Jaune Quick-to-See Smith (Native American, b. 1940) colorful mixed media on paper nature scene titled "Ode to Chief Seattle," 1991. Signed lower center and numbered lower left, 11/18. Provenance: From the Collection of Brendelle & Fred Walden. [Art: 28 1/2" H x 21" W; Frame: 32 3/4" H x 25 1/4" W]. In good condition.
Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, b. 1940) Untitled, 1984 mixed media on paper inscribed lower left: For Retha and Steve with Love & admiration signed and dated lower right: Jaune Smith ‘84
Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, b. 1940) Wasatch Winter, 2002 lithograph, edition 30 of 75 editioned lower left: 30/75 titled and dated lower center: Wassatch Winter 2002 signed lower right: JqS Smith published by Fine Art Ltd. on behalf of the Cultural Olympiad for the 2002 Salt Lake Olympic Games printed by Michael Sims at Lawrence Lithography Workshop
Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, b. 1940) 40,000 Years of American Art, 1995 collagraph, edition 5 of 20 editioned lower left: 5/20 signed lower right: JqS Smith published by Island Press, School of Fine Arts Printmaking Workshop, Washington University, St. Louis, Missouri printed by Kevin Garber
Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, b. 1940) Indian Handprint, 1993 monotype, variant III of VI editioned lower left: III signed and dated lower right: JqS Smith 93 published by Smith College, Northampton, Massachusetts printed by Maurice Sanchez (of Derriere L'Etoile Studios) for Smith College
Title is The Environment: Be a Shepherd. 34" by 46" framed. Provenance Tootie Myhre Bigfork Montana Estate. Carol Tootie Myhre grew up in Olympia, WA where she became an excellent golfer, a sport she continued to enjoy. After graduation from Western Washington State College, she worked at the Montana School for the Deaf and Blind. Tootie and the late Eric Myhre, a Montana advertising executive, shared a passion for art and fine things. They had an extensive collection of fine art and incorporated it into their daily living between Bigfork Montana and Carefree Arizona. Jaune Quick-To-See Smith (Born 1940) is active/lives in New Mexico, Montana. Jaune Smith is known for Modernist Indian figure-genre painting. Jaune Quick-to-See Smith, of Salish, French-Cree and Shoshone ancestry, was born on the Flathead Indian Reservation in St. Ignatius, Montana in 1940. The daughter of an amateur painter, her pastels and paintings depict her memories of childhood landscapes, her horse, "Cheyenne," appearing in many of her works. She studied at Framingham State College, Massachusetts, earning a B.A. degree in Art Education in 1976, and the University of New Mexico, M.F.A., Art, 1980. She now lives in Corrales, New Mexico. Smith became an artist while in her 30s, and was earning a living as a painter before she completed her degree at the University of New Mexico. By the mid-1970s, Smith had also founded artists' groups, curated exhibitions, and organized grassroots protests to express her concern for the land and its people. Smith creates work that addresses the myths of her ancestors in the context of current issues facing American Indians. She works with paint, collage, and appropriated imagery, using a combination of representational and abstract images. Inspired by the formal innovations of such artists as Pablo Picasso, Paul Klee, and Robert Rauschenberg, as well as traditional American Indian art, Smith sees herself as "a harbinger, a mediator and a bridge builder. My art, my life experience, and my tribal ties are totally enmeshed. I go from one community with messages to the other, and I try to enlighten people." The artist's awards include: Purchase Award, Academy of Arts and Letters, New York City, 1987; Distinguished Service Award, Salish Kootenai College, Montana 1991; SITE Santa Fe Award, 1995; Joan Mitchell Foundation Award, 1996; Lifetime Achievement Award, Women's Caucus for the Arts, 1997; Honorary Doctorates at Minneapolis College of Art and Design 1992; Pennsylvania Academy of the Fine Arts, Philadelphia 1998; Eiteljorg Fellowship, 1999. Her one-person show, "Subversion/Affirmation: Jaune Quick-to-See Smith, A Survey," originated at the Jersey City Museum, concluding its national tour in 1998 at the Art Museum of