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American Western Painting, Possibly an Unfinished CM Russell, c1912-1914
Copyright Fred N. Holabird, 2024
Introduction
A highly skilled beautiful western painting of Indians was brought to us lately by a major collector’s Nevada family. It has no signature, has a number of identifying characteristics both in the image itself, and on the canvas back as well as the original wood frame supporting the canvas. We began a lengthy investigative period of about six months looking into the various factual clues which form partial provenance, including detailed Xrays. This report summarizes our research.
The Painting
A stunning, detailed bright and vibrant depiction of Indians on the trail. It is unsigned with an outside framed size of 27.5 x 31” and a canvas on its original wood frame inside the frame of the approximate size 19.5 x 23.75”.
On the back of the painting the canvas manufacturer mark is present: “Chenil by the town hall, Chlesea.” This specific trademark can be dated by published reports as 1911-1912.[1]
Specifically, this logo was only used during the 1911-1912 period as seen by the dates of known paintings: George Bell, Lulworth Cove, 1911. William Orpen, The Chinese Shawl, 1912. Unknown, Mother and Child Circa 1910.
According to the National Portrait Gallery, Charles Chenil & Co Ltd were “colourmen, brush manufacturers, and picture dealers” in London. The Chenil Gallery in London was founded in 1905 and closed in 1927. We did not investigate the marketing efforts of Chenil & Co., who may have been a major international source of framed canvas at the time.
An additional piece of paper on the back of the frame reads “Maples Depository.” Maples Depository was a long-existing “storage” facility/warehouse in London. The Depository appears to have opened in early 1894 and closed about 1956. Maples depository sold goods through Bonham & Sons at 65 Oxford St. W. in London, who were the major antique auction house since 1793.[2] It is thus apparent that this fine painting resided in this facility for an unknown period of time and was probably sold because the storage fee was unpaid and the item among one or more pieces “abandoned” by an unknown party. Unfortunately, no date accompanies the Maples Depository sticker.
A letter in copy form dated July 7, 1965 signed by Paul Curtis that was attached to the back of the painting describes the painting as follows:
“Warpath”, attributed to Charles Marion Russell, American; 1865-1929, oil on canvas, 24 x 19 ½, (unsigned). … During one period in Russell’s life, he fell into the habit of nor signing his work. It is possible your painting comes from this period, or was painted by a close follower of Russell. In any case, it is a commendable work of art in its own right. …
The Curtis letter does not contain an address nor the client name, but does render an appraised value of $12,000. Paul Curtis was an accomplished British artist. He received his first art degree from the noteworthy Bournville College of Art in Birmingham before receiving a Master’s degree from the very prestigious and exclusive Royal Academy of Arts in London.[3] The fact that Mr. Curtis rendered an opinion on this painting strongly suggests the painting was in England in 1965.
At some point this painting came into the possession of a major collector residing in Nevada and did not see the public light of day until now. An 8 x 10 color transparency was professionally made and sent to an art collector specializing in Charles Russell paintings, as well as other materials.
Estimate $100,000 - $200,000
Synopsis[4]
An essay by Fred N. Holabird
Actual factual information of this painting is unknown except that it was held in the Maples Depository storage facility in London, as noted by a sticker on the back. Between then, presumably about 1914 and about thirty years ago, the whereabouts of the painting are unknown.
Using the Maples Depository as a starting point, knowing the painting must have resided there perhaps until the painting was sold as abandoned or the warehouse’s closure in about 1956, it makes perfect sense to look at the life of Charles Russell. There simply is no other reason for a western style painting of this professionality and genre to be in London at a storage facility. The painting is very much in his style. There are similarities that are not necessarily apparent in other western artists work. Examples of these eccentricities perhaps start at the dust clouds behind the running horses. These dust clouds are murky brown hues completely without detail, exactly as a normal desert dust cloud behind a running horse appears. When we looked at the dust clouds on this painting, it had the impression of an unfinished area. But upon close inspection of a number of Russell’s paintings, this dust cloud is virtually identical to others. Examples include ”Smoking Them Out”, “Fighting Meat”, “Mexico,” “Cowboys from the Quarter Circle Box,” “Lassoing a Steer,” “The Renegade,” “When Sioux and Blackfeet Meet,” and others that he painted.
Russell also had a habit of de-emphasizing human figures in the background, leaving out facial details and others, helping to bring focus to the viewer of the upfront action, thus drawing the viewer into the action itself.
