Olaus J Murie Paintings & Artwork for Sale | Olaus J Murie Art Value Price Guide

Aug. 23, 2024
Four Lithographs of Nature Sketches by Olaus J. Murie
Est: $800 - $1,200
After Olaus Johan Murie (American, 1889-1963). Four framed lithographs, 1982. From Olaus J. Murie "A Naturalist's Portfolio of Field Sketches" folder. Design by Ed and Lee Riddell or Riddell PhotoGraphics, Jackson Hole, Wyoming. Lithography by Paragon Press, Salt Lake City, Utah. Copyright Grand Teton Natural History Association. Artist's initials printed throughout lithographs. A fascinating ensemble of 4 composite prints designed from combined drawings by American naturalist, author, and wildlife biologist Olaus Johan Murie. Murie used sheets and scraps of paper of various sizes for his sketches, so these lithographs have been designed as a composite of those pieces. The intriguing prints feature studies of flowers, Western Red Tails, elk, and weasels. Size of print (all the same): 8" W x 11.5" H (20.3 cm x 29.2 cm); of frame (all the same): 14.75" W x 18.5" H (37.5 cm x 47 cm) About the artist: "Olaus Murie was one of the great naturalists of the 1900's and a man well-suited for his time. Prior to the 1940's there were vast gaps in our knowledge of the life history, distribution and abundance of many mammals and birds. Olaus, a farm-reared Minnesota boy, was assigned to fill some of these gaps. His first Alaskan expedition was to make a detailed study of the caribou. This entailed traveling hundreds of miles by dogsled in winter and by boat or on foot in summer to keep up with this wide-ranging species. Later he spent several summers in an extensive survey of the bird life of the Alaskan Coast. In the late 1930's he began his classic study of the North American elk in Grand Teton National Park and Jackson Hole, Wyoming. His assignment was to find out all that was possible about its life history. Over the years he amassed a wealth of information. Olaus' field notebooks became crammed with details. But he realized that words alone would not fully convey all that he wished to record. So on his earliest Alaskan expeditions he started to sketch. He was a self-taught artist, having had nothing but the encouragement of a teacher back in Minnesota to start him off. Yet Olaus possessed perhaps the greatest qualifications for an artist-keen observation with attention to detail, an inquiring mind and perseverance. Many of his sketches documented the true colors of beaks and legs of birds he had collected, for these colors change after death. Perhaps he wished to convey the positions of the head, ears, mouth and nostrils of an alert yearling elk as an older bull approached, the stance of a cow and her nursing calf. the ragged appearance of the bark on trees where a bull elk had been rubbing his velvet-covered antlers, or the toothmarks of mouse, porcupine or rabbit. Olaus painted not with selling any of his work in mind, but strictly to further understanding of the animals he was observing. Anybody who has loaded a pack before starting out on an arduous day's outing can well appreciate Olaus dedication as a biologist. In went one or two cameras, exposure meter, tripod, spare film, binoculars, plaster of Paris for making molds of tracks and a can to mix it in, various and sundry bags and bottles for bringing back animal scats or chewed or eaten twigs, to say nothing of insect repellant, food and garb for rain, snow and wind. Yet judging from the paucity of references Olaus made in his field notes about the essentials, he seemed to live above food and the elements. On top of all these had to go his sketch pad, brushes and paints, the latter two conveniently carried in a khaki kit attached to his belt. Out poured hundreds of sketches, each carefully annotated as to date, location and other details. Olaus felt his sketches were an integral part of his scientific writings; we would do well also to read his "Elk of North America" or "Field Guide to Animal Tracks" and see for ourselves the unity of his sketches and writing. There is a lesson in these sketches. There is no magic formula for becoming a naturalist. Certainly not a college degree in biology. Instead one must be willing to spend patient hours in the field, constantly asking questions. For many naturalists discovering some little new facet about an animal or plant can bring more joy than a trip to some exotic land. Olaus in his quiet modest manner helped countless young people to become keener observers. Perhaps careful study of his work will help the reader as well." (Introduction to "A Naturalist's Portfolio of Field Sketches" by Dr. Allen W. Stokes, Professor Emeritus, Utah State University and Professor of Animal Behavior, Teton Science School Summer Seminar Series) Provenance: Cultural Patina Gallery, Burke, Virginia, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #188523
Artemis Gallery
Aug. 16, 2024
Four Lithographs of Animal Sketches by Olaus J. Murie
Est: $800 - $1,200