Missoula, Montana. Other solo exhibitions include: The Neuberger Museum; Smith College; The Chrysler Museum, Lehigh University; New Mexico State University Museum. Smith's group exhibits include: The Decade Show, NY; Myth and Magic in the Americas, Museo de Arte Comtemporaneo de Monterrey, Mexico; The IV South American Biennial; Stephane Janssen Collection; Kaleidoscope Show, the National Museum of American Art, Washington, DC; World Views: Maps & Art, the Weisman Art Museum, Minneapolis; Ceremonial, the Venice Biennale; The View from Here, State Tretyakov Gallery, Moscow, Russia.Italic Smith's work is in numerous public collections, including; Museum of Mankind, Vienna, Austria; National Museum of Women in the Arts, DC; Minneapolis Institute of Arts; Smith College, Massachusetts; Walker Art Center, Minneapolis; Jersey City Museum; Chrysler Art Museum, Virginia; High Museum, Atlanta; National Museum of American Art, Washington, DC; Museum of Modern Art, and Whitney Museum of American Art, New York City. PUBLICATIONS: The Pink Glass Swan; Partial Recall and Mixed Blessings by Lucy Lippard; Art History by Marilyn Stokstad; Women Artists: Works from the National Museum of Women in the Arts by Nancy Heller; Women, Art and Society by Whitney Chadwick; Native American Identities by Scott Vickers; Mapping the Terrain: New Genre Public Art by Suzanne Lacy and Printmaking in New Mexico 1880-1990 by Clinton Adams. Smith has been featured in six PBS broadcasts, several German ZDF films and a Finnish documentary. Her work has been reviewed in Art in America, Village Voice, Art Forum, Art News, The New Art Examiner, Art Week, The New York Times and Art Papers. SELECTED PUBLIC COMMISSIONS: Commissions include the Ridgedale Library Mural, (12' X 24'), Hennepin County, MN in 1999; West Seattle AIki Beach Trail, team, memorial markers and art installations, 1996; National Museum of the American Indians, Smithsonian Institution, Washington, DC, artist on design team, 1993; Northwind Fishing Weir Story, Fish Wheel Project, collaboration with Duwamish Tribe, King County Arts Commission, Seattle, WA, 1992; Yerba Buena Park, Sculpture Garden, Moscone Center, San Francisco, CA, Cultural Museum, Flathead Reservation, MT, designed floor, New Denver Airport, Terrazzo Floor, Main Terminal, Wastewater Treatment Plant, Series of Installations for Public Tour, Phoenix, AZ , 1991; Washington State Arts Commission, Public Schools Art Program, 1990; Salt River Utilities Headquarters, Phoenix, AZ, 1989; The Palms Hotel, Phoenix, AZ, 1985; Phelps Dodge Corporation Headquarters, Phoenix, AZ, 1983. LECTURES: Smith has lectured at over 175 universities, museums and conferences internationally. She has delivered keynote addresses to many annual art education conferences as well as the National Art Education Association's National Conference and the Women's Caucus for the Arts National Conference. PRINTMAKING: Smith has printed at workshops nationwide including RCIPP, Rutgers University in New Brunswick, NJ; Tandem Press, Madison, WI; Washington Univ., St. Louis, MO; Lawrence Lithography Workshop, Kansas City, KS; and Tamarind Institute, Albuquerque, NM. BOARDS: The Institute of American Indian Arts, Santa Fe; American Indian Contemporary Art Gallery, San Francisco; Montana Indian Contemporary Arts; Atlatl, Phoenix; the College Art Association, NY and the Salish Kootenai College Foundation Board, Flathead Nation, MT. CURATOR: She has organized and curated over 30 American Indian exhibits including the first two Heard Museum Biennials; Women of Sweetgrass; Photographing Ourselves; Our Land Ourselves; The Submoluc Show or the Columbus Woes; We the Human Beings; Positives and Negatives; We are many, we are one; and Offerings from the Heart.
JAUNE QUICK-TO-SEE SMITH Confederated Salish and Kootenai Tribes, b. 1940 "Everything is Connected, From the Land to the Deep Blue Sea", 1990 mixed media on paper signed in pencil lower right, titled in pencil lower left
(Flathead/Salish Tribe, Montana, born 1940) Charlo (#26-85), signed lower right "JQTS Smith", pastel on paper, 30-1/8 x 22-3/8 in.; wood frame,39-1/8 x 31-1/8 x 1-1/2 in. Provenance: Stremmel Galleries, Ltd., Reno Nevada, (label verso); Joan Drackert, Reno, Nevada; By descent in family Note: Charlo was the artist's horse.