Russell’s Background
Russell’s career started in the 1880s. During his lengthy painting period which spanned his entire life, Russell is credited with over two thousand oil paintings. The CM Russell Museum has been accumulating information on his paintings for years, under their Catalog Raisonne project, which is ongoing, incomplete, and not available to the public. 278 canvases are shown on the Russell Wikipedia site and 293 on a You Tube channel without identification. The Russell Museum has a large collection, but a list is not available to the public.[5]
Russel was always asked to comment on his life and work:
I just naturally painted all my life … I guess I am more of an illustrator than an artist, but I have lived the real ranch life, so know how to paint it … The trouble is that the west is so big it cant be expressed in painting or anything else.[6]
Russell’s First International Exhibition: Calgary, Alberta
Russel painted for over twenty years before he broke out into the international spotlight. His wife Nancy was behind the effort to get her husband’s work known internationally. In 1912, she arranged for a show at the Calgary Stampede. For those not familiar with Calgary, it is the bullseye of “cowboy” country in Canada. Located centrally in Alberta just above the American border, it is only about 300 miles north of Great Falls, Russell’s lifelong home in Montana. It was here in Calgary that Russell’s international reputation and demand for his paintings took off.
The Calgary Stampede management was so excited to have the Russell exhibit that publicity started in July, 1912. A list of twenty of Russell’s paintings was published: Trouble Hunters, Heads and Tails, Marais River, Dangerous, Plunger, The Bell Mare, Peigans, Smoke of a 45, At Rope’s End, The Wagon Boss, Hoss Flesh Comes High, In Without Knocking, After the Chase, The Hunting Party, A Disputed Trail, Scouts, Rainy Morning, Mandan Dance, Moving Camp, and Call of the Dawn. It was also mentioned that he had several water colors and planned to bring some bronzes, though this was never confirmed.[7] The exhibit was set for September 2, 3 , 4, 5 of 1912.
Planning for the exhibit was a pleasant distraction from the horrors of the international tragedy of the sinking of the Titanic in April. The Calgary Stampede attracted hundreds of international visitors, particularly those from England. Relatives of many attendees were lost at sea and had the horrific event on their minds, and Russell’s work helped deflect unhappy thoughts.[8]
Interest and anticipation in Russell’s exhibition grew as the Stampede grew closer.
Only four more days and the big show is on,” … “Each day sees the excitement becoming more acute … in anticipation of the greatest event not only of Canada but of its kind that has ever been held on the American Continent.[9]
On opening day the Calgary Albertan gave the Russell exhibit an overwhelmingly positive review. The exhibit was entitled “The Last and Best West.” A local art critic took notice:
Though still a young man, Mr. Russell is rapidly achieving an international reputation through his portrayal of western types such as the real western Indian … Twenty years ago, Mr. Russell was a cowboy in Montana and it is from actual contact with life … that he obtains material for his pictures … Admittedly, he is a genius, but in Mr. Russell’s case the remark of the philosopher that “genius is an infinite capacity for taking pains” is given an exceptional illustration.[10]
The four day show got off to a tremendous start, as one man bought four of the paintings right away on the first day. Henry M. Pellatt of Toronto purchased Heads and Tails, Hoss Flesh Comes High, In Without Knocking, and Scouts. [11] Other paintings were sold to British customers who took them home “to decorate several ancestral halls of England.”[12] Another of the paintings, “Smoke of the 45” was sold later in Chiago by Thurber’s.[13] Other Russell paintings were sold to Edward Grenfell, of London bankers Morgan-Grenfell, who came over from London for the exhibit. Regardless of sales, the exhibit remained intact throughout its completion.[14]
The exhibit was such a success that arrangements were made for it to continue through the week of September 9. By then, fourteen of his original 20 paintings had sold. Visitors from London were so impressed and overwhelmed that they made an offer to Russel to display his works there. Nancy Russel remarked:
Whether Mr. Russell accepts it in the near future, however, depends on the pictures that he has available for exhibit. Practically all of his best pictures have been disposed of, and unless some arrangement could be made for the exhibition of these, we would not care to exhibit in London until Mr. Russell has produced more work with which to make a larger showing than would be possible with those now on hand.[15]
In short, it appeared he was down to less than ten paintings to sell. He needed more time to paint more.
London
In the first couple of decades of the twentieth century, the Dore Gallery on Bond Street in London was arguably the most popular art gallery in this international city that was the center of the English speaking world. An English art critic noted:
In obtaining space in the Dore Galleries for the exhibit of his paintings, the “Cowboy Artist” made a ten strike, as these galleries are among the most famous in England.[16]
The gallery regularly featured exhibits from artists around the world, as well as obtaining some works on loan from other museums. They also held lectures in the evenings, sometimes as often as once a week on all topics related to art.[17]
The Dore Gallery was the obvious choice for a Russell Exhibit, and the Gallery devoted an entire room to Russell. Plans were made probably in 1913 for the exhibit, though news of the exhibit did not begin until March, 1914. The exhibit was first publicized in Montana.
