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Alissa's Picks
Alissa Ford | Vice President, American & Western Art
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I have always deeply admired Don Crowley's stunningly
realistic Native American portraits. A member of the Cowboy Artists of America,
he was celebrated for bridging fine art and historical reverence through
his lifelike and empathetic portrayals of the Apache and Navajo nations. His
painting Jetta exemplifies his masterful attention to detail
and cultural authenticity, capturing both the strength and grace of his subject
with extraordinary precision. Don Crowley shared a close friendship with fellow
artist James Bama, bonded by their mutual respect for realism and Western
subjects, often exchanging ideas and inspiring each other's work within the
Western art arena. This colorful work showcases vibrant traditional regalia,
intricate beadwork, expressive lighting, and delicate handling of textures, all
hallmarks of Crowley's style that honor the dignity and heritage of his models.
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Depictions of the Grand Canyon are a surefire way to capture
my attention. Fred Lucas was known for his luminous landscapes, particularly of
the American Southwest and national parks. His work often reflects a deep
reverence for nature, combining technical precision with a dramatic use of
light to evoke the grandeur of the natural world. Ancient Shadows captures
the majestic beauty of the Grand Canyon in vivid detail. Lucas masterfully
employs warm light and shadow to emphasize the vast, layered rock formations,
showcasing the geological magnificence of the landscape. The composition draws
the viewer's eye from the foreground trees and rocky ledge into the immense
canyon depths beyond. With its luminous atmosphere and bold contrast of cool
and warm tones, the work celebrates the timeless splendor of one of America's
most iconic natural wonders.
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Dave McGary was renowned for his exceptional realism in
bronze sculptures, particularly his depictions of Native American figures. His
meticulous process began with a steel wire skeleton, followed by layers of
muscle, skin, and clothing, adorned with intricate details such as hand-painted
beads, shields, and feathers. Each piece was painstakingly painted with a micro
brush, bringing lifelike vibrancy to his work. McGary emphasized historical
accuracy, incorporating intentional flaws to engage collectors. His artistic
dedication and innovative techniques solidified his reputation as a preeminent
sculptor, celebrated for capturing the spirit and heritage of Native American
traditions.
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Meagen's Picks
Meagen McMillan | Senior Consignment Director, Illustration Art
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Tom Lovell began his career as an illustrator completing
commissions from Saturday Evening Post, Colliers,
and Cosmopolitan Magazines. After serving in WWII, the artist began
to travel to visit the West and decided to dedicate the rest of his career to
depicting historical accurate images of Western way of life. This study
for The Wolf Man (completed version hangs in the National
Cowboy Museum) reveals both his illustration roots, but also his evolution as
an artist. His composition and draftsmanship remind me of Dean Cornwell. I
especially love the addition of the far-right figure, giving us insight into
the journey and decisions that the artist made.
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G. Harvey is a celebrated Texas and Western Artist. Usually,
we see ornate and detailed sweeping landscapes or dramatic cowboys soaked in
rain. Here, we have a simple, almost field sketch by one of the great western
artists. However, the location of the sketch - Lighthouse at Palo Duro
Canyon holds particular importance. The rock formation is listed with
the National Park Service as an Iconic Natural Landmark, soaring 300 feet
tall and exemplifying the powerful erosional forces that shaped the canyon
over millions of years. If you are looking for a piece of Western History, look
no further.
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Holly's Pick
Vice President, Modern & Contemporary Art, West Coast
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This group of seven photogravures by Edward Sheriff Curtis
comes from his landmark project The North American Indian, created
in the early 20th century to document over 80 Native American tribes across the
western U.S. and parts of Canada. Funded by J.P. Morgan and supported by
President Theodore Roosevelt, Curtis spent decades photographing and recording
Indigenous cultures, daily life, and portraits. Made between 1911 and 1924 by
John Andrew & Son, the prints use the photogravure process, a demanding
technique in which a photographic image is etched onto a copper plate and
printed with ink. I'm drawn to their tonal range and fine detail, qualities
that, along with their archival stability, reflect Curtis's intent to create a
lasting visual record.
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Taylor's Picks
Taylor Curry | Director, Modern & Contemporary Art
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Renowned for his energetic color fields and abstract
compositions, David Barbero marries the intensity of abstract expressionism
with a freewheeling modernist sensibility, rendering mesas, canyons, rivers,
and skies in bold swaths of color and dynamic brushwork. Educated at the Boston
Museum School and Tufts University, he moved to New Mexico in the 1970s, where
the vast Southwest terrain deeply shaped his artistic vision. Barbero described
his art as an emotional outlet, created as a form of self-therapy. A
Peek Through the Canyon Walls and Canyon River showcase
Barbero's signature use of bold, undulating contours that loosely suggest a
landscape while remaining unbound by strict representation. Vivid yellows,
greens, and pinks are layered and separated by thick, gestural black outlines
that guide the eye across the composition. The organic shapes and fearless
color palette suggest a dreamlike environment that fuses nature and emotion,
hallmarks of Barbero's style. Both of these remarkable paintings exemplify how
he reimagined the Southwestern landscape not with realism, but with an
internalized, almost poetic abstraction that resonates deeply with viewers.
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Emily's Pick
Emily Duffy | Cataloguer, Fine Arts
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I have always been drawn to sweeping vistas that evoke the
feeling of being completely immersed in the landscape. In Ute
Encampment, Charles Pabst captures a peaceful riverside encampment set
against the grandeur of distant, majestic mountains. He breathes life into the
scene with fine detail, wisps of smoke rising from teepee tops, hinting at the
quiet presence of those inside. The expansive composition is unified by the
soft glow of fading light, guiding the viewer's eye across a landscape where
humanity and nature coexist in gentle harmony. With its tender mood and
timeless atmosphere, the painting evokes both comfort and nostalgia, like
the familiar peace of coming home after a long day.