Jaune Quick-To-See Smith (French-Cree, Shoshone, Salish, American, b. 1940), "Four Directions," 1994, photolithograph and linocut, pencil signed and dated lower right, titled lower center, edition 26/200, sheet (unframed): 44.5"h x 30"w
Title is The Environment: Be a Shepherd. 34" by 46" framed. Provenance Tootie Myhre Bigfork Montana Estate. Carol Tootie Myhre grew up in Olympia, WA where she became an excellent golfer, a sport she continued to enjoy. After graduation from Western Washington State College, she worked at the Montana School for the Deaf and Blind. Tootie and the late Eric Myhre, a Montana advertising executive, shared a passion for art and fine things. They had an extensive collection of fine art and incorporated it into their daily living between Bigfork Montana and Carefree Arizona. Jaune Quick-To-See Smith (Born 1940) is active/lives in New Mexico, Montana. Jaune Smith is known for Modernist Indian figure-genre painting. Jaune Quick-to-See Smith, of Salish, French-Cree and Shoshone ancestry, was born on the Flathead Indian Reservation in St. Ignatius, Montana in 1940. The daughter of an amateur painter, her pastels and paintings depict her memories of childhood landscapes, her horse, "Cheyenne," appearing in many of her works. She studied at Framingham State College, Massachusetts, earning a B.A. degree in Art Education in 1976, and the University of New Mexico, M.F.A., Art, 1980. She now lives in Corrales, New Mexico. Smith became an artist while in her 30s, and was earning a living as a painter before she completed her degree at the University of New Mexico. By the mid-1970s, Smith had also founded artists' groups, curated exhibitions, and organized grassroots protests to express her concern for the land and its people. Smith creates work that addresses the myths of her ancestors in the context of current issues facing American Indians. She works with paint, collage, and appropriated imagery, using a combination of representational and abstract images. Inspired by the formal innovations of such artists as Pablo Picasso, Paul Klee, and Robert Rauschenberg, as well as traditional American Indian art, Smith sees herself as "a harbinger, a mediator and a bridge builder. My art, my life experience, and my tribal ties are totally enmeshed. I go from one community with messages to the other, and I try to enlighten people." The artist's awards include: Purchase Award, Academy of Arts and Letters, New York City, 1987; Distinguished Service Award, Salish Kootenai College, Montana 1991; SITE Santa Fe Award, 1995; Joan Mitchell Foundation Award, 1996; Lifetime Achievement Award, Women's Caucus for the Arts, 1997; Honorary Doctorates at Minneapolis College of Art and Design 1992; Pennsylvania Academy of the Fine Arts, Philadelphia 1998; Eiteljorg Fellowship, 1999. Her one-person show, "Subversion/Affirmation: Jaune Quick-to-See Smith, A Survey," originated at the Jersey City Museum, concluding its national tour in 1998 at the Art Museum of Missoula, Montana. Other solo exhibitions include: The Neuberger Museum; Smith College; The Chrysler Museum, Lehigh University; New Mexico State University Museum. Smith's group exhibits include: The Decade Show, NY; Myth and Magic in the Americas, Museo de Arte Comtemporaneo de Monterrey, Mexico; The IV South American Biennial; Stephane Janssen Collection; Kaleidoscope Show, the National Museum of American Art, Washington, DC; World Views: Maps & Art, the Weisman Art Museum, Minneapolis; Ceremonial, the Venice Biennale; The View from Here, State Tretyakov Gallery, Moscow, Russia.Italic Smith's work is in numerous public collections, including; Museum of Mankind, Vienna, Austria; National Museum of Women in the Arts, DC; Minneapolis Institute of Arts; Smith College, Massachusetts; Walker Art Center, Minneapolis; Jersey City Museum; Chrysler Art Museum, Virginia; High Museum, Atlanta; National Museum of American Art, Washington, DC; Museum of Modern Art, and Whitney Museum of American Art, New York City. PUBLICATIONS: The Pink Glass Swan; Partial Recall and Mixed Blessings by Lucy Lippard; Art History by Marilyn Stokstad; Women Artists: Works from the National Museum of Women in the Arts by Nancy Heller; Women, Art and Society by Whitney Chadwick; Native American Identities by Scott Vickers; Mapping the Terrain: New Genre Public Art by Suzanne Lacy and Printmaking in New Mexico 1880-1990 by Clinton Adams. Smith has been featured in six PBS broadcasts, several German ZDF films and a Finnish documentary. Her work has been reviewed in Art in America, Village Voice, Art Forum, Art News, The New Art Examiner, Art Week, The New York Times and Art Papers. SELECTED PUBLIC COMMISSIONS: Commissions include the Ridgedale Library Mural, (12' X 24'), Hennepin County, MN in 1999; West Seattle AIki Beach Trail, team, memorial markers and art installations, 1996; National Museum of the American Indians, Smithsonian Institution, Washington, DC, artist on design team, 1993; Northwind Fishing Weir Story, Fish Wheel Project, collaboration with Duwamish Tribe, King County Arts Commission, Seattle, WA, 1992; Yerba Buena Park, Sculpture Garden, Moscone Center, San Francisco, CA, Cultural Museum, Flathead Reservation, MT, designed floor, New Denver Airport, Terrazzo Floor, Main Terminal, Wastewater Treatment Plant, Series of Installations for Public Tour, Phoenix, AZ , 1991; Washington State Arts Commission, Public Schools Art Program, 1990; Salt River Utilities Headquarters, Phoenix, AZ, 1989; The Palms Hotel, Phoenix, AZ, 1985; Phelps Dodge Corporation Headquarters, Phoenix, AZ, 1983. LECTURES: Smith has lectured at over 175 universities, museums and conferences internationally. She has delivered keynote addresses to many annual art education conferences as well as the National Art Education Association's National Conference and the Women's Caucus for the Arts National Conference. PRINTMAKING: Smith has printed at workshops nationwide including RCIPP, Rutgers University in New Brunswick, NJ; Tandem Press, Madison, WI; Washington Univ., St. Louis, MO; Lawrence Lithography Workshop, Kansas City, KS; and Tamarind Institute, Albuquerque, NM. BOARDS: The Institute of American Indian Arts, Santa Fe; American Indian Contemporary Art Gallery, San Francisco; Montana Indian Contemporary Arts; Atlatl, Phoenix; the College Art Association, NY and the Salish Kootenai College Foundation Board, Flathead Nation, MT. CURATOR: She has organized and curated over 30 American Indian exhibits including the first two Heard Museum Biennials; Women of Sweetgrass; Photographing Ourselves; Our Land Ourselves; The Submoluc Show or the Columbus Woes; We the Human Beings; Positives and Negatives; We are many, we are one; and Offerings from the Heart.
Title is The Environment: Be a Shepherd. 34" by 46" framed. Provenance Tootie Myhre Bigfork Montana Estate. Carol Tootie Myhre grew up in Olympia, WA where she became an excellent golfer, a sport she continued to enjoy. After graduation from Western Washington State College, she worked at the Montana School for the Deaf and Blind. Tootie and the late Eric Myhre, a Montana advertising executive, shared a passion for art and fine things. They had an extensive collection of fine art and incorporated it into their daily living between Bigfork Montana and Carefree Arizona. Jaune Quick-To-See Smith (Born 1940) is active/lives in New Mexico, Montana. Jaune Smith is known for Modernist Indian figure-genre painting. Jaune Quick-to-See Smith, of Salish, French-Cree and Shoshone ancestry, was born on the Flathead Indian Reservation in St. Ignatius, Montana in 1940. The daughter of an amateur painter, her pastels and paintings depict her memories of childhood landscapes, her horse, "Cheyenne," appearing in many of her works. She studied at Framingham State College, Massachusetts, earning a B.A. degree in Art Education in 1976, and the University of New Mexico, M.F.A., Art, 1980. She now lives in Corrales, New Mexico. Smith became an artist while in her 30s, and was earning a living as a painter before she completed her degree at the University of New Mexico. By the mid-1970s, Smith had also founded artists' groups, curated exhibitions, and organized grassroots protests to express her concern for the land and its people. Smith creates work that addresses the myths of her ancestors in the context of current issues facing American Indians. She works with paint, collage, and appropriated imagery, using a combination of representational and abstract images. Inspired by the formal innovations of such artists as Pablo Picasso, Paul Klee, and Robert Rauschenberg, as well as traditional American Indian art, Smith sees herself as "a harbinger, a mediator and a bridge builder. My art, my life experience, and my tribal ties are totally enmeshed. I go from one community with messages to