The show was scheduled for the entire month of April, 1914.[18] The Dore does not appear to have used newspaper advertising until April 2, but as with any popular gallery, they may have had large posters in and about the Gallery for the month before the actual event.[19]
Back in Montana, the local papers suggested the Russells would be abroad for three or four months.[20] They took “about 25 pictures,” though only nine were ever listed in articles: Marias River, When Sioux and Blackfeet Meet, Going to Camp, The West That Has Passed, Wild Horse Hunters, A Dangerous Cripple, The Queen’s War Hounds, Jerkline, and Whiskey Peddler.” “Smoke of the 45” was also in the exhibit, though never listed in print.[21] They also added “an unknown Indian picture.”[22]
The Montana papers published notes of his trip to New York on the way to London. Russell had left Montana on March 3, traveled to St. Paul to visit family, then on to Chicago, arriving March 8. While there, it was announced he had 25 canvases of western Life on view.
The London Evening Standard had a regular art critic, who published his reviews regularly on the exhibits at the Dore. His work was always singed “C.M”. Russell’s exhibit, “The West Has Passed” occupied a full gallery room, and other temporary exhibits included John Duncan Ferguson and impressionist paintings by Fred S. Corday.[23] “C.M.” reviewed Ferguson’s works on February 27. His five paragraph review of Ferguson suggests he was a true art lover.[24] C.M.’s review of the Russell exhibit is certainly of note. It is highly probable that no other western cowboy artist ever exhibited in London, so it was probably a “first” for not only C.M., but for all Londoners. As CM stated:
Mr. Russell has been a real Cowboy, and he is a real artist, and the combination is highly satisfactory.
CM further noted that interest in the exhibit was high.
The interest being so much in the subjects, only a very pedantic person could look at such an exhibition of pictures from a technical point of view; but it may be said at once that Mr. Russell is a good draughtsman and colourist, with more skill than is immediately obvious in the arrangement of a subject, and great power of suggestive movement. … They are painted with great spirit and convincingness.[25]
A competing review published by an unnamed art critic in the London Observer was not impressed, suggesting this style of art was so new to him that he could not contemplate it in a forthright sense. It also shows a complete lack of knowledge of the American West as a whole.[26]
His scenes of bear hunting, wild horse chase and strife between outlaws and the upholders of official authority, as well as between whites and redskins, are full of movement and dramatic excitement; and it would be foolish to question his knowledge of equine anatomy. But his paint has no quality, and is not constructive. The colour is not an integral part of the conception; it is a mere afterthought.[27]
Within just av few days, the Dore was advertising Russell’s work as “Great Masterpieces.” Clearly, the public was impressed.[28]
Meanwhile, back in Montana, news articles discussed the London exhibit, noting with passion that the last painting in the exhibit was a “favorite of the artist himself”, “showing the lassoing of horses up in the mountains.”[29]
As the month of April grew to a close, the exhibit remained popular. The art world in London remained as normal, and as new exhibits occupied galleries at the Dore, the art critic CM continued to publish detailed and inciteful reviews.[30] While reviewers mention a “catalog” of some of the exhibits, particularly the “Futurism” exhibit, no reference was ever made to any catalog regarding the Russell exhibit.[31] Indeed, the exhibit was only planned for the month of April, and its popularity caused it to run into June, with interest at a high level unknown to the management until the exhibit had been in place for nearly a month.
The Russells had planned on returning to Montana after the planned exhibit closure at the end of April. Their pre-scheduled trip on the Lusitania from London to New York left May 9th, and they did not miss it. It is a surety that the sinking of the Titanic was on their minds, something that was so prevalent in the news when they were first discussing and planning the London trip back in 1912.
Toward the end of the Exhibition at the Dore, discussions were made for the possibility of a continued and great exhibit at the Anglo-American Exposition which was to open May 10 and run for six months. While Russell’s participation was announced with surety in the Montana press, it was not necessarily a sure thing.[32]
The Dore continued to advertise the Russell exhibit in London newspapers. The last advertisement was on June 3, 1914. [33]
That same day, tragedy struck at the Dore. A series of three attacks by “Suffragettes” took place in London, and one was at the Dore Gallery. In a neighboring exhibition hall near the Russel gallery, Suffragist Ivy Bon took an axe to two works of art. She brutally slashed Bartolozzi’s “Love Wounded,” which was completely destroyed, and John Shapland’s “Grand Canal at Venice,” which was somewhat restored later. The woman was taken into custody by the Dore staff, and later arrested by Police. Bon left a note on a chair near the destroyed works:
To stop this, you must give us justice. We are willing to die for it before we give in. We have tried all other ways. We have been too ladylike in the past. Now we are going to fight, and you can allow us to be killed; others will rise and take our place. I have joined the war.[34]
The attack was probably relayed to the Russells in America by telegraph. It would have put an immediate stop to any exhibits planned or unplanned in London. On June 7, the Great Falls Tribune reported on the end of the exhibits without reference to the attacks, which notice was “clearly between the lines.”
In an interview with Mrs. Russell, she stated the “purpose of the trip was to establish the Montana artist among the world’s greatest painters.” … “the trip was an unqualified success.” The article further commented on not exhibiting at the Anglo-American Expo:
This remarkable offer was the direct result of the sensation which the paintings had caused among art lovers in London, but it was declined, owing to the fact that Mr. and Mrs. Rusell did not wish to move the paintings from the Dore gallery in Bond Street.[35]
The quote is a perfect political response to an otherwise terrible series of events of which the American audience was unaware.
