Artist Charles Marion Russell was a painter and sculptor of romantic images of the Wild West in the days of the dime-store Western novel. His best-known works include watercolors and oils of scenes of cowboys, lawmen, and Native Americans. As an artist, Charles Marion Russell is known for elevating American Indian women to a level of dignity that matched the hard work they undertook.
Charles Marion Russell's prints of his genre paintings show his unique eye for the old West. His brushstrokes are rough and quick without sacrificing accuracy of form and stylistic detail. His characters are the focal point of his work, displayed in vivid colors of dress and trappings against broad vistas of pastel-color skies, plains, or mountains.
Charles Marion Russell's artwork includes depictions of Wild West posses and desperadoes, American Indian forays, cowboy calf-roping, and mountain trackers. Look for other yesteryear genre prints for sale at Invaluable.
Title is Lion and Trapper. 15 3/4" by 10 1/4" by 4 3/8". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Sitting Bear. 3 1/8" by 3 1/4" by 4 3/8". Number 21/30. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Later reproduced by Dick Flood, the Flood examples appear to have texture. 4 1/4" by 7 1/2". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Charles Marion Russell American, (1864-1926) Mountain Mother bronze with reddish patina modeled 1924, cast circa 1929-33 (Nancy Russell lifetime cast) inscribed CM Russell Skull cipher (c), stamped Calif Art Bronze Fnry, LA
Charles Marion Russell American, (1864-1926) Smoking Up (Shootin' Up the Town) bronze, with tin under plate modeled 1904, cast c. mid-1920's to 30's inscised C.M Russell with skull cipher to top of base, incised Roman Bronze Works/ N-Y on edge of base behind right leg,
* Charles M. Russell Commemorative Bronze Medallion Titled "Russel's Latest" A finely cast patinated bronze relief medallion featuring a profile portrait of the famed "Cowboy Artist," Charles Marion Russell. This circular commemorative piece depicts Russell in his signature Stetson hat with a rugged, textured background. The work captures the artist in his later years, reflecting the deep character and Western heritage for which his own masterpieces are renowned. This specific example is numbered 189 from a limited edition of 250. In a custom wall hanging. Provenance: Letter and paperwork from Glenbow Museum in Calgary, Alberta, CAN.
Art Measure: 16w x 20h Frame Measure: 19w x 23h Title: The Bolter This C.M. Russell "The Bolter" western scene on glass features a classic cowboy and frontier-themed composition. The glass presentation gives the image a decorative display quality suited for a wall, shelf, or western collection. Its subject matter reflects traditional Western art themes with action, movement, and period character. A nice decorative piece for collectors of C.M. Russell-style art, western scenes, or cowboy memorabilia. RH50483
Featured in this lot is Vintage Signed Charles M. Russell "A Desperate Stand", by Aaron Ashley, Inc., Oil on Canvas. Provenance: Handmade for the Amon Carter Museum of Western Art, Fort Worth, Texas. Aaron Ashley, Inc. is well-known for collaborating with and reproducing the works of several famous American artists including Chales M. Russell, Andrew Wyeth, John James Audubon and others. "A Desperate Stand" is a notable oil-on-canvas painting by renowned Western artist Charles Marion Russell, depicting a tense, dramatic scene of cowboys under fire from Native Americans. The original is part of the extensive collection at the Amon Carter Museum Of American Art. The painting is a prime example of Russell's ability to capture the action, emotion, and ruggedness of the American West, influenced by Romanticism. The work reflects Russell's focus on the vanishing "Old West" and his commitment to authentic detail in portraying frontier life. This museum quality painting has the same approximate dimensions at the original. Charles Marion Russell (1864-1926) also known as "Charlie" or "the cowboy artist," was a premier American artist who famously captured the essence of the American Old West. His work is celebrated for its meticulous authenticity in depicting the clothing and equipment of both cowboys and Native Americans. He created more than 4,000 works of art, including oil paintings, watercolors, drawings, and bronze sculptures. This notable painting is in fairly preserved condition, fading noted, puncture exhibited right top. Russell's signature, hallmark and date - 1898 - on the bottom left corner. Reverse has Aaron Ashley Inc stamps, Amon Carter Museum tag. Canvas is attached to a fixed stretcher frame. Measures 24.875"W x 36.75"L x .75"D, weight is 3lb, 2oz.
