JERRY GOROSKI is the consultant appraisar to whom I refer inquiries about Scriver bronzes. He is formally trained and certified to do assessments and knew Bob Scriver as well as working for the CM Russell Museum in Great Falls. His gallery is called "Open Range Art."


Tuesday, March 12, 2013


This is a winter photo.  I can tell because a saddle is stored by suspension from the rafters.  The table on the left holds tracks of all the animals.  The plan was to cast them in bronze and inset them into the floor, but it never got done.  In front is a mountain sheep, Bob's favorite animal, and the white animal is a mountain goat.  In between, obscured by the mountain sheep, is an antelope.  All these animals were shot by Bob.  The exception is the cougar at the right which showed up in someone's woodshed.

This is a very small piece, only a few inches, a good one to keep on a desk.  The title is Enawaki or Buffalo Woman, the Real Mother and her child.  This is not meant to be a portrait, but iconic.

Here's Bob in later years in the backyard between the shop and the house.  The monumental bronze was cast in the Bighorn Foundry which is along the east side of the yard.  The foreman at the time was David Cree Medicine, son of Carl Cree Medicine who worked for Bob through the Sixties.

Bob Scriver and George Montgomery are looking at foot ware for Jesus who sits patiently at the left.  George used his contacts with the Hollywood costumers to bring in some properly researched materials for reference.  Over George's shoulder is a small version of the monument of Lewis & Clark in Great Falls.  The "Peace Jesus" was never completed except as a maquette.

Before there was a "Peace Jesus", there was a commissioned portrait of Jesus on the Cross, rather small.  Bob did it while his daughter was dying of cancer.  The model was Maurice Chaillot, brother of his second wife, Jeanette.  He was a brilliant man, a professor, quite a bit younger than his sisters.  After  Bob's daughter died, he thought of bringing back Maurice and his sister, Helene, in order to sculpt a Pieta, the image of Mary holding the dead body of her son.  This piece is a result.  For a long time he was afraid to cast it in bronze for fear of botching it somehow, but it turned out fine.  You can see the familiarity of his relationship to this piece by the way he puts his arm around it, as though it was a person.  Of course, it is a double portrait of two people he loved.  As far as I know, no casting was ever sold to anyone.

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