The attack at the Dore by a Suffragette was devastating to both the Gallery and Russells, not to mention the two artists whose work was destroyed. Bon and her cohorts were a radical sect of sorts of the international “Suffragette” movement. If the world had mass media at that point, Bon and her compatriots would have known that back home in Montana, the Montana Suffragettes considered Russell as their Hero. Just a few months prior, Montana had celebrated Charles Russell Day, with one of the women (Suffragettes), Mrs. S.D. Largen, delivering a lecture on the life of Charles Russell.[36]
The destruction didn’t stop with Bon. Two days later on June 5, a bronze statue called “Wounded Swallow” was stolen from the Dore by Charles Barge. He pawned it down the street and was caught.[37]
A few days later on June 9, Bon was sentenced to six months in prison. She remained defiant to the end, shouting “Torturers! Murderers! I don’t care if you sentence me to death. I will do it again and again until we get justice.”[38]
In Montana, newspapers were still publishing through mid-June that the Russell Exhibit at the Anglo-American Exposition, but that news was incorrect.[39]
Interestingly, Nancy Russell did not mention any of the June, 1914 trouble, or sales of Charlie’s paintings in her memoirs.[40]
The Aftermath
Little is known of the closure process at the Dore Gallery of the Russell Exhibit. While it was stated that three of the paintings had sold and options were placed on five others, it is unknown exactly what sold or remained in London. The Russells had left for Montana, and after the destruction of two paintings and a theft of a Bronze, it is probable that the Russell exhibit was closed permanently.
The full list of the paintings in the exhibit was never published. Further research into Russell’s correspondence may render a complete, or at least a more complete list of the paintings, perhaps inclusive of those left behind, some of which may have been “optioned.”
What paintings remained in England, and which were shipped home remain a mystery, except one canvas which was later sold in Chicago in 1915 as noted earlier.
This Painting
The entire essay above is a necessity because the question begged: “Why would this American West painting be sitting in the Maples Depository warehouse in London for so long?” The only reasonable answer is that, as a painting of the American West, who was or could have been exhibiting paintings such as this? The only answer is Charles M. Russell.
Painting Content
The content of the painting was discussed above, and more notes could be applied, and have been by at least one highly qualified expert on Russell who has seen the large color transparency of this current painting presented him in detail. This collector, who has perhaps more current experience with Russell’s work than any man alive, asked us for xrays of the painting, which we acquired on June 16 at a local laboratory by permission, performed by professionals.
Xrays were taken of each quadrant, thus four in total. All show significant detail. Interpretation of the xrays can be difficult, as it can be with any subject inclusive of human anatomy. There are, perhaps, two striking possible anomalies. One is the apparent overpainting of another horse to the immediate left of the primary horse. Here, light brown hues were used to bring out the dirt dust that would be normally seen behind a running horse. This “dust” (dirt) over-painted the legs of another horse. A second possible anomaly lies immediately left of the over-painted horse legs. There, a possible Indian figure appears behind the central and main Indian figure. It is over-painted with a much smaller Indian in the background distance. There are a few other possible anomalies in other places, but the thing that stands out the most are that legs of another horse that appear to be present under the current oil paints that created a “dust” effect behind the main horse.
The xrays confirm the original presence of specific attributes that Russell used with Indians and their horses throughout his “catalog” of work.
Does this mean that the painting was unfinished, with the artist not pleased with the current rendering? Perhaps so…
Other Questions Arise
Was this painting finished in the eyes of the artist? Is that why it is unsigned?
Was the Chenil canvas purchased in London or in the USA? The Chenil hallmarked canvas was sold by Chenil & Co. Ltd. The original company was the Chenil Gallery, which opened in 1903 on King’s Road in Chelsea. The Chenil & Co. business was a spinoff in 1905 selling artists materials. They converted to a public company in the early 1920’s only to voluntarily close in 1927. It is unknown how much of their business was created from their own manufacture of artists’ supplies, such as framed canvases. Artists canvas is very simply a simple plain woven cotton, and London canvas and cloth manufacturers were among the largest in the world in the nineteenth century, supplying much of America until the industrial revolution of the post 1880s years. Chenil also sold other canvas supplier’s goods, such as Winsor & Newton, Ltd., another major artists’ canvas supplier. Was Chenil an exporter of supplies to the USA? It is very difficult to find artist supply advertisements from the circa 1910-1920 period in the USA.[41] The Chenil canvases, however, appear to be well circulated among British artists. The British National Portrait Gallery site for British Art Suppliers (1650-1950) lists more than twenty paintings with Chenil hallmarks. While no USA works are cited, it must be noted that the study is for British art.[42]
Russell was known to take art supplies with him on journeys. Did he buy a canvas in London and start a painting? Did he buy the canvas in the USA and take it to London, unfinished? Even though the framed blank canvas dates to 1911-1912, it is impossible to know when the oil was applied by the artist.
