC@HA.com
Decorative Arts & Design
HA.com/Decorative Roger Lake, Ext. 1884 • RogerL@HA.com
David Carde, Ext. 1881 • DavidC@HA.com
Tim Rigdon, Ext. 1119 • TimR@HA.com
Karen Rigdon, Ext. 1723 • KarenR@HA.com
Civil War & Militaria
Nicholas Dawes, Ext. 1605 • NickD@HA.com HA.com/CivilWar
Carolyn Mani, Ext. 1677 • CarolynM@HA.com
Dennis Lowe, Ext. 1182 • DennisL@HA.com
Illustration Art
HA.com/Illustration Historical Manuscripts
HA.com/Manuscripts
Ed Jaster, Ext. 1288 • EdJ@HA.com
Sandra Palomino, Ext. 1107 • SandraP@HA.com
Todd Hignite, Ext. 1790 • ToddH@HA.com
Rare Books
Lalique & Art Glass HA.com/Books
HA.com/Design
James Gannon, Ext. 1609 • JamesG@HA.com
Nicholas Dawes, Ext. 1605 • NickD@HA.com
Joe Fay, Ext. 1544 • JoeF@HA.com
Modern & Contemporary Art Space Exploration

HA.com/Modern
HA.com/Space
Frank Hettig, Ext. 1157 • FrankH@HA.com
John Hickey, Ext. 1264 • JohnH@HA.com
Michael Riley, Ext. 1467 • MichaelR@HA.com
Silver & Vertu
HA.com/Silver Texana
Tim Rigdon, Ext. 1119 • TimR@HA.com HA.com/Historical
Karen Rigdon, Ext. 1723 • KarenR@HA.com Sandra Palomino, Ext. 1107 • SandraP@HA.com
Texas Art Jewelry

HA.com/TexasArt HA.com/Jewelry
Atlee Phillips, Ext. 1786 • AtleeP@HA.com Jill Burgum, Ext. 1697 • JillB@HA.com
Vintage & Contemporary Photography Movie Posters