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Meagen's Picks
Meagen McMillan | Senior Consignment Director, Illustration Art
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This statement piece defines the power of composition and
palette demands the attention of the viewer. Harold Von Schmidt renders the
figure, holding a rifle casually over his shoulder, gazes into the distance
beneath a surreal, luminous green sky that evokes both nightfall and dreamlike
atmosphere. Von Schmidt's masterful use of bold contrast and dynamic
composition conveys a deep sense of narrative and Americana, characteristic of
his celebrated illustration work.
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Hintermeister did many advertisements and calendar works;
however, I am always drawn to his working dog compositions. As a Springer
Spaniel parent, I cannot help but want to play with this charming fluffy
family. I can also promise that puppies do chase butterflies and it is this
adorable.
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Alex Schomburg is known for his comic art and science
fiction pulp covers. This work is a rare example of a Western take by the pulp
art giant. Directly from the artist's estate, this work contains numerous pulp
themes, from the Cowboy turned Bank Robber with his Rifle to the bag stuffing
with cash, but the best is the absurdity of the police biplane swooping down.
It's campy, it's cliché, it's pulp.
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Sarahjane's Picks
Sarahjane Blum | Director of Illustration Art
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It's exceedingly rare to come across original cover art for
a pulp magazine from before 1915. Even more so, one that is as dynamic and
dramatic as this classic scene from the June 20th, 1914 issue of Top Notch
Magazine. Though the artist of this piece is yet to be uncovered, it's a
stellar example of the artistry brought to these early efforts.
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Square jaw, two guns firing simultaneously, bullet-ridden
saloon doors swinging open - We are drawn instantly into the over-the-top world
of pulps in Rafael DeSoto's Hell Rims These Guns, the cover art for the October
1949 issue of pulp magazine Fifteen Western Tales. Pulp covers at this time
heavily favored yellow, as it was thought to be the most instantly noticeable
color. What about this work isn't eye-catching? We're lucky enough to have a
second DeSoto offering in the sale, and I wouldn't sleep on either.
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Robert McGinnis, the iconic illustrator known for his
indelible James Bond movie poster art and for defining the look of 1960s
pulp fiction femme fatales, brings a cinematic style to this paperback cover
for Frank Bonham's Sound of Gunfire. Bonham too lent his talents to both novels
and screen, working as a prolific novelist and producing many classic Westerns
like Durango Kid. It's a natural pairing, executed with McGinnis's signature
flair.
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Alissa's Picks
Alissa Ford | Vice President, American & Western Art
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Mort Künstler began his career as a commercial illustrator,
producing work for magazines, movie posters, and paperback covers like this
one. Over time, he emerged as one of the nation's premier historical painters,
with his artwork exhibited in major museums and private collections across the
country.
Boundary Line, The Trespassers, was published as the
paperback cover of The Trespassers by Giles Lutz (Ballantine,
1980), a Western novel centered on a rancher who returns to reclaim his
family's land, only to find it overtaken by corrupt forces and shadowed by a
violent past. The story explores themes of justice, personal redemption, and
the high cost of defending one's rightful place in a lawless frontier. The
composition is cinematic, with sunlight dramatically illuminating the towering
red rock cliffs and desert terrain while shadows deepen the mood in the
foreground. There's a palpable sense of danger and conflict, hinting at themes
of trespass, land disputes, and survival. The rich palette and attention to
period detail enhance the narrative power of the image, showcasing the hallmark
style of Mort Künstler, a master of historical drama in visual form.
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John Falter was an exceptional storyteller and a master at
capturing everyday life, particularly through his work for The Saturday
Evening Post. New School Marm captures a pivotal moment in
a frontier settlement with the arrival of a poised and composed woman, likely
the new teacher. Positioned centrally in the composition, she draws the
attention of both the viewer and the surrounding characters, emphasizing her
significance. A stagecoach suggests her recent journey, while a man on a porch,
a curious boy, and an alert dog create a tableau of anticipation and curiosity.
Falter's detailed rendering evokes the rugged spirit of the Old West while also
highlighting themes of change and community development. This beautifully
rendered work reflects a transition point for the town, symbolized by the
woman's presence and profession. New School Marm was featured on
page 66 of the October 1980 issue of Southwestern Art magazine
and was later published as a print in 1987.
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Known for blending painterly technique with storytelling
depth, Harold Anderson offers viewers a window into American life with both
sentiment and skill. A part of the famous Brandywine School tradition,
influenced by artists like Howard Pyle and N.C. Wyeth, Anderson's work appeared
in major publications such as The Saturday Evening Post, Collier's,
and Ladies' Home Journal, where his skill for portraying human
warmth, character, and environment was widely celebrated. In later years, his
focus turned to easel paintings, including many Western-themed works like Cowboy
Lounge, where his illustrative roots translated into narrative-driven fine
art. Anderson used broad, gestural brushwork and a warm, earthy palette to
convey texture, emotion, and depth. The composition is not only a tribute to
the cowboy mythos but also a snapshot of a fading way of life, rendered with
affection and humanity.
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Alissa Ford
Vice President,
American & Western Art
AlissaF@HA.com
(214) 409-1926
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Meagen McMillan
Senior Consignment Director,
Illustration Art
MeagenM@HA.com
(214) 409-1546
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Holly Sherratt
Vice President, Modern & Contemporary Art,
West Coast
HollyS@HA.com
(415) 548-5921
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Taylor Curry
Director, Modern &
Contemporary Art
TaylorC@HA.com
(212) 486-3503
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