Was it a painting made just prior to the Dore exhibition, but never completed to the satisfaction of the artist? Mrs. Russell had noted that they needed more works to be created in order to have enough for the London exhibit after selling most of the available Russell art at the Calgary Exhibit. This only left about 14 months for Russell to make new paintings.
Was it a Russell painting that was “optioned” in London and never delivered?
If the painting was begun, or ended up in London indefinitely, it would never have been known to Russell archivist Frederic G. Renner, who spent years accumulating information on Russell paintings.[43]
If the painting was begun in the USA, was a British tariff involved, potentially preventing its return? Was a USA tariff involved if it came back into the USA?[44]
Was it sitting in the London warehouse, paid for to the artist, but waiting for payment for shipping or storage from the new owner, who may have forgotten, died, or some other possibility? In our own auction house, we see this very scenario over and over again.
Did a copyist paint it while the Russell exhibit was ongoing in London? I doubt it, since this appears to be a much more modern practice. Examples of Russell “copyists” exist, but are later in date, generally after Russell’s death in 1929. One such example was Franz Trevors who was commissioned to paint about seven very large canvas copies of Russell’s work for two Nevada Casinos at the end of, and just after, World War 2. Each of these works has a specific peculiarity that differs from an original Russell, though the resemblance is striking.
Summary
This painting appears to have all the attributes to suggest it is an original Charles M. Russell, though perhaps is unfinished. There does not appear to be any alternate explanation of the painting residing in London for some time, which is critical to the entire story of its existence. As an advanced art work that sat unknown in a London storage facility until approximately 1965, then purchased by a collector where it sat for decades until after his death, it was completely unknown to the formal art world until now.
Send your experts.
[1] See: https://www.npg.org.uk/assets/files/pdf/research/D.marks2_A_D.pdf https://www.royalacademy.org.uk/art-artists/organisation/charles-chenil-and-co-ltd-london https://issuu.com/jammdesign/docs/dw_8march23_art
[2] Maples depository’s first advertisement was found in February, 1894, and the last one in 1956. They very rarely advertised, perhaps leaving that up to the seller, Bonham & Sons.
[3]It appears this opinion letter was written just after completion of his Master’s degree. The exact date of completion of the Master’s degree is unknown. Mr. Curtis may still be alive, though possibly well over 80. The Royal Academy of Art only accepts 10-17 graduate students per year for a full time three year Master’s degree – an exceptionally high quality education in the arts. He went on to teach for over 30 years at Sheffield Hallam University, about 190 miles north of London.
[4] More research is needed through a thorough study of the Russell papers and correspondence held at several depositories. Such an undertaking is beyond the scope of this essay.
[5] Personal Communication, July 18, 2024.
[6] Great Falls Ledger, 3/10/1914, p5, “Hop Meets Chas. Russell”
[7] Calgary Herald, 7/26/1912, p5. “Valuable Paintings will be Exhibited”
[8] Calgary Herald, 7/26/12, “Titanic Survivors Aided by red Cross.”
[9] Calgary Herald, 8/27/1912 p 16. “Interest intense”
[10] Calgary Albertan, 9/2/1912, p1, “Charles Russell, Cowboy Artist, Comes to Calgary”
[11] Calgary Herald, 9/7/1912 p 24, untitled
[12] Anaconda Standard, 3/4/1914, p8, “Russell Going to London to Exhibit His Art Works.”
[13] Great Falls Leader, 3/10/1914, p5, “Hop Meets Chas. Russell”
[14] Edward Grenfell was a senior partner with J.P. Morgan in Morgan-Grenfell, one of the largest banking firms in the western world. Grenfell, as well as his partner J. P. Morgan, along with other mega wealthy businessmen such as J. D. Rockefeller and W. A. Clark also were avid art collectors. Grenfell personally, and his bank, were major contributors to the Titanic Relief Fund.
[15] Calgary Albertan, 9/9/1912, p11, “Russell Exhibit to Be Continued This Week”
[16] Great Falls Tribune, 6/7/1914, p13, “Britons Enraptured by Russell’s Art”
[17] The London papers had regular columns of current art exhibits. The Dore Gallery was always at the top of the lists of galleries, giving the impression that it was the most prominent. One such lecture took place during the Russell exhibit, on the evening of April 29. London Times, 4/29/1914, p25, “Lectures, Etc.”
[18] The Anaconda Standard, 3/4/1914, “Russell Going to London to Exhibit His Art Works”
[19] Daily Telegraph, London, 4/2/1914, p1. The first advertisement appears on April 2. Internal advertising could not be found in online records of the Dore Gallery, inclusive of a “catalog” of Russell’s exhibit.
[20] Great Falls Tribune, 3/4/1914, p6, “Artist Russell and Wife Off to London”
[21] This painting sold in 1915 in Chicago, by Thurber’s. Great Falls Tribune, 3/8/1915, p8, “Cowbell rings Russell tribute.”