For your consideration is the First Edition of, "Trails Plowed Under, Tales of the Old West", by cowboy artist Charles M. Russell, with illustrations in colour and line by the author, with Introduction by Will Rogers. This is a Montana Cowboy Classic Western storytelling and illustrating by one of the all-time masters of the art. Charles Marion Russell, also known as C. M. Russell, Charlie Russell, and "Kid" Russell, was an American artist of the American Old West. He created more than 2,000 paintings of cowboys, Native Americans, and landscapes set in the western United States and in Alberta, Canada, in addition to bronze sculptures. He was known as "the cowboy artist" and was also a storyteller and author. He became an advocate for Native Americans in the west, supporting the bid by landless Chippewa to have a reservation established for them in Montana. In 1916, Congress passed legislation to create the Rocky Boy Reservation. The C. M. Russell Museum Complex in Great Falls, Montana houses more than 2,000 Russell artworks, personal objects, and artifacts. Other major collections are held at the Montana Historical Society in Helena, Montana, the Buffalo Bill Center of the West in Cody, Wyoming, the Sid Richardson Museum in Fort Worth, Texas as well as the Amon Carter Museum of Western Art (now the Amon G. Carter Museum of American Art). In 1955, Russell was inducted into the Hall of Great Westerners of the National Cowboy & Western Heritage Museum. This rare book is a must have for Charlie Russell and Western art fans. Featuring a cover illustration by Russell, this grey cloth bound gold gilt hardcover is in very nice condition. Intact pages are clean, illustrations are bright. Original paper dust jacket exhibits slight tears, scuffing noted to edges. Measures 7.25"W x 10.5"L x 1"D, weight 1lb, 10oz.
Title is Marksman. 11 1/2" by 9" by 5". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Sleeping Thunder. 12 1/4" by 9 1/2" by 8 1/8" Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Indian Bust. 13 1/4" by 7 1/4" by 4 7/8" Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Indian Bust. 11 7/8" by 7 1/4" by 6 1/2". Signed Charles Russett, because that's how you know the Indonesians are doing a good job. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Bolter. 13 5/8" by 11" by 7 5/8" Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Smokin Up. 11 1/4" by 10 3/8" by 6 5/8". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Smokin Up. 12 5/8" by 10 1/2" by 7". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Indian Archer. 20 1/8" by 12 5/8" by 5 1/4". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
15 3/4" by 14 3/8" by 7 1/2". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Watcher of the Plains. 12" by 10" by 9 5/8". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Texas Longhorn. 8" by 5" by 4 7/8". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Sitting Bear. 4 3/8" by 3 1/4" by 3 1/8". Number 20/30. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is The Last Laugh or The Wolf Ashtray. 7" by 5" by 3 3/4". Stamped B. Zoppo Foundry. It has no skull present. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heartattack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Lion and Trapper. 15 3/4" by 10 1/4" by 4 3/8" Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Charles Marion Russell (1864-1926) "Indian Head" Patinated bronze Edition: 36/250 Initialed, titled, and inscribed in the casting: CMR / by Charles M. Russell / (1864-1926); numbered on the back of the neck
Charles Marion Russell (1864-1926) "Reclining Steer," modeled 1924 Patinated bronze on marble plinth Signed in the casting: C M Russel [cattle cipher]; with foundry impression: Roman Bronze Works, N.Y.
Charles Marion Russell (1864-1926) "Buffalo Rubbing Rock" (pair of bookends), 1921 Patinated bronze Each signed and dated in the casting: C M Russel [cattle cipher]; each with foundry impression: Roman Bronze Works, N.Y. 2 pieces
Charles Marion Russell (American, 1864-1926). Portrait of a Native American. Bronze relief medal, 1898. Signed "CMR," dated, and inscribed with foundry "Sculpture House NY" on verso. Ca. 1898 CE. A cast bronze relief medallion bearing the noble profile of a Native American man, his long hair sweeping back from a sharply cut brow, aquiline nose, and resolute jaw. Modeled in 1898 by Charles Marion Russell (1864-1926), the celebrated chronicler of the American West, the oval plaque captures its subject with the quiet dignity and ethnographic sensitivity that distinguished Russell's lifelong engagement with the Plains peoples he knew and admired. The reverse is incised with the artist's monogram "CMR" above the date "1898" and stamped "Sculpture House NY," identifying the New York foundry responsible for the cast. Russell, largely self-taught, rose from a Montana cowhand to become one of the foremost interpreters of frontier life, his paintings, watercolors, and sculptures now anchoring major American museum collections. Sculpted works from his hand are comparatively rare, and this intimate portrait, likely a posthumous foundry proof issued by Sculpture House Casting from Russell's original model, preserves the modeler's thumb-worked surfaces with admirable fidelity. Housed in a fitted wooden display case lined in emerald felt, accompanied by a Sculpture House Casting documentation card. Size of medal: 4.25" W x 5" H (10.8 cm W x 12.7 cm H); of custom display case: 12" W x 6" H x 3" D (30.5 cm W x 15.2 cm H x 7.6 cm D). Provenance: ex-private collection, Fairhaven, Massachusetts, USA, collected from 2010 to 2015 SHIPPING: We coordinate worldwide shipping in-house through specialist international forwarders experienced with fine art and antiquities customs manifests. International buyers must confirm, prior to bidding, that their country's customs authority will accept the item. All duties, taxes, clearance fees, and any costs arising from customs delays, seizures, re-export, returns, or loss in transit are the buyer's sole responsibility. Artemis assumes no liability for items refused entry, detained, or lost after export. We cannot ship ancient items to their country of origin (Egyptian to Egypt, Greek to Greece, etc.). PAYMENT EXCEPTION: For clients not previously established with Artemis, payment for all gold, precious metal, and gemstone lots must be made by bank wire transfer or certified bank check/money order, without exception. Item # 203234
This lot contains three giclee prints (two on canvas) after artists Charles Marion Russell (American, 1864-1926) and Frederic Remington (American, 1861-1909) Paperwork/Provenance: N/A Condition: The smaller Russell work has a scratch to its lower left corner. There are a few scuffs to their frames. Measurement(s): 18" x 21" (smallest frame), 27" x 38" (largest). In-house shipping is available. Please see our website regarding our in-house shipping procedures.
Framed pencil on paper drawing, attributed as a study for "Jerked Down," by Charles Marion Russell (Missouri/ Montana, 1864-1926), the original executed in 1907, now housed in the Gilcrease Museum, Tulsa, Oklahoma, the sketch shows a cowboy on horseback throwing a lasso at a steer, vague sketching at left, the verso cutout having a 0.75" x 1.75" tag reading "From the effects of Charles M. Russell - Estate of Nancy C. Russell June 1941," the verso retains a Great Falls, Montana framing label, sight: approx 3"h, 6"w, overall: approx 17.25"h, 13.5"w, 2.25lbs **Charles Marion Russell (Missouri/ Montana, 1864-1926), his wife Nancy Cooper Russell (Kentucky/ California, 1878-1940)**
Signed In Print On The Lower Left Corner. Stains, Scratches, And Wear Present On Frame. Frame Measures Approximately 17.25in X 21.25in. Artwork Measures Approximately 9.5in X 13.75in. Nb17362 Bp
Titled Blackfeet Trading Party In Sight Of Fort Benton. Image Is Signed On The Lower Left. Frame And Image Are In Good Conditions. Frame Measures Approximately 16in X 19in. Image Measures Approximately 5in X 9.5in. Tm6284 Jj
Title is Friar Tuck. 8 3/8" by 8 1/8" by 5 1/8". Number 24/30. Produced by the Trigg Russell Foundation. Includes original COA. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
8" long, 4" tall. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heartattack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Buffalo Rubbing Rock. 7 3/4" by 7 3/8" by 5". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, William S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Title is Smokin Up. 12 5/8" by 9 1/8" by 6". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heart attack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.
Featured in this lot is Vintage Signed Charles M. Russell "A Desperate Stand", by Aaron Ashley, Inc., Oil on Canvas. Provenance: Handmade for the Amon Carter Museum of Western Art, Fort Worth, Texas. Aaron Ashley, Inc. is well-known for collaborating with and reproducing the works of several famous American artists including Chales M. Russell, Andrew Wyeth, John James Audubon and others. "A Desperate Stand" is a notable oil-on-canvas painting by renowned Western artist Charles Marion Russell, depicting a tense, dramatic scene of cowboys under fire from Native Americans. The original is part of the extensive collection at the Amon Carter Museum Of American Art. The painting is a prime example of Russell's ability to capture the action, emotion, and ruggedness of the American West, influenced by Romanticism. The work reflects Russell's focus on the vanishing "Old West" and his commitment to authentic detail in portraying frontier life. This museum quality painting has the same approximate dimensions at the original. Charles Marion Russell (1864-1926) also known as "Charlie" or "the cowboy artist," was a premier American artist who famously captured the essence of the American Old West. His work is celebrated for its meticulous authenticity in depicting the clothing and equipment of both cowboys and Native Americans. He created more than 4,000 works of art, including oil paintings, watercolors, drawings, and bronze sculptures. This notable painting is in fairly preserved condition, fading noted, puncture exhibited right top. Russell's signature, hallmark and date - 1898 - on the bottom left corner. Reverse has Aaron Ashley Inc stamps, Amon Carter Museum tag. Canvas is attached to a fixed stretcher frame. Measures 24.875"W x 36.75"L x .75"D, weight is 3lb, 2oz.
Featured in this lot is this 1929 first edition copy of, "Good Medicine" by Charles M. Russell, published by Doubleday & Company Incorporated with a foreword by Will Rogers. Here is the classic Charles M. Russell book for all collectors. "Good Medicine" is the inspiring chronicle of an old-time cow wrangler revealed in a unique collection of his illustrated letters. It is filled with letters and drawings to friends, and little stories. A print of the painting, "Where Tracks Spell War Or Meat" is on inside of both covers, a print of the painting, "When I Was A Kid" is on the opposite page of the title page. This rare book is a must have for Charlie Russell and Western art fans. The tan linen binding has a rust-colored buffalo skull embossed on the front board and spine as well as the publisher and title label on spine. The book is in good condition with well maintained pages and binding, illustrated paper dust jacket exhibits staining, scuffing and slight, small tears but no major signs of damage is noted. The book measures 12 1/4" L x 9 1/4" W x 3/4" D and weighs 2 pounds and 2 ounces.
Old bronze of a Native American Indian and a horned animal skull, known as --Smoking with the Spirit of the Buffalo. Signed CM Russell with copyright mark. Dark brown patina with traces of verdigris, 8 in long x 4.25 h x 5 in deep. (Charles Marion Russell 1864-1926 was an important Western sculptor.) Note: We can ship this in-house.
