Charles Partridge Adams - Sangre de Cristo Mountains - Watercolor - 5 x 7 inches
Charles Partridge Adams
Original frame and plaque
Louis Akin
American School - Western Mining Development - Oil on Canvas - 18 x 24 1/2 inches - Provenance: <br>Kennedy Galleries, Inc., New York, New York
American School
Original Frame
Eliza Barchus
Blind stamp on image, mount, studio stamp on verso; caption in Barry's hand.Barry was a friend of many noted artists including H.H. Cross and a "Mr Landry, of Cincinnati" According to Neski, "Barry sent photographs of indians to Mr. Landry(Cont. In notes)
D.F. Barry
Albert Bierstadt - The Rocky Mountains, Lander's Peak - Hand-colored steel engraving - 16 3/4 x 28 1/4 inches - Signed in plate lower right Bierstadt 1868 <br>Titled lower right <br>Painted by A. Bierstadt lower left <br>Engraved by J. Smillie lower right <br>Entered According to Act of Congress in the Year 1866 by Edward Bierstadt in the Clerk's Office of the U.S. District Court for the Southern District of New York lower center <br>16 3/4" x 28 1/4" <br> <br>This is an original done by Albert Bierstadt a few years after the original painting that was done in oil on canvas in 1863. <br> <br>The original painting is oil on canvas; 73 1/2 x 120 3/4 in. (186.7 x 306.7 cm) <br> <br>This painting is the major work that resulted from the artist's first trip to the West. His intention to create panoramic views of the American frontier was apparent by December 1858, just before he embarked on the trip. In early 1859 he accompanied a government survey expedition, headed by Frederick W. Lander, to the Nebraska Territory. By summer, the party had reached the Wind River Range of the Rocky Mountains in what is now Wyoming. Bierstadt dubbed the central mountain in the picture Lander's Peak following the colonel's death in the Civil War. This was one of a number of large works painted after Bierstadt's return from these travels. It was completed in 1863, exhibited to great acclaim, and purchased in 1865 for the then-astounding sum of $25,000 by James McHenry, an American living in London. Bierstadt later bought it back and gave or sold it to his brother Edward. <br> <br>Albert Bierstadt (BEER stat) was born in Prussia, which was a large German state. (This land today is in Germany, Poland, and Russia.) He came to America with his parents when he was two years old. <br> <br>As he grew up, he taught himself to paint. Then he decided to go to Dusseldorf, Germany to study with a group of artists, which today is referred to as the “Düsseldorf style”. They toured Europe. Bierstadt first started painting landscapes in Europe, then he came to America. <br> <br>He painted the magnificent scenes in Yosemite. When people saw the paintings, they wanted to go there and see it for themselves. As a result, many people went to Yosemite, and the land was no longer unspoiled, Bierstadt went elsewhere to paint. <br> <br>In 1859 the artist made a trip to the Colorado and Wyoming territories with Frederick Lander, who was in charge of a government survey expedition. He was inspired to paint this beautiful scene of the Rocky Mountains. Indians are encamped in the valley. This is a large painting; six feet high and ten feet long.
Albert Bierstadt
Andrew Bolam - Curious - Acrylic on Canvas - 46 x 54 inches
Andrew Bolam
First state of two
Edward Borein
Kolb Brothers - The Grand Canyon of Arizona - Hand-Colored Lithographs
Kolb Brothers
Kenneth Bunn - Internationally Known Sculptor
Kenneth Bunn
Christopher Burkett - Appalachian Forest Sunrise, Virginia - Cibachrome Photograph - 30x 40 inches - Sizes Available: <br>20x24 inches (matted 28 x 32 inches) <br>30x40 inches (matted: 40 x 46 inches) <br>40x50 inches (matted: 58 x 66 inches) <br> <br>Here's what Christopher Burkett says about this image: <br> <br>In autumn, 1991, Ruth and I went on a very productive photo trip across the USA. At this point we were about three weeks into our trip and found ourselves in Virginia in late October exploring the photographic potential along the Blue Ridge Parkway. We were about mid-way in the Parkway when the light was fading and we needed to find a place to camp for the night. <br> <br>We had recently purchased a used Okanagan camper van, which was self contained and gave us more options than pitching the small tent we used in 1987. We found a gravel side road that went steeply off the south side of the Parkway and found a wide, flat spot at the apex of one of the turns where we pulled over, cooked dinner and went to sleep. Arising before daybreak, I left the van and walked up and down the mountainside road a bit as the world started to light up with the break of day. <br> <br>I could see that this beautiful forested area was full of promise. And thankfully, there was no wind whatsoever… the bane of 8x10” photographers.(Smaller f/stops and longer shutter speeds are necessary to get enough depth of field with these large cameras.)This was going to be a day to remember. <br> <br>This was actually the third photograph I made that morning. The first was “Glowing Appalachian Forest,” when the soft early morning light was beginning to fill the forest. The second was “Yellow Maple, Forest and Light,” when the sunlight was starting to hit the ridge beyond the foreground trees and then finally, this image. Each photo was created using only one exposure on a single piece of film and the three images were made within 100 yards of each other, all within the space of about 30 minutes. This couldn’t have been possible without the skilled help of Ruth, who stops the lens down to various f/stops as I focus, dusts off film holders before shooting, writes down the exposure information in our log book and helps to move equipment quickly from one spot to another. My pit stop crew of one! <br> <br>While this image was photographed in 1991, I didn’t make the first print until 2012, 21 years later. It was technically a challenge to bring this image to life as a fine print, including holding the brightest values without burning out or becoming chalky and printing the dark trunks with full detail and tonal separation. The composition, lighting and tonal values remind me of classical Chinese screen paintings. Several people told me that when they view this print they have a sense that “I’m really there, looking at the sunrise light in the forest.”