[22] Anaconda Standard, 3/4/1914, p8, Russell Going to London to Exhibit His Art Works”; Billings Daily Tribune, 6/18/1914, p4, “Russell Returns From London”
[23] Ferguson painted nudes. Corday was a “fellow worker” of Renoir and Pissarro (London Observer, 4/12/1914, p5, “The Dore Gallery”
[24] London Evening Standard, 2/27/1914, p8, “Art Exhibitions”
[25] London Evening Standard, 4/7/1914, p8, “The cowboy Artist.”
[26] The lack of knowledge of the American West was omnipresent in the art world. They even scoffed at Albert Bierstadt’s paintings as fantasy. Those of us who have lived our lives here in the American West know Bierstadt’s work well, and regularly call our magnificent mountain sunsets “Bierstadt sunsets.” (fh)
[27] London Observer, 4/1/1914, p5, “The Dore Gallery”, unsigned.
[28] London Times, 4/13/1914, p 1, “Dore’s Great Masterpieces”
[29] Great Falls Leader, 4/23/1914, p8, “London Paper Talks of Russell’s Work”. This paper is not available on Newspapers.com. I was unable to determine which specific painting this was. There is no published list or pictorial catalog of all known Russell paintings, as mentioned previously.
[30] London Evening Standard, 5/5/1914, p11, “Futurism”, a review on the new exhibit at the Dore on Italian futurist painters that was opened in a nearby room to the Russell exhibit at the Dore.
[31] London Evening Standard, 5/19/1914, p10. I was unable to find any catalog of the Russell Exhibit in the various Dore internet archives.
[32] Great Falls Tribune, 5/24/ 1914, p4, “Mr. and Mrs. Russell Return to America” and Kalispell Times Monitor, 5/28/1914, p 1, same title and article.
[33] London Daily Telegraph, 6/3/1914, p1, “Futurist Pictures…”
[34] The Guardian, London, 6/4/1914, p7, “Another Art Gallery Outrage”
[35] Great Falls Tribune, 6/7/1914, p1, 11, 13 “Britons Encaptured by Russell’s Aart”; Billings Daily Tribune, 6/18/1914, p4 “Russell Returns from London: Western Paintings Praised by Famous Critics of Continent”
[36] Great Falls Tribune, 3/1/1914
[37] London Evening Standard, 8/1/1914, p16, “Theft From the Dore Gallery” (“Today’s Police Reports”)
[38] London Evening Standard, 6/9/1914, p2, “Dore Gallery Outrage”
[39] Big Sandy Mountaineer, 6/18/1914, pA1, “London’s Tribute to Russell”
[40] Russell, Nancy; Back-Tracking in Memory; The Life of Charles M. Russell; Edited by Thomas Petrie and Brian Dippie, 2021, pp133-139
[41] Unfortunately, newspapers.com and several other online print search engines do not appear to have digitized copies of art publications.
[42] Charles Chenil & Co. Ltd, in British Artist Suppliers, 1650-1950, under the National Portrait Gallery web site, last updated March, 2020, with the site last updated March, 2024. See also Evening London Standard, 11/27/1905, p 13, “Chenil Gallery”
[43] The Renner Library is held at the Russell Museum in Great Falls, MT. See also “Frederic Renner and Charlie Russell SRM Legacy” by Tamra DeCock in the Society for Range Management Journal, October, 2010.
[44] Hamilton Spectator, 1/9/1911, p11, “smuggling Old Masters.” Good discussion of the tariff problem in 1911.
The Saga Continues … Russell (or who?) After Remington …
An outstanding observation was made by another western art fan who presented this Frederic Remington painting from 1908 now residing in the Frederic Remington Museum. There is absolutely no doubt in my mind that our questioned painting is based upon this Remington painting, entitled “The Snow Trail.” The subject matter and composition is quite simply far too similar, though the quality of the questioned piece appears far better, and has far more detail.
Remington and Russell had very similar formats, inclusive of dust trails behind horses.
The question begs: Just who is copying who? Is this actually a better version of the Snow Trail, painted by Remington? (no – you’ll read later.)
Nancy Russell never discussed Remington in her biography of her husband.
In 2001, the work and comparison of the pair was explored in an exhibit at the Fred Jones Museum at the University of Oklahoma complete with an important written work by Peter Hassrick in Remington, Russell and the Language of Art (2000). Some interesting notes can be observed from this work.
Remington was a nearly full-time illustrator through 1908, when he closed that chapter of his life in favor of oil on canvas representations of the West. It was at that point that Remington began painting full time, and this canvas, The Snow Trail, may be one of his efforts of that period, if the date is correct from internet sources. The work is curiously not listed in Hassrick’s discussion of paintings, which may simply mean the painting was not on display in that exhibit.
Remington died in December, 1909. The questioned painting was done after 1911-1912. Is this a copy by Russell of a Remington? Was another artist as polished as Russell, and created this painting?
