Charles M Russell Joe De Yong Cradleboards | Live and Online Auctions on HiBid.com

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Price Realized:

1,000.00 USD

Shipping Available

Price Realized	1,000.00 USD
Date Sold	2024-11-02T00:00:00

Missoula, MT 59808

Date(s)

9/22/2024 - 11/2/2024

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Davis Brothers Auction

406-546-0226

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Information

Lot #	954
Estimate	10,000.00 - 15,000.00 USD
Group - Category	Antiques & Collectibles - Collectibles - Cultures / Ethnicities
Lead	Charles M Russell Joe De Yong Cradleboards
Description	Pair of Painted Native American Indian Cradleboards. One made and painted by Charles M. Russell, the other by Joe De Yong. Russell Cradleboard is 13 1/2" by 3 1/8" by 2 5/8". Joe De Yong Cradleboard is 12 5/8" by 5" by 1 7/8". The Russell cradleboard features a wax model, Russell was famous for his miniature wax models given to friends. The baby depicted in the Russell cradleboard can be seen in the following works: Indian Family with Travois, Bringing Home the Meat, The Wolfer's Camp, Indian Women Moving. A picture of the Russell cradleboard is also seen drawn into a letter between Joe, Nancy, and Charles, entitled Are You Working Harder, this letter resides in the Charles Russell Museum in the Charles M. Russell and Joe De Yong Research Materials from Richard J. Flood II. Included is a letter from the Wife of Dick Flood, owner of Trailside galleries, that documents the ownership and the provenance of the pieces. The letter reads: This is Joe De Yong's Pattern for Cradle Board and Baby Face. I have the Cradleboard Joe made for C.M. Russell, bought from Russell Estate, designs painted not beaded. Also have Cradleboard made by CMR for Joe, bought from Joe Thought you would like the cradleboard makings. Love Mother. Provenance: From the Estate of Dick Flood, Joe De Yong, Nancy Russell, Daro Flood, through descent from the artist. Charles Marion Russell (1864 - 1926) was active/lived in Montana, California, Missouri. Charles Russell is known for Indian-frontier genre painting, sculpture. Charles M. Russell, the nostalgic, held tight memories of a youthful past when the West belonged to God. There was a sense of loss, as poignant as losing a loved one. The specter of what this loss meant loomed over Russell the rest of his life. He was the quintessential nostalgic who grabbed history and married it to idealized memory and imagination. For example, despite Russell never witnessing a buffalo hunt, it became the basis for his most popular and desired art. Nancy Russell explained, "No man can be a painter without imagination." The Romantic art of the nineteenth century was the cornerstone to build the West reimagined for not only Russell, but also his contemporaries and future artists. No Western American artist fought back harder against racism, sexism, and championed environmentalism more than did Charles M. Russell. He thrived on imagining a time when the land was pristine, women were held in high regard, and people of color were the heroes. Paradoxically, the industrialized world championed just the opposite. To many, his life appeared odd—that cowboy hat, that sash, that unruly hair, that folksy talk. He and his art embraced an identity of an exile from a different place and time, which is even more appealing today. In that way, Russell was a visionary who instilled hope in all who saw his art, and his heart. For those reasons and much more, he is the most beloved of all the Western American artists. The Charles M. Russell Museum in Great Falls, Montana; the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma in Norman; the Charles M. Russell Center Series on Art and Photography of the American West (books published by the University of Oklahoma University Press); the Charles M. Russell National Wildlife Refuge in Montana; the Russell Riders; and the Russell Skull Society are a testament to that fact. The Cowboy Artists of America have been called "The Sons of Charlie Russell" by art historian B. Byron Price for good reason. Russell was a legendary painter, sculptor, and author. Ever humble and self-effacing, as his fame skyrocketed, he never forgot his cowboy friends. The importance of his life and works is that no one has inspired more new generations of artists. Russell lived in the past and his wife Nancy who was his business manager lived for the future. How could a self-trained artist living in remote Montana become the highest paid artist in America? It’s quite a story. Charles Marion Russell was born on March 19, 1864 in St. Louis, Missouri, a bustling gateway to the West of some 200,000 people. Family history and adventure stories such as the Leatherstocking Tales by James Fenimore Cooper lured Russell to the West. On a crisp March day in 1880 Charles M. Russell jumped off the stagecoach in Helena, Montana Territory and took his turn as the latest easterner seeking western adventure. Accompanying him was Willis L.W. "Pike" Miller, a family acquaintance who acted as Russell’s guardian and gave him his first job in Montana on a sheep ranch Miller owned in the Judith Basin. While Miller was kind enough to chaperone Russell, they soon parted ways because Russell wanted nothing to do with sheepherding. For twelve years Russell and his horse Monte were together on the open range mainly nighthawking—somewhat of a lowly cowboy job of watching the horses overnight while the rest of the cowboys slept—until 1893 when Russell began transitioning from cowboy artist to full-time artist. Only a teenager, Russell was younger than most cowboys who were usually in their early twenties but shared with them the qualities of being gregarious, humble, energetic and adventuresome. Charlie saw the cowboy as the last frontiersman—unlike the colorless overburdened farmer and sheep herder. The period from 1906 to 1910 was one of the most productive and enjoyable times of Charlie’s life, which in no small part was due to the summers at Bull Head Lodge and the mentoring by others such as Philip R. Goodwin who visited him there in 1907 and 1910. Glacier National Park has the type of views that keep postcard publishers in business. The mountains fanned the flames of Charlie Russell’s creative genius. He understood that the mountains don’t need us, we need the mountains. Charlie’s favorite place in the world was the lodge, a log structure nestled among the cedar, fir, and tamarack along the shoreline of beautiful Lake McDonald. The years from 1911 to 1915 were a time of artistic achievement by Russell and promotion by Nancy who was as skilled as any field general with her well planned exhibitions in America, Canada, and England. It would be a grueling pace for the duo, but one that would yield a bountiful harvest of financial and critical success. The cowboy artist was "The West That Had Passed" in solid and photogenic form: strong, handsome, romantic, principled, loyal, productive and real. Nancy’s strategy was the same as any rodeo organizer: open the gates—which she did, and let ‘r buck— which Charlie much obliged. In 1911 Russell met with state officials regarding a mural that was planned for the new House of Representatives wing of the capitol. It would be the most important commission of his life. By July 1912 the twenty-five foot long Lewis and Clark Meeting Indians at Ross’ Hole was delivered to the capitol two months ahead of schedule and was instantly hailed as Russell’s masterpiece. The Minneapolis Sunday Journal summarized the sentiments around the country and wrote that it was "his best and most finished product." When the Russells arrived in California in February 1920 for their first winter there, the movie industry employed ten thousand people and was churning out hundreds of movies each year. Charlie was closest with Harry Carey, Willliam S. Hart, Douglas Fairbanks, Jr., and Will Rogers. In 1925 Nancy meet with Edward and Estelle Doheny to work out the final details for a frieze Charlie was working on for their home. Final approval for the project was granted by Mrs. Doheny, which meant a $30,000 payment—one of his largest commissions—to the Russell’s after the frieze was installed in their Los Angeles mansion. The end for Charlie came at night on October 24, 1926 in Great Falls when he suffered a heartattack. After an earlier heart attack, Nancy died on May 23, 1940 in Huntington Memorial Hospital in California. She was buried next to Charlie in Highland Cemetery in Great Falls. Her death went essentially unnoticed in a country that was on the brink of another world war. Still, nineteen years after Nancy died, her dream came true when in 1959 a bronze statue of Charlie was installed in Statuary Hall of the House of Representatives in Washington, D.C. It was a seven-foot high bronze by Jack Weaver of Butte, Montana. Representing Montana, Russell is the only artist in Statuary Hall. His friend, Oklahoman Will Roger, keeps him company.

