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.
Charles Marion Russell 1864-1926 The Snake Priest bronze, mounted to stone plinth signed and dated "C.M. Russell [c] 1914" and with artist's cypher in casting, and with foundry mark "B. Zoppo New York" (Benjamin Zoppo)
Signed with colophon, "C. M. Russell" and Trademark buffalo skull on the upper surface of the base, near the edge. This is an extraordinary example with the details very much intact throughout. Measurement including marble base: H 12.6" W 11" D 7.25". This is the only sculpture for which Charles Russell sold the rights of reproduction. None of them were cast under his supervision. This bronze was most likely cast posthumously (note the brace on the horse's left foot), but before 1944. There does appear to be an indiscernible marking to the underside of the horse's belly. Literature: Rick Stewart, Charles M. Russell Sculptor, New York, 1994, fig. 1-57, pp. 35, 59, 120, 142, illustration of another cast; B. Byron Price, ed., Charles M. Russell: A Catalogue Raisonné, Norman, Oklahoma, 2007, pp. 189-191, illustration of another cast. Provenance: Amond Touscany (1886-1973), Grosse Pointe, Michigan; By Descent Amond Touscany Jr. (1915-1992). Grosse Pointe, Michigan; By Descent to a Private Collection, Grosse Pointe Farms, Michigan
Charles M. Russell bronze sculpture " Warrior Chief", signed C. M. Russell resting on a marble base. Charles Marion Russell (1864 - 1926) worked in Montana, California and Missouri and is known for Indian-frontier genre painting and sculpture. Dimensions: 17" H x 9" L
Charles M. Russell bronze sculpture " Mountain Lion and the Trapper", signed C. M. Russell resting on a marble base. Charles Marion Russell (1864 - 1926) worked in Montana, California and Missouri and is known for Indian-frontier genre painting and sculpture. Dimensions: 13" H x 5" L
Attributed to Charles Marion Russell (1864-1926) Boxers Patinated bronze Edition: 13/16 Inscribed in the casting: Attributed to CM Russell / Authenticated by Joe DeYong 3/5/71
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 (American, 1864-1926) Untitled Sketch pencil on ledger paper stamped From the effects of Charles M. Russell - Estate of Nancy C. Russell (verso) 4 x 5 5/8 inches
Charles Marion Russell (American, 1864-1926) Smoking Up bronze signed CM Russell with artist's cipher and marked Roman Bronze Works N.Y. (base) height 11 3/4 x width 10 1/4 x depth 7 1/4 inches This lot is located in Palm Beach. Property from the Estate of Jill L. Leinbach, Palm Beach, Florida.
Charles Marion Russell (American, 1864-1926) To Noses That Read, a Smell That Spells Man bronze signed CM Russell with artist's cipher, titled, and marked Roman Bronze Works N.Y. (base) height 4 3/4 x width 8 3/8 x depth 7 1/2 inches This lot is located in Denver. Property from the Estate of Jill L. Leinbach, Palm Beach, Florida.
Charles Marion Russell (1864 - 1926) Untitled (Blackfoot Warrior), from The Oregon Trail, ca. 1920 watercolor, pen, ink on paper signed lower left: CMP [bison skull cipher]
For your consideration is a rare "Good Medicine: The Illustrated Letters of Charles M. Russell", 1930, copyright 1929, 1930 by Nancy C. Russell and lithographed in New York City, N.Y. by William C.D. Glaser. "Good Medicine, Memories of the Real West Charles M. Russell With an Introduction by Will Rogers and a Biographical Note by Nancy C. Russell, Garden City Publishing, Inc. Garden City, New York." Here is the classic Charles M. Russell book for all collectors. "Good Medicine" is the inspiring chronicle of an old-time cow wrangler revealed in a unique collection of his illustrated letters. It is filled with letters and drawings to friends, and little stories. A print of the painting, "Where Tracks Spell War Or Meat" is on inside of both covers, a print of the painting, "When I Was A Kid" is on the opposite page of the title page. This rare book is a must have for Charlie Russell and Western art fans. This tan linen clothbound stamped gold gilt hardcover is in very nice condition, bison skull stamped front cover. Gold gilt on spine is clean and bright, slight scuffing along cover edges. Intact pages exhibit normal age tanning, no other obvious marring noted. Clear mylar jacket covers illustrated paper dust jacket, exhibits staining, slight scuffing and slight tears. Measures 8"W x 10.5"L x 1"D, weight 2lb 2oz.*
Featured in this lot is the "Charles M. Russell Watercolors of the Old West" art prints portfolio, 1958, Penn Prints. 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 watercolours, a vast majority of them depictions of a historic time and place that endure in a timeless present. This collection consists of six Russell titles: "Indians and Scouts Talking", "Intruders", "Surprise Attack", "When Cows Were Wild", "Squaw Travois", "Letter To Geo. W. Farr". The prints show an array of scenes and landscapes and are suitable for framing. The collection comes in a "Charles M. Russell Watercolors of the Old West" art folio. The collection shows nice condition overall with some light wear on the folio. The prints each measure 12"W x 16"L.
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.
Beautiful "Stagecoach" bronze sculpture originally by Charles Marion Russell (1864-1926). Rear of stage coach is inscribed "RUSSELL". Sculpture depicts 6 horses pulling 2 riders and several articles of luggage atop a stagecoach down an incline. Sculpture measures approximately 34" in length, with the black marble base measuring 37 1/2" in length and 9 1/2" in width. Front edge of the marble base features a pinned brass plaque that reads "STAGECOACH". CONDITION: very good to excellent, with bronze retaining varying shades of pleasing patina overall. Marble base exhibits a repair at the center from a previous break. An extremely attractive example of C.M. Russell's Stagecoach sculpture. (02-22991/MLW). $2,500-5,000.