We will probably never know.
Please see last photo.
Auction Location:
3555 Airway Drive Suite 308, Reno, Nevada, 89511, United States
Previewing Details:
Preview
Phone or video previews are strongly encouraged. Our staff is tech savvy and ready to use Skype/Facetime/Zoom if you would like to video preview with us. Please provide a list of items and minimum of 24 hours notice so that we may pull your lots and schedule a private viewing. Office preview by special private appointment ONLY. Call (775) 851-1859 to schedule.
Nevada State Sales Tax
Taxes:
| Tax | Rate | Desc. |
| NSST |
8.375% |
Nevada Sales Tax |
| CSST |
8% |
California Sales Tax |
Buyer's Premiums:
| From (Incl.) | To (Excl.) | Premium |
| 0.00 |
Infinite |
25% |
Additional Fees:
Shipping Details:
Shipping is billed after Auction items are paid for and items have been packed. Items will be packed in order that payments are received.
Please be aware that about 300 invoices are paid on the first day so it may still take a while.
Large item, fragile items and very large orders will take longer. We do not ship via Freight. For an additional fee we will prepare a pallet for Freight pickup, arranged by the customer, as time allows. Please be patient!
Shipping invoices will be sent through our shipping program "Shipping Saint".
Payment Details:
Due on receipt of invoice.
Accepted Payment Methods:
- VISA
- Master Card
- AMEX
- Discover
- Money Order/Bank Draft
- Check/Cheque
- COD (cash on delivery)
- PayPal
- Wire Transfer
TERMS AND CONDITIONS
Live Auction conducted by Holabird Western Americana Collections, LLC (HWAC).
1. The placing of a bid shall constitute the bidder’s acceptance of these terms of sale.
2. BUYER’S PREMIUM & INSURANCE: There will be a 25% Buyer’s Premium added to the sale price (hammer) of each lot. We accept cash, checks, money orders, wire transfers, credit cards and PayPal.
3. COINS, CURRENCY AND PRECIOUS METALS, Insurance. The buyer’s commission for this section is 20.5%. Coins and currency shall be defined as any regular Federal issue circulating coins and currency. Tokens are not considered coins. Precious metals shall be defined as ingots, silver or gold rounds, bullion items and gold nuggets. Mineral specimens are not considered under the precious metals category. Commemorative items such as metals and ribbons are not considered coins of precious metals. However, lots that consist entirely of gold or silver of high purity, including commemorative metals, are considered precious metals. Please contact our office if you need clarification on a specific lot.
4. SALES TAX: Sales tax may be applicable in any of the 50 states according to current tax laws regarding internet sales. Please check your state's tax regulations. HWAC will charge sales tax for those states that we know have instituted internet sales tax. All bonafide resale dealers with a current valid resale license should submit their license in advance to HWAC.
5. SHIPPING & HANDLING: The customer is responsible for all shipping and packaging charges. We offer shipping service as a convenience to our buyers. Items are not shipped until the invoice and shipping charges are completely paid. Shipping costs will be calculated and billed separately after your items have been paid for. Purchases will be shipped via our approved, insured carriers: FedEx, UPS, USPS or DHL. Pick up is available from our Reno office, once you have received your invoice post auction, with 24 hours notice given to HWAC prior to pick-up. Merchandise not picked up or shipped within a reasonable time period may be subject to storage fees, and in cases of continued non-compliance, may result in forfeiture. Also see clause 23.
6. LIVE (FLOOR) BIDDING: Please arrive a few minutes early to check in and receive your bidding paddle. We will open lots with more than one bid at the current high absentee bid or 50% of the low estimate at the auctioneer’s discretion. Please be sure to bid on the correct lots during the live auction. Our auction progress is at a rate of between 60 and 150 lots per hour. An item is not sold until the next lot is announced. (We are not responsible for Internet bids that arrive late.) The auctioneer will identify the successful bidder by number and announce the winning bid amount. If you are not sure whether you won the lot or not, it is your responsibility to ask for clarification immediately, prior to the start of the next auction lot. Auctioneer reserves the right to reopen the lot in the case of an immediate dispute at the actual time of the sale.
7. TELEPHONE BIDDING: Telephone bidding MUST be scheduled prior to this auction. If you do not schedule in advance, and choose instead to call on the day of the auction to request a line for bidding, you may find that we are unable to accommodate your request. Please limit your telephone bids to items of value greater than $500, or to a string of items with a similar total.
8. LIVE AUCTION ABSENTEE BIDDING: Mail or FAX Absentee bids for the live auction MUST be received by 5pm Pacific Time the day before the auction. Bids accepted after the cutoff time will be represented live only if an agent is available and will not be considered absentee or given first priority as such. It is your responsibility to submit all lot numbers and bid amounts accurately. Absentee bids MUST be equal to at least 50% of the low estimate if an estimate is provided. Bids on “No Lots” or “Withdrawn” Lots will not be executed. Bids made in amounts that do not conform to the bid increment table under Item #13 will be automatically rounded up or down by the computer, or rounded to the nearest proper bid increment at the discretion of the auctioneer. Absentee bids are entered into a computer that will bid live on your behalf at the auction. Absentee bids will compete live against other absentee bids, live internet bidders, floor bidders and phone bidders.