the other, and I try to enlighten people." The artist's awards include: Purchase Award, Academy of Arts and Letters, New York City, 1987; Distinguished Service Award, Salish Kootenai College, Montana 1991; SITE Santa Fe Award, 1995; Joan Mitchell Foundation Award, 1996; Lifetime Achievement Award, Women's Caucus for the Arts, 1997; Honorary Doctorates at Minneapolis College of Art and Design 1992; Pennsylvania Academy of the Fine Arts, Philadelphia 1998; Eiteljorg Fellowship, 1999. Her one-person show, "Subversion/Affirmation: Jaune Quick-to-See Smith, A Survey," originated at the Jersey City Museum, concluding its national tour in 1998 at the Art Museum of Missoula, Montana. Other solo exhibitions include: The Neuberger Museum; Smith College; The Chrysler Museum, Lehigh University; New Mexico State University Museum. Smith's group exhibits include: The Decade Show, NY; Myth and Magic in the Americas, Museo de Arte Comtemporaneo de Monterrey, Mexico; The IV South American Biennial; Stephane Janssen Collection; Kaleidoscope Show, the National Museum of American Art, Washington, DC; World Views: Maps & Art, the Weisman Art Museum, Minneapolis; Ceremonial, the Venice Biennale; The View from Here, State Tretyakov Gallery, Moscow, Russia.Italic Smith's work is in numerous public collections, including; Museum of Mankind, Vienna, Austria; National Museum of Women in the Arts, DC; Minneapolis Institute of Arts; Smith College, Massachusetts; Walker Art Center, Minneapolis; Jersey City Museum; Chrysler Art Museum, Virginia; High Museum, Atlanta; National Museum of American Art, Washington, DC; Museum of Modern Art, and Whitney Museum of American Art, New York City. PUBLICATIONS: The Pink Glass Swan; Partial Recall and Mixed Blessings by Lucy Lippard; Art History by Marilyn Stokstad; Women Artists: Works from the National Museum of Women in the Arts by Nancy Heller; Women, Art and Society by Whitney Chadwick; Native American Identities by Scott Vickers; Mapping the Terrain: New Genre Public Art by Suzanne Lacy and Printmaking in New Mexico 1880-1990 by Clinton Adams. Smith has been featured in six PBS broadcasts, several German ZDF films and a Finnish documentary. Her work has been reviewed in Art in America, Village Voice, Art Forum, Art News, The New Art Examiner, Art Week, The New York Times and Art Papers. SELECTED PUBLIC COMMISSIONS: Commissions include the Ridgedale Library Mural, (12' X 24'), Hennepin County, MN in 1999; West Seattle AIki Beach Trail, team, memorial markers and art installations, 1996; National Museum of the American Indians, Smithsonian Institution, Washington, DC, artist on design team, 1993; Northwind Fishing Weir Story, Fish Wheel Project, collaboration with Duwamish Tribe, King County Arts Commission, Seattle, WA, 1992; Yerba Buena Park, Sculpture Garden, Moscone Center, San Francisco, CA, Cultural Museum, Flathead Reservation, MT, designed floor, New Denver Airport, Terrazzo Floor, Main Terminal, Wastewater Treatment Plant, Series of Installations for Public Tour, Phoenix, AZ , 1991; Washington State Arts Commission, Public Schools Art Program, 1990; Salt River Utilities Headquarters, Phoenix, AZ, 1989; The Palms Hotel, Phoenix, AZ, 1985; Phelps Dodge Corporation Headquarters, Phoenix, AZ, 1983. LECTURES: Smith has lectured at over 175 universities, museums and conferences internationally. She has delivered keynote addresses to many annual art education conferences as well as the National Art Education Association's National Conference and the Women's Caucus for the Arts National Conference. PRINTMAKING: Smith has printed at workshops nationwide including RCIPP, Rutgers University in New Brunswick, NJ; Tandem Press, Madison, WI; Washington Univ., St. Louis, MO; Lawrence Lithography Workshop, Kansas City, KS; and Tamarind Institute, Albuquerque, NM. BOARDS: The Institute of American Indian Arts, Santa Fe; American Indian Contemporary Art Gallery, San Francisco; Montana Indian Contemporary Arts; Atlatl, Phoenix; the College Art Association, NY and the Salish Kootenai College Foundation Board, Flathead Nation, MT. CURATOR: She has organized and curated over 30 American Indian exhibits including the first two Heard Museum Biennials; Women of Sweetgrass; Photographing Ourselves; Our Land Ourselves; The Submoluc Show or the Columbus Woes; We the Human Beings; Positives and Negatives; We are many, we are one; and Offerings from the Heart.
JAUNE QUICK-TO-SEE SMITH AMERICAN, MONTANA, 1940- CHEYENNE #20 - HORSES IN THE SWEET GRASS Mixed media and collage on paper Lower right signed: Juane Quick-To-See Smith; verso titled and numbered in graphite: Cheyenne #20 Catalogue note: Jaune Quick-to-See Smith creates work that addresses the myths of her ancestors in the context of current issues facing Native Americans. Raised on the Flathead Reservation, Smith is deeply connected to her heritage. She creates work that addresses the myths of her ancestors in the context of current issues facing Native Americans. Her inspiration stems from the formal innovations of such artists as Pablo Picasso, Paul Klee, and Robert Rauschenberg, as well as traditional Native American art. Smith works with paint, collage, and appropriated imagery. Through a combination of representational and abstract images, she confronts subjects such as the destruction of the environment, governmental oppression of Indigenous cultures, and the pervasive myths of Euro-American cultural hegemony. Smith has had more than eighty solo exhibitions over the past 30 years. During the same period, she organized and curated more than 30 Indigenous exhibitions and lectured at almost 200 universities, museums, and conferences. She has also completed several collaborative public art works such as the floor design in the Great Hall of the Denver International Airport; an in-situ sculpture piece in Yerba Buena Park, San Francisco, and mile-long sidewalk history trail in West Seattle. Source: National Museum of Women in the Arts (via: nmwa.org/art/artists/jaune-quick-see-smith/)
Jaune Quick-to-See Smith Untitled (from the Kalispell Series) c. 1979 pastel and graphite on paper 30 h x 22.5 w in (76 x 57 cm) Signed to lower center 'JQTS Smith'. Provenance: Private Collection, New Jersey | Private Collection This work will ship from Los Angeles, California.
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) New Prairie Series, 1978 ink, pencil, wash on paper signed Jaune QTS S and dated (lower right) 22 x 15 inches Provenance: Clarke-Benton Gallery, Santa Fe, New Mexico Acquired from the above by the present owner, July, 1978
Jaune Quick-to-See Smith Salish/French-Cree/Shoshone, (b. 1940), untitled (abstract landscape composition with figure, tipis and horse), pastel on Arches paper under glass, signed lower left: JQTS Smith. paper: height 30in, width 22 1/2in
Jaune Quick-To-See Smith (American / Salish and Kootenai, b.1940) Pastel on Paper Undated, pencil signed lower center, depicting an abstracted scene of a Native American village, float matted under acrylic in a wood frame Property from: an Estate, Medinah, Illinois Category: Fine Art > Drawings Estimated Sale Time: 10:29 am CST Shipping Status: Due to size, weight, value or shipping complexity, this item must be shipped via a 3rd Party and the shipping cost may be high. We recommend contacting multiple shipping vendors for an estimate as the cost may vary greatly. Last modified: January 31, 2024, 11:38 am
Jaune Quick-to-See Smith Posters (three works) 1979-83 offset lithograph in colors 24 h x 17.75 w in (61 x 45 cm) 27 h x 21 w in (69 x 53 cm) 27.75 h x 22 w in (70 x 56 cm) Lot is comprised of Imagery from the Plains, produced on the occasion of the exhibit at the Heard Museum, Phoenix from 15 December 1979 - 24 January 1980; Wallowa Waterhole, produced on the occasion of the exhibits at the University of North Dakota Art Galleries from 10 - 27 April 1979 and the Clarke-Benton Gallery, Santa Fe from 6 July - 4 August 1979; and Okanogan Series, produced in 1983 in conjunction with the Western States Arts Foundation and the Corcoran Gallery of Art on the occasion of the 88th Corcoran Biennal Exhibition of American Painting. Signed to lower right of Imagery from the Plains and Wallowa Waterhole ‘JQTS Smith’. This work will ship from Los Angeles, California.
"El Morro." Color lithograph. Signed, titled, and numbered in pencil. 30 1/8 x 22 1/4 in. The Tamarind Institute and the artist's blind stamps are on the lower left. Reference: New Mexico Museum of Art Object No.:1982.3.
Native American, b. 1940 Ghost Dance Signed Jaune Smith (lr), inscribed #10M and as titled on the reverse Pastel and graphite on paper 30 x 22 1/4 inches (76.2 x 56.5 cm) Provenance: Private collection, Colorado (Framed dimensions: 37 5/8 x 29 5/8 x 1 1/4 inches) Sheet is hinged to backing along upper edge. Pinholes at upper left and upper right corners. Old hinge tape on the reverse, placed overtop (and slightly obscuring) inscription. Overall good condition.
Jaune Quick-To-See Smith (Born 1940) "Xeriscape, 1991" Mixed Media and Paper Collage on Paper. Signed and dated on lower right. A painter and printmaker of Salish, French-Cree, and Shoshone heritage, Smith was born in 1940 in St. Ignatius, Montana, and raised on the Flathead Reservation. Smith has been creating complicated abstract paintings and lithographs since the 1970s. She employs a wide variety of media, working in painting, printmaking and richly textured mixed media pieces. Such images and collage elements as commercial slogans, sign-like petroglyphs, rough drawing, and the inclusion and layering of text are unusually intersected into a complex vision created out of the artist's personal experience. She has shown her work in more than 90 solo exhibitions. She has curated numerous Native American exhibitions and serves as an activist and spokesperson for contemporary Native art. She is in many private and public international collections, most notably: The Whitney Museum of American Art, NY; The Museum of Mankind, Vienna, Austria; The National Museum of Women in the Arts, Washington, DC; The Museum of Modern Art, Quito, Ecuador; and The Museum of Modern Art, NY. Artist: Jaune Quick-To-See Smith Title: "Xeriscape, 1991" Medium: Mixed Media Paper Collage Circa/Year: 1991 Signature Type: Hand Signed Signature Location: Lower Right Site Measurement: 15" x 15" Keywords: Native American, Indian Artwork, Art; Ref: BD1861
Jaune Quick-To-See Smith (Born 1940) "Antler, 1991" Mixed Media and Paper Collage on Paper. Signed and dated on lower right. A painter and printmaker of Salish, French-Cree, and Shoshone heritage, Smith was born in 1940 in St. Ignatius, Montana, and raised on the Flathead Reservation. Smith has been creating complicated abstract paintings and lithographs since the 1970s. She employs a wide variety of media, working in painting, printmaking and richly textured mixed media pieces. Such images and collage elements as commercial slogans, sign-like petroglyphs, rough drawing, and the inclusion and layering of text are unusually intersected into a complex vision created out of the artist's personal experience. She has shown her work in more than 90 solo exhibitions. She has curated numerous Native American exhibitions and serves as an activist and spokesperson for contemporary Native art. She is in many private and public international collections, most notably: The Whitney Museum of American Art, NY; The Museum of Mankind, Vienna, Austria; The National Museum of Women in the Arts, Washington, DC; The Museum of Modern Art, Quito, Ecuador; and The Museum of Modern Art, NY. Artist: Jaune Quick-To-See Smith Title: "Antler, 1991" Medium: Mixed Media Paper Collage Circa/Year: 1991 Signature Type: Hand Signed Signature Location: Lower Right Site Measurement: 15" x 15" Keywords: Native American, Indian Artwork, Art; Ref: BD1861
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Coyote in Quarantine, edition 62/95, 2020 lithograph signed JQTS Smith, numbered and dated (lower edge) 26 1/2 x 20 inches
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Sticky Mouth, edition 23/40, 1997 lithograph signed JQTS Smith and numbered (lower edge) 26 5/8 x 21 3/4 inches
Jaune Quick-to-See Smith (Confederated Salish/Kootenai, b. 1940) Trade Canoe: A Western Fantasy, edition 34/40, 2015 lithograph signed JQTS Smith, numbered and dated (lower edge) 21 x 30 inches
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Ode to Chief Seattle (State II), edition 26/35, 1991 lithograph signed JQTS Smith, titled and numbered (lower margin) 22 1/4 x 30 inches
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Winds of Change, Printer's Proof, 1990 lithograph signed JQTS Smith, titled and numbered (lower edge) 30 x 22 1/4 inches
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Cahokia, edition 19/20, 1989 color lithograph overworked by artist in pencil, oil stick and watercolor signed JQTS Smith, titled and numbered (lower edge) 30 x 22 1/2 inches
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) El Morro, edition 99/100, 1981 color lithograph overworked by artist in acrylic and crayon signed JQTS Smith and numbered (lower edge) 30 x 22 1/4 inches
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Kalispel Series pastel on paper signed JQTS Smith (lower right) 41 1/2 x 29 1/2 inches Provenance: K. Phillips Gallery, Denver, Colorado Purchased from the above by the present owner, circa 1980
Jaune Quick-To-See Smith Worlds Within Worlds 1996 lithograph in colors with collagraph and etching image: 53.25 h x 33.375 w in (135 x 85 cm) sheet: 59.75 h x 39.125 w in (152 x 99 cm) Signed and numbered to lower edge 'P.P. 1 Juane Smith'. This work is printer's proof number 1 apart from the edition of 12 printed by Tandem Press, Madison, WI. Provenance: Tandem Press, Madison, WI | Acquired from the previous by the present owner, Private Collection This work will ship from Chicago, Illinois.
JAUNE QUICK-TO-SEE SMITH (B. 1940) Whooping Crane, 1991 signed, titled and dated 'WHOOPING CRANE Jaune Quick 91' (lower right) watercolor, pastel and printed paper collage on paper 29 x 40 3/4 in. 73.7 x 103.5 cm. For further information on this lot please visit the Bonhams website
"Cahokia." 1989. Lithograph with hand coloring. Signed, titled and numbered in pencil. This work is unique and is from a series of twenty unique hand colored impressions. 30" x 22 1/2". It was published and hand colored by Smith at Island Press, Washington University. Note: The title of this work ("Cahokia") references the pre-Columbian Native American city Cahokia, which was settled around 600 CE and existed until the 14th century. The "Cahokia Mounds State Historic Site" is located across the Mississippi River from St. Louis, Missouri, where Smith created this artwork. Archeologists have concluded that Cahokia was a sophisticated city with complex architecture, still visible today, and occupied by an equally sophisticated society. Cahokia, at its peak, had an estimated population of 40,000. It was the largest city on the continent until the 1780s, when Philadelphia, (which had been colonized by the Europeans from the lands of the Lenape People and had been built in part on the slave trade), became the largest. The central bird man figure in this work draws on the sandstone artifact known as the "Cahokia Mounds Bird Man Tablet," which was unearthed in 1971 and is now at the Illinois State Museum.
Jaune Quick-to-See Smith (American, b. 1940) Night Catches Day, 1985 Oil on canvas 48 x 66 inches (121.9 x 167.6 cm) Signed, dated, and titled on the reverse: Night Catches Day / oc 1985 / Jaune Smith PROVENANCE: Private collection, Reno, Nevada. Jaune Quick-to-See Smith was born on the Flathead Indian Reservation in St. Ignatius, Montana in 1940 and is of Salish, French-Cree, and Shoshone ancestry. Combining representational and abstract images, Smith's artwork is a dynamic and powerful commentary that addresses the myths of her ancestors in the context of current issues facing American Indians. Smith notes, "My art, my life experience, and my tribal ties are totally enmeshed. I go from one community with messages to the other, and I try to enlighten people." "The Sacred isn't housed in a building or worn around your neck or something in the sky. The Sacred is the here and now we reside in, all breathing the same air, all imbibing the same water and made of the same earth with 'the life force' flowing through all living things." - Jaune Quick-to-See Smith HID01801242017
Jaune Quick-to-See Smith (American, b. 1940) Paper Doll, 1986 Oil on canvas 66 x 48 inches (167.6 x 121.9 cm) Signed, dated, and titled on the reverse: Jaune Smith / 1986 / Paper Doll PROVENANCE: Private collection, Reno, Nevada. "In my art and life, I really strive to reverse the old adage that what you see is what you get. If I can be Coyote and practice my sneak-up, I can engage the viewers from a distance with one image and lure them in for exposure to another layer, which changes the initial view into quite a different reality. After all, that is what ethnic culture is all about - or even an ongoing relationship. What you see on the surface is never the same again once you begin to plumb the depths." - Jaune Quick-to-See Smith HID01801242017
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Kalispell Series #40 pastel on paper signed J QTS Smith (lower center) 41 1/2 x 29 1/2 inches
Jaune Quick-to-See Smith French-Cree/Salish/Shoshone, (b. 1940), 'Hunter of Hungry Horse,' 1979, etching and aquatint on paper under glass, edition 5 of 60, signed lower right, numbered and blindstamped lower left. sight: height 12 1/2in, width 10in
Jaune Quick-to-See Smith French-Cree/Salish/Shoshone, (b. 1940), 'Earth People,' 2011, lithograph on paper under glass, signed lower left, numbered lower right, blindstamped along the lower edge. sight: height 34 1/2in, width 20 7/8in
Jaune Quick-to-See Smith French-Cree/Salish/Shoshone, (b. 1940), 'Waiting for Rain,' 2012, lithograph and collage on paper under Plexiglas, edition 10 of 20, titled and numbered lower center, signed and dated lower right. paper: height 22in, width 15 1/4in
Jaune Quick-to-See Smith French-Cree/Salish/Shoshone, (b. 1940), untitled abstract composition with figures and tipis, circa 1989, pastel on paper, signed lower left, unframed. height 30in, width 22 1/2in