Pair of Painted Native American Indian Cradleboards. One made and painted by Charles M. Russell, the other by Joe De Yong. Russell Cradleboard is 13 1/2" by 3 1/8" by 2 5/8". Joe De Yong Cradleboard is 12 5/8" by 5" by 1 7/8". The Russell cradleboard features a wax model, Russell was famous for his miniature wax models given to friends. The baby depicted in the Russell cradleboard can be seen in the following works: Indian Family with Travois, Bringing Home the Meat, The Wolfer's Camp, Indian Women Moving. A picture of the Russell cradleboard is also seen drawn into a letter between Joe, Nancy, and Charles, entitled Are You Working Harder, this letter resides in the Charles Russell Museum in the Charles M. Russell and Joe De Yong Research Materials from Richard J. Flood II. Included is a letter from the Wife of Dick Flood, owner of Trailside galleries, that documents the ownership and the provenance of the pieces. The letter reads: This is Joe De Yong's Pattern for Cradle Board and Baby Face. I have the Cradleboard Joe made for C.M. Russell, bought from Russell Estate, designs painted not beaded. Also have Cradleboard made by CMR for Joe, bought from Joe Thought you would like the cradleboard makings. Love Mother. Provenance: From the Estate of Dick Flood, Joe De Yong, Nancy Russell, Daro Flood, through descent from the artist. 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.
The only known reproduction of this letter. 7 7/8" by 9 7/8". Ex Dick Flood Collection. 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.
Lithograph by celebrated American artist Charles Marion Russell (1864-1926). It is titled A Doubtful Handshake, after the original which was produced in 1910 and is currently displayed in the Gilcrease Museum in Tulsa, OK. With frame, it measures 17 inches x 17 inches and it was acquired from a Metro Washington DC 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.
Lithograph by celebrated American artist Charles Marion Russell (1864-1926). It is titled A Doubtful Handshake, after the original which was produced in 1910 and is currently displayed in the Gilcrease Museum in Tulsa, OK. With frame, it measures 17 inches x 17 inches and it was acquired from a Metro Washington DC 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.
Title is Lone Wolf. 9 1/8" by 6 1/4" by 5 5/8". Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared oddthat cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? Its quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russells guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawkingsomewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys sleptuntil 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersmanunlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlies life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russells creative genius. He understood that the mountains dont need us, we need the mountains. Charlies favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancys strategy was the same as any rodeo organizer: open the gateswhich she did, and let r buck which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russells masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 paymentone of his largest commissionsto the Russells after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a 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.
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 (1864 - 1926), Bronze Charles Marion Russell (1864 - 1926), Bronze "Sleeping Thunder" Signed On a marble plinth 8 1/2in (21cm) h. 8 1/2in (21cm) l. Charles Marion Russell, was an American artist of the American Old West. He created more than 2,000 paintings of cowboys, Native Americans, and landscapes set in the western United States and in Alberta, Canada, in addition to many bronze sculptures. From the estate of a Marin County collector
Lithograph by celebrated American artist Charles Marion Russell (1864-1926). It is titled A Doubtful Handshake, after the original which was produced in 1910 and is currently displayed in the Gilcrease Museum in Tulsa, OK. With frame, it measures 17 inches x 17 inches and it was acquired from a Metro Washington DC 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.
Title: Charles M. Russell (1864-1926), Britzman Super Flit "Tobacco" Mixture Dimensions: 6 1/2 x 9 1/2 Framed Dimensions: 12 1/4 x 15 1/4 x 1 Signature: unsigned
Signed with colophon, "C. M. Russell" and Trademark buffalo skull on the upper surface of the base, near the edge. This is an extraordinary example with the details very much intact throughout. Measurement including marble base: H 12.6" W 11" D 7.25". This is the only sculpture for which Charles Russell sold the rights of reproduction. None of them were cast under his supervision. This bronze was most likely cast posthumously (note the brace on the horse's left foot), but before 1944. There does appear to be an indiscernible marking to the underside of the horse's belly. Literature: Rick Stewart, Charles M. Russell Sculptor, New York, 1994, fig. 1-57, pp. 35, 59, 120, 142, illustration of another cast; B. Byron Price, ed., Charles M. Russell: A Catalogue Raisonné, Norman, Oklahoma, 2007, pp. 189-191, illustration of another cast. Provenance: Amond Touscany (1886-1973), Grosse Pointe, Michigan; By Descent Amond Touscany Jr. (1915-1992). Grosse Pointe, Michigan; By Descent to a Private Collection, Grosse Pointe Farms, Michigan
[RUSSELL, C.M. (1864-1926)] The Buffalo Hunt / N. Porter Saddle & Harness Co. Advertisement. Southwestern USA, 1940. Framed advertisement for the manufacturers of leather goods and stockmen’s supplies featuring a print of C.M. Russell’s 1878 “The Buffalo Hunt” mounted to a black and gold gilt card. Frame 17 ½ x 21 ½”. Very good.
Attributed to Charles Marion Russell, American, 1864 to 1926, oil painting on canvas depicting a Western campaign scene in a landscape, 1915. Signed and dated, lower left. Framed. Charles Marion Russell, also known as C. M. Russell, Charlie Russell, and Kid Russell, was an American artist of the American Old West. He created more than 2 000 paintings of cowboys, Native Americans, and landscapes set in the western United States and in Alberta, Canada, in addition to bronze sculptures. He is known as the cowboy artist and was also a storyteller and author. Antique and Vintage American Western Fine Art, Paintings, Wall Art, and Collectibles. One of a kind artwork.
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