9. INTERNET BIDDING: Both Absentee and Live Internet bidding are available through our live auction networks. If you wish to bid LIVE via the Internet, you MUST pre-register. A live feed is generally accessible during the auction. Online bidding remains open through the live auction, and online absentee bids may be placed anytime. Live bidding will open when the auction starts. Internet bidding is offered as a convenience for those who cannot attend the live sale. Please note that there may be delays or interruptions in Internet connectivity that are beyond our control. Attending the live auction or arranging for an agent is the most reliable way to secure your bids.
10. NEW BIDDERS: Bidders unknown to us, who anticipate an expenditure in excess of $20,000, must provide commercial references or a deposit of 25% of the amount to be bid in order for the auction staff to execute bids. Deposits will be credited towards lots won and any balance will be refunded within 10 business days after the auction has concluded. New bidders will be given a spending limit at their initial request to participate. In order to increase this limit, you may be required to provide a letter of authorization from your bank in addition to providing references. Please contact our office at any time if you have questions regarding spending limits or references required to bid.
11. AGENT BIDDING: There are numerous professional agents available to assist you should you require this service. Please contact the office for a list or to arrange for representation on the floor during the live auction. HWAC is not responsible for any acts or omissions by agents acting on behalf of bidders at our auctions.
BE ADVISED: Auction participation through the live Internet bidding site is not 100% foolproof. The technology for this process is always changing, and the operation of it and the corresponding Internet connectivity issues are far beyond our control. Some folks have attempted to use the live Internet bidding process as their primary method of bidding, and have been quite successful. Others have failed completely. Depending upon your computer, server, host, and other factors, Internet signals may be delayed, such that bids may not be received in time. We cannot be held responsible for these delays, or for the lack of placed bids in a timely manner, or any other factors leading to unaccepted bids that are far beyond our control. Bidders should always have a backup plan for lots they highly desire. Live participation is best, followed by phone participation. We will not reopen lots for missed bids.
12. RESERVES: Most of the lots in this auction are unreserved. Precious metals may be reserved at or near or slightly below spot, at the auctioneer's discretion.
13. BIDDING INCREMENTS: All bids must be submitted in U.S. dollars and in whole dollar amounts only in the appropriate increments as outlined below. If you choose to submit bids in an increment not listed below, your bid will be rounded to the nearest increment and you will be expected to pay the amount to which the bid was rounded should your bid be the winning bid. If you have any questions about an appropriate bid amount, please call us.
From: to: Increment:
$1 $95 $5
$100 $190 $10
$200 $475 $25
$500 $1,450 $50
$1,500 $3,400 $100
$3,500 $9,750 $250
$10,000 $30,000 $500
$30,000 up $1000
14. BID REDUCTION: All winning absentee bids will be reduced, if necessary, to the next bidding increment up from the last competing bid, as long as the minimum bid requirement has been met. For example, if you submit an absentee bid of $1000 and the next highest competing bid is $250, then you will win the lot for $275.
15. BID INFORMATION: Collectors often ask in advance the price level of a particular lot. We will give out the current competitive high absentee bid until we close the day before the live auction. You may also view absentee bids online at www.holabirdamericana.com. While we try to update the absentee bids as often as necessary, bids received close to the bidding deadline might not be reflected online, and we disclaim any responsibility for any bids made in reliance upon inaccuracies on our website, which may be beyond our control. We do not own any of the live Internet bidding platforms, and thus many aspects of the Internet technology are out of our control.
16. BID CANCELLATION: If you wish to cancel or change a bid after you have submitted your bids to us due to an error, you MUST PHONE us to advise us of this. Bid cancellations through mail, email, or faxes are not advisable. Errors are easy to make. Please call us if you have any questions on this.
17. All stock certificates, checks, warrants, and other financial documents sold herein are sold as antiquities, and have no financial, securities, or public trading value whatsoever.
18. We reserve the right to reject any bid we feel is not made in good faith.
19. INVOICING: Invoices are mailed or emailed within two business days after the close of all portions of the sale. Within 15 calendar days of receipt of invoice, payment is due in full to Holabird Western Americana Collections, 3555 Airway Dr., #308, Reno, NV 89511. Late fees may be added if payment arrangements are not made within those 15 days. Sales tax will be added to all sales picked-up after the auction or shipped to Nevada addresses, according to Nevada State law, unless a resale certificate is provided.
20. PAYMENT: We accept Cash, Visa, Master Card, American Express, Discover, Money Order/Cashier’s Check, Wire Transfer, Personal Check or PayPal. All returned checks are subject to a $25 fee. Cash received in amounts greