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.
Featured in this lot is this framed printings of Anticipation and Exasperation originally done in the 1890's by Charles M. Russell born in 1864 and died in 1926. The two printings come with a copy of the Provenance accompanying the original artwork from Petersen Galleries. The painting are so unique F.G. Renner had only come across four such examples in his forty years of researching. The outside artwork shows a cowboy in buckskin watching a Native man pull his horse with living equipment behind him. The Inside artwork is erotic showing a man and a woman indulged in relations while holding onto a young horse that is pulling and bucking away from him. Neither are signed but the originals were inspected by F. G. Renner and determined to be without question C.M. Russell's work. There is a plaque that hides the key hole that opens the piece up that reads as follows: Anticipation and Exasperation by Charles M. Russell. The condition of this Charles Russell hidden print is well preserved with a fantastic frame that shows some wear and discoloration and the two prints show weathering but ultimately shows a well preserved condition. The measurements of this artwork is 17 1/2" x 23 3/4" and the visible artwork on the outside measures 11" x 17" and the artwork hidden inside measures 11 7/8" x 17 7/8". The collective weight of this artwork is 7lb 6oz. Provenance: From a prominent ex-Bozeman private collection who purchased the majority of his collection from Cowan's, Skinner, Bonhams, Morphy's, Sotheby's, March in Montana, North American Auction and other well revered auction houses. This item was listed in the March in Montana 2023 auction and retains its tag.
Featured in this lot is this C.M. Russell giclee print on canvas circa late 1900s / early 2000s. This giclee print is of C.M. Russell's original painting titled, "The Custer Fight" circa 1903. Charles Marion Russell (1864-1926), also known as C. M. Russell, Charlie Russell, and "Kid" Russell, was an artist of the Old American West. Russell created more than 2,000 paintings of cowboys, Indians, and landscapes set in the Western United States and in Alberta, Canada, in addition to bronze sculptures. When he died in 1926, he had painted some 1,100 watercolors, a vast majority of them depictions of a historic time and place that endure in a timeless present. This giclee print shows a group of Native Americans on horseback in the middle of the battle. They are wearing war headdresses and have painted their horses with various shapes and colors. Russell's signature is in the bottom left hand corner reading, "C.M. Russell". The piece shows good condition overall with little to no wear present and no signs of damage. The visible art measures 23 7/8" L x 40" W, while the entire giclee print measures 28" L x 43" W. It weighs 6 ounces.
The original plaster Piegan Brave by Charles M Russell. This is the only known plaster model of it's kind made. There was nothing that Charles Russell loved more than making small, painted plaster sculptures which he could give as presents as a true gesture of friendship. From the Estate of Dr. Van Kirke Nelson - Kalispell, MT. Measures: 2 2/5" tall, 1 1/3" by 1" wide. This model's nose has been lost to time. The bronze in the previous lot is the first casting made from this model. The feather in the top right of the plaster on the Brave's head is representative of the same portrait sitting that Russell painted. That original watercolor sold in 1997 at auction. 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 Indian. Sterling Silver. 4" by 3 1/2" by 3 1/4". Number 6/100. 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 Tom Merriam Turkey. Sterling Silver. 4 1/8" by 3 3/4" by 3 1/8". Number 6/100. 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 Three Grizzly Bears. Sterling Silver. 4 3/8" by 2 3/4" by 2 1/2". Number 6/100. 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 Mountain Sheep. Sterling Silver. 4" by 3" by 2 3/4". Number 6/100. 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 Sow. Sterling Silver. 4 1/8" by 3 1/2" by 3". Number 6/100. 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 Merriam Turkey. Sterling Silver. 5" by 4" by 3". Number 6/100. 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 Monkey. Sterling Silver. 6 1/8" by 3" by 2 1/2". Number 6/100. 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 Doe Mule Deer. Sterling Silver. 5 1/2" by 5" by 2 1/2". Number 31/100. 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.
Lithograph celebrated American artist Charles M. Russell (1864-1926). It is signed by the artist in the lower end and it is titled The Buffalo Hunt after the original which was painted in 1900. This piece was printed in 1981 by The Great Western Artist Publishing Company in Houston Texas with permission of the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma. It is matted and framed under glass in a simple wooden frame and it measures 24.5 inches x 37 inches. Acquired from a Virginia estate.
Lithograph celebrated American artist Charles M. Russell (1864-1926). It is signed by the artist in the lower end and it is titled The Buffalo Hunt after the original which was painted in 1900. This piece was printed in 1981 by The Great Western Artist Publishing Company in Houston Texas with permission of the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma. It is matted and framed under glass in a simple wooden frame and it measures 24.5 inches x 37 inches. Acquired from a Virginia estate.
Title: Charles M. Russell (1864-1926), An Old-Time Hunting Party, 1904/1905 Dimensions: 16 5/8 x 13 1/4 Framed Dimensions: 22 x 18 1/2 x 1 3/16 Signature: signed lower left: CM Russell (artist cipher) 1904 copywright 1905 Charles Scribners Sons NY
Signed on reverse center, name plate on lower center. Sculpture measures approximately 5.25in x 7.75in x 6.75in. Some scuffs, tarnish, and scratches present. NR30405 BP
Title is Gnome Door Knocker. 11 3/4" by 7" by 6" on board. Quite a rare casting. 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 Lone Buffalo. 6 5/8" by 5" 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, 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. Sterling Silver. 2" by 2 3/4". Number 47/100 with 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, 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 Piegan Squaw. 7 3/4" by 5" by 5". Number 27 of 35 with provenance. 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.
Lithograph celebrated American artist Charles M. Russell (1864-1926). It is signed by the artist in the lower end and it is titled The Buffalo Hunt after the original which was painted in 1900. This piece was printed in 1981 by The Great Western Artist Publishing Company in Houston Texas with permission of the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma. It is matted and framed under glass in a simple wooden frame and it measures 24.5 inches x 37 inches. Acquired from a Virginia estate.
Charles M. Russell (American, 1864-1926) Framed Print "Sun River's War Party". Measures approx. 23 1/2" X 26 1/2", Sight measures approx. 17" X 30 1/2".
This is the printing plate for Russell's 1926 Christmas card. Russell passed away on October 24, 1926, making this his last. Mounted on a board that measures 7" by 7". Michael Westergard Collection Inv: 258
Lithograph celebrated American artist Charles M. Russell (1864-1926). It is signed by the artist in the lower end and it is titled The Buffalo Hunt after the original which was painted in 1900. This piece was printed in 1981 by The Great Western Artist Publishing Company in Houston Texas with permission of the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma. It is matted and framed under glass in a simple wooden frame and it measures 24.5 inches x 37 inches. Acquired from a Virginia estate.
A bronze statue on a marble plinth by celebrated American artist Charles Marion Russell (1864-1926). It is titled A Bronc Twister, after the original which was produced in 1911 and is currently displayed in The Amon Carter Museum in Ft Worth, TX. It measures 11 inches x 17 inches x 23 inches and it weighs 45lbs. This piece was acquired from a Metro Washington DC art auction and it has a $1,895.00 price tag that comes with it.
Charles Marion Russell (1864-1926) The Bronco Buster (Bronco Twister) signed with the artist's skull device 'CM Russell' (lower left) gouache and watercolor on leather board 19 3/4 in. diameter framed 26 1/2 x 26 1/2 in. Painted circa 1894.
Lithograph celebrated American artist Charles M. Russell (1864-1926). It is signed by the artist in the lower end and it is titled The Buffalo Hunt after the original which was painted in 1900. This piece was printed in 1981 by The Great Western Artist Publishing Company in Houston Texas with permission of the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma. It is matted and framed under glass in a simple wooden frame and it measures 24.5 inches x 37 inches. Acquired from a Virginia estate.
Charles Marion Russell (American, 1864-1926) The Medicine Man bronze with dark brown patina signed C M Russell with skull cipher (on base, behind figure); also inscribed Roman Bronze Works N.Y. (edge of base) height (not including base): 7 in.
Lithograph on paper, Indian on horse back on buffalo hunt. Housed in carved floral molded gilt wood frame. Sight in plate lower left and dated 1919. Image size - 19 3/8 x 27 1/4. Frame - 31 x 39 1/8.
A bronze statue on a marble plinth by celebrated American artist Charles Marion Russell (1864-1926). It is titled A Bronc Twister, after the original which was produced in 1911 and is currently displayed in The Amon Carter Museum in Ft Worth, TX. It measures 11 inches x 17 inches x 23 inches and it weighs 45lbs. This piece was acquired from a Metro Washington DC art auction and it has a $1,895.00 price tag that comes with it.
Title is Indian Warrior. Watercolor on Paper. 5" by 5 3/4" unframed. 14 1/4" by 14 3/4" framed. Provenance: The Patsy P. and William L. Hutchison Collection, Altermann Gallery. Published in the following: Charles M. Russell: A Catalogue Raisonne, 2007, Oklahoma, Montana: Charles M. Russell Center for the Study of Art of the American West + The C. M. Russell Museum, No. 592 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 Red Bird. 12 1/8" by 10" by 5 5/8". 7 Copyright 1951 H.E. Britzman cast at Art Bronze A. Rodriguez. 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.
