Virginia Alice Stroud Cherokee/Muscogee Creek, 1951 - 2024 Untitled (Riders on Horseback) gouache on paper signed lower right: Virginia a. Stroud, GGGS@
Title is War Party. 12" by 31" unframed, 22" by 38" framed. Acrylic on board. Virginia Alice Stroud (Born 1951) is active/lives in Oklahoma, California. Virginia Stroud is known for Indian pictographic, ledger drawing. Of Cherokee and Creek descent, Virginia Alice Stroud was born March 13, 1951 in Madera, California. She was educated in public schools in California and Oklahoma, and graduated from Muskogee Central High School in 1969. Virginia attended Bacone Junior College from 1969-1970 and the University of Oklahoma, 1971-73, summer 1975, and 1976-77, majoring in elementary education and art. Over the past thirty years, Virginia Alice Stroud has established herself as a contemporary Native American artist and has compiled an impressive record in the process. The above quote typifies her concept of aesthetic values and the objectives she attempts to achieve in her paintings. Her objectives and methodology are further exemplified when she states, "As an artist I touch the human chord that erases the multicultural boundaries and ask the viewer to look for the familiar and not the differences of humanity." Continuing in the earliest traditional painting style, she does not paint the facial features, and individual identity passes into the background. Characters are recognized by their clothing and their identities are established by their roles. This is especially true of the Native American women whose " roles as caretaker, nurturer, gatherer and spiritual instructor remained the same, handed down from one generation of daughters to another." Identity is established by what is familiar to a culture, and the viewer is asked to both recognize the differences through identity and to overlook those differences, thereby enriching the spiritual world by minimizing the distance between themselves and the art. "I paint for my people. Art is a way for our culture to survive...perhaps the only way. More than anything, I want to become an orator, to share with others the oldest of Indian traditions. I want people to look back at my work just like today we're looking back at the ledger drawings and seeing how it was then. I'm working one hundred years in front of those people and saying 'this is how we still do it...we still have our traditions.'" Ledger art is traditionally a male American Indian pictographic art form, and historically has been characterized as such by researchers. Chronologically its stylistic development belongs to the Proto-Modern era of the Native American Fine Arts Movement and was a major influence, through trade routes and the patronage of white art collectors, on Modern Indian Art as its elements diffused to the schools of New Mexico, Oklahoma, and the Northwest Coast. Its more explicit expression, however, yielded to the styles that developed in these schools and culminated in the early 1960's during a period of the Movement referred to as the First Generation Modernists. Only recently have the researchers of Ledger art recognized Virginia Stroud as the Native American Woman artist who, as a Second Generation Modernist and a member of the so-called "New Indian Art Movement", revitalized a traditionally male form of art expression with her pictographic images in the late 1960's to the early 1980's. Influence on Stroud's stylistic achievements can be attributed to her Kiowa upbringing centered in Oklahoma, which is the major geographic center of the Southern Plains school, and her attendance at Bacone under the direction and influence of Dr. Richard West. Stroud has experienced a transitional phase in her stylistic development which progressed from the traditional earthy pictorial images of the early eighties to a more brilliant color schema that focuses on the roles of women and children in Native American culture, centering on the preservation of a lifestyle across generations. This transitional phase strongly coincides with the chronological division of the Second Generation Modernists stage of the Native American Fine Arts Movement, and the Post-modern or Contemporary stage. However one wishes to define this Post-modern stage, Stroud's contemporary work displays a bold sense of color, combining the elements of the prior generations of Modernists, retaining its traditional style. This later stage of Stroud's development has also produced works that are associated with Cherokee traditions and may be attributed to her Cherokee ancestry, but probably more importantly can be explained by a regional interest in her creativity which, with her residency in the Southwest, has focused on themes of that part of the country. Virginia attributes a major influence in her art to the early encouragement of the late Dr. Richard West of Oklahoma, who schooled her in the history of ledger art and termed her knack for color combinations as innate, resembling that of Picasso. Her initial goals when entering college were to major in art education and teach art in either primary or secondary schools. The change in her career decision was due to the continual appraisal of her work by Dr. West who convinced her that she could make a living as a painter. Stroud also cites Native American artist Joann Hill as an inspiration, not artistically, but as an ideal of the Native American woman's place in the art world, and art restorator Amad Moghbel, as a major influence by introducing her to gouache techniques with rag paper and hand ground pigments. While Virginia is of Creek and Cherokee descent, she categorizes her art as more relevant to the plains tribes and her Kiowa upbringing. In May 1970, she became the youngest Native American artist to receive first place honors in the Woodlands division of the 25th Annual American Indian Artists Exhibition at Philbrook Art Center in Tulsa, Oklahoma. In 1972, she won the Heritage Award at the Five Civilized Tribes Museum in Muskogee, Oklahoma. In 1975, Virginia again won a first place award at the 30th American Indian National Exhibition at the Philbrook Art Center, and spent the next year as an artist in residence for the city of Norman, Oklahoma. In 1978 her pictographic work "Enemy Treasures" won the award for graphics at the Heard Museum, and in 1982 was selected Artist of the Year by the Indian Arts and Crafts Association. Her most recent honors include the Woody Crumbo memorial award, Best of Show, Best Painting, and Best in the Traditional category at the 1992 Indian Market in Sante Fe. A large collection of Virginia's artwork was recently (2003) included in the Smithsonian's archives of living artists and the Fred Jones, Jr. Museum of Art at the University of Oklahoma. Her work has appeared on the covers of "Oklahoma Today", "Southwest Art", and in the first issue of "Four Winds" magazine. Her work was also illustrated in "Indianische Kunst im 20 Jahrhundert", a German publication and in "Beyond Tradition, Contemporary Indian Art and Its Evolution" by Jerry and Lois Jacka, 1988. Virginia has been honored in the past as Miss Cherokee Tribal Princess, 1969-70, Miss National Congress of American Indians, 1970-71, Miss Indian America, 1971, served on the Board of Directors of the Indian Arts and Crafts Association, and spent 1999 as a candidate for Principal Chief of the Cherokee Nation. In 1988 she began creating her painted furniture, and she has, in the past few years, authored, co-authored, and illustrated four books for children as well as extending her prolific talents to doll making. Her book, Doesn't Fall Off His Horse, was recognized as NCSS-CBC Notable Children's Trade Book in the Field of Social Studies, IRA-CBC Children's Choice, and received the IRA Distinguished Book Award. Stroud's current projects include designing baby blankets and a baby journal for the American Indian College Fund.
Title is The Gathering Basket. 15" by 30" unframed. Acrylic on canvas. Virginia Alice Stroud (Born 1951) is active/lives in Oklahoma, California. Virginia Stroud is known for Indian pictographic, ledger drawing. Of Cherokee and Creek descent, Virginia Alice Stroud was born March 13, 1951 in Madera, California. She was educated in public schools in California and Oklahoma, and graduated from Muskogee Central High School in 1969. Virginia attended Bacone Junior College from 1969-1970 and the University of Oklahoma, 1971-73, summer 1975, and 1976-77, majoring in elementary education and art. Over the past thirty years, Virginia Alice Stroud has established herself as a contemporary Native American artist and has compiled an impressive record in the process. The above quote typifies her concept of aesthetic values and the objectives she attempts to achieve in her paintings. Her objectives and methodology are further exemplified when she states, "As an artist I touch the human chord that erases the multicultural boundaries and ask the viewer to look for the familiar and not the differences of humanity." Continuing in the earliest traditional painting style, she does not paint the facial features, and individual identity passes into the background. Characters are recognized by their clothing and their identities are established by their roles. This is especially true of the Native American women whose " roles as caretaker, nurturer, gatherer and spiritual instructor remained the same, handed down from one generation of daughters to another." Identity is established by what is familiar to a culture, and the viewer is asked to both recognize the differences through identity and to overlook those differences, thereby enriching the spiritual world by minimizing the distance between themselves and the art. "I paint for my people. Art is a way for our culture to survive...perhaps the only way. More than anything, I want to become an orator, to share with others the oldest of Indian traditions. I want people to look back at my work just like today we're looking back at the ledger drawings and seeing how it was then. I'm working one hundred years in front of those people and saying 'this is how we still do it...we still have our traditions.'" Ledger art is traditionally a male American Indian pictographic art form, and historically has been characterized as such by researchers. Chronologically its stylistic development belongs to the Proto-Modern era of the Native American Fine Arts Movement and was a major influence, through trade routes and the patronage of white art collectors, on Modern Indian Art as its elements diffused to the schools of New Mexico, Oklahoma, and the Northwest Coast. Its more explicit expression, however, yielded to the styles that developed in these schools and culminated in the early 1960's during a period of the Movement referred to as the First Generation Modernists. Only recently have the researchers of Ledger art recognized Virginia Stroud as the Native American Woman artist who, as a Second Generation Modernist and a member of the so-called "New Indian Art Movement", revitalized a traditionally male form of art expression with her pictographic images in the late 1960's to the early 1980's. Influence on Stroud's stylistic achievements can be attributed to her Kiowa upbringing centered in Oklahoma, which is the major geographic center of the Southern Plains school, and her attendance at Bacone under the direction and influence of Dr. Richard West. Stroud has experienced a transitional phase in her stylistic development which progressed from the traditional earthy pictorial images of the early eighties to a more brilliant color schema that focuses on the roles of women and children in Native American culture, centering on the preservation of a lifestyle across generations. This transitional phase strongly coincides with the chronological division of the Second Generation Modernists stage of the Native American Fine Arts Movement, and the Post-modern or Contemporary stage. However one wishes to define this Post-modern stage, Stroud's contemporary work displays a bold sense of color, combining the elements of the prior generations of Modernists, retaining its traditional style. This later stage of Stroud's development has also produced works that are associated with Cherokee traditions and may be attributed to her Cherokee ancestry, but probably more importantly can be explained by a regional interest in her creativity which, with her residency in the Southwest, has focused on themes of that part of the country. Virginia attributes a major influence in her art to the early encouragement of the late Dr. Richard West of Oklahoma, who schooled her in the history of ledger art and termed her knack for color combinations as innate, resembling that of Picasso. Her initial goals when entering college were to major in art education and teach art in either primary or secondary schools. The change in her career decision was due to the continual appraisal of her work by Dr. West who convinced her that she could make a living as a painter. Stroud also cites Native American artist Joann Hill as an inspiration, not artistically, but as an ideal of the Native American woman's place in the art world, and art restorator Amad Moghbel, as a major influence by introducing her to gouache techniques with rag paper and hand ground pigments. While Virginia is of Creek and Cherokee descent, she categorizes her art as more relevant to the plains tribes and her Kiowa upbringing. In May 1970, she became the youngest Native American artist to receive first place honors in the Woodlands division of the 25th Annual American Indian Artists Exhibition at Philbrook Art Center in Tulsa, Oklahoma. In 1972, she won the Heritage Award at the Five Civilized Tribes Museum in Muskogee, Oklahoma. In 1975, Virginia again won a first place award at the 30th American Indian National Exhibition at the Philbrook Art Center, and spent the next year as an artist in residence for the city of Norman, Oklahoma. In 1978 her pictographic work "Enemy Treasures" won the award for graphics at the Heard Museum, and in 1982 was selected Artist of the Year by the Indian Arts and Crafts Association. Her most recent honors include the Woody Crumbo memorial award, Best of Show, Best Painting, and Best in the Traditional category at the 1992 Indian Market in Sante Fe. A large collection of Virginia's artwork was recently (2003) included in the Smithsonian's archives of living artists and the Fred Jones, Jr. Museum of Art at the University of Oklahoma. Her work has appeared on the covers of "Oklahoma Today", "Southwest Art", and in the first issue of "Four Winds" magazine. Her work was also illustrated in "Indianische Kunst im 20 Jahrhundert", a German publication and in "Beyond Tradition, Contemporary Indian Art and Its Evolution" by Jerry and Lois Jacka, 1988. Virginia has been honored in the past as Miss Cherokee Tribal Princess, 1969-70, Miss National Congress of American Indians, 1970-71, Miss Indian America, 1971, served on the Board of Directors of the Indian Arts and Crafts Association, and spent 1999 as a candidate for Principal Chief of the Cherokee Nation. In 1988 she began creating her painted furniture, and she has, in the past few years, authored, co-authored, and illustrated four books for children as well as extending her prolific talents to doll making. Her book, Doesn't Fall Off His Horse, was recognized as NCSS-CBC Notable Children's Trade Book in the Field of Social Studies, IRA-CBC Children's Choice, and received the IRA Distinguished Book Award. Stroud's current projects include designing baby blankets and a baby journal for the American Indian College Fund.
Virginia Alice Stroud Cherokee/Muscogee Creek, b. 1951 With Words Unspoken serigraph, edition 44 of 50 editioned and signed lower right: 44/50 Virginia Stroud
Virginia Stroud (Cherokee-Muscogee, 1951-2024). Lithograph on paper depicting two Native American women with horses. Signed and numbered 128/1000 faintly along the lower center. Sight; height: 19 3/4 in x width: 14 3/4 in. Framed; height: 30 1/2 in x width: 25 1/2 in x depth: 1 in.
Virginia Alice Stroud (Born 1951) "Last Fragrance Of Spring" Acrylic on Canvas. Virginia Alice Stroud is of Cherokee and Creek descent, and has established herself as a contemporary Native American artist and has compiled an impressive record in the process. Continuing in the earliest traditional painting style, she does not paint the facial features, and individual identity passes into the background. Characters are recognized by their clothing and their identities are established by their roles. This is especially true of the Native American women whose " roles as caretaker, nurturer, gatherer and spiritual instructor remained the same, handed down from one generation of daughters to another." Identity is established by what is familiar to a culture, and the viewer is asked to both recognize the differences through identity and to overlook those differences, thereby enriching the spiritual world by minimizing the distance between themselves and the art. A large collection of Virginia's artwork was recently (2003) included in the Smithsonian's archives of living artists and the Fred Jones, Jr. Museum of Art at the University of Oklahoma. Artist: Virginia Stroud Title: "Last Fragrance Of Spring" Medium: Acrylic on Canvas Signature Type: Hand Signed | Signature Location: Lower Center | Site Measurement: 30" x 24" | Keywords: Native American, Indian Artwork, Art; Ref: BD3050
Virginia Alice Stroud (Born 1951) Picking Flowers Acrylic on Canvas. Virginia Alice Stroud is of Cherokee and Creek descent, and has established herself as a contemporary Native American artist and has compiled an impressive record in the process. Continuing in the earliest traditional painting style, she does not paint the facial features, and individual identity passes into the background. Characters are recognized by their clothing and their identities are established by their roles. This is especially true of the Native American women whose " roles as caretaker, nurturer, gatherer and spiritual instructor remained the same, handed down from one generation of daughters to another." Identity is established by what is familiar to a culture, and the viewer is asked to both recognize the differences through identity and to overlook those differences, thereby enriching the spiritual world by minimizing the distance between themselves and the art. A large collection of Virginia's artwork was recently (2003) included in the Smithsonian's archives of living artists and the Fred Jones, Jr. Museum of Art at the University of Oklahoma. Artist: Virginia Stroud Title: Picking Flowers Medium: Acrylic on Canvas Signature Type: Hand Signed | Signature Location: Lower Left | Site Measurement: 48" x 36" | Keywords: Native American, Indian Artwork, Art; Ref: BD3191
Framed offset lithograph print on paper, "Empire Encampment (1865)," pencil signed lower left Virginia A. Stroud (Virginia Alice Stroud, Cherokee, Oklahoma/ California, 1951-2024), numbered 71/ 940, signed and dated 1983 in print lower right, titled in print lower center, sight: approx 17"h, 30.5"w, overall: approx 24"h, 37.5"w, 10lbs
Signed on the lower right corner by Virginia Alice Stroud born 1951. Frame measures approximately 13.25in x 10.25in. Artwork measures approximately 7.25in x 4.5in. Adhesive frame putty stains present on reverse lower frame, scratches present on frame. BH40211 BP
Signed on the lower right corner, COA present, titled "Last Fragrance of Spring". Frame measures approximately 32in x 26in. Artwork measures approximately 29.25in x 23.5in. Scuffs and scratches present on frame. BH40211 BP
Signed and numbered 485/1000 on the lower left center. Frame measures approximately 30.75in x 23.75in. Artwork measures approximately 22.75in x 15.75in. In used condition, light scuffs present kn frame, frame paper backing is torn on reverse. BH40211 BP
Virginia Alice Stroud (Born 1951) Sunflowers & Ristras Acrylic on Canvas. Virginia Alice Stroud is of Cherokee and Creek descent, and has established herself as a contemporary Native American artist and has compiled an impressive record in the process. Continuing in the earliest traditional painting style, she does not paint the facial features, and individual identity passes into the background. Characters are recognized by their clothing and their identities are established by their roles. This is especially true of the Native American women whose " roles as caretaker, nurturer, gatherer and spiritual instructor remained the same, handed down from one generation of daughters to another." Identity is established by what is familiar to a culture, and the viewer is asked to both recognize the differences through identity and to overlook those differences, thereby enriching the spiritual world by minimizing the distance between themselves and the art. A large collection of Virginia's artwork was recently (2003) included in the Smithsonian's archives of living artists and the Fred Jones, Jr. Museum of Art at the University of Oklahoma. Artist: Virginia Stroud Title: Sunflowers & Ristras Medium: Acrylic on Canvas Signature Type: Hand Signed Signature Location: Lower Left Site Measurement: 42" x 30" Keywords: Native American, Indian Artwork, Art; Ref: BD1043
Virginia Stroud (Cherokee-Muscogee, 1951-2024). Lithograph on paper depicting two Native American women with horses. Signed and numbered 128/1000 faintly along the lower center.
Featured in this lot is this limited edition circa 1982 by Cherokee-Creek Virginia Alice Stroud born in b1951. The limited edition is wonderfully and professionally crafted and shows a Native American man with feathers in his hair leading three horses by lead. The limited edition is marked in the bottom left corner as follows: Virginia A. Stroud 1982 GGG's - 13/850 Virginia A. Stroud. The condition of this lithograph print is good with no obvious signs of damage and shows good overall condition. The measurements of this framed artwork measures 12" x 18 1/4" and the visible artwork measures 6 7/8" x 13 1/8". The artwork comes complete with its original receipt from TOH-ATIN Gallery out of Durango, CO and shows paperwork explaining who the artist is.
Pickup on Thursday, Mar 28, 2024 from 12:00 pm to 6:00 pm All items are sold as-is. The absence of a condition report does not imply that the lot is in perfect condition or completely free of defects, imperfections, or wear and tear. The pickup address will be released on your invoice. Invoices are sent after the entire auction has ended. Be sure to bring boxes and packing material to pickup. If you purchase a large item, be sure to bring moving help. Large items cannot be shipped. Items not picked up by the pickup deadline, NOT requiring shipping will be forfeited and you will still be charged. Items cannot be held after the pickup date. Items not paid for will be automatically charged to the card on file.
Pickup on Thursday, Mar 28, 2024 from 12:00 pm to 6:00 pm All items are sold as-is. The absence of a condition report does not imply that the lot is in perfect condition or completely free of defects, imperfections, or wear and tear. The pickup address will be released on your invoice. Invoices are sent after the entire auction has ended. Be sure to bring boxes and packing material to pickup. If you purchase a large item, be sure to bring moving help. Large items cannot be shipped. Items not picked up by the pickup deadline, NOT requiring shipping will be forfeited and you will still be charged. Items cannot be held after the pickup date. Items not paid for will be automatically charged to the card on file.
#18/650. Title River Walk. Signed Lower Left. Listed Artist. Native American Artist. Custom Matte By New Mexico Artist, Signed. Frame Measures 34in X 24in. Image Measures 26in X 32in. 101 Ch
Virginia Stroud (Cherokee-Muscogee Creek, b. 1951) hand signed lithographic prints. In very good condition. Professionally framed and matted measuring 20x26 and 21x27 inches.
Virginia Alice Stroud (Born 1951) Native Women & Sheep Acrylic on Canvas. Virginia Alice Stroud is of Cherokee and Creek descent, and has established herself as a contemporary Native American artist and has compiled an impressive record in the process. Continuing in the earliest traditional painting style, she does not paint the facial features, and individual identity passes into the background. Characters are recognized by their clothing and their identities are established by their roles. This is especially true of the Native American women whose " roles as caretaker, nurturer, gatherer and spiritual instructor remained the same, handed down from one generation of daughters to another." Identity is established by what is familiar to a culture, and the viewer is asked to both recognize the differences through identity and to overlook those differences, thereby enriching the spiritual world by minimizing the distance between themselves and the art. A large collection of Virginia's artwork was recently (2003) included in the Smithsonian's archives of living artists and the Fred Jones, Jr. Museum of Art at the University of Oklahoma. Artist: Virginia Stroud Title: Native Women & Sheep Medium: Acrylic on Canvas Signature Type: Hand Signed Signature Location: Lower Left Site Measurement: 30x24 in. Keywords: Native American, Indian Artwork, Art; Ref: BD1175
Virginia Stroud (Cherokee-Muscogee Creek, b. 1951) Group of Two Prints Untitled (Acorn Harvest) serigraph, edition 10 of 125 signed and editioned upper left: Virginia A. Stroud / 10/125 23 3/4 x 12 in. (60.33 x 30.48 cm.) Untitled (Two Riders) serigraph, edition 44 of 125 signed and editioned lower right: Virginia A. Stroud 44/125 23 3/4 x 13 3/4 in. (60.33 x 34.93 cm.)
Virginia Alice Stroud (Born 1951) is active/lives in Oklahoma, California. Measures 10 inches x 8 inches. Excellent condition. Unframed, loose and not glued or mounted. If lot is absent of a condition report one may be requested via email. Condition report is provided as an opinion only and is no guarantee as grading can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Our in-house shipping department will gladly pack and ship any item that fits into a 14x14x14 inch or 30x5x24 inch or equivalent or smaller box/folio if it is not fragile or over 25lbs. We will charge for labor to pack and process based on actual time it takes, actual cost of materials used to pack and actual shipper charges that will include insurance and signature required. We generally use USPS and Fed Ex and compare the pricing between the two. Books maximum box size will be 14x14x14 inch or equivalent and will be shipped USPS Media Mail unless otherwise requested. We gladly will give shipping estimates prior to auction. Please make this request at least 24 hours prior to auction for our shipping department to respond. If your invoice is for multiple items, we will use our discretion on requiring the use of an outside shipper. We reserve the right to require an outside shipper on any item(s) in the auction even if not stated.
Illustration of two women shaking acorns off tree by Virginia Stroud. Could be an illustration for a children's book. Date: 1983 Country (if not USA): State: Oklahoma City: Provenance:
"For Girls Only", print by Virginia Stroud (Cherokee, b. 1951). Print signed by Stroud and numbered 133/ 950. in pencil. 16" x 22". Stroud paints with tempera and gouache and is a fine art printmaker. Stroud's knowledge of Indian life reflects her own experiences and also her careful research. Date: 1982 Country (if not USA): State: Oklahoma City: Provenance:
"Catch It", print by Virginia Stroud (Cherokee, b. 1951). Print signed by Stroud and numbered 133/ 950. in pencil. 16" x 22". Stroud paints with tempera and gouache and is a fine art printmaker. Stroud's knowledge of Indian life reflects her own experiences and also her careful research. Date: 1982 Country (if not USA): State: Oklahoma City: Provenance:
Illustration of two women shaking acorns off tree by Virginia Stroud. Could be an illustration for a children's book. Date: 1983 Country (if not USA): State: Oklahoma City: Provenance:
![Virginia Stroud Illustration "Acorn" [131945]](https://image.invaluable.com/housePhotos/holabird/10/713010/H19286-L272559884.jpg)
![For Girls Only, Virginia Stroud [131938]](https://image.invaluable.com/housePhotos/holabird/38/705838/H19286-L261165608.jpg)
![Catch It by Virginia Stroud [131937]](https://image.invaluable.com/housePhotos/holabird/38/705838/H19286-L261165605.jpg)
![Virginia Stroud Illustration "Acorn" [131945]](https://image.invaluable.com/housePhotos/holabird/24/700024/H19286-L252591379.jpg)
