tag:blogger.com,1999:blog-156457742024-03-13T23:33:22.154-06:00Robert Macfie Scriver and ArtDiscussion of the American Western Art scene, using Robert MacFie Scriver as a point of reference, but not limited to him. The blogger was with Scriver in the Sixties, married to him from 1966 to 1970, the third of four wives. You may make contact by using this address: "mary dot scriver at gmail dot com"Unknownnoreply@blogger.comBlogger134125tag:blogger.com,1999:blog-15645774.post-7359887655315031932020-10-21T15:37:00.002-06:002020-10-21T15:37:24.850-06:00EXPLORERS IN THE SNOW<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-v4jIpcGGsc8/X5CphT775bI/AAAAAAAAiIQ/LL7wYz4UCkg-9QXqzWsek_JE4u-hYaNhwCLcBGAsYHQ/s660/ba01c4de-3b91-4776-89de-90b3d48339d9-snow_gallery_expedition.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="660" height="360" src="https://1.bp.blogspot.com/-v4jIpcGGsc8/X5CphT775bI/AAAAAAAAiIQ/LL7wYz4UCkg-9QXqzWsek_JE4u-hYaNhwCLcBGAsYHQ/w640-h360/ba01c4de-3b91-4776-89de-90b3d48339d9-snow_gallery_expedition.jpg" width="640" /></a></div><br /><p></p><p><span style="font-family: helvetica; font-size: x-large;">Bob Scriver's monumental group of Lewis and Clark, York and Seaman, the Newfoundland dog, has become a frequent subject for photographers in all weather. The Great Falls Tribune, among others, loves to print them.</span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-47151885230812973922019-08-01T10:20:00.005-06:002019-08-01T10:21:23.508-06:00JEFF WOLF Jeff Wolf is a Western bronze sculptor who copies Bob Scriver. The big depiction of Indians on horses driving buffalo into a circle so they can be killed with arrows was originally an idea of Charlie Russell's. It was based on the idea that the buffalo were about to separate and evade the hunters. Bob Scriver did a piece called "Real Meat" in which the circle just kept going around.<br />
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It always struck me as an unlikely way to kill buffalo for meat. The animals will stand and graze, not realizing there is danger even if other buffalo near them fall. It's not as though arrows make noise. The hunters told about disguising themselves in coyote or wolf hides and creeping up slowly. Also, they would be silly to shoot down bulls, since the point is to get edible meat, not tough muscle.<br />
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When Ruth Beebe Hill was hanging around and asking Bob for technical information, she asked him exactly which ribs the hunters would shoot between, since someone had pointed out that hitting a rib would deflect the arrow. Bob scoffed that in such a situation a rider would be lucky to stay on his horse and alongside the buff. Actually, the thing to do was fire behind the ribs into the suppotsies (guts) far enough to make it bleed to death. The women came along behind to process the carcasses, working in teams.<br />
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Ruth Beebe Hill never asked about women's things, like how does one cook buffalo or even how does one dry meat. There are careful considerations to these things.<br />
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Anyway, I'll let you google Jeff Wolf and you can judge for yourself.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-91612554761687450472019-05-23T12:06:00.002-06:002019-05-23T12:06:11.030-06:00SCRIVER BRONZES ON DISPLAY IN FORT BENTON<div class="js-tweet-text-container" style="caret-color: rgb(20, 23, 26); color: #14171a; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 14px;">
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This link is to a series of photos of sculptures depicting Blackft in Fort Benton at the gallery attached to the recreated fort. The season of tourists visiting is just beginning. <b> <span style="color: #1da1f2;"><span class="tco-ellipsis"></span></span><span class="invisible" style="color: #1da1f2; font-size: 0px; line-height: 0; text-decoration: none;">https://</span><span class="js-display-url" style="color: #1da1f2; text-decoration: none;">nativeamericannetroots.net/diary/1543</span></b><span style="color: #1da1f2; text-decoration: none;"><span class="invisible" style="font-size: 0px; line-height: 0;"></span></span><span class="tco-ellipsis" style="color: #1da1f2; text-decoration: none;"><span class="invisible" style="font-size: 0px; line-height: 0;"> </span></span></div>
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These sculptures are in the care of the Montana Historical Society. There are more of this set, so they are rotated occasionally. They are the pieces that were in Edmonton for years.</div>
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<b><a href="https://www.visitmt.com/listings/general/landmark/old-fort-benton.html">https://www.visitmt.com/listings/general/landmark/old-fort-benton.html</a></b></div>
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<br class="Apple-interchange-newline" />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-44367893648037177582018-09-26T19:51:00.001-06:002018-09-26T19:51:04.227-06:00HELENE DEVICQ<div style="-webkit-text-stroke-color: rgb(34, 34, 34); -webkit-text-stroke-width: initial; background-color: white; color: #222222; font-family: Arial; font-stretch: normal; line-height: normal;">
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<span style="font-kerning: none;"><span style="font-size: large;">This sculpture is formally called a "Pieta," belonging to a tradition of portrayals of Jesus newly taken down from the cross and Mary, his mother, grieving over his body. It is one of a set of sculptures created around the death of <b>Bob Scriver</b>'s daughter as a way of handling his grief. The work is at the Montana Historical Society with the rest of his estate. </span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">The first sculpture in this cluster was a bust of <b>Margaret</b> in her last time before death. She was told the name of it was <i>"Prairie Daughter,</i>" but the real name was <i>"To See Eternity</i>". The first version was shocking to others, because it was easier to see the emaciation and suffering in clay, so that he had to add revision.</span></span></div>
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<span style="font-size: large;"><span style="font-kerning: none;">The second was a corpus for a crucifix in the moments before Jesus' death, when he said, "</span><span style="-webkit-font-kerning: none; font-family: Arial; font-stretch: normal; line-height: normal;"><i>Eloi Eloi lama Sabachthani</i></span><span style="font-kerning: none;">" ("Father, Father, why hast Thou forsaken me?") It was a commission from a customer who was wrestling with a terminal disease. She gave permission to share the crucifix with others.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">The third and fourth were portrait busts of <b>Maurice Chaillot</b>, who posed as Jesus. One was as Jesus on the cross and the other was Maurice himself, who was a professor and artist in Canada.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">There is also a portrait bust of <b>Helene Devicq </b>herself, but it is not part of this little set. Helene and Maurice were the siblings of <b>Jeannette Caoette</b>, Bob's second wife. She is wearing a wide-brimmed summer hat.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">Helene was very beautiful in a petite <b>Elizabeth Taylor</b> way, and quite conscious of it. She married <b>Stan DeVicq</b>, a well-known hockey star, and many years later a wealthy man whose name I don't know. She was used to being a star and once mused sadly, <i>"I just don't have any clout anymore!</i>" Bob Scriver loved her always and tried to paint her portrait, without success. The sculpture went better.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">First came Bob's desire to be closer to his daughter, who was born to his first wife,<b> Alice</b>, and who after divorce had custody of the girl. Even over distance she was closely bonded to her father. Next was the surprise request for the crucifix. Then the busts of Maurice in preparation for the crucifix and then the developing idea of a Pieta. Bob had not seen Helene since the divorce from her sister. After his divorce from me, he brought her back to Browning a few times and stayed close to her emotionally. There is video he shot of her posing by his prized black Cadillac. </span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">There was no possibility that a woman like Helene would ever agree to a life in a little rez town with a husband who lived for work, far away from cultural events and the wearing of gowns. When "<i>Bronze Inside and Out</i>" was written, several covers were proposed by the University of Calgary Press artist. One showed Bob at work in his conventional mess of a workshop and Helene objected vehemently to the photo on grounds that it was demeaning.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">Later, when the Royal Alberta Museum in Edmonton was marking a show of Scriver bronzes loaned by the Montana Historical Society, they organized a memorial dinner. I was invited to attend but couldn't. Anyway, I'd been divorced for a long time. But I suggested that they invite Helene, who lived there in Edmonton and was key to his career. They knew she was, well, "old" but I don't think they expected a movie star in fur on the arm of a young man. The entrance had been decorated with larger-than life photo of Scriver and when Helene confronted it, she could not help bursting into tears.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">For a woman meticulous in her self-maintenance, it is ironic that her death came from a neglected wound on her foot which became infected, then progressed to gangrene. She had worn high heels all her life until the backs of her ankles would not permit her feet to be flat. The idea of life-saving amputation was simply inconceivable.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">An incident I sometimes pondered was when Scriver still had a tourist shop in a log cabin he built in St. Marys, the rez tourist town just south of the Canadian border. Helene and Jeannette, who had been assigned to clerk, found the traffic slow, so they had laid out fabric and patterns on the countertop and with their clever deft hands they were beginning a sewing project. In came Scriver, as horrified as though they had driven away the customers, and expressed his displeasure. One can take this several ways. The girls were allied in defying him behind his back (they hadn't expected him), they rather enjoyed being so important and making him react so violently, or it was a little drama in the war between the sexes. The two of them together did not resist the wrath.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">Jeannette had no children but Helene did, so in Jeannette's last days it was Helene's son who took hold of the situation and stood by Jeannette through her last nursing home days. Ever since Morinville, the little French-Canadian Catholic church town half-an-hour north of Edmonton, this family had been tightly united around the father's barbershop/pool hall. When Maurice was born late -- what is sometimes called a "menopause baby"-- his sisters were auxiliary mothers, and all energy went into educating this fine boy. He did succeed in being an outstanding international person in the arts, but he never turned away from his fiery sisters even when they were nonsensical.</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">Scriver was close to this family for a while during WWII when he was stationed with the American Army Band in Edmonton. They took him in hand as much as he consorted with them. They had a lot of big ideas and told a lot of French-Canadian jokes. His mother would have been horrified, which pleased him. (She had grown up very English in a small Quebec town, and saw the French as a servant class, like "Indians." Indeed, Indians in her times occasionally pretended to be French.)</span></span></div>
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<span style="font-kerning: none;"><span style="font-size: large;">It takes a village to make a famous sculptor and Helene DeVicq was part of that, in ways she didn't even know existed. But walking into a major public event as though on a red carpet runner was one of the more memorable ways. I hope there were photos.</span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-723581532334918192017-11-29T11:25:00.001-07:002017-11-29T11:26:26.626-07:00SCRIVER BRONZE DONATION TO CUT BANK<div class="asset-masthead " style="box-sizing: border-box; margin: 20px 0px 40px; position: relative;">
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<span style="box-sizing: border-box;">Former resident donates valuable Robert Scriver bronze to local museum.</span></h1>
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<li style="box-sizing: border-box; display: inline-block; padding-left: 5px; padding-right: 5px;"><span itemprop="author" style="box-sizing: border-box;">BY LINDA BRUCH for the Cut Bank Pioneer Press</span></li>
<li style="box-sizing: border-box; display: inline-block; padding-left: 5px; padding-right: 5px;"><time class="asset-date text-muted" datetime="2006-02-23T00:00:00-07:00" style="box-sizing: border-box; color: #777777;">Feb 23, 2006</time></li>
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<span style="font-kerning: none;">The word bronze can mean a couple different things. It can mean the color of your skin after basking in the summer sun. It might also be referring to the color of a medal received by a third place finisher in the Olympics. Then again, it could mean a fabulous sculpture created by Bob Scriver. It's the last definition Glacier County is excited about.</span></div>
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<span style="font-kerning: none;">In December of last year, David Withers' sister, Pegge Dallum, made a decision to donate a fabulous bronze sculpture she had in her possession. She hadn't quite made up her mind where to donate the bronze, but she did have a couple ideas. One of the places she was thinking about was the C. M. Russell Museum in Great Falls. Dallum was just about ready to start the paperwork for the Great Falls museum, when another option came to mind.</span></div>
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<span style="font-kerning: none;">What about donating it to Glacier County? After all, she used to live here and still has family ties in Cut Bank. The more she thought about it, the more she liked the idea. This time when she started the paperwork, it was to donate the bronze to Glacier County.</span></div>
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<span style="font-kerning: none;">The bronze is entitled “Too Late for the Hawken.” It depicts a fur trapper who has obviously been surprised by an Indian on horseback. The Indian, with his spear-like javelin in hand, is ready to impale the trapper. It is obvious the trapper, whose rifle is in plain site, will not be able to reach his weapon in time to save his life. The piece is magnificent and much like all the other creations designed by Scriver gives incredible attention to detail.</span></div>
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<span style="font-kerning: none;">Scriver, a world-renowned sculptor, is credited for creating thousands of outstanding bronze sculptures. The pieces vary in size from tabletop to full-size and each one is remarkable in its own right.</span></div>
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<span style="font-kerning: none;">Much like Dallum, Scriver had deep roots in Glacier County as well. He was born in Browning in 1914 and lived and worked there most of his life. He earned his bachelor's and master's degrees in music and for 17 years shared his love of music by teaching it.</span></div>
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<span style="font-kerning: none;">In 1951, Scriver changed careers and became a taxidermist, opening up his own business in Browning. It wasn't long before his talents and abilities as a taxidermist made him well known throughout Montana. It was this foundation that ultimately led to his calling as a sculptor in 1956. For the next 34 years, Scriver would continue to sculpt, receiving worldwide fame for the fabulous pieces he shaped.</span></div>
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<span style="font-kerning: none;">His life ended in 1999 at the age of 84, but his work is timeless and will continue to be shown in galleries, museums and exhibitions throughout North America. Scriver's work truly speaks for itself and explains why he has been called American's foremost living sculptor of the west.”</span></div>
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<span style="font-kerning: none;">Too Late for the Hawken” has been certified at $15,000 by Cut Bank attorney Darrell Peterson. This is a pretty major piece,” said Peterson. He agreed Glacier County was lucky to have been the recipient of this fantastic piece of work. Peterson knows what he is talking about as both he and his office have a number of Scriver bronzes, making him a good authority on their worth and beauty.</span></div>
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<span style="font-kerning: none;">Peterson said a number of Scriver pieces are currently on display at the Montana Historical Society Museum in Helena. With more Scriver pieces in storage than they currently have room to display they have begun preparations to construct a new showroom designated specifically to Scriver bronzes. It is estimated this exhibit will hold approximately 1,100 pieces crafted by Scriver.</span></div>
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<span style="font-kerning: none;">If you didn't think Glacier County was fortunate to receive this generous gift before, here's betting you do now. Glacier County would like to offer a huge thank you to Pegge Dallum for this wonderful donation. It is proudly on display at the Glacier County Historical Museum.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-32272934379608638232017-10-18T12:01:00.004-06:002017-10-18T12:01:58.644-06:00MEDICINE MAN GALLERY AUCTION RESULTS<div style="-webkit-text-stroke-color: rgb(64, 63, 66); -webkit-text-stroke-width: initial; color: #403f42; font-family: Arial; font-size: 13.3px; line-height: normal; min-height: 15px;">
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<span style="font-kerning: none;">Bob Scriver (1914-1999)</span></div>
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<span style="font-kerning: none;">"An Honest Try" 1968 Edition number 10 Bronze </span></div>
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<span style="font-kerning: none;">$10,500</span></div>
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<span style="font-kerning: none;">This piece measures 32" x 27.5" x 19.5", with the base, it measures 2" x 14" x 20"</span></div>
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<span style="font-kerning: none;">Awarded the 1970 gold medal winner in the National Cowboy Hall of Fame.</span></div>
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<span style="font-kerning: none;">Acquired from a private collection in Montana. </span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-size: large;">"An Honest Try" Edition number 11 Sold at Dallas Fine Art Auction January 2011 for $17,930</span></span></div>
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<span style="font-kerning: none;">https://medicinemangallery.com/medicine-man-gallery-antique-native-american-western-art-collections/arizona-sculpture-and-paintings-collection</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-77519291338521296042016-12-18T12:07:00.001-07:002016-12-18T12:07:41.408-07:00Sue Resch: Pinterest Collection<div style="-webkit-text-stroke-color: rgb(2, 30, 170); -webkit-text-stroke-width: initial; color: #021eaa; font-family: Helvetica; line-height: normal;">
<span style="font-size: large;"><span style="-webkit-font-kerning: none; text-decoration: underline;"><a href="https://www.pinterest.com/sue47resch/bob-scriver/">https://www.pinterest.com/sue47resch/bob-scriver/</a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;">\</span></span></div>
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<span style="font-size: large;"><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;">This link should take you to a Pinterest collection of 14 photos of Scriver bronzes that were posted by Sue Resch. I don't know anything about her, but they are good photos.</span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-259996532241412112016-04-20T10:26:00.002-06:002016-04-20T10:26:33.323-06:00"MARCH IN MONTANA" AUCTION RESULTS FOR BOB SCRIVER<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Helvetica; line-height: normal;">
<span style="font-size: large;">These are the results of the <i>March in Montana </i>auction website.</span></div>
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<span style="font-size: large;"><span style="font-kerning: none; text-decoration: underline;"><a href="http://buy.marchinmontana.com/March-In-Montana-2016_as40962_p7?ps=50">http://buy.marchinmontana.com/March-In-Montana-2016_as40962_p7?ps=50</a></span> The link is to the screen that shows what was recently offered in the private gallery auction and what the art sold for. This is their self-description: <i>“With over 150 years of collective knowledge and a history of record-breaking sales experience of fine art and collectibles, Manitou Galleries of Cheyenne and Santa Fe and The Coeur d’Alene Art Auction of Idaho produce “March In Montana Fine Art & Collectibles Auction”. This annual event is held in conjunction with the other events in Great Falls surrounding and honoring </i><b><i>Charles M. Russell’</i></b><i>s birthday. “ </i></span></div>
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<span style="font-size: large;">My memory traces <a href="http://www.manitougalleries.com/exhibitions">http://www.manitougalleries.com/exhibitions</a> back to Kalispell, Montana, and <b>Van Kirke Nelson</b>’s <i>Glacier Gallery</i>. Beginning in the Sixties there was a little circle of dealers in the area. Before that was <i>Trailside Galleries</i>, then in Idaho which was the home base for <b>Dick Flood</b> who vacuumed the landscape for any Charlie Russell remnants or anything that looked a lot like a Charlie Russell. This meant both paintings and sculpture. It did not mean women or Indians. </span></div>
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<span style="font-size: large;">Lucky for dealers, there was a LOT of material that had been produced in the 20th century about the 19th century. Basically, these “wheeler/dealers” filled warehouses and did a little dealing out of the trunk of cars, but Nelson always wanted an auction for sales and finally found a partner in <b>Norma Ashby</b>, energizer of the <i>Ad Club</i> in Great Falls. Anchoring the concept in Charlie Russell, homeboy, they scheduled the event around his birthday.</span></div>
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<span style="font-size: large;">Eventually, partly by moving to the SW where prosperous customers abounded, the galleries caught fire and thrived, but much of their clientele and “story” remained anchored in Montana. <i>Cowboy Artists of America</i> were a source of oxygen based in the SW and also some major museums like the <i>Cowboy Hall of Fame</i> and the <i>Buffalo Bill Historical Center</i>.</span></div>
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<span style="font-size: large;">This little circle from Kalispell wormed into Montana culture through the <i>Montana Historical Society</i> in Helena and the <i>CM Russell Museum</i> in Great Falls, until when Bob Scriver died in 1999, the two institutions were locked in rivalry over which got his estate. With the help of <b>Ross Cannon</b>, who fastened on Bob’s fourth wife (I was the third.) the bronzes finally went to the Montana Historical Society.</span></div>
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<span style="font-size: large;">Bob’s bronzes can be grouped. The very earliest tourist items, little animals made of hydrocal and shaped for use as lamps or ashtrays, show up on eBay. The Blackfeet narrative pieces are in the custody of the Fort Benton cluster of historical re-creations and are well served in a fine gallery display. An internal sub-group is Bob’s finest work, meant to be a monumental series for the Blackfeet in the oil years. The horse-and-rider pairs that were begun around 1960 as a set of five, were the first to be cast in bronze. The Linderman rodeo series developed out of a portrait of Bill Linderman for what was then the <i>Cowboy Hall of Fame</i>. The big set of events was a major sale to the <i>Calgary Stampede </i>complex. His personal work, portraits and a small set of religious themes related to the death of his daughter, have never circulated to auctions. There are always animals, but he never went on safari to Africa. There are thousands of sculptures of various kinds and importance out there in the hands of customers.</span></div>
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<span style="font-size: large;">Bob’s works in general rarely go through auction, which are dealers’ events rather than coming directly from the artists. Bob did not much use dealers and despised some of them. This particular auction was selling estates of major collectors, and therefore made some major pieces available from Bob’s Rodeo Series. Those pieces tended to reach their estimated value. In general, this specific auction was under-achieving with most pieces selling for half or even a third of their expected prices. Whether that constitutes a “burst bubble” is anyone’s guess.</span></div>
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<span style="font-size: large;">Over at the primary auction, the one specifically organized for the Russell Museum, a <b>Thomas Moran</b> painting, “<i>Castle Rock, Green River, Wyoming”</i> sold for $3.6 million dollars. Last year the highest price at that auction was $1.5 million for CM Russell’s “<i>For Supremacy</i>.” I suspect the jump is related to a shift in culture from the resource exploitation version of the West (cowboys and Indians) to the near-mysticism of recent environmentalism which appeals to the new monied classes.</span></div>
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<span style="font-size: large;">Following is from the <i>March in Montana</i> website. I’ve bolded the titles, followed them with the number of the casting and the specified limit number of castings. Photos of the pieces are in the online catalog. The second small number is the premium for the auction.</span></div>
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<span style="font-family: "arial"; font-size: large;">Bob Scriver (1914-1999)(CA). </span><span style="font-size: large;"><b>Winter King</b> 81/110 Bob Scriver 1956</span></div>
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<span style="font-size: large;">Est: 2,000 to 3,000</span></div>
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<span style="font-size: large;">Sold for 1,700 +357</span></div>
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<span style="font-family: "arial"; font-size: large;">Bob Scriver (1914-1999)(CA). </span><span style="font-size: large;"><b>No Meat </b> 12/30 1973</span></div>
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<span style="font-size: large;">800 - 1,200</span></div>
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<span style="font-size: large;">Sold for 600 + 126</span></div>
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<span style="font-size: large;">Bob Scriver (1914-1999)(CA). <b>Not For Glory</b>. 21" x 34" x 26" bronze from the Rodeo Series. Inscribed: -2- © BOB SCRIVER 1971. Bighorn Foundry. Provenance: Ex- Archie Miller collection, Collection of Dr. Delwin & Karen Bokelman, PA & pictured in their book Precious Dreams, page 58.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est: 15,000 - 20,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Sold for 10,000 + 2100</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; min-height: 16px; text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Bob Scriver (1914-1999)(CA). <b>Headin' For A Wreck</b>. 18" x 28" x 43" bronze from the Rodeo Series. Inscribed: © BOB SCRIVER 1968 -6-</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Powell Bronze Foundry. Provenance: Ex- Archie Miller collection, Collection of Dr. Delwin & Karen Bokelman, PA., & pictured in their book Precious Dreams, page 63.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 6,000 - 8,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Sold for 8,000 + 1680</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; min-height: 16px; text-align: center;">
<span style="font-size: large;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Bob Scriver (1914-1999). <b>Too Late for the Hawken</b>. 23" x 30" x 24" bronze. Inscribed: "Too Late For The Hawken" 34/50, Arrowhead Bronze Foundry Mark.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est 6,000 - 8,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">7,000 + 1470 8470</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Bob Scriver (1914-1999)(CA). <b>Herd Bull</b>. 19" x 28" x 12" bronze. Inscribed: 5/110 © BOB SCRIVER 1959. Provenance: Ex- Archie Miller collection, Collection of Dr. Delwin & Karen Bokelman, PA.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 7,000 - 9,000</span></div>
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<span style="font-size: large;">Sold for 8,500+1785</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Bob Scriver (1914-1999). <b>Moving On</b>. 14" x 8" x 35" bronze. Inscribed: "Moving On" © Bob Scriver 1995, 3/50.</span></div>
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<span style="font-size: large;">Est 6,000 - 8,000 </span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">5,000 + 1,050</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Bob Scriver (1914-1999). <b>A Hard Way to Get Off</b>. 15 ¾" x 10" x 19" bronze. Inscribed: "A Hard Way to Get Off" 22/150 © Bob Scriver, 1981.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 3,000 - 5,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Sold for 4500 + 945</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Bob Scriver (1914-1999). <b>Tail Stander.</b> 24" x 15" x 10" bronze. Inscribed: "Tail Stander" © Bob Scriver, 1981, 22/150.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Es. 3,000 -5,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">3,500 + 735</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Bob Scriver (1914-1999)(CA). <b>Piegan Brave</b>. 11" x 11" x 5" bronze. Inscribed: "Piegan Brave" © Bob Scriver 1974, 2/35, JHM Classic Bronze.`</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 2,000 - 2,500</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">1,700 + 357</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Bob Scriver (1914-1999). <b>When Hunters Meet.</b> 15" x 24" x 13" bronze on swivel base. Inscribed: When Hunters Meet, 38/100, Bob Scriver, 1993.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 4,000 - 6,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">4,000 + 840</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Bob Scriver (1914-1999). <b>The Golden Dragon</b>. 9" x 7 ½" x 11 ½" bronze. Inscribed: 29/30 © Bob Scriver, 1973 "The Golden Dragon".</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 2,000 - 3,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">1,900 +399</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Bob Scriver (1914-1999)(CA). <b>The Warrior</b>. 13" x 8" x 15" bronze. Inscribed: "The Warrior" © Bob Scriver, 1995, 33/50.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">1,500 - 2,500</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">900 + 189</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">Bob Scriver (1914-1999). <b>Calf in the Way</b>. 21 ½" x 16 ½" x 16" bronze. Inscribed: "Calf in the Way", © Bob Scriver, 22/150, 1981.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 2,500 - 3,500</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">2,500 +525</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">I include <i>Gordon Monroe</i> on this list because he worked closely with Bob Scriver. He is an enrolled Blackfeet Indian and googling will reveal more information.</span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><b>Gordon Monroe</b> (Late 20th century).<b> A Ride of Courage</b>. 20 ½" x 9 ½" x 17" bronze. Inscribed: "A Ride of Courage" 24/50 © '83, Gordon Monroe.</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">Est. 3,000 - 4,000</span></div>
<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; line-height: normal; text-align: center;">
<span style="font-size: large;">1,600 + 336</span></div>
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<span style="font-size: large;">I am not an art dealer. Questions appropriate for that role should be directed to <b>Jerry Gorowski</b> in Great Falls <jerryopenrange yahoo.com=""> He is qualified, certified, and a veteran of this history.</jerryopenrange></span></div>
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<span style="font-size: large;">I maintain a blog where I post information that comes my way. <a href="http://scriverart.blogspot.com/"><span style="line-height: normal;">scriverart.blogspot.com</span></a>. I’ve written a memoir/biography available at any bookstore like Amazon. <i>“Bronze Inside and Out”</i> by Mary Scriver, published by the University of Calgary Press.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-56713911249845075702016-03-26T12:19:00.002-06:002016-03-26T12:19:48.617-06:00SID GUSTAFSON, WRITER<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-YUZHWWO6YPM/VvbRCghGMLI/AAAAAAAAaHA/1Bbtfrdjgss36j4DlPCIJa3jaAEt8YNWg/s1600/sid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://2.bp.blogspot.com/-YUZHWWO6YPM/VvbRCghGMLI/AAAAAAAAaHA/1Bbtfrdjgss36j4DlPCIJa3jaAEt8YNWg/s400/sid.jpg" width="400" /></a></div>
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<span style="font-kerning: none; text-decoration: underline;"><a href="https://scriggler.com/SharePost/Story?cash=3a16552853c5421a7d5a0460d4501c32"><span style="font-size: large;">https://scriggler.com/SharePost/Story?cash=3a16552853c5421a7d5a0460d4501c32</span></a></span></div>
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<span style="font-size: large;"><b>Sid Gustafson</b>, who is from the high-achieving family of <b>Rib Gustafson</b>, is known around here as a veterinarian like his father and brother, except that he has a specialty practice in race horses. He teaches equine behavior, and posts on Twitter. In addition, he writes both nonfiction and novels, often based on truth, like “<i>Swift Dam</i>,” just published. The link above is to a website called “Scriggler” where you can read his story called <i>“Smallpox</i>.” He often expands such stories into whole novels. Lately he has been recording short stories on South Cloud, something I would like to do but never get around to actually doing. </span></div>
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<a href="https://4.bp.blogspot.com/-w6f2zUe7YPo/VvbRX6EvPxI/AAAAAAAAaHI/JqSsbe0Fv-M-gwFWwiE2-W0FwEKQKtXxQ/s1600/swiftdambook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-w6f2zUe7YPo/VvbRX6EvPxI/AAAAAAAAaHI/JqSsbe0Fv-M-gwFWwiE2-W0FwEKQKtXxQ/s320/swiftdambook.jpg" width="213" /></a></div>
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<span style="font-size: large;"><i>“Swift Dam</i>” is about the 1964 catastrophic dam collapse on Birch Creek and the lethal consequences, changing lives and the land right up until now. I was here at the time.</span></div>
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<span style="font-size: large;">The year 1914 is the year Bob Scriver was born, and those who knew him will realize that he is sort of the inspiration for the character called Stuf. Sid knew him mostly by stopping as a kid with his father at the Scriver Studio and taxidermy shop in the Sixties. Raised on the Blackfeet reservation and often spending the summer cowboying with someone like <b>Billy Big Springs Sr.</b>, Sid has more ties to the rez land and families than <b>Jimmy Welsh. Jr</b>. did, though no one would dare say so. Every spring Sid goes up to the grave of <b>James Willard Schultz</b>, which is near the Gustafson ranch on Two Medicine, and does a little maintenance. Schultz was a white man who married a Native American and longed to be NA. His versions of their lives were sometimes a bit more dramatic than real, which is not an advantage in this prudish just-the-facts culture.</span></div>
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<span style="font-size: large;">Sid is more romantic than I am but quite truthful once you allow for that. “His” bears do things that “my” bears would not. He’s inclined to mysticism and always searching for true love, but very much anchored in practical how-to. Bob Scriver would have loved these stories. It’s good to be near Sid some of the year and via the Internet.</span></div>
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<span style="font-size: large;"><a href="http://www.sidgustafson.com/">www.sidgustafson.com</a> More books, photos, ideas.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-62310566490639505522016-03-18T22:49:00.000-06:002017-10-18T12:02:32.019-06:00"SYMBOL OF THE PROS"<div style="-webkit-text-stroke-color: rgb(64, 64, 64); -webkit-text-stroke-width: initial; color: #404040; font-family: Times; font-size: 40px; line-height: normal; margin-bottom: 10px;">
Feature photo: Scriver statue getting its luster back</div>
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Eliza Wiley Independent Record</div>
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Eliza Wiley Independent Record - Andrew Smith, with Smith Art Conservation in Long Beach, California, buffs the large sculpture of a professional rodeo rider made by Bob Scriver for the Montana Historical Society.</div>
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<span style="-webkit-text-stroke-width: initial;">Andrew Smith, with Smith Art Conservation in Long Beach, California, buffs the large sculpture of a professional rodeo rider entitled ‘Symbol of the Pros,’ by Bob Scriver, completed in 1982 for the Montana Historical Society. On the 100th anniversary of Scriver’s birthday, MHS celebrated with the restoration of one of his iconic sculptures. The bronze sculpture stands 17 feet high and weighs 2.5 tons and is indicative of his early days of professional rodeo series. To honor his birthday, MHS has a new exhibit of his work on display in Montana's Museum and will host two free public events today from 11:30 a.m. to 1:30 p.m. with traditional Native American dancers and a hands-on youth activity that will provide clay for young people so they can try their hand at sculpting. Then from 5:30 to 7:30 p.m. there will be a free public reception at MHS that will include a short program, birthday cake and refreshments.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-17692126720941081912016-03-17T15:56:00.003-06:002016-03-17T15:56:39.029-06:00"BOOTS, BOWTIES, AND BOB"<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Helvetica; line-height: normal;">
