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
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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

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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.
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This Auction is presented and cataloged by Heritage Auctions
© 2011 Heritage Auctioneers & Galleries, Inc.

22540

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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
Watercolor and gouache on paper
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


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

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

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