HA.com/ArtPhotography HA.com/MoviePosters
Ed Jaster, Ext. 1288 • EdJ@HA.com Grey Smith, Ext. 1367 • GreySm@HA.com
Rachel Peart, Ext. 1625 • RPeart@HA.com Bruce Carteron, Ext. 1551 • BruceC@HA.com
Music & Entertainment Timepieces
Memorabilia HA.com/Timepieces
HA.com/Entertainment Jim Wolf, Ext. 1659 • JWolf@HA.com
Margaret Barrett, Ext. 1912 • MargaretB@HA.com
Kristen Painter, Ext. 1149 • KristenP@HA.com Wine
John Hickey, Ext. 1264 • JohnH@HA.com HA.com/Wine
Garry Shrum, Ext. 1585 • GarryS@HA.com
Frank Martell, Ext. 1753 • FrankM@HA.com
Vintage Guitars & Musical Instruments Poppy Davis, Ext. 1559 • PoppyD@HA.com
HA.com/Guitar
Mike Gutierrez, Ext. 1183 • MikeG@HA.com
Isaiah Evans, Ext. 1201 • IsaiahE@HA.com Services
Appraisal Services
Natural History HA.com/Appraisals
HA.com/NaturalHistory Meredith Meuwly, Ext. 1631• MeredithM@HA.com
David Herskowitz, Ext. 1610 • DavidH@HA.com
Corporate & Institutional Collections/Ventures
Karl Chiao, Ext. 1958 • KarlC@HA.com
Numismatics
Credit Department
Coins – United States Marti Korver, Ext. 1248 • Marti@HA.com
HA.com/Coins Eric Thomas, Ext. 1241 • EricT@HA.com
David Mayfield, Ext. 1277 • DavidM@HA.com
Media & Public Relations
Jessica Aylmer, Ext. 1706 • JessicaA@HA.com
Noah Fleisher, Ext. 1143 • NoahF@HA.com
Win Callender, Ext. 1415 • WinC@HA.com
Chris Dykstra, Ext. 1380 • ChrisD@HA.com Trusts & Estates
HA.com/Estates
Sam Foose, Ext. 1227 • SamF@HA.com
Mark Prendergast, Ext. 1632 • MPrendergast@HA.com
Jim Jelinski, Ext. 1257 • JimJ@HA.com Karl Chiao, Ext. 1958 • KarlC@HA.com
Bob Marino, Ext. 1374 • BobMarino@HA.com
Mike Sadler, Ext. 1332 • MikeS@HA.com
Beau Streicher, Ext. 1645 • BeauS@HA.com
Locations
Dallas (World Headquarters)
Rare Currency 214.528.3500 • 800.872.6467
HA.com/Currency 3500 Maple Ave.
Dallas, TX 75219
Len Glazer, Ext. 1390 • Len@HA.com
Beverly Hills
Allen Mincho, Ext. 1327 • Allen@HA.com 310.492.8600
Dustin Johnston, Ext. 1302 • Dustin@HA.com 9478 W. Olympic Blvd.
Beverly Hills, CA 90212
Michael Moczalla, Ext. 1481 • MichaelM@HA.com
New York
Jason Friedman, Ext. 1582 • JasonF@HA.com 212.486.3500
Brad Ciociola, Ext. 1752 • BradC@HA.com 445 Park Avenue
New York, NY 10022
dallas | NEW YORK | SAN FRANCISCO
World & Ancient Coins BEVERLY H ILLS | paris | geneva
HA.com/WorldCoins
Cristiano Bierrenbach, Ext. 1661 • CrisB@HA.com Corporate Officers
Warren Tucker, Ext. 1287 • WTucker@HA.com R. Steven Ivy, Co-Chairman
David Michaels, Ext. 1606 • DMichaels@HA.com James L. Halperin, Co-Chairman
Scott Cordry, Ext. 1369 • ScottC@HA Gregory J. Rohan, President
Paul Minshull, Chief Operating Officer
Todd Imhof, Executive Vice President
Sports Collectibles Kathleen Guzman, Managing Director-New York
HA.com/Sports
Chris Ivy, Ext. 1319 • CIvy@HA.com
Peter Calderon, Ext. 1789 • PeterC@HA.com
Derek Grady, Ext. 1975 • DerekG@HA.com
Mike Gutierrez, Ext. 1183 • MikeG@HA.com
Lee Iskowitz, Ext. 1601 • LeeI@HA.com
Mark Jordan, Ext. 1187 • MarkJ@HA.com
Chris Nerat, Ext. 1615 • ChrisN@HA.com
Jonathan Scheier, Ext. 1314 • JonathanS@HA.com
U.S. Rare Coin Auctions Location Auction Dates Consignment Deadline
Upcoming Auctions
U.S. Coin ANA Pittsburgh October 13-16, 2011 Closed
U.S. Rare Coins Beverly Hills November 7-9, 2011 Closed
U.S. Rare Coins New York December 7-11, 2011 October 28, 2011
F.U.N. Orlando January 3-8, 2012 November 25, 2011
World & Ancient Coin Auctions Location Auction Dates Consignment Deadline
World Coin New York January 2-3, 2012 November 5, 2011
World Coin Online Dallas January 10, 2012 November 5, 2011
Rare Currency Auctions Location Auction Dates Consignment Deadline
Currency Orlando January 4-9, 2012 November 19, 2011
Fine & Decorative Arts Auctions Location Auction Dates Consignment Deadline
Illustration Art New York October 22, 2011 Closed
Modern & Contemporary Art Dallas October 26, 2011 Closed
Texas Art Dallas November 5, 2011 Closed
Art of the American West Dallas November 5, 2011 Closed
American & European Art Dallas November 8, 2011 Closed
Lalique and Art Glass New York November 19, 2011 Closed
Vintage & Contemporary Photography New York November 19, 2011 Closed
Fine Silver & Vertu Dallas December 7, 2011 Closed
Decorative Arts Dallas December 7, 2011 Closed
The Estate Auction Dallas February 7, 2012 December 6, 2011
Illustration Art Beverly Hills February 21-22, 2012 December 20, 2011
California Art Beverly Hills March 20, 2012 January 17, 2012
Fine Silver & Vertu Dallas April 10, 201 February 7, 2012
Texas Art Dallas May 5, 2012 March 3, 2012
Art of the American West Dallas May 5, 2012 March 3, 2012
American & European Art Dallas May 15, 2012 March 13, 2012
Vintage & Contemporary Photography New York May 21, 2012 March 20, 2012
Modern & Contemporary Art Dallas May 29, 2012 March 27, 2012
Decorative Arts Dallas June 11, 2012 April 9, 2012
Jewelry, Timepieces & Luxury Accessory Auctions Location Auction Dates Consignment Deadline
Watches & Fine Timepieces New York November 18, 2011 Closed
Fine Jewelry Dallas December 5, 2011 Closed
Handbags & Luxury Accessories Dallas December 6, 2011 Closed
Fine Jewelry New York April 30, 2012 February 27, 2012
Handbags & Luxury Accessories New York May 1, 2012 February 29, 2012
Watches & Fine Timepieces New York May 21, 2012 March 20, 2012
Vintage Movie Posters Auctions Location Auction Dates Consignment Deadline
Vintage Movie Posters Dallas November 18-19, 2011 Closed
Vintage Movie Posters Beverly Hills July 16-20, 2012 May 25, 2012
Comics Auctions Location Auction Dates Consignment Deadline
Comics & Original Comic Art Beverly Hills November 15-17, 2011 Closed
Comics & Original Comic Art Dallas February 23-24, 2012 January 10, 2012
Music & Entertainment Memorabilia Auctions Location Auction Dates Consignment Deadline
Vintage Guitars & Musical Instruments Dallas October 21-22, 2011 Closed
Music, Celebrity & Hollywood Memorabilia Dallas December 13-14, 2011 October 22, 2011
Vintage Guitars & Musical Instruments Dallas December 16-17, 2011 October 25, 2011
Historical Grand Format Auctions Location Auction Dates Consignment Deadline
Militaria Dallas November 12, 2011 Closed
Americana & Political Dallas November 30, 2011 Closed
Space Exploration Dallas November 30, 2011 Closed
Rare Books New York City December 8-9, 2011 October 17, 2011
Historical Manuscripts New York City December 8-9, 2011 October 17, 2011
Arms & Armor Las Vegas January 22-23, 2012 December 1, 2011
Texana Dallas March 10, 2012 January 18, 2012
Art of the Americas Dallas Spring 2012 January 12, 2012
Americana & Political Dallas June 2012 April 1, 2012
Militaria Dallas June 2012 April 1, 2012
Space Exploration Dallas June 2012 April 1, 2012
Vintage Sports Collectibles Auctions Location Auction Dates Consignment Deadline
Vintage Sports Collectibles Dallas November 10-11, 2011 Closed
Vintage Sports Collectibles Dallas April 26-27, 2012 March 5, 2012
Natural History Auctions Location Auction Dates Consignment Deadline
Natural History Beverly Hills January 8, 2012 Closed
Fine & Rare Wine Location Auction Dates Consignment Deadline
Fine & Rare Wine Beverly Hills December 1-2, 2011 October 19, 2011
HA.com/Consign • Consignment Hotline 800-872-6467 • All dates and auctions subject to change after press time. Go to HA.com for updates.
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. 9-27-2011
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
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)
PRICE • $50
© 2011 Heritage Auctioneers & Galleries, Inc.