<span style="font-size: large;">On February 3, 1989, Bob Scriver, Western sculptor, was presented with the Governor’s Award at a ceremony called “Boots, BowTies, and Bob.” The bowties were meant to refer to tuxedos and the ladies who organized the event found this very funny because Bob was notorious for going around in khakis with clay and plaster rubbed into them. But the ladies were middle-aged and upscaled. They had no awareness of his early life as a classical concert orchestra conductor, which meant he had a well-worn tuxedo, although a bit dated, made before WWII. And so we go blundering along, still believing that clothes make the man.</span></div>
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<span style="font-size: large;">As it happened, the speaker at this award ceremony, which gave Bob a medallion to wear, very like a British royal award, was not the Governor but the Lieutenant-Governor, a rather sophisticated fellow. I forget his name but not his subject: it was Robert Mapplethorpe, now back in the news. The speech was delivered just months before the artist’s death from AIDS, prompted by an exhibit called “<i>The Perfect Moment</i>” that toured over the summer. The exhibition became the centerpiece of a controversy concerning federal funding of the arts and censorship.</span></div>
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<span style="font-size: large;">The people who promote Scriver bronzes though he’s been dead since 1999 (not from AIDS — he was just worn out, born in 1914) will not know about the real commonalities with Mapplethorpe, like his fondness for nudes. Somewhere in the archives stored in the Montana Historical Society is an album of nude photos of his first wife, Alice Prestmo Scriver Skogen Stainbrook, taken as she slept lit by a flashlight. She was a well-built woman and they were praiseworthy photos, but nothing so sophisticated and slick as a Mapplethorpe nude. Also, because of Bob’s background in music, particularly the years at the Vandercook School in South Chicago, much of which he spent in the jazz clubs of the North Side, he had warm feelings towards African-Americans. </span></div>
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<span style="font-size: large;">Both Bob and his fourth wife, Lorraine, made some small nude figures which the Montana Historical Society discretely hides in a cabinet. One of them is a re-creation of a nude I started, lying on her stomach. Bob passed by when I was working on it, picked up up a sculpture tool and thrust it up between her legs, making a ratcheting sound. And big hole in the clay. I covered my outrage which was partly because he thought it was funny, but also because it showed his attitude towards my (small) creations, it expressed something about sex that was part of our relationship, and because it was so idle — as though it were not important at all. His version was sentimental: the woman has a little butterfly sitting on her hand. </span></div>
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<span style="font-size: large;">All these aspects were a little related to the furor over Mapplethorpe’s work and a lot related to a kind of insistence on dominating everyone else with one’s own purposes and values. For instance, Bob was a rabid gun-control opponent, believing that any government restraints were evil and, more than that, unless everyone had a gun cabinet, the tanks would come rolling down the street. This made a certain amount of sense for people who saw something similar in Europe during WWII.</span></div>
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<span style="font-size: large;">Part of this resistance to any kind of regulation pertains to censorship, often acted out in the name of pornography: knowledge of private things that only the privileged can openly know. The talk I remember was not about the actual guns so much as their registration, so that authorities could come down the street with a list in their hands, knocking on doors. </span></div>
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<span style="font-size: large;">The problem with porn, of course, is that it’s culturally determined so it’s forbidden glimpses of ankle in one time/place and women bound with their legs held wide-open in another. Bob was a hot reactor to sex, but not very sophisticated. Johnny Minyard, the wickedest man in town, asked him to make a realistic dildo, evidently not knowing where to buy one. (Today he could find battery-operated pink plastic ones with butterflies attached in the mail-order catalogues for old folks.) Since Bob then had the mold, he made one for himself which he hid in the darkroom. To me it looked quite familiar, but when I got playful about it, he was embarrassed and either hid it in some more secret place or destroyed it.</span></div>
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<span style="font-size: large;">Much of his work was semi-naked men: Blackfeet warriors. (All the animals were unclothed.) He made a nice nude portrait of his second wife as a kind of memento after they were divorced. Nakedness signals vulnerability, ownership, and comparisons which might not be flattering. Thus it has access to emotion, gated by shame and guilt, curiosity and pride. Bob loved to go nude, but was so hairy people said he looked like a bear. His feet were sensitive, so he wore high-tops, suggesting a satyr with tennies instead of hooves.</span></div>
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<span style="font-size: large;">The Mapplethorpe <i>“exhibition set off one of the fiercest episodes of America's "</i><a href="https://en.wikipedia.org/wiki/Culture_war"><span style="-webkit-text-stroke-color: rgb(6, 69, 173); color: #0645ad;"><i>culture wars</i></span></a><i>" — and sparked a recurring debate about state-funded cultural production and the support of </i><a href="https://en.wikipedia.org/wiki/Sexually_explicit"><span style="-webkit-text-stroke-color: rgb(6, 69, 173); color: #0645ad;"><i>sexually explicit</i></span></a><i> or </i><a href="https://en.wikipedia.org/wiki/Sacrilegious"><span style="-webkit-text-stroke-color: rgb(6, 69, 173); color: #0645ad;"><i>sacrilegious</i></span></a><i> art by public funds.”</i> This continues decades after Bob’s award. I think the ideas were so foreign to what the audience expected —though it was central in urban places and other sophisticated circles — that they just didn’t hear it. </span></div>
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<span style="font-size: large;">The anonymous author of the Wikipedia entry says: <i>“As much as he has been made out to be a renegade and outlaw, Mapplethorpe is an utterly mainstream artist. He loved freshness and glamor and was obsessed with the moment, which his photographs always reflect. In his restricted spaces and his feeling for abstraction and attentiveness to every shape, edge and texture, Mapplethorpe is a child of the Formalism of the 1960’s.”</i></span></div>
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<span style="font-size: large;"><span style="-webkit-text-stroke-color: rgb(6, 69, 173); color: #0645ad; line-height: normal;"><i><sup>“</sup></i></span><i>No incidents marred the show's run at the Washington Project for the Arts.</i></span></div>
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<span style="font-size: large;"><i>However, Senator </i><a href="https://en.wikipedia.org/wiki/Jesse_Helms"><span style="-webkit-text-stroke-color: rgb(6, 69, 173); color: #0645ad;"><i>Jesse Helms</i></span></a><i> introduced legislation that would stop the NEA from funding artwork he considered “obscene.” The legislation subsequently required any recipients of NEA funds to sign an oath that declared they would not promote obscenity. The oath provoked protests from artists and arts organizations. When, during the next grant cycle, in this climate of fear, applications for support equaling hundreds of thousands of dollars were rejected. Outraged artists filed lawsuits against the agency. Ultimately, a compromise was reached in Congress. Although the radically restrictive Helms amendment did not pass, restrictions were placed on NEA funding procedures.”</i></span></div>
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<span style="font-size: large;">I can understand why Jesse Helms did not want people to think about him naked — I’m sure he would not do well in nude comparisons, much less performance — but he understands the compensatory uses of money, as many old men do — and he intends to use it as much as he can for political gain.</span></div>
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<span style="font-size: large;">Most Western art is meant to be “family-friendly” in a commercial sort of way, except some of those frisky cowgirls get out of control and start looking like covers of Ranch Romance novels. That hardly compares with the plethora of stripped-off people, sometimes conjugating, that you can look at in any porn site on the internet or maybe perfume ads in magazines. The pendulum has swung outside the limits of clothing and entered the tailoring of intimate parts with surgery. The real subject of this post is not specific persons, but how often the repressed is all around us until it breaks through convention, is explored to exhaustion, and finally withdraws to recover.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-27552217289962194532015-05-07T21:53:00.001-06:002015-05-07T21:53:23.584-06:00CONTINI AND FRASER'S "END OF THE TRAIL"<h2 class="date-header" style="color: #335577; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 12px; letter-spacing: 0.2em; line-height: 2em; margin: 0px 28px 0px 43px; text-transform: uppercase;">
THURSDAY, MAY 07, 2015</h2>
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CESARE CONTINI, MASTER MOLD-MAKER</h3>
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<span style="letter-spacing: 0px;">A few weeks ago I received a letter that surprised and pleased me very much! It was from <b>Alexander F. Contini </b>who had found my story about meeting Cesare Contini at the Cowboy Hall of Fame when <b>Bob Scriver’</b>s lifesized bronze of <b>Bill Linderman</b>was dedicated. It’s in “<i>Bronze Inside and Out,</i>” my biography of Bob. Everyone was dressed up, me wearing a persimmon-colored velveteen jacket I made because the Hall is on Persimmon Hill. </span></div>
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<span style="letter-spacing: 0px;">Someone mentioned that <b>Fraser’</b>s “<i>End of the Trail”</i>, the plaster original, was being worked on by <b>Cesare Contini </b>in a sequestered space out back. We lost Bob. He finally turned up out there with Contini who was at the top of a tall ladder in his work clothes doing something. Bob, in his best duds, was just a few rungs down, peppering Contini with questions about plaster, molds, and armatures.</span></div>
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<span style="letter-spacing: 0px;"><b>Dean Krakel</b>, the inspired force behind the Hall, had to more-or-less take Bob by the scruff of the neck and make him go back out there to charm the money people. Contini laughed. Krakel devotes a whole chapter of his book, “<i>Adventures in Western Art”</i>, to the discovery and barely-in-time to rescue the monumental plaster model which was in a trash heap, slowly sinking into the mud. It had already been exhibited as a plaster. Plans to cast in bronze had been aborted by war.</span></div>
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<span style="letter-spacing: 0px;"><b>Leonard MacMurry</b> did the first assessment. <i> “First was the point system used by Fraser in determining the thickness of layers of plaster. Next, he found the alcohol wick burners that had been sealed inside to dry and cure the statue. By comparing photograph measurements, it was determined that the entire figure had settled fourteen inches since it was placed on the base in San Francisco.</i></span></div>
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<span style="letter-spacing: 0px;"><i>“In months to come, McMurry removed six distinct layers of paint in a variety of textures and colors. The critical problem was the pulling together and sealing of fissures throughout the body.”</i></span></div>
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<span style="letter-spacing: 0px;"><b>Bernard Zuckerman</b> was the chosen bronze caster and he pulled in Contini to be the mold maker. Krakel says, <i>“Mr. Contini was the right person for the task. He had known and worked with the father on Fraser projects since the 1920’s. Cesare, an amiable and gifted man, is America’s foremost mold maker.”</i> That’s not all. Nerve falters in such long and expensive processes. “<i>To provide assurance, early in 1970 Joel McCrea, Cesare Contini, and I went to Visalia </i>(where the plaster original had been located) <i>to meet with the Board of Supervisors at a public meeting.” </i>They had been promised a replacement for the giant plaster -- which they hadn’t realized was a national treasure until Krakel and his posse came riding in, and had no concept of how long it takes to cast a bronze.</span><br />
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<span style="letter-spacing: 0px;"><i>“By mid-fall the molds had been removed, crated and made ready for shipment to Italy. . . After shipment of the molds, Cesare Contini’s long and important role with the End of the Trail ended.”</i></span></div>
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<span style="letter-spacing: 0px;">I have a close friend whose front room walls are entirely covered with depictions of “<i>The End of the Trail”</i> that he has collected from second hand stores and Salvation Army shops all around the country, some of them cheesy and some of them sublime. I’ve known this gent for half-a-century. He’s not a cowboy or even a Westerner, but this iconic sculpture means something to him. </span></div>
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<span style="letter-spacing: 0px;">Around here I have to watch my tongue, because the Native Americans did not react positively. The whole implication is that Indians are THROUGH. They’ve hit the beach going the wrong way and will now be extinguished by the tide. Except they weren’t.</span><br />
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.metmuseum.org/exhibitions/listings/2013/the-american-west-in-bronze/blog/posts/end-of-the-trail" style="color: #666666;">http://www.metmuseum.org/exhibitions/listings/2013/the-american-west-in-bronze/blog/posts/end-of-the-trail</a></span></div>
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<span style="letter-spacing: 0px;"><b>Jeffrey Gibson </b>(an Indian artist):<i> I remember visiting the Cherokee gift shop as a kid, where there were small novelty versions of the sculpture for sale. At the time, I saw it as an image of a shamed, defeated Indian. It always made me feel badly about myself, and I wondered if this was this really how the rest of the world viewed us, as failures. It seemed to be an image about defeat and despair.</i></span></div>
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<span style="letter-spacing: 0px;"><b>Shannon Vittoria:</b><i> When did your perception of this work begin to change?</i></span></div>
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<span style="letter-spacing: 0px;"><b>Jeffrey Gibson: </b><i>Over the years, I went to powwows with my family, where I saw “End of the Trail” screen-printed on flags that were used in ceremonies honoring veterans and prisoners of war. There was a comparison being made between the veteran and the warrior, and this brought up conflicting feelings and emotions in me. As I was growing up, I would talk to people about the image, yet no one seemed to know where it originated. It was a symbol that had lost its point of origin, but one that had been completely reinvented in a Native context. This left a strong impression on me, and I found it amazing that this image could embody new meaning under different circumstances.</i></span></div>
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<span style="letter-spacing: 0px;"><b>Shannon Vittoria: </b><i>How has this altered your interpretation of the work?</i></span></div>
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<span style="letter-spacing: 0px;"><b>Jeffrey Gibson: </b><i>Looking at the work now, I can accept why it has become such a popular, iconic sculpture. I have come to see it as a symbol of resilience and strength—characteristics traditionally associated with the warrior. I no longer see this as the end or as defeat. Instead, I see a warrior who is taking a break before getting back up again. There is a degree of lament, but there is also a strong sense of honor and determination</i>.</span><br />
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<span style="letter-spacing: 0px;">The Contini family and their immigration to America is part of the story of the nation. The American Revolution was happening just a little earlier than the Beaux Arts bronze casting art foundries, not least because bronze was now available in the form of used cannons. The Continis had been marble cutters which is different, but they made the shift to foundries, which meant molds. They require expert knowledge of things like engineering and the properties of chemical compounds. </span></div>
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<span style="letter-spacing: 0px;"><b>Thomas Jefferson</b> wanted sculptured portraits of the Fathers of the Country. It would have been ideal to use American sculptors and foundries, but the country was too young to have people who really knew what they were doing. He had to settle for <b>Houdon'</b>s marble busts. One by one, sons and brothers came to the United States and established their support for the monumental work that was being done by people like Fraser, defining what the country was ideally about. </span></div>
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<span style="letter-spacing: 0px;">In 1971 the finished “<i>End of the Trail</i>” was dedicated. Krakel said that as he sat among the 4,000 people who came to the celebration, he was thinking of Cesare Contini. Bob and I weren’t there, but many times over the years we thought of Cesare Contini and smiled. And I smiled a lot after I received the letter from Alexander.</span></div>
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<span style="font-size: xx-small;">The stories of Western Artists just now leaving the stage.</span></div>
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<span style="font-family: Helvetica; font-size: 18px; letter-spacing: 0px;">The book is for sale on Amazon for $2 plus shipping.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-31933343968174724562015-05-06T14:38:00.001-06:002015-05-06T14:38:39.468-06:00AN ARTIST EXPLORED, INSIDE AND OUT (An old book review)<div style="font-family: Arial; font-size: 26px;">
<span style="font-size: 20px; letter-spacing: 0px;">It didn't take long for renowned sculptor Robert Scriver to zero in on his third wife's literary talents.</span></div>
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<span style="letter-spacing: 0.0px;"><b>BY THE CALGARY HERALD</b> </span><span style="color: #999999; letter-spacing: 0.0px;">FEBRUARY 10, 2008</span></div>
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<span style="letter-spacing: 0.0px;">It didn't take long for renowned sculptor Robert Scriver to zero in on his third wife's literary talents.</span></div>
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<span style="letter-spacing: 0.0px;">Shortly after the two met at Montana's Blackfeet reservation in 1961, he had the future Mary Strachan Scriver pegged as his biographer.</span></div>
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<span style="letter-spacing: 0.0px;">He wanted her to start immediately. Instead, she waited 47 years.</span></div>
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<span style="letter-spacing: 0.0px;">"He was too bossy," says Strachan Scriver, who divorced the artist in 1973. "He asked other people, but was too bossy with them, as well, and they would get mad. In 1998 he started writing it himself."</span></div>
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<span style="letter-spacing: 0.0px;">Scriver passed away in 1999, leaving behind unfinished memoirs and a reputation as a pioneer of the oft-maligned "cowboy art" movement.</span></div>
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<span style="letter-spacing: 0.0px;">Bronze Inside and Out: A Biographical Memoir of Bob Scriver (University of Calgary Press, 371 Pages) brings both an academic and personal perspective to Scriver's work, tracing his development at the Blackfeet reservation from virtual unknown to world-class sculptor whose bronze, western-themed statues can be found in art galleries and museums throughout the U.S. and Canada. Strachan Scriver, who now lives just outside the reservation in Valier, Mon., did time as both a dog catcher and Unitarian minister after leaving her husband. In the early 1960s, she went to Calgary's Glenbow Museum with Scriver to sell some of the artist's early pieces. She returns for a talk on Tuesday morning.</span></div>
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<span style="letter-spacing: 0.0px;">Q: What motivates you to write?</span></div>
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<span style="letter-spacing: 0.0px;">A: I can't help it, I just do it. I came to Browning, Mont. in 1961 to teach high school English and I met up with Bob Scriver. He wanted me to write his life story, but he had just started his career so I had to wait. . . . I never lost my grip on Bob Scriver and what he was up to. He was a fascinating guy. It was easy to get addicted. I would call him every now and then (after the divorce). It would drive his fourth wife crazy.</span></div>
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<span style="letter-spacing: 0.0px;">Q: The structure of the book is interesting. Why did you structure the book after the stages of making a bronze sculpture?</span></div>
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<span style="letter-spacing: 0.0px;">A: It's a complicated process and really one of the central things that Bob and I did together. There was this idea at the time that if you had a sculpture it's just a thing. If you make it into a bronze, then it's a bronze and really important. All of sudden, he really wanted to get all his work done in bronze.</span></div>
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<span style="letter-spacing: 0.0px;">Q: In the foreword, Brian Dippie writes that the Western Art movement is "Shunned, ignored, disdained." Was part of your motivation in writing this book to improve the reputation of the genre?</span></div>
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<span style="letter-spacing: 0.0px;">A: Everybody's first impression about Western Art is (legendary American artist) Charles Russell. But there was a whole school of artists trained in Paris who worked back east. It was really people like (American sculptor) Malvina Hoffman who Bob liked. He wanted to be like her and wanted to work like her. That work is still very important.</span></div>
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<span style="letter-spacing: 0.0px;">Q: Bob Scriver didn't start working in bronze until late in life. How did he feel about the fame and renown he eventually earned?</span></div>
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<span style="letter-spacing: 0.0px;">A: (Laughing) He thought he was entitled to it -- that he earned it fair and square. But it was hard to make him do the stuff he was supposed to do. The Cowboy Artists of America (a group founded in 1965 to promote western artists) could never make Bob behave. They wanted him to hang out and show off on his horse and he wanted to stay in Browning and work.</span></div>
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<span style="letter-spacing: 0.0px;">Q: What do you think he would have thought of Bronze Inside and Out?</span></div>
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<span style="letter-spacing: 0.0px;">A: It would have made him mad. There are some things in there that he didn't want people to know. But he would have been glad there was finally a book. When I first took this to another publisher, I was told 'you have to take out the women and hunting stories.' I said, 'If you take that out there wouldn't be any of Bob left.' "</span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="mailto:evolmers@theherald.canwest.com">evolmers@theherald.canwest.com</a></span></div>
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<span style="letter-spacing: 0.0px;">© (c) CanWest MediaWorks Publications Inc.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-39852111965721015502014-12-24T15:35:00.001-07:002014-12-24T15:35:12.450-07:00SCRIVER STUDIO PHOTOS WITH BOB<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-31BJ53YZT9A/VJsu7DC5pYI/AAAAAAAAQH0/2MBYBunPn3g/s1600/001_6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-31BJ53YZT9A/VJsu7DC5pYI/AAAAAAAAQH0/2MBYBunPn3g/s1600/001_6.JPG" height="320" width="213" /></a></div>
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Bob in the Scriver Studio shop. He's working on a commissioned portrait of the Mayre brothers.</div>
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Same thing -- over Bob's shoulder</div>
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More of the same. This was not the sort of shop that is kept orderly.</div>
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The cold room where the waxes were kept until it was time to cast them. These are either orders or maybe the pieces he expected to sell.</div>
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A wax held up to show the "sprues" and vents designed to let the molten bronze </div>
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flow into the mold and the fumes and air to emerge ahead of it.</div>
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The big foundry expanded to cast the major bucking horse piece that's in Helena.</div>
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The round shapes are the furnaces, sunk in the floor in case the crucible broke </div>
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so the molten bronze would not run out onto the feet of the workers. </div>
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The cradle for lifting the crucibles in and out were welded up by Bob.</div>
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The ovens for baking the molds. This was Roman Block casting so the mold</div>
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was a big mass of heat-resistant plaster. Even the molecular wax had to be baked out, </div>
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which took days at over a thousand degrees. The electric hoist was a major innovation.</div>
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Operating the electric hoist. Before that, there was a human hoist: me.</div>
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All the places where sprues and vents were attached had to be ground down.</div>
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Patining is accomplished by painting on a chemical solution</div>
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and then heating just enough to make it adhere/react.</div>
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More patining. A tedious job. In a while you could taste the chemicals.</div>
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Same again.</div>
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Entrance to the little gallery room.</div>
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Bison killed in a bull fight at Moiese plus the rattlesnake.</div>
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It really rattled if you put in a coin.</div>
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The diorama room: inch to a foot of every major game animal in Montana.</div>
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The strangely proportioned portrait of Charlie Russell that kicked off Bob's career.</div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-70567658486817724442014-11-02T12:43:00.001-07:002014-11-05T16:15:56.098-07:00SOUVENIRS COMING TO AUCTION<div style="font-family: Verdana; font-size: 12px;">
<span style="letter-spacing: 0.0px;">Recently posted on the Scriver “page” for <a href="http://www.askart.com/"><span style="color: #021eaa; letter-spacing: 0px;">www.askart.com</span></a> are these two sculptures that are up for auction. I don’t know which auction. Go to askart.com to find out. You might have to subscribe or find a dealer who subscribes.</span></div>
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<span style="letter-spacing: 0.0px;">These are very early experiments for Bob (1951) and were sold for tourist trinkets. They were deliberately designed to be simple and more or less bilateral so that a simple two-halves mold (probably Koroseal at that point) would come apart without damaging the casting. They sold for only a few dollars. Some had places for a little glass saucer so they could be used as ashtrays. They were painted with a Paasche airbrush.</span><br />
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<span style="letter-spacing: 0.0px;">Ace Powell and Blake the Woodcarver (the Hungry Horse originator) both used this technology. It was not plaster of paris, but hydrocal, a much harder version of plaster, and I'm not sure Ace or Blake had the capacity to use Koroseal, which was very tricky stuff. Blake, aside from the little horses, made mostly masks of Indians, using molds (probably latex) taken from the carved faces he made in cottonwood bark, which can be very thick and like cork. Ace and Bob went on to cast bronze, but as far as I know, Blake never did.</span><br />
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<span style="letter-spacing: 0.0px;">All of the three sold hundreds of castings. Bob and Jeannette, his second wife, went on a selling trip in a circle around the prairie West and took so many orders that they finally couldn't fill them.</span><br />
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<span style="letter-spacing: 0.0px;">Ace investigated steel molds for plastic injection castings, but they were way too expensive for the artists at this stage of the game. It was a whole complex of making small figures to sell to the tourists, newly patriotic after the war and exploring the new road systems.</span><br />
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<span style="letter-spacing: 0.0px;">These are very early works and their charm will disappear if they are translated in bronze.</span><br />
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<a href="http://4.bp.blogspot.com/-iSKEk9gmXmw/VFaIrzW8PLI/AAAAAAAAO_4/bDKcs5xGnyw/s1600/50_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-iSKEk9gmXmw/VFaIrzW8PLI/AAAAAAAAO_4/bDKcs5xGnyw/s1600/50_1.jpg" height="174" width="320" /></a></div>
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<span style="letter-spacing: 0.0px;">12"</span></div>
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<span style="letter-spacing: 0.0px;">(30.48cm)</span></div>
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<span style="letter-spacing: 0.0px;">Created: c. 1951</span></div>
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<span style="letter-spacing: 0.0px;">plaster of plaster</span></div>
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<span style="letter-spacing: 0.0px;">Auction House: <a href="http://www.askart.com/AskART/member/login.aspx?page=/AskART/artists/search/Search_Repeat.aspx?searchtype=AUCTION_RECORDS&artist=19479"><span style="color: #021eaa; letter-spacing: 0px;">Subscribers</span></a></span></div>
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<span style="letter-spacing: 0.0px;">Low Est.:</span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.askart.com/AskART/member/login.aspx?page=/AskART/artists/search/Search_Repeat.aspx?searchtype=AUCTION_RECORDS&artist=19479">Subscribers</a></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.askart.com/AskART/member/login.aspx?page=/AskART/artists/search/Search_Repeat.aspx?searchtype=AUCTION_RECORDS&artist=19479">Subscribers<span style="color: #021eaa; letter-spacing: 0px;"></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b>Sale Price: </b></span><br />
<span style="letter-spacing: 0.0px;"><b>It sold for $173.</b></span></div>
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<a href="http://1.bp.blogspot.com/-CSrFA5X8wDw/VFaJECCkxcI/AAAAAAAAPAA/QSd_TrfK_MU/s1600/51_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-CSrFA5X8wDw/VFaJECCkxcI/AAAAAAAAPAA/QSd_TrfK_MU/s1600/51_1.jpg" height="312" width="320" /></a></div>
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<span style="letter-spacing: 0.0px;">8"</span></div>
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<span style="letter-spacing: 0.0px;">(20.32cm)</span></div>
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<span style="letter-spacing: 0.0px;">Created: c. 1951</span></div>
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<span style="letter-spacing: 0.0px;">plaster of paris</span></div>
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<span style="letter-spacing: 0.0px;">Auction House: <span style="color: #021eaa; letter-spacing: 0px;"><a href="http://www.askart.com/AskART/member/login.aspx?page=/AskART/artists/search/Search_Repeat.aspx?searchtype=AUCTION_RECORDS&artist=19479">Subscribers</a> This one sold for $184.</span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-53840367063975310352014-07-13T10:37:00.000-06:002014-07-13T11:42:14.331-06:00MONTANA HISTORICAL SOCIETY EXHIBIT<div class="title-block" style="background-color: white; color: #222222; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 18px;">
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Bob Scriver exhibit ‘Mastery in Bronze’ at Montana Historical Society</h1>
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Bob Scriver is pictured with pieces he did of Jim Shoulders, a well-known rodeo rider, cowboy and rancher.</div>
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<span class="pubdate">July 11, 2014 11:00 am</span></div>
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<a class="blox-comment expand-comments" href="http://helenair.com/entertainment/yourtime/bob-scriver-exhibit-mastery-in-bronze-at-montana-historical-society/article_d7ef665c-0896-11e4-aaf8-001a4bcf887a.html#comments" id="comment_d7ef665c-0896-11e4-aaf8-001a4bcf887a" style="border: 0px; color: #38566f; font-family: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none;"><span class="ui-icon ui-icon-comment" style="background-image: url(http://bloximages.chicago2.vip.townnews.com/helenair.com/content/tncms/live/components/lee_core_2/resources/images/calendar/ui-icons.png); background-position: -128px -96px; background-repeat: initial initial; display: block; float: left; height: 16px; text-indent: -9999px; width: 16px;"></span><span class="count">(0)</span> Comments</a></div>
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A new exhibit at the Montana Historical Society Museum features the work of Robert MacFie Scriver, whose rodeo, wildlife and Native American bronzes have been shown at galleries and museums, and been prized by collectors across the nation and the world.</div>
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“Mastery in Bronze: Selections from The Bob Scriver Collection” features bronzes from all three genres and tells the story of the man who was born in 1914 on the Blackfeet Reservation in Browning, where his parents operated a mercantile company.</div>
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This is the 100-year anniversary of his birth, and when he died in 1999, he was still at work in his studio at his gallery and museum in Browning. He grew up amid the vast plains and “shining” mountains surrounded by frontier characters and Blackfeet elders.</div>
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He was influenced by the geography of the people and animals of the Glacier Park area and was steeped in the romance of the Wild West.</div>
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His first love was music, and he was an accomplished professional cornet player and served on the faculty of his high school alma mater as music supervisor and band director. By the 1950s, Scriver’s fascination with taxidermy began to replace his interest in teaching music.</div>
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One of his first big successes was preparing the mount for Big Medicine, the famed white buffalo from the National Bison Range that is still on exhibit at MHS.</div>
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His work with taxidermy soon led him to begin experimenting with sculpting and later bronzes. He had his first major exhibition at his Browning studio in 1961. It received acclaim and national recognition followed.</div>
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In 2000, his wife Lorraine donated a large collection of his work including bronzes, sculptures and other artwork and memorabilia to the Montana Historical Society.</div>
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There will be a public event on Thursday, Aug. 14, to commemorate his birthday.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-8414070803538143512014-03-25T22:03:00.002-06:002014-03-25T22:03:20.861-06:00FROM MUD TO PIXELS<div style="color: #335577; font-family: 'Trebuchet MS'; font-size: 11px; margin-left: 43px;">
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<a href="http://2.bp.blogspot.com/-KApA3b5kEZE/Uy9WH55mkJI/AAAAAAAAJwI/v9ckiRw5znY/s1600/tipis.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-KApA3b5kEZE/Uy9WH55mkJI/AAAAAAAAJwI/v9ckiRw5znY/s1600/tipis.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-size: xx-small;">tipis by Tom Gilleon</span></div>
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<span style="letter-spacing: 0px;">Recently at “<i>The Russell</i>” suite of auctions and showrooms that occupies Great Falls in this week every year, a video animation displayed via a flat screen player hanging on the wall was sold as a “painting” for $225,000 It was created by using a program called “PixOils,” by <b>Tom Gilleon</b>, known for his “eternal triangle” endless series of paintings of iconic tipis in romantic natural settings. Gilleon once worked for <b>Disney</b>. </span></div>
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<a href="http://2.bp.blogspot.com/-lP64mGEXvBk/Uy9UfVkZLoI/AAAAAAAAJv8/qFDQL3vwnV8/s1600/images-12.jpeg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-lP64mGEXvBk/Uy9UfVkZLoI/AAAAAAAAJv8/qFDQL3vwnV8/s1600/images-12.jpeg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-size: xx-small;">Animated art by Tom Gilleon. That's Tom.</span></div>
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<span style="letter-spacing: 0px;">Whether this new art form is better or worse than what <b>Rembrandt</b> did sort of relates to what you think about the sentimental greeting card art of <b>Thomas Kinkade</b> who built a sales empire on pretty little cottages or maybe the video greeting card art of J<b>acquie Lawson</b> with her big dogs and little birds. If you google <a href="https://www.google.com/search?q=popular+art+about+cottages&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ei=4bMtU7CVNZKJogSw54DQBA&ved=0CAkQ_AUoAQ&biw=1169&bih=579" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;">popular art about cottages</span></a>, you’ll see a thriving genre with a certain amount of variation but not too much. If you think of Gilleon tipis as “Plains Indian Cottages”, you wouldn’t be far wrong. There’s a fascinating discussion of Kinkade’s art at <a href="http://www.firstthings.com/web-exclusives/2010/06/thomas-kinkades-cottage-fantasy" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;">http://www.firstthings.com/web-exclusives/2010/06/thomas-kinkades-cottage-fantasy</span></a> I do not think that the comments about Kinkade are exactly relevant to Gilleon, but they are suggestive.</span></div>
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<a href="http://4.bp.blogspot.com/-HZeLNJ88alk/Uy9WmOQ9MAI/AAAAAAAAJwM/TTQtO1674cQ/s1600/TK.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-HZeLNJ88alk/Uy9WmOQ9MAI/AAAAAAAAJwM/TTQtO1674cQ/s1600/TK.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-size: xx-small;">by Thomas Kinkade</span></div>
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<span style="letter-spacing: 0px;">Animated video images are a hat trick not much different than the latest innovation in sculpture, which is laser-guided reconstruction of actual objects on whatever scale and in whatever medium is desired. But then what happens to the concept of the artist? The idea of seeing through another person’s eyes and skills is still there, but so dependent on technology that it loses some of the magic. Doesn’t it? Maybe not.</span><br /><span style="letter-spacing: 0px;"><br /></span></div>
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<a href="http://3.bp.blogspot.com/-u7737Ygu6ps/Uy9W2ta1TnI/AAAAAAAAJwU/0xXbTOAKJ5Q/s1600/Childhood-101-Kids-art-ideas-rainbow-snake-pots.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-u7737Ygu6ps/Uy9W2ta1TnI/AAAAAAAAJwU/0xXbTOAKJ5Q/s1600/Childhood-101-Kids-art-ideas-rainbow-snake-pots.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-size: x-small;">Rolling snakes</span></div>
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<span style="letter-spacing: 0px;">Basic to the child’s impulse to create is the manipulation of a squishy substance into a depiction of some kind, if only rolling out plastilene snakes. Many a rural child has found a deposit of clay, perhaps along a river bank, and used it to make little figures, maybe of animals (usually lying down or standing in tall grass so legs are not visible, since it takes a certain amount of skill to create a functional armature of wire or sticks in legs so the creature won’t collapse).</span></div>
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<span style="font-size: xx-small;">"The Right of Way" by Earl Heikka</span></div>
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<span style="letter-spacing: 0px;">Later some people discover paper mache -- or “<i>papier maché”</i> because if it’s in French it’s more artistic in many minds. This may be as simple as newspaper smeared with flour-and-water glue, or it might be the wood fibre reduced to bits that’s used, for instance, in taxidermy. Something similar was “<i>marblex</i>”, an air-dry clay, which was used by<b>Earl Heikka</b> over wire and fibre armatures. Usually treated as mixed-media because bits of string or metal are included, the figures are generally painted realistically. Since they are fragile, even in the process of construction, and require much experience to use without shrinkage and loss of integrity, they are usually displayed under glass. They are very difficult to reproduce in bronze, since mold-making generally damages if not destroys them. Certainly, the charming effects of the color and details are usually lost, which can reveal poor composition and proportion.</span></div>
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<span style="letter-spacing: 0px;">The point of a mold is to allow reproduction. In the early days of Euro-style sculpture, most creations were cut in marble, particularly a white stone found in Carrera, Italy. Using the skills of woodcutters, or in fact of any kind of carving whether in materials soft or hard, the figure is revealed by cutting away what is not wanted. From origins in sedimentation of tiny sea creatures, marble is metamorphized from softer limestone and plaster. A block of plaster, and likewise a block of wax, could be carved in the same way, but the fact that wax melts and melds means that wax is almost infinitely malleable. <b>Charlie Russell</b> is said to have kept a wad of wax in his pocket which he obsessively transformed from one animal into another: a cow, a pig, a bear or even a person. This sort of working with something by manipulating it is called “haptic.” Hands on.</span><br /><span style="letter-spacing: 0px;"><br /></span></div>
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<span style="letter-spacing: 0px;">Plaster has different qualities.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">When it is powdered and baked to get molecular water out of it, it can be mixed with new water -- and perhaps other inclusions -- and will stay liquid for a little while until chemical reactions cause it to turn into a solid again.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">The kind of “plaster” can vary from near-stone to a solid so soft that it can be incised by a fingernail.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">And its qualities make it ideal for casting:</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">that is, to be put into a mold in liquid form, let set up, and then removed as shaped by the mold.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">A mold can be made of anything that will separate from the plaster and the separation is often helped by using some kind of liquid, maybe something as simple as dish soap.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">Molds are often made of something flexible so that they won’t get hung up by overhangs in the castings. </span></div>
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<span style="letter-spacing: 0px;">Wax can be used in molds just like plaster. But molds might also be made from solid objects, maybe plaster or maybe something else like wax. It’s possible to model something in water-based clay or oil-based clay (plastilene), make a mold of it, then pour in plaster or wax which will set up and create a new version. To some people, the realization that duplication is possible in this way is a mechanical addition that makes the object “lesser” because it is no longer unique -- it is multiple. To other people, the process of making duplicates -- whether carving a new version of a marble bust through measuring and careful observation or creating a series of bronze castings through the use of molds -- simply adds another dimension of skill and therefore value. </span></div>
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<span style="font-size: xx-small;">Plaster casting of marble bust of George Washington by Houdon</span></div>
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<span style="letter-spacing: 0px;">The great shift in sculpture from marble to bronze (stone-cutting based in Italy to foundries based in France) happened roughly coincidentally with the American Revolution. The impulse to immortalize heroes in an age preceding photography began with<b> Houdon</b>’s busts and gradually continued through Beaux Arts Paris-trained sculptors from America. By the time of the Civil War, marble was out of fashion -- bronze was the thing. Thus do the materials, techniques and impulses of art weave in and out through the value and actual creative skill of the artists.</span></div>
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<a href="http://3.bp.blogspot.com/-mU0HLuaJ2vs/Uy9ZPbtUzUI/AAAAAAAAJw8/4ms0RXxZMjw/s1600/30505+hh+blake+carvings.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/-mU0HLuaJ2vs/Uy9ZPbtUzUI/AAAAAAAAJw8/4ms0RXxZMjw/s1600/30505+hh+blake+carvings.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-size: xx-small;">Blake the Woodcarver's "Hungry Horse"</span></div>
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<b style="background-color: white; color: #333333; font-family: Helvetica; letter-spacing: 0px; line-height: 18px;">Bob Scriver</b><span style="background-color: white; color: #333333; font-family: Helvetica; line-height: 18px;"><span style="letter-spacing: 0px;">, as well as </span></span><b style="background-color: white; color: #333333; font-family: Helvetica; letter-spacing: 0px; line-height: 18px;">“Blake the Woodcarver,” Ace Powell, Albert Racine, John Clarke</b><span style="background-color: white; color: #333333; font-family: Helvetica; line-height: 18px;"><span style="letter-spacing: 0px;">, and a few other North Central Montana artists made plaster figurines from molds to sell in shops meant for tourists. Blake, Albert Racine, and John Clarke all employed a studio machine, a kind of belt-driven pantograph, that would duplicate an object on a lathe system. This machined blank would then be touched up and finished by hand so as to represent it as hand-carved. Blake and Scriver did more plaster casting. Blake’s figures of Indian faces and the “Hungry Horse” were simple but Scriver’s little animals required antlers and sometimes his humans required </span>accouterments<span style="letter-spacing: 0px;">. </span></span></div>
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<span style="font-size: xx-small;">Scriver's Breyer horse</span></div>
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<span style="letter-spacing: 0px;">While completing an MA in Chicago at <i>Vandercook School of Music</i>, Scriver went searching for a material to make antlers that would survive a certain amount of handling. He found a material called P-300, a combination of kaolin and latex that was liquid but set-up into a material that had a little forgiving spring to it, so it would return to the same shape. It was cast flat in a plaster mold, but with a little heat could be formed into the curves of antlers. In those days latex was the main material used for flexible molds, so Scriver was used to it. The antlers, once formed, were attached to the plaster animals, which were then painted with lacquer from an airbrush. The result was a little “slick” and manufactured-looking, rather like china figures, but to the general population this was attractive. They sold well. Later Scriver’s style worked out well for the Breyer horses, made of plastic, which had some of the qualities of Kinkade sentimental art, shiny and brightly colored.</span></div>
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<span style="font-size: xx-small;">The bison diorama from the Scriver Museum of Montana Wildlife</span></div>
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<span style="letter-spacing: 0px;">Two discoveries improved the manufacturing process, both of them discovered by one of Bob’s students with a bent for invention and materials. (He was originally intending to animate the miniature dioramas of Montana animals that were in a room at the <i>Scriver Museum of Montana Wildlife </i>and are now “moth-balled” at the Montana Historical Society.) The first was what was then called “parachute cord” but now is known as bungee cord. The great advantage was that it could hold together the plaster shell that supported the flexible mold so tightly that nothing in liquid form leaked. </span></div>
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<span style="letter-spacing: 0px;">The second discovery was <i>koroseal,</i> a rubbery material that had to be heated to be liquid and poured over the figure to be molded while the sculpture sat on a vacuum table, having been carved out from inside until it was a shell that air could pass through. <i>Koroseal</i> came as ground up bits and was melted in a turkey roaster. It was red so it looked like jam. The stuff clung and, if spattered, burned badly. But it made excellent and durable molds that took small details, reproducing them accurately again and again. Using it was nerve-wracking and took major skill. It’s a kind of synthetic rubber related to <i>teflon</i>.</span></div>
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<span style="letter-spacing: 0px;">Using <i>koroseal</i> molds meant that the quality of castings was much higher than those cast from latex molds -- which had been a huge improvement over the original agar-agar (gelatin) molds of the Beaux Arts foundries. Agar-agar disintegrates and both it and latex can easily distort if misaligned with the plaster shells that supported them. <i>Koroseal </i>is so durable that when, as Scriver’s will required, the molds were taken to the dump and crushed under a bulldozer, I suspect that some survived. Destroying them would mean putting them through a grinder.</span></div>
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<span style="font-size: xx-small;">Bob Scriver</span></div>
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<span style="letter-spacing: 0px;">When I googled to find out more about koroseal, I was taken to a</span><span style="letter-spacing: 0px;"> </span><i style="letter-spacing: 0px;">Starz </i><span style="letter-spacing: 0px;">series about</span><span style="letter-spacing: 0px;"> </span><b style="letter-spacing: 0px;">Leonardo da Vinci,</b><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">called “</span><i style="letter-spacing: 0px;">DaVinci’s Demons</i><span style="letter-spacing: 0px;">”. Art is a very “DaVinci” sort of thing if one goes beyond marks on paper. Digital animation, as produced by Gilleon, or technical advantages like</span><i style="letter-spacing: 0px;">koroseal</i><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">would have appealed to da Vinci very much. But I’m not sure his subjects would be so bright and iconic as Gilleon tipis. Perhaps other CGI artists would have a darker and more “scientific” sort of vision. Perhaps they should explore “Montana Gothic” as well as “Indigenous Disney.” On the other hand, dark subjects might not be so appealing to the middle-class prosperous folks who buy art. In the end, the point is to sell.</span><span style="letter-spacing: 0px;"></span></div>
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<span style="letter-spacing: 0px;">A rather over-zealous journalist arrived in the studio in the early Sixties, on the hunt for a spectacular story. Bob knew her, because she’d been there before, and she was the little peppy brunette type he liked. Somehow she got her notes a bit scrambled (or possibly she never took any) because she announced in the article that the secret of Bob’s success was a fabulous new substance he used called “Petrolane.” That was the name of the gas company. She enthused that this stuff would harden, by-passing molds, but took excellent detail and wasn’t fragile. There was no such thing at that point. It was what everyone would have liked to have had.</span></div>
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<a href="http://3.bp.blogspot.com/-YzIadjaM7iQ/UzGkzqPbTsI/AAAAAAAAJ0k/9AHrVhe33eE/s1600/mold_mel_3x4_22_c.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="229" src="http://3.bp.blogspot.com/-YzIadjaM7iQ/UzGkzqPbTsI/AAAAAAAAJ0k/9AHrVhe33eE/s1600/mold_mel_3x4_22_c.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-size: xx-small;">A doll-head and the mold for it.</span></div>
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<span style="letter-spacing: 0px;">In fact, Bob was still using the old-fashioned method of creating a figure in plastilene, making a hard mold around it out of plaster, pulling the hard mold apart -- which destroyed the plastilene where it had to be pulled out of overhangs -- then filling the hollow with hydrocal, a much harder form of plaster. The mold that had been against the plastilene was tinted blue and sealed with a mix of shellac and bear rug dye which soaked into the mold a bit, so you could tell if you were getting close to the casting. Then the tense precision task of cutting the blue mold off with small chisels and scrapers took hours. Bob was very good at it, just as he was at the other ticklish little techniques of transference. He didn’t want people around. Very few other artists were patient enough to do this and, in fact, specialist technicians did it where there were enough artists to make a living at it -- and keep their skills sharp.</span></div>
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<a href="http://2.bp.blogspot.com/-f18XAzCDVSA/UzGmuLDKdII/AAAAAAAAJ0s/nPijna-Cn0w/s1600/Unknown.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-f18XAzCDVSA/UzGmuLDKdII/AAAAAAAAJ0s/nPijna-Cn0w/s1600/Unknown.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-size: xx-small;">A formal bust and the mold for it.</span></div>
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<span style="letter-spacing: 0px;">Now the technical means began to make life simpler and easier. One of the first inventions was “cold molding compound” which came in several varieties but was most usually black tuffy, a kind of rubber with a carbon filler. <i>“FMC 200 is the strongest of the polysulfides, can be used for casting almost any materials and is widely used by foundries. Ideal for wax or plaster casting. (Not to be used with resin or silicone casting.)” </i><a href="http://www.sculpt.com/catalog_98/RUBBERS/polysulfide.htm" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;">http://www.sculpt.com/catalog_98/RUBBERS/polysulfide.htm</span></a><i> </i> It was nasty stuff, but nothing like the difficulty of Koroseal. The quality of the mold wasn’t quite as good. The stuff was stretchy but also would tear, and sometimes distort if it weren’t stored exactly right. Bob began to use straight pins to keep things in the right place. Someone said we could keep the rubber more flexible if we rubbed them with Vaseline, but that turned out to deteriorate the surface. A chemist who came through told us of another substance that would work for sure, but it was so carcinogenic that Bob wouldn’t let me use it. Not that he thought of gloves.</span></div>
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<span style="font-size: xx-small;">A Work by Lyndon Pomeroy</span></div>
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<span style="letter-spacing: 0px;">Readers of the <i>Great Falls Tribune</i> in recent days have seen a photo of a Lutheran church with a big abstract Jesus over the door. (The church has had a schism over gays, which is the content of the story.) The work of <b>Lyndon Pomeroy</b>, it aroused competition in Bob who was then asked to make a bison in that style for <i>Great Falls High School</i>and a rustler for <i>CMR High School</i>. The technical angle was that these were made of Corten steel, AKA “weathering steel” which would form a rusty crust or patina that prevented corrosion, meaning it didn’t need painting. Abstract artists make huge welded pieces from the sheets it comes in. Pomeroy was a grassroots guy in bib overalls who turned out a LOT of work. </span></div>
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<a href="http://1.bp.blogspot.com/-wNwxFqPdA2g/UzGng29DlnI/AAAAAAAAJ00/GsJInmXqow8/s1600/guardians.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-wNwxFqPdA2g/UzGng29DlnI/AAAAAAAAJ00/GsJInmXqow8/s1600/guardians.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-size: xx-small;">The Guardians of the North. Chief Mountain in the background.</span></div>
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<span style="letter-spacing: 0px;">Later this genre of sculpture became very popular on the rez because of the huge number of junk cars to be stripped for material. At that point chrome and the car paint became part of the use. Also the government’s idea of what rez folk should learn to do was welding. Now there are “guardians” at the compass points of the rez, plus a large assembly of totems (elk, wolf, bison) at the Indian Health Service Hospital, and other spots, plus a jingling set of icons on the street light posts. Most ranchers and farmers have learned to weld and often make joke sculptures out of junk.</span></div>
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<a href="http://4.bp.blogspot.com/-tJualNQZ_d8/UzJNq5M0ruI/AAAAAAAAJ2c/Z5ywr_VLiDg/s1600/Robert_Gould_Shaw_Memorial.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="http://4.bp.blogspot.com/-tJualNQZ_d8/UzJNq5M0ruI/AAAAAAAAJ2c/Z5ywr_VLiDg/s1600/Robert_Gould_Shaw_Memorial.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-size: xx-small;">Robert Gould Shaw Memorial by Saint Gaudens across the street from 25 Beacon Street.</span></div>
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<span style="font-family: Helvetica; letter-spacing: 0px;">But as much fun as it was to create such things, Bob Scriver’s prime work was realistic figures, well-cast and patined in the classic style of the Beaux Arts bronzes we know best as heroic-sized monuments and as the Western bronzes in the Oval Office. As long as casting took enormous skill, strength, and resourcefulness, the objects held their value as beautiful and precious.</span></div>
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<a href="http://4.bp.blogspot.com/-UftVMnxk8AI/UzGonBsGxiI/AAAAAAAAJ1I/uD6t9iaC8C8/s1600/shell.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-UftVMnxk8AI/UzGonBsGxiI/AAAAAAAAJ1I/uD6t9iaC8C8/s1600/shell.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="letter-spacing: 0px;">Then came ceramic shell casting, which I call “chicken fried bronze” since the way one prepares the wax is by dipping it into a kind of batter or slurry, then rolling it in crushed glass over and over until when it dries it has formed a shell strong enough to hold the molten metal. There is no need to fuss with some of the difficulties of Roman Block casting because there are not so many feeder sprues or vents to figure out and place. Gases vent through the shell. This was developed for machinery in the space age, strange alloys and miniscule tolerances for gears and housings. At this point it became possible to buy a “kit” for bronze casting for a few hundred dollars, another kit for patinas, and be a foundry caster practically overnight. A lot of bad sculptures got made into bronzes. It was the equivalent of replacing diamonds with zircons -- the same general effect if you didn’t really know. </span></div>
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<a href="http://1.bp.blogspot.com/-f3M5ndiauis/UzGpqNTOK1I/AAAAAAAAJ1U/SVc38uUmVgk/s1600/P1-AE333_PAINTE_20060315190740.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-f3M5ndiauis/UzGpqNTOK1I/AAAAAAAAJ1U/SVc38uUmVgk/s1600/P1-AE333_PAINTE_20060315190740.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-size: xx-small;">http://westernamericana2.blogspot.com/2010/01/who-painted-lassoing-longhorn.html</span></div>
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<span style="letter-spacing: 0px;">Most customers of bronzes depend upon the gallery to know. The same as they depend upon the gallery to know the difference between a Russell painting and a Seltzer painting, though their work was so similar that even Seltzer’s grandson was only sure it was a Seltzer because he had a print of the original painting that included the part at the bottom where the original signature had been cut off. The usual Russell experts had said it was Russell’s. Cutting the signature off the bottom first added a zero to the value of the painting -- then finding the proof of the artist dropped the zero back off. Maybe more.</span></div>
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<a href="http://4.bp.blogspot.com/-TYXXVRZb0uQ/UzGqiwFyagI/AAAAAAAAJ1k/nmYtk6CQHgU/s1600/gordie.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-TYXXVRZb0uQ/UzGqiwFyagI/AAAAAAAAJ1k/nmYtk6CQHgU/s1600/gordie.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-size: xx-small;">Gordon Monroe and his work on the right.</span></div>
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<span style="letter-spacing: 0px;">Fiberglass had been around for quite a while but mostly for things like boats, big fabricated objects like -- oh! Monuments!! Much cheaper than bronze. But heroes are far more ephemeral these days anyway. <b>Gordon Monroe</b>, enrolled Blackfeet and sculptor in his own right, had begun as Bob Scriver’s fiberglass specialist. At Bob’s death the two huge rodeo sculptures Monroe made in fiberglass were moved to Babb Public School near St. Mary’s Lake. Then the bucking bull was moved back to what had been the Scriver Museum of Montana Wildlife. In the process, it was dropped and broken. Monroe was able to repair it, which is another advantage of fiberglass. </span></div>
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<span style="font-size: xx-small;">"An Honest Try" by Bob Scriver</span></div>
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<span style="letter-spacing: 0px;">The wonders of plastic continued on until at last it was possible to buy little blocks of stuff called “Sculpy” that were indeed just like the wonder material that the peppy journalist had described thirty years earlier. It will stay soft until baked in an ordinary kitchen stove. Mostly used by hobby doll-makers or jewelry makers, Monroe uses it to make Blackfeet figures, slightly bigger than the ones Scriver made.</span></div>
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<span style="font-size: xx-small;">Cosmic buttons</span></div>
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<span style="letter-spacing: 0px;">“<i>Sculpey is a brand of polymer clay made by Polyform Products in the United States. Sculpey was first created in the early 1960s. In the late 1960s it was then discovered that this compound could be molded, baked, sanded, drilled, carved and painted. “Sculpey closely resembles<a href="http://en.wikipedia.org/wiki/Fimo" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;">Fimo</span></a>, another brand of polymer clay. Sculpey is a less rigid composition which better suits modeling, while Fimo is better suited for twisting into cane and bead making because the colors do not blend together as readily.”</i> </span></div>
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<span style="font-size: xx-small;">Icarus</span></div>
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<span style="font-size: xx-small;">Angus calf</span></div>
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<span style="letter-spacing: 0px;">Even I can make figures of <i>Sculpey</i> and <i>Fimo</i>, though I always make animals lying down to avoid the need for armatures.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-91026335287646663762014-02-14T21:46:00.002-07:002014-02-14T21:46:53.864-07:00"THE RUSSELL" 2014 AUCTION<h2 class="date-header" style="background-color: white; color: #335577; font-family: 'Trebuchet MS', Verdana, Arial, sans-serif; font-size: 11px; letter-spacing: 0.2em; line-height: 2em; margin: 0px 28px 0px 43px; text-transform: uppercase;">
THURSDAY, FEBRUARY 13, 2014</h2>
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THE CMR AUCTION</h3>
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<a href="http://4.bp.blogspot.com/-U70mvha8_14/Uv0m9pvL1OI/AAAAAAAAI2s/WiSDuHVocpc/s1600/06639_0010057109.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-U70mvha8_14/Uv0m9pvL1OI/AAAAAAAAI2s/WiSDuHVocpc/s1600/06639_0010057109.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">CM Russell Museum with portrait of Charlie by Bob Scriver</span></div>
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<span style="letter-spacing: 0px;">The Western art scene has begun with the first event being<i> “The Russell,</i>” the big Great Falls Auction that the <i>GF Ad Club</i> used to stage in order to help subsidize the Russell Museum. Now it’s managed by the Museum itself or some sub-group. Actually, it’s a lot more like outright advertising than it used to be, including the auction of dinners in fancy places, resort time, and face time with artists. Strangely, it’s one of the earliest auctions because it’s Charlie’s birthday, but it’s also the farthest north and sometimes gets caught in a blizzard. Up here even <i>North American Indian Days</i> in July sometimes gets snow.</span></div>
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<a href="http://3.bp.blogspot.com/-TtbZO5DU0E8/Uv0nSkW_OBI/AAAAAAAAI3E/ovSO3SIvtXg/s1600/dippie.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-TtbZO5DU0E8/Uv0nSkW_OBI/AAAAAAAAI3E/ovSO3SIvtXg/s1600/dippie.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">Brian Dippie</span></div>
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<span style="letter-spacing: 0px;">The major non-artist award at the auction will go to <b>Brian Dippie</b> and I could not be more pleased. This is the wise Canadian expert, professor, and author who endorsed <i>“Bronze Inside and Out,” </i>and wrote the introduction to it. He really “got it.” He has been a quiet and penetrating expert on <b>Russell, Catlin</b>, and the general context of Western art, a strong counterpoint to the opportunists and wheeler/dealers who ordinarily slide around in the gray areas.</span></div>
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<a href="http://4.bp.blogspot.com/-R-mE_ZYw4OM/Uv0oBVw2geI/AAAAAAAAI3k/vcyYEd4T7a0/s1600/na-2239-1.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-R-mE_ZYw4OM/Uv0oBVw2geI/AAAAAAAAI3k/vcyYEd4T7a0/s1600/na-2239-1.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">Charlie Beil and Two Guns Whitecalf</span></div>
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<span style="letter-spacing: 0px;">The catalog for the auction is online: <a href="https://www.cmrussell.org/the-russell" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;">https://www.cmrussell.org/the-russell</span></a> The software is a little tricky. There is no Scriver art except for one small version of the portrait of Charlie Russell that Bob did in monument size for the grounds of the museum. A remnant of <b>Fred Renner</b>’s estate, it's being sold in a group with some <b>Charlie Beil</b>horses. Beil is VERY much undervalued, underpromoted and undercollected. As for Scriver, people seem to be sitting on what they own. The work is not out moving around except for the small pieces done late in his life. There are too many pirated and unauthorized copies out there for a non-expert to mess with. Of course, with an accurate provenance, the value can’t be lost.</span></div>
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<span style="letter-spacing: 0px;">Most of the artists in this auction were not born yet when it began. Many of the stalwart original participants are dead now, or in too poor health to be active. I see few <i>Cowboy Artists of America </i>members. The two pace setters seem to be <b>Charlie Fritz </b>with his vast panoramas and <b>Tom Gideon</b> with his near-fauvist hot-color iconic arrays and tipis. One of the more entertaining pieces (and few sculptures) is a <b>Greg Kelsey</b> portrait of young Charlie just back from the saloon and waltzing his wife. ( I HOPE that’s his wife! And that it WAS the saloon!)</span><span style="letter-spacing: 0px;"> The “in the style of Russell” niche is filled by </span><b style="letter-spacing: 0px;">Steve Selzer</b><span style="letter-spacing: 0px;">. I don’t see any </span><b style="letter-spacing: 0px;">Ace Powells. </b><span style="letter-spacing: 0px;"> I see two</span><b style="letter-spacing: 0px;"> Fery’s </b><span style="letter-spacing: 0px;">-- one I’m surprised was included and the other one a good example.</span><br /><span style="letter-spacing: 0px;"><br /></span></div>
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<a href="http://2.bp.blogspot.com/-4ChaDkzBxkw/Uv0oe6_JqcI/AAAAAAAAI3s/sFxtm-kswXE/s1600/side-hp.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-4ChaDkzBxkw/Uv0oe6_JqcI/AAAAAAAAI3s/sFxtm-kswXE/s1600/side-hp.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="120" /></a></div>
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<span style="letter-spacing: 0px;">The cover of the catalogue is <b>N.C. Wyeth</b>, but the depiction is of a fur-trappers’ fort. Double tension here pulls between a granddaddy illustrator from back east of the sort who helped Russell perfect his skills, and the myth of the free-standing creative genius springing from the Western landscape. Selling art, as opposed to creating art, is always in tension between directing value at something unique and emplacing it within a profitable context, between what is startling and what is merely a good example. The genius of the collector is educating his or her eye so as to recognize each for what it is, which is why it’s important to flip through catalogues, not just noting prices and provenance, but also opening up to color, composition, narrative, moment chosen, and so on. In this case, the execution is excellent. Judging by the toques and capotes, this is a French fort -- possibly not so Western or even not American. Quebecois?</span></div>
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<span style="letter-spacing: 0px;">But then, the strange provenance of the actual expansion and endowment of the Russell Museum has been as much a phenomenon of back East aficionadoes as of local fondness for a known character. It has produced difficulties never expected, esp. as men with fortunes in mineral extraction and other exploitations of the resources of the prairie establish heritage museums and collections across the continent. The supply of nimble and informed directors has been even more problematic -- some are a little too good and some are scrambling to acquire skills. They're nomadic as much as academic.</span><br /><span style="letter-spacing: 0px;"><br /></span></div>
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<a href="http://3.bp.blogspot.com/-etprhVNAutc/Uv0nUtwN_gI/AAAAAAAAI3Q/3MpLs3-7BF4/s1600/Gene-Autry-9542056-2-402.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-etprhVNAutc/Uv0nUtwN_gI/AAAAAAAAI3Q/3MpLs3-7BF4/s1600/Gene-Autry-9542056-2-402.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">Gene Autry</span></div>
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<span style="letter-spacing: 0px;">The Russell is famous for its quick turnover of curators and directors. The present occupant of that hot seat is <b>Michael Duchemin</b> (French for “of the road”) most recently at the “<i>Autry”</i> in LA, another personality-based museum, but with a Hollywood vibe. <b>Gene Autry</b> was probably the most all-time successful cowboy-singer businessman ever.</span><br /><span style="letter-spacing: 0px;"> </span></div>
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<a href="http://2.bp.blogspot.com/-efG3dbiF12M/Uv0naWOBXbI/AAAAAAAAI3g/hGjdrRrxQ70/s1600/lummis2.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-efG3dbiF12M/Uv0naWOBXbI/AAAAAAAAI3g/hGjdrRrxQ70/s1600/lummis2.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="210" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">Charles Fletcher Lummis</span></div>
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<span style="letter-spacing: 0px;">The museum became the center of a controversy when it acquired the entire <i>Southwest Museum of the American Indian</i>, another funky crumbling personality-based collection that was much beloved locally.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;"><i>“</i><a href="http://en.wikipedia.org/wiki/Charles_Fletcher_Lummis" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;"><i>Charles Fletcher Lummis</i></span></a><i> was an </i><a href="http://en.wikipedia.org/wiki/Anthropologist" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;"><i>anthropologist</i></span></a><i>, historian, journalist, and photographer who created the </i><a href="http://en.wikipedia.org/w/index.php?title=Southwest_Society&action=edit&redlink=1" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;"><i>Southwest Society</i></span></a><i>, which was the western branch of the </i><a href="http://en.wikipedia.org/wiki/Archaeological_Institute_of_America" style="color: #666666;"><span style="color: #021eaa; letter-spacing: 0px;"><i>Archaeological Institute of America</i></span></a><i>. He . . . opened the Southwest Museum in 1907. The museum moved from Downtown Los Angeles to its current location in Mt. Washington in 1914, and has been there ever since.” </i></span></div>
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<a href="http://1.bp.blogspot.com/-FezBcE_smMg/Uv0nWr4uYjI/AAAAAAAAI3Y/x3aHAebnJWg/s1600/kachinas-4.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="161" src="http://1.bp.blogspot.com/-FezBcE_smMg/Uv0nWr4uYjI/AAAAAAAAI3Y/x3aHAebnJWg/s1600/kachinas-4.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">kachinas</span></div>
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<span style="letter-spacing: 0px;"><b>Darrell Kipp</b> and <b>Shirley Crowshoe</b>, representing the <i>Piegan Institute,</i>were commissioned to evaluate the <b>Walter McClintock</b> photos that are housed there. McClintock was a devoted annual visitor to the Blackfeet in the early 1900’s. He wrote and illustrated <i>“The Old North Trail,”</i> an early and comprehensive documentation of the Blackfeet tribe that is one of the most trustworthy accounts. Kipp said the museum was so chockablock with kachina dolls that they had to move them repeatedly to get at the photos. Since the reputation of the dolls is that if disturbed they affect weather, they were a little trepidatious at first, but then began to joke about what and where things were unaccountably happening across the country. Very few Indian artists are in the auction.</span></div>
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<span style="letter-spacing: 0px;">The present curator is <b>Sarah Burt</b> -- I think maybe the third female curator. When I first moved back, I made it a point to go around and introduce myself, since Bob Scriver’s career was closely parallel with the museum, but it soon became apparent that these were people from elsewhere who had their own agenda. Much of it is “identity branding” of artists -- that is, selling sizzle for the actual steaks -- which is the same thing as “genre platform” for writers. Much of the sizzle is the idea that these painters are all cowboys, but in terms of painting, I am more impressed by the women artists in the catalogue.</span><br /><span style="letter-spacing: 0px;"><br /></span></div>
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<a href="http://4.bp.blogspot.com/-XlBqz-YFsDU/Uv0qRlTb3eI/AAAAAAAAI34/nr5HyXZ14sQ/s1600/Unknown.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-XlBqz-YFsDU/Uv0qRlTb3eI/AAAAAAAAI34/nr5HyXZ14sQ/s1600/Unknown.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">Jay Contway</span></div>
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<span style="letter-spacing: 0px;">As alternative venues, often more local, there are several parallel events: the <i>Western Heritage Artists Association Art Show</i>, the <i>Jay Contway and Friends Art Show</i>, <i>March in Montana</i> (an art show and auction presented by the Coeur d'Alene Art Auction and Manitou Galleries), a Montana version of the <i>Wild Bunch Art Show</i>, and the<i>Western Masters Art Show</i>. In the past motel rooms have become mini-galleries for individual artists and the atriums of the motels became circulating meeting spaces. <i>March in Montana</i> makes almost as much money as the main auction. (Millions.)</span></div>
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<span style="letter-spacing: 0px;">Wickedly, I suspect that part of the success of this event is that Montana has very weak laws concerning art: sources, authenticating, transporting, copyright, and so on. I think things cooled with the lawsuit that arose out of a dealer suing Steve Seltzer for identifying a purported C.M. Russell painting as actually a work by his grandfather,<b>Olaf Seltzer</b>, who was so close to Charlie in friendship and work that they are supposed to have painted some canvases together. The speculating dealers not only lost a zero off the value of their piece of art, they were fined. Perhaps they woke up to the force of the actual origin of the work. We ain't all rubes.</span><br /><span style="letter-spacing: 0px;"><br /></span></div>
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<a href="http://3.bp.blogspot.com/-C-i6H1qce6I/Uv0nRBZHiBI/AAAAAAAAI3A/nWIvld1ycCU/s1600/328613_by_air_mail_aqha_racing_quarter_horse_stallion_at_stud_3_4_b_photo_1_img.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="187" src="http://3.bp.blogspot.com/-C-i6H1qce6I/Uv0nRBZHiBI/AAAAAAAAI3A/nWIvld1ycCU/s1600/328613_by_air_mail_aqha_racing_quarter_horse_stallion_at_stud_3_4_b_photo_1_img.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="letter-spacing: 0px;">Art is valued for the prestige of owning high-value pieces. An effective strategy is to buy work that is below consciousness, then to promote it as forcefully as possible until it becomes a known marker for sophistication and wealth. I think of two men, each of whom owned a fine race horse. They arranged to “buy” each other’s horses for a million dollars. Then their million dollar race horses could command very high stud fees. The CMR is about stud fees. A person with an educated eye for horseflesh can do pretty well.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-9817012965894631982014-02-03T22:07:00.001-07:002014-02-03T22:07:22.563-07:00Bart the Bear!This piece is for sale at MutualArt.com.<br />
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By <a href="http://www.mutualart.com/Artist/Bob-Scriver/B730A6A64709606C" style="color: #02a1eb; cursor: pointer; text-decoration: none;">Bob Scriver</a></h2>
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<strong>Good Boy Bart - The Bear & Doug Seus</strong><span class="subTitle" id="head_ctl00_litSubTitle" style="color: #a6988e; font-size: 12px;"></span></h1>
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18 X 19 (Depth: 14) in (45.72 X 48.26 (Depth: 35.56) cm)</div>
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Bronze</div>
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1992</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-28424226057937857912013-12-28T13:38:00.000-07:002013-12-28T13:38:38.576-07:00Review of "Bronze Inside and Out"<span style="font-weight: bold;">BRONZE INSIDE AND OUT Review from “<span style="font-style: italic;">Alberta History”, Summer, 2008</span></span><br />
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Mary Scriver loves to write and she has chosen an ideal topic -- Bob Scriver, her late husband, a sculptor of international fame. A resident of Browning, Montana, he is particularly remembered for his bronzes of Indians, rodeo cowboys, and prominent figures, and prominent figures. Included among them is a 53 piece series of bronzes of Blackfoot culture entitled “<span style="font-style: italic;">No More Buffalo,</span>” a 33 piece set entitled “<span style="font-style: italic;">Rodeo in Bronze</span>,” and individual figures such as Eric Harvie of Calgary’s Glenbow Museum, rodeo star Casey Tibbs, “Buffalo Bill” Cody, Teddy Roosevelt, and others.<br />
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In this book, Mary also tells her own story, of how she came to Browning and her experiences with the Blackfoot people. She met her husband there and tells of his life and accomplishments in an engaging and literary style.<br />
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Bob was born on the Blackfeet Reservation in 1914 where his father owned a store. After a stint at teaching, he opened a taxidermy shop which grew into a foundry for his sculptures. As one who grew up with the Blackfoot, he had a keen interest in their cultures, and participated with them in their ceremonies. His love for them is reflected in his many sculptures. He also collected many artifacts, as had his father, to preserve a disappearing culture.<br />
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In 1990 he became the centre of controversy when he feared his entire Indian collection would be seized from under a newly-passed “<span style="font-style: italic;">Repatriation of Indian Artifacts Act.”</span> To prevent this from happening, he took his collection to Canada and sold it to the Provincial Museum of Alberta for $1 million.<br />
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This whole story of Bob Scriver is a fascinating one, and a good read.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-47084765573363229092013-12-28T13:37:00.000-07:002014-02-14T21:48:34.889-07:00"TRANSITION"<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;">
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<span style="font-size: 14px; letter-spacing: 0px;">I’m suspecting that this casting (above) was made in the Sixties in our own Bighorn Foundry that we built in the backyard and that probably either Carl Cree Medicine or I patined it.</span><span style="letter-spacing: 0.0px;"></span></div>
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<span style="letter-spacing: 0.0px;">The early auctions began, rather transparently, as ways to clear out the warehoused art stock of certain persons under the guise of helping the CMR Museum or Indians or some other cause. When they came around to ask Bob to donate a piece of art, he was outraged. (“I’m broke already!!”) But one was frozen out of the buyer “social classes” if one didn’t, because the auction was also an important bonding event for collectors and their supplicants. So he invented the Scriver Buffalo Skull Award, which didn’t cost much to cast and wasn’t going to be affected by the general state of art sales. </span></div>
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<span style="letter-spacing: 0.0px;">Now, of course, everything has changed, but Bob was right to be wary of auctions, because now there are many auctions, the generation that was betting on which artist was going to be the next Charlie Russell is ancient or dead, and there is a Charlie Russell wannabe under every bush, painting away as fast as they can. Aside from that, works go through auctions back east where people know nothing but abstract expressionism or conceptual art and no one knows anything about Charlie -- they have a vague trace memory of Frederic Remington.</span></div>
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<span style="letter-spacing: 0.0px;">In some ways, bronze sculptures have become as much victims of technology as books have been undercut by electronics. Ceramic shell casting is so cheap and easy, with results that are so indistinguishable from fine lost wax casting (except by experts), that everyone casts everything, slaps a store-bought slick-as-plastic patina on it (maybe in COLORS !!), and sells it for trinket prices. Worse, they aren’t very particular what they make molds off of -- copyright or not -- and they aren’t particularly good at making molds.</span></div>
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<span style="letter-spacing: 0.0px;">It gets worse: with laser technology, you can stand a horse in front of a machine and have a computer-recorded exact replica of the horse without the intervention of human judgment at all. Is this art? Is an upside-down urinal art? It’s up to the buyer.</span></div>
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<span style="letter-spacing: 0.0px;">Personally, I think it is worse to have a monument-quality sculpture cast by the artist by the same lost-wax method that Rodin used, go at auction for $800. And worse than that, I resent the work being carelessly described by some racist shallow catalogue maker as a “buck, squaw and papoose.” These are portraits. Chewing Black Bone, the man sitting down, was a dignified ceremonialist, said by some to be the last warrior to have taken a scalp. He was blind, probably from trachoma. In summer he lived in his lodge on the Mad Plume ranch, mending his own moccasins and remembering the old days. He was a friend and informant of James Willard Schultz, who called him “Ahku Pitsu.” I only met him once, early in the Sixties.</span></div>
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<span style="letter-spacing: 0.0px;">Mae Williamson, the woman in the middle, was a dignified and sophisticated woman who was married to a white lawyer. (Later she had other husbands, all Blackfeet.) The dress she is wearing, embellished with the eyeteeth of elk (count’em and see how many elk it took), is worth thousands of dollars. The boy is “tomorrow.” We’ve lost the name of the boy who posed. Maybe he’ll see this, recognize himself, and tell us how he turned out. He’d be a grandfather by now, fifty years older. None of this is romantic foofoo stuff invented by a Hollywood-hypnotized story spinner. These are just facts.</span></div>
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<span style="letter-spacing: 0.0px;">I complain a good deal about the Industrial Cowboy Art Cartel, who try to lock up the value of their own acquisitions by whatever means they can. Wheelin’ and dealin’, we say. These new phenomena of slice ‘n dice, bring-’em-faster auctions in which the buyers are often not present (they buy via the internet), no informed persons explain what the context of the pieces are, and everyone is monitoring a ticker-tape website that shows what the artist’s work sold for last time, are incredibly destructive to the reputation and value of Western American art.</span></div>
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<span style="letter-spacing: 0.0px;">But at least it is not the racist divide that is presently between those who love Western art, Western literature, and Western history because it is essentially a conquerer’s account of the empire of America with a nod to the valor and glamour of the “worthy opponents” -- as opposed to the flipside: real people’s history of previously invisible kinds. (Example: Mian Situ who suddenly makes real the Chinese in the West.) This divide is in all three contexts and it is decimating the organizations devoted to the fields, especially those that include with the amateur aficionadoes some serious academics who have been alert to the re-framing of history by people like Howard Zinn. Young people are now quite different in outlook and opposed to exploitation. It may be that the buckskinners and cavalry re-enactors have smudges of fascistic elitism and triumphalism. The idea makes them so defensive that no one wants to go near the topic.</span></div>
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<span style="letter-spacing: 0.0px;">Right-wingers. God love ‘em. Bob Scriver was among ‘em. Not that the forces of Red Power didn’t do their best to change him from an innocent to an entrenched opponent. This man grew up thinking he WAS Indian and got pushed out of the category by Indian people who hated the FBI -- who did their best to reinforce hate, even though the FBI was organized in the first place to oppose the many murders that came out of the great early oil strikes in Kansas. Wounded Knee was Wounded Pride. So the foxes sit quietly in front of the hen house with their tails curled around their feet while the weasels come and go.</span></div>
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<span style="letter-spacing: 0.0px;">I’m not meaning to accuse the amateur aficionadoes, who are off creating sonnets that ask “Why Gone Those Times?” I’m not ignoring the young rascals who say, “Good riddance.” It’s the commodifiers I’m after. In the meantime, sales everywhere are really miserable.</span></div>
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<br class="Apple-interchange-newline" />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-56577946859836813482013-12-28T13:36:00.000-07:002013-12-28T13:36:34.124-07:00OUTLINE FOR A PROPOSED PUBLICATION (Reblog from Prairie Mary)<h2 class="date-header" style="color: #335577; font-size: 11px; letter-spacing: 0.2em; line-height: 2em; margin: 0px 28px 0px 43px; text-transform: uppercase;">
FRIDAY, DECEMBER 27, 2013</h2>
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HOW MUCH DO YOU WANT IT?</h3>
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<span style="letter-spacing: 0px;"><b>Bob Scriver </b>was born in 1914, approximately at the beginning of WWI, so 2014 will be the centennial year of his birth. I want to mark it somehow and what is within my powers is a “book,” maybe a hundred pages long, 8 1/2” by 11”, with content that people will actually read. At this point Bob’s peers are mostly dead, though he really began his sculpture career about twenty years late, so in that sense there are a few left. The truth is that most people now have little or no consciousness of him and -- worse than that -- most people really don’t give a damn except to want to know how much his work is worth. They cannot grasp that all art is only worth what people are willing to pay for it, which varies greatly over time and place. In fact, almost everything varies in value according to circumstances.</span></div>
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<span style="letter-spacing: 0px;">In this post I'm speculating on what I might include in this projected “book,” which will be little more than a long magazine article. If people want to read an exhaustive account of Bob’s life, context, and place in history, they should read <i>“Bronze Inside and Out: a Biographical Memoir of Bob Scriver</i>,” published by the U of Calgary Press, available online. No bookstores carry it, not even the Montana Historical Society which owns Bob’s estate.</span></div>
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<span style="letter-spacing: 0px;">In Montana everything is dominated by the pattern of <b>Charlie Russell</b> -- even the reality of the man himself is obliterated by the legendary template and attempts to differ from it will be quickly suppressed. Bob Scriver was a sculptor, which means that from the very beginning the story must be different. Both men constantly worked bits of malleable material -- wax, plastilene, river bank clay, whatever. It’s the art medium of cast bronze that defines Scriver far more than Russell.</span></div>
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<a href="http://4.bp.blogspot.com/-1EBSUKDRopg/Ur3vMarFSiI/AAAAAAAAHzo/yypxLCEbDyM/s1600/WashingtonHoudonBust.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-1EBSUKDRopg/Ur3vMarFSiI/AAAAAAAAHzo/yypxLCEbDyM/s320/WashingtonHoudonBust.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="226" /></a></div>
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<span style="font-size: xx-small;">Bust of Washington by Houdon</span></div>
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<span style="letter-spacing: 0px;">About the time of the founding of the United States of America, all fine sculpture was cut from white marble by Italians. When it was time to commemorate Washington and so on, <b>Houdon</b>, a Frenchman, had to be imported to make the figures and then they were cut in Italy, shipped back to the US. So strong was the influence that Washington was depicted in a toga. (Here on the high prairie the horse had just arrived.)</span></div>
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<span style="font-size: xx-small;">by Barye, Animalier</span></div>
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<span style="letter-spacing: 0px;">Then about the time of the American Civil War, bronze had replaced marble. I should look all this up, but I’m sketching here. It’s just a guide -- YOU look it up! The ability to make finally detailed bronze sculptures, much less fragile than marble, made possible the<i>Animaliers</i> and <b>Rodin</b>. If you watch the set dressing on BBC shows like <i>Downton Abbey</i>, you see a lot of small bronze objects, especially on desks. To show sophistication, many are depictions of Romans with rearing horses. Those are probably "pot metal," a lesser alloy. (By this time the buffalo were being eliminated and the prairies were being cleared of Indians. Charlie arrives in Montana.)</span></div>
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<span style="letter-spacing: 0px;">The next war is WWI and metal is converted to armaments. Blackfeet become soldiers. A small boy is born in Browning, a second son named Robert. By the time the war ends and recovery is underway, he is old enough to read and spends time sprawled out with the newspaper which comes with one page of local news and three pages printed <i>en masse</i> somewhere else. Favorite stories feature the new monuments to heroism created by sculptors educated in Paris, esp. at the <i>Ecole de Beaux Arts</i>. Nowadays not many of us know the names of the sculptors, but we recognize their work because in heroic-sized monuments it has stood in parks a long time. Usually they are men on horses. These works are the ones to whom Bob Scriver aspired. His natural home is not <i>Cowboy Artists of America</i>, but rather the <i>National Sculpture Society</i> founded by the Beaux Arts representational bronze sculptors. This creates a problem, a split in potential appreciators, since the subject matter goes one way and the art medium goes another.</span><br />
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<a href="http://3.bp.blogspot.com/-D80yjj6s6Lk/Ur3y3IgYktI/AAAAAAAAH0E/fVA0hp-OkkQ/s1600/bighornfoundry.JPG" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-D80yjj6s6Lk/Ur3y3IgYktI/AAAAAAAAH0E/fVA0hp-OkkQ/s320/bighornfoundry.JPG" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="213" /></a></div>
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<span style="font-size: xx-small;">Bighorn Foundry</span></div>
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<span style="letter-spacing: 0px;">Bronze is also problematic because the cost of production, both in terms of exertion and capital, is far higher than for a painting. Bob became convinced early on that one way to survive was to be his own foundry, his own gallery, and -- of course -- his own and only artist. So we learned to cast “Roman block lost wax” sculptures that demanded great technical expertise, a certain amount of danger. and intense energy. </span></div>
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<span style="letter-spacing: 0px;">This was in the early Sixties, just as the Space Age began. The technology of creating metal parts made huge jumps, not least the invention of ceramic shell casting. It was as though the printing press had been replaced by computer printers: a steep drop in the cost and expertise of production. People could cast bronze replicas of their children’s creations in their own backyards. Most people cannot tell much about quality in almost every humanities pursuit: painting, sculpture, writing, dance, music. The schools don’t teach the principles. The media only wants to know what will sell and that means quick, dirty and preferably shocking.</span></div>
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<span style="font-size: xx-small;">"Transition" by Bob Scriver</span></div>
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<span style="letter-spacing: 0px;">Art is like religion (in the sense of systems of thought that support meaning and a sense of significance) in that it has to be present but not necessarily available to conscious reflection, but</span> when the culture is wealthy in time and money,<span style="letter-spacing: 0px;"> it is much more conscious and explored which makes the value go up. But the money has to be seen as a means rather than an end. So when the Blackfeet were flush with oil money the first time (there’s a little echo these days with frakking) they laid out a promenade of monuments. It was never built, but this is the impetus for Bob’s first significant meant-to-be-monument works. <i>“Transition,” “No More Buffalo,” “Return of the Blackfeet Raiders,” “Real Meat,”</i> were worked out with the advice of <b>Iliff McKay</b> and<b> Blackie Wetzel,</b> leaders at the time.</span><br />
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<span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">The Scriver Museum of Montana Wildlife in winter when saddles were stored there.</span></div>
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<span style="letter-spacing: 0px;">Parallel to the development of these works was a path also followed by<b>Earl Heikka,</b> going along with Charlie: “modeling” rather than sculpture, meaning one-of-a-kind, nostalgic, colored, full of detail meant to be accurate, near-dioramas.<b> Gordon Monroe</b> has picked up this genre. For Bob this was braided together with his taxidermy career, which bridged him over from his first career as a musician, his love of hunting, and his admiration of the world class dioramas presenting mounted animals in the major natural history museums, like the Field Museum in Chicago where he went to school as a young man. His notion of a personal collection justified by usefulness to animal artists drew him into the newly formed <i>Society of Animal Artists.</i></span></div>
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<a href="http://1.bp.blogspot.com/-2HydNSufGgo/Ur30biT7wmI/AAAAAAAAH0Y/Q969QM1Ssdw/s1600/XXX_IMG_5203.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-2HydNSufGgo/Ur30biT7wmI/AAAAAAAAH0Y/Q969QM1Ssdw/s320/XXX_IMG_5203.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="font-size: xx-small;">"An Honest Try" by Bob Scriver</span></div>
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<span style="letter-spacing: 0px;">The climax of Bob’s career was probably the rodeo series, though a case could be made for the Lewis and Clark monuments. The rodeo pieces hinged on the commission for a portrait of Bill Linderman in what was then the <i>Cowboy Hall of Fame </i>in Oklahoma City<i>.</i> It came about because of rodeo hands who had worked for Bob pulling him into the contest just before it closed. </span></div>
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<a href="http://1.bp.blogspot.com/-R_jIn0MUIvQ/Ur32sTvydTI/AAAAAAAAH0k/zQ8o1r9xe7U/s1600/ppdf4be3ab.jpg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="http://1.bp.blogspot.com/-R_jIn0MUIvQ/Ur32sTvydTI/AAAAAAAAH0k/zQ8o1r9xe7U/s320/ppdf4be3ab.jpg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" width="320" /></a></div>
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<span style="letter-spacing: 0px;">There is another strand, much more private and often misunderstood. A commission for a “corpus,” the body of Jesus the Christ on the cross, coincided with the cancer death of his daughter and renewed connection to his brother and sister-in-law from his second marriage. (The daughter was from a first marriage.) Her bust, the busts of Maurice Chaillot, the model for the corpus, and then of Heléne DeVicq when both posed for a Pieta, form a little cluster that has little to do with Christianity, but everything to do with grief. It met a dead end in a statue of Jesus big enough to enter and go up into on stairs. Never built.</span></div>
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<a href="http://4.bp.blogspot.com/-avnlAkvxtL0/Ur324kQVowI/AAAAAAAAH0s/jfdGmz8qw08/s1600/images-2.jpeg" imageanchor="1" style="color: #666666; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-avnlAkvxtL0/Ur324kQVowI/AAAAAAAAH0s/jfdGmz8qw08/s1600/images-2.jpeg" style="border: 1px solid rgb(187, 187, 187); margin: 0px 0px 5px; padding: 4px;" /></a></div>
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<span style="letter-spacing: 0px;">There are hundreds more sculptures, some just for fun, some for money, and so on. Just making a list of them is an on-going task. I try to keep track on <i>Scriverart.blogspot.com</i> but new pieces show up all the time. What are they worth? How much do you want them?</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-57862862842619063412013-08-17T09:50:00.002-06:002013-08-17T09:50:08.537-06:00ART THIEVES<br />
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<span style="letter-spacing: 0.0px;">This message came from an owner of Scriver bronzes who was robbed. I post it here so that people can watch for the particular bronzes and also keep their guard up. If you spot one of these bronzes, you could contact me and I’ll let the owner know.</span></div>
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<span style="letter-spacing: 0.0px;"><i>On Monday July 29, 2013 my home was robbed during the day. One of the items that was taken was the miniature bronze of the Explorers of the Portage -- #579 of 1000. It was given to my son as a gift from his late great-great aunt. </i></span></div>
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<span style="letter-spacing: 0.0px;"><i>I live approximately 13 miles north of Great Falls in a rural farming community. I’ve been keeping an eye out on craigslist and ebay, and I have contacted all pawn shops in Great Falls, Havre, Helena and Lewistown, as well as any antique/collectible type stores in Great Falls. I have also contacted all of our local galleries.</i></span></div>
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<span style="letter-spacing: 0.0px;"><i>Along with this bronze, they also took a Heikka “Wapiti” #3 of 100 and three Terry Mimnaugh “Boy Scout Law” bronzes, one was #14 of 100 and the other two were #15 of 100. </i></span></div>
Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-15645774.post-74148497871619609362013-06-11T16:05:00.000-06:002013-06-11T16:05:09.236-06:00"TO TAKE A SCALP"<div class="separator" style="clear: both; text-align: center;">
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"To Take a Scalp" by Bob Scriver</div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These photos were kindly sent to me by Adam R. Brice. The bronze is part of his own collection.</span></div>
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<span style="font-family: Helvetica; text-align: -webkit-auto;">I see that the piece has the "real" Scriver patina, which is a deep green with variations in it. We learned to patine like that by imitating the French <i>Animaliers</i>. In fact, Bob bought a Barye bronze of a big cat taking down a gazelle so we could study it. The animaliers and Rodin were the early developers of the art of bronze casting in Paris when the fashion moved away from Italian marble -- all those white statues.</span></div>
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<span style="font-family: Helvetica; text-align: -webkit-auto;">I wasn't with Bob when he made this piece, but he talked about it. There was contention among the old timers about which one of them was the last to take a scalp. Both or maybe three claimed that as teenagers they accompanied war parties and took a scalp, but were so repelled by it that they never did it again. The problem with such boasts is that it puts the guy on the line between being a potent warrior and being a law-breaker who would be punished by whites or at least a savage. Bob tried to imagine what it would really be like and this piece resulted. He did have a few real scalps in his artifact collection, but was hazy (strategically) about where they came from.</span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-15645774.post-3270335991665979582013-03-15T14:36:00.001-06:002013-03-15T14:37:03.497-06:00MARCH IN MONTANA 2013 COMMENTS<br />
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<span style="letter-spacing: 0px;"><i>“March in Montana”</i>, one of the Great Falls auctions that hitchhikes on the major auction in celebration of Charlie Russell’s birthday, is “featuring” sculptures by <b>Bob Scriver</b> and <b>Earle Heikka</b>. There are points of similarity between the two men and also significant points of difference. Heikka and Scriver both had backgrounds in taxidermy at museum levels where dioramas are the goal. Both are local, Heikka born in Belt and Scriver born in Browning. Heikka (1910 - 1941) was older than Scriver and committed suicide while Scriver was in the service in Edmonton, before the latter began serious sculpture. They were not acquainted. Both men did W</span><span style="letter-spacing: 0px;">estern genre subjects: pack trains, cowboys and Indians, and stagecoaches, but Scriver’s work included many other subjects including portraits and a small group of religious works. He's best compared to the French school of Beaux Arts sculptors who created many of our familiar monuments: men like Fraser, Procter, Saint Gaudens, and so on.</span></div>
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<span style="letter-spacing: 0px;">Heikka worked in a very difficult medium, “Marblex,”something like paper mache which cracked badly when it dried. It required much patience to master and didn’t receive or hold detail very well. As far as I know, Heikka didn’t cast them in bronze during his lifetime. His pieces were one-of-a-kind, hand-painted.</span></div>
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<span style="letter-spacing: 0px;">In contrast, Scriver worked in plastilene, was a master mold maker, and built his own foundry, the Bighorn Foundry, in order to have total control. The bronzes cast in those days were silicon bronze using the Roman block method and had a very specific patina meant to be like those of the Animaliers cast in Paris in the 19</span><span style="letter-spacing: 0px;"><sup>th</sup></span><span style="letter-spacing: 0px;"> century. They were numbered in small editions, certificates were issued, and sales were recorded in a master book that appears to have gone missing since the Montana Historical Society, who received Scriver’s estate, can’t seem to locate it. Possibly it was intercepted before the estate was moved.</span></div>
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<span style="letter-spacing: 0px;">In the early days Scriver cast in hydrocal, a very hard version of plaster, and he kept a key casting of each piece in case something happened to the mold. (Since metal shrinks when it is cast, molds made from previous bronzes will be slightly smaller.) It appears that one of the pieces in this auction is one of those key castings. If the mold was made from black tufy cold molding compound, it would leave the piece discolored like this. It's hard to know how to value something like this. We used to set the price of hydrocals as one-tenth the price of the bronze, but if it were the mold key, it would be worth far more as a production basic. It's not much to display and could easily be broken if struck or dropped. It ought to have been destroyed at Bob's death.</span></div>
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<b style="letter-spacing: 0px;"><i>Lone Cowboy, 1880</i></b><span style="letter-spacing: 0px;">. Created in 1968, no edition numbers. This specific piece was a companion to the original </span><i style="letter-spacing: 0px;">“Lone Cowboy</i><span style="letter-spacing: 0px;">” which was Bob’s trademark for many years. It was also a “breakthrough” in a different way, the first of Bob’s work that was consciously designed. It was the piece <b>Warren Baumgartner</b>, a master watercolorist from NYC, helped with in order to teach Bob composition. Heikka never had the benefit of such lessons.</span></div>
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<span style="letter-spacing: 0px;">One of the most complex of these composed sculptures is <i><b>“Real Meat”.</b></i> Created in 1964 , numbered 8. Original certificate included. The phrase is the original Blackfeet name for buffalo. These animals are specific buffalo that Bob measured and studied at the Moiese National Bison Range. The men were modeled by members of the Kicking Woman family and the horses are taken from Bob’s own horses. This large piece is in a different scale, a different style, and a different composition from the Russell sculpture to which is it sometimes compared.</span></div>
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<span style="font-family: Helvetica; text-align: -webkit-auto;"><b><i>"The Hornaday group" </i></b>is a famous remnant taxidermy group in the Smithsonian. Since it was showing signs of age and needed some refurbishment, this bronze was created for sale to finance that </span><span style="font-family: Helvetica;">work. Inscribed "Special to Loran & Delores Perry" which means it was not numbered.</span></div>
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<a href="http://3.bp.blogspot.com/-hIB_3MqHyUQ/UUNw1WsNkJI/AAAAAAAAERE/B6nlywpR2cw/s1600/herd+bull.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-hIB_3MqHyUQ/UUNw1WsNkJI/AAAAAAAAERE/B6nlywpR2cw/s320/herd+bull.jpg" width="320" /></a></div>
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<span style="font-family: Helvetica; text-align: -webkit-auto;">Other buffalo portraits include </span><b style="font-family: Helvetica; text-align: -webkit-auto;"><i>“Herd Bull</i></b><span style="font-family: Helvetica; text-align: -webkit-auto;">” which is the study for the buffalo bull that once stood in the Scriver Museum of Montana Wildlife. This is #5 of 110. It claims to be cast by the Proctor family in the '70's. I know nothing about that. 110 is a large edition.</span></div>
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<span style="letter-spacing: 0px;">The “breakthrough into bigtime" notice came with the large rodeo series that developed out of the commission from the Professional Rodeo Cowboy Association to do an heroic-sized portrait of Bill Linderman.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">The Calgary Stampede bought a complete set of these bronzes.</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">These pieces have only recently begun to show up in auctions.</span><span style="letter-spacing: 0px;"> </span><br />
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<span style="letter-spacing: 0px;">The most spectacular</span><span style="letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">and graceful is <b><i>“Paywindow</i></b>,” the bucking horse on one foot. It is nearly balletic. This is numbered 17 and was cast in the Bighorn Foundry, Bob's own. Original certificate is with it.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i><b>"Not for Glory"</b></i> is the pickup men, one taking off the rider and the other getting hold of the horse. This is copy #2, cast in the Bighorn Foundry, Bob's own. Original certificate included.</span></div>
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<i style="text-align: left;"><b>"Headin' for a Wreck" </b></i><span style="text-align: left;">is the steer-wrestling event. Those in the know would see that the cowboy's timing is just enough off to make trouble. This is the #6 casting and was cast by Powell Bronze Foundry, which was run by Eddie Powell, Ace's oldest son.</span></div>
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<a href="http://1.bp.blogspot.com/-RQCidwJ7Y4Y/UUNxY91VzKI/AAAAAAAAERk/DfJC-usgaLI/s1600/turningsteer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-RQCidwJ7Y4Y/UUNxY91VzKI/AAAAAAAAERk/DfJC-usgaLI/s320/turningsteer.jpg" width="320" /></a></div>
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<span style="font-family: Helvetica; text-align: -webkit-auto;">Later there were smaller “cowboy” pieces. This one is old-timey and uses Bob’s longhorn steer, “Tex.” He called it </span><b style="font-family: Helvetica; text-align: -webkit-auto;"><i>"When Cutting Was Tough."</i></b><span style="font-family: Helvetica; text-align: -webkit-auto;"> #55 of 110. Arrowhead Bronze Foundry. This foundry used ceramic shell casting. The high numbers were common with Bob in the later years. There is no "law" -- not even business law -- that controls the number of castings in an edition. Severely limiting the number was a convention in the early days when molds lost detail in every casting. It was a gentleman's agreement that Bob came to despise as bad business practice since modern molds don't lose detail.</span></div>
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<span style="letter-spacing: 0px;">Bob liked to work in groups around a subject. The Lewis & Clark monument commissions for Great Falls and Fort Benton were financed by the sale of smaller castings, sometimes replicas and sometimes on the same theme.</span></div>
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<span style="font-family: Helvetica;"><i style="font-weight: bold;">"Captain Lewis & Our Dog Scannon"</i> </span><span style="font-family: Helvetica;">turned out to be misnamed. The dog's actual name was "Seaman." Arrowhead casting. The dog that posed for this Newfoundland dog was named "Windsor." This is casting # 26 of 150. The dog (and the slave York) actually belonged to Clark.</span></div>
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<b><i>"Capt. Wm. Clark, Map Maker."</i></b> #26 of 150. Arrowhead casting. Actually, he's surveying here and will record numbers from which maps can be constructed. Since this casting has the same number as the one just previous, they were probably sold together.</div>
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<i><b>"Lewis, Clark & Sacajawea"</b></i>, #25 of 35, is a small version of the Fort Benton monument. Actually Pompey is in it as well. Created in 1974. The Certificate of Authenticity that comes with it is issued by the Lewis & Clark Memorial Committee.<span style="letter-spacing: 0px;"></span></div>
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<span style="letter-spacing: 0px;">This “set” is a series of “collectibles” on the theme of coffee, suggested by an entrepreneur.</span><br />
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Coffee Break Series:<b><i> "Coffee Break," "Batwing Chaps," "Wells Fargo Cargo," "Bull Durham Cowboy"</i></b> and <b><i>"The Sheriff."</i></b> Set #141/250. Arrowhead castings.</div>
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<span style="letter-spacing: 0px;">A few other individual old-timey pieces might be commissioned or just be inspired by reading or conversation.</span><br />
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<b><i>"Salute to the Buffalo Robe" </i></b>is inscribed "Special to Loran & Delores Perry" so is not numbered. Created in 1995. Commissioned to celebrate the 150 anniversary of the establishment of Fort Benton and includes a certificate of authenticity from the Fort Benton Committee as well as being inset with a Fort Benton 150th anniversary medallion.</div>
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<i><b> "Defending the Mail" </b></i>created in 1989. #27/150. Arrowhead casting.<br />
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<i style="font-weight: bold;">"1861 Mail (Pony Express)" </i>Created in 1991. #7 of 100.</div>
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<b><i>"Montana Trapper."</i></b> #96/100 Created 1976. Arrowhead casting.</div>
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<span style="letter-spacing: 0px;">Of course, Scriver continued with the animal pieces. This one revisits the idea of two bull elks fighting over a cow, but uses a different composition.</span><br />
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<b><i>"To the Victor"</i></b> #54/75 Arrowhead casting. Late in life Scriver's human figures seemed distorted sometimes, but his animals always kept their anatomical accuracy. One could look at the high number sold of this piece as either damaging its value because it's not very scarce, or could see it as an indicator of popularity, which is always good for sales.</div>
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