After Olaus Johan Murie (American, 1889-1963). Four framed lithographs, 1982. Accompanied by Olaus J. Murie "A Naturalist's Portfolio of Field Sketches" folder. Design by Ed and Lee Riddell or Riddell PhotoGraphics, Jackson Hole, Wyoming. Lithography by Paragon Press, Salt Lake City, Utah. Copyright Grand Teton Natural History Association. A fascinating ensemble of 4 composite prints designed from combined drawings by American naturalist, author, and wildlife biologist Olaus Johan Murie. Murie utilized sheets and scraps of paper of various sizes for his sketches; thus these lithograph have been designed as a composite of them. The intriguing prints feature studies of martens, otters, coyotes, and birds. Size of print (all the same): 8.5" W x 11.5" H (21.6 cm x 29.2 cm); of frame (all the same): 15.1" W x 18.1" H (38.4 cm x 46 cm) About the artist: "Olaus Murie was one of the great naturalists of the 1900's and a man well-suited for his time. Prior to the 1940's there were vast gaps in our knowledge of the life history, distribution and abundance of many mammals and birds. Olaus, a farm-reared Minnesota boy, was assigned to fill some of these gaps. His first Alaskan expedition was to make a detailed study of the caribou. This entailed traveling hundreds of miles by dogsled in winter and by boat or on foot in summer to keep up with this wide-ranging species. Later he spent several summers in an extensive survey of the bird life of the Alaskan Coast. In the late 1930's he began his classic study of the North American elk in Grand Teton National Park and Jackson Hole, Wyoming. His assignment was to find out all that was possible about its life history. Over the years he amassed a wealth of information. Olaus' field notebooks became crammed with details. But he realized that words alone would not fully convey all that he wished to record. So on his earliest Alaskan expeditions he started to sketch. He was a self- taught artist, having had nothing but the encouragement of a teacher back in Minnesota to start him off. Yet Olaus possessed perhaps the greatest qualifications for an artist-keen observation with attention to detail, an inquiring mind and perseverance. Many of his sketches documented the true colors of beaks and legs of birds he had collected, for these colors change after death. Perhaps he wished to convey the positions of the head, ears, mouth and nostrils of an alert yearling elk as an older bull approached, the stance of a cow and her nursing calf. the ragged appearance of the bark on trees where a bull elk had been rubbing his velvet-covered antlers, or the toothmarks of mouse, porcupine or rabbit. Olaus painted not with selling any of his work in mind, but strictly to further understanding of the animals he was observing. Anybody who has loaded a pack before starting out on an arduous day's outing can well appreciate Olaus dedication as a biologist. In went one or two cameras, exposure meter, tripod, spare film, binoculars, plaster of Paris for making molds of tracks and a can to mix it in, various and sundry bags and bottles for bringing back animal scats or chewed or eaten twigs, to say nothing of insect repellant, food and garb for rain, snow and wind. Yet judging from the paucity of references Olaus made in his field notes about the essentials, he seemed to live above food and the elements. On top of all these had to go his sketch pad, brushes and paints, the latter two conveniently carried in a khaki kit attached to his belt. Out poured hundreds of sketches, each carefully annotated as to date, location and other details. Olaus felt his sketches were an integral part of his scientific writings; we would do well also to read his "Elk of North America" or "Field Guide to Animal Tracks" and see for ourselves the unity of his sketches and writing. There is a lesson in these sketches. There is no magic formula for becoming a naturalist. Certainly not a college degree in biology. Instead one must be willing to spend patient hours in the field, constantly asking questions. For many naturalists discovering some little new facet about an animal or plant can bring more joy than a trip to some exotic land. Olaus in his quiet modest manner helped countless young people to become keener observers. Perhaps careful study of his work will help the reader as well." (Introduction to "A Naturalist's Portfolio of Field Sketches" by Dr. Allen W. Stokes, Professor Emeritus, Utah State University and Professor of Animal Behavior, Teton Science School Summer Seminar Series) Provenance: Cultural Patina Gallery, Burke, Virginia, USA All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #188522
Artemis Gallery
Jan. 25, 2020
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina
Nov. 09, 2019
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina
Sep. 28, 2019
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina
Aug. 24, 2019
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina
Jun. 22, 2019
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina
Apr. 27, 2019
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina
Mar. 23, 2019
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina
Feb. 23, 2019
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Est: $250 - $800
A Naturalist's Portfolio Of Field Sketches, by Olaus J. Murie, Ca 1982, #1398
Culturalpatina