Christopher Burkett
Michael Charron - Above Gore Creek - Oil on Canvas - 6 x 9 inches
Michael Charron
Don Coen - Patterns of the West Revisited - Oil Stick - 41 x 61 inches
Don Coen
Nicholas Coleman - Evening Golden Light - Oil on Panel - 24 x 30 inches
Nicholas Coleman
Eanger Irving Couse - Evening Reverie - Oil on Canvas - 24 x 29 inches
Eanger Irving Couse
Edward S. Curtis - Son of the Desert - Navaho - Vintage Goldtone - 14 x 11 inches - Original Vintage Frame
Edward S. Curtis
Darren Grant - Ashcroft at Fall - Oil on Panel - 8 x 10 inches - These days, Darren is feeling pulled toward natural realism. Weather it be a still life, a mountain, or a building, Darren finds the beauty in its very existence and captures that in oils. His paintings of the California coast wonderfully depict the dynamic serenity of the shore. During a recent road trip around Colorado and New Mexico, Darren took in the sights for inspiration. The works that have come from that tour are as lovely and fresh as Colorado itself. Darren continues to master the art of oil painting in the classical realistic style and plans to expand his reach across U.S.
Darren Grant
Jared Hankins - Sopris in All Her Glory - Oil on Board - 42 x 42 inches
Jared Hankins
Hayes Silver and Goldsmithing - Belt Buckle: Bear - Sterling Silver
Hayes Silver and Goldsmithing
Siri Hollander - Mira (larger of two, available seperately) - Bronze - 15 H inches
Siri Hollander
Provenance: Private Collector, Chicago, IL
Clark Hulings
Supplement to Harper's Weekly January 19, 1889
William Henry Jackson
Charles F. Lummis - A Cowboy and His Cattle - Vintage Silver Gelatin Photograph - 2 ¼ x 3 ¼ inches - In 1884, Charles Fletcher Lummis, a 25-year-old Harvard dropout, set out on a trek from Cincinnati to Los Angeles in a pair of knickerbockers and street shoes to take a job as a reporter for the Los Angeles Times. He began to shed the prejudices born of his upbringing as a New England Yankee along the way, and developed a deep and abiding affection for the natural beauty and cultural diversity of the Southwest, where he remained until his death in 1928. <br> <br>Lummis first gained a national following with widely reprinted, weekly letters that he wrote on his “tramp across the continent.” He went on to become one of the most flamboyant and influential personalities of his day as a book author, magazine editor, preserver of Spanish missions, advisor to President Theodore Roosevelt and a crusader for civil rights for minority groups. Lummis was especially passionate about the mistreatment of American Indians, with whom he lived for several years. He was one of the first white Americans to assail unjust policies towards the original settlers of the region he loved, and his decades of relentless advocacy on that issue ultimately turned the tide. <br> <br>Provenance: From the private collection of well-known artist Mr. Edward Borein, Santa Barbara
Charles F. Lummis
William Oliver Martin - Easy - Oil on Panel - 11 x 14 inches
William Oliver Martin
William Matthews - Cool Water - Watercolor - 29 x 29 inches
William Matthews
Robert McCauley - ABOVE IT ALL - Oil on Canvas Laid on Board - 17 7/8 x 24 inches
Robert McCauley
Provenance: <br>1989 to Present: Private Collection of Allen and Edyne Gordon, Santa Fe, NM
Alfred Jacob Miller
Est. edition of 2000
Thomas Moran
Michael Naranjo - Daydream - Bronze - 8 x 5.5 x 8 inches
Michael Naranjo
Old Pawn Jewelry - * 25% OFF * Bracelet: Navajo Sterling with Kingman Turquoise - Sterling Silver
Old Pawn Jewelry
Kathy Oliver - Tom's Andalusian - Photograph on Plexiglass - 28 3/4 x 48 inches
Kathy Oliver
Frederic Sackrider Remington - An Apache (Indian on Horseback, alter.) - Oil on Panel - 30 x 18 inches
Frederic Sackrider Remington
This painting retains its original frame
Joseph Henry Sharp
John G. Showell - Montana Indians (Probably Flathead) - Vintage Silver Gelatin Photograph - 2 ¾ x 4 ¾ - From the private collection of well-known artist Mr. Edward Borein, Santa Barbara
John G. Showell
Barbara Van Cleve - A Glorious Commotion - Ebsom Pigment Print - 20 1/4 x 28 7/8 inches
Barbara Van Cleve
Vintage Aspen Mining Claim Maps and Photographs - Map of the Mining Claims North of Aspen, Colorado - Vintage Photolithograph - 30 3/4 x 59 5/8 inches
Vintage Aspen Mining Claim Maps and Photographs
Vintage Posters - 101 Ranch Real Wild West - Vintage Stone Lithograph - Full sheet: 43 3/4 x 30 1/2 inches - The 101 Ranch, founded in 1892 by George W. Miller’s three sons, Joe C., Zack T., and George L., were well-known for the elaborate roundups they stages there. After sporadic shows at expositions, they finally made it a permanent organization and, with the help of Edward Arlington, The Miller Bros. 101 Ranch Wild West opened in 1908. They had a good deal of success and, as the posters here indicate, their show was quite lavish and borrowed heavily on the themes, and eventually on the personnel, of Buffalo Bill’s Wild West. They were one of the buyers in the auction of animals and materials of the Buffalo Bill-Pawnee Bill organization held in Denver in September 1913 to satisfy the claims of the U.S Printing and Lithographing Company. In 1914, the Miller Wild West went to England, only to have their horses and vehicles impressed by the government there as the war broke out. For the 1915 season, their big star was Jess Willard, Kansas cowboy who became world heavyweight champion by knocking out Jack Johnson. Enter Bill Cody: He struck a deal in which he received a daily retainer and part of the profits for his appearance that year with them. It was to be his last year as showman. After the season closed on November 4, 1916, he was exhausted and two months later, on January 10, 1917, he died in his sister’s house in Denver, at the age of 71. <br> <br>This poster is composed of two vertical half-sheets – are in the Strobridge tradition of fine circus posters for which his firm was so well-known. There are hundreds of interesting details in such posters. If these emphasize one point it is the elaborate and expensive publicity practice of holding a parade of the entire cast of a circus or wild west show, with parade wagons, band, and all animals and personnel, down the main street of each city prior to show time. Both “101” and Buffalo Bill engaged in these lavish parades. In the poster to the left we see one of the many features of Buffalo Bill’s Wild West borrowed by the Miller 101 Ranch troupe: the “Equestrian Foot-Ball” scene which, we are told, “makes college foot-ball tame in comparison.” And at the bottom we see President Theodore Roosevelt waving from his stand, above the sign, “That’s Fine! That’s Bully!” and at right shaking hands with a cowgirl he calls “The Bravest Girl in All the West.” She is Lucille Mulhull, whom Will Rogers called “the first Cowgirl” and who was a champion at roping and tying wild steers. In 1900, when she was not yet 15, Roosevelt saw her perform at a Cowboy Tournament staged at the Rough Riders reunion in Oklahoma City and was in fact quite impressed by her daring feats. The poster to the right gives the full sweep of the Street Parade – so vast that it is split in two sections and its winding pattern as it comes from top to bottom adds to the enormity of it all. Note the parade wagon with the “Historic and Instructive” tableau of Pocahontas and Captain John Smith. This was a street parade not to be missed and having witnessed it, the public would be sure to follow this enormous pied-piper into the arena.
Vintage Posters
Theodore Waddell - Beaverhead Sheep - Oil, Encaustic on Canvas - 54 x 54 inches
Theodore Waddell
Andy Warhol - Geronimo - Original Screenprint - 36 x 36 inches - WE ARE ALWAYS INTERESTED IN PURCHASING ORIGINAL WARHOL PIECES <br> <br>Original Andy Warhol “Geronimo” available. <br> <br>From Cowboys and Indians, 1986 <br> <br>Portfolio of ten screenprints on Lenox Museum Board, 36” x 36” (91.4 x 91.4 cm). <br> <br>Edition: 250, 50 AP, 15 PP, 15 HC, 10 numbered in Roman numerals, signed and numbered in pencil. There are 36 TP, signed and numbered in pencil. <br> <br>Printer: Rupert Jasen Smith, New York. <br> <br>Publisher: Gaultney, Klineman Art, Inc., New York
Andy Warhol
Vintage Original Frame
George Wattle Waters
Russell Young - Magnificent Seven - Enamel and Diamond Dust Screen Print on Linen - 38 x 62 inches
Russell Young