Heritae Auctions Art of The American West Art Auction 5085 Dallas Texas

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Heritae Auctions Art of The American West Art Auction 5085 Dallas Texas

Uploaded by

Copyright:

Available Formats

Art of the American west

Art of the American West

November 5, 2011 | Dallas

View lots & auction results online at

Available immediately following session or weekdays BIDDING METHODS:

Phone: 214-528-3500 • 800-872-6467

This Auction is presented and cataloged by Heritage Auctions

Kirsty Buchanan Atlee Phillips

3500 Maple Avenue • Dallas, Texas 75219

Consignment Directors: Kirsty Buchanan, Atlee Phillips, Ed Jaster

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

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 7

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 9

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 11

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 15

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 17

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 19

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 23

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 25

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 27

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 29

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 31

All Images available online at HA.com

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 33

WILLIAM ROBINSON LEIGH (American, 1866-1955)

WILLIAM ROBINSON LEIGH (American, 1866-1955)

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 39

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 41

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 43

This lot is accompanied by the original bill of sale.

This lot is accompanied by

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 45

FREMONT F. ELLIS (American,

This lot is accompanied by a copy of Latham’s

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 47

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 49

Allan Houser is considered the father of contemporary

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 51

His Hair Flows Like a River

Woman at the Window

Hopi with Manta

Two Guns Arikara

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 53

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 55

This letter was written by Kearns as an accompaniment to his work

Session One, Auction #5085 | Saturday, November 5, 2011 | 1:00PM CT 57

End of Session one

A Plano native reared in McKinney,

WALTON LEADER (American, 1877-

Born in Marshall, Leader studied art

Cynthia Brants was a member of a group of mid-

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 63

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 65

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 67

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 69

In 1931, Dickson Reeder went to New

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 71

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 73

Beginning in the teens, Edward G. Eisenlohr spent a part of

Eisenlohr first studied art with Frank Reaugh and Robert

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 75

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 77

Session Two, Auction #5070 | Saturday, November 5, 2011 | 3:00PM CT 79