Auction Information

Name	5th Annual Montana Big Chief Auction - Day 3
Auctioneer	Davis Brothers Auction
Type	Live Webcast Auction
Date(s)	9/22/2024 - 11/2/2024
Auction Date/Time Info	Day 1 - October 31st, 9am MDT Day 2 - November 1st, 9am MDT Day 3 - November 2nd, 9am MDT Day 4 - November 3rd, 9am MST
Preview Date/Time	To arrange a private viewing please contact Davis Brothers Auction.
Checkout Date/Time	Local pickup begins the first Tuesday following auction weekend.
Location	ONLINE ONLY Missoula, MT 59808
Buyer Premium	25% Online Buyer's Premium
Description	Day 3: The Big Chief Main Event Featuring Art by the Following Artists Albert Bierstadt, Fairfield Porter, Jaune Quick-To-See Smith, Maynard Dixon, Edward Willis Redfield, Ralph Albert Blakelock, Mark Eberhard, Andrew Dasburg, Charles M. Russell, Rubert Clunie, Peter Voulkos, Len Chmiel, Thomas Hill, John Fery, Clyde Forsythe, Martyn Richardson, Ralph Pallen Coleman, Logan Maxwell Hagege, Val Paul Taylor, Nicholas Richard Brewer, Rachel Harvey, Bob Scriver, Francis de Erdely, Cassilly Adams, Jack Roberts, Tim Shinabarger, Richard Greeves, Daro Flood, Jay Contway, and Will Rogers Native American Indian Art Pottery and Beadwork, Fine Jewelry, Bisti Trading Post Navajo Rug, Kwakiutl Raven Mask, Artifacts from the Dick Flood Collection, Colorado National Forest Porcelain Sign, Inuit Snow Goggles, Antique Chinese Jade, Navajo Jewelry, Montana History, and So Much More

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Lot # : 954 - Charles M Russell Joe De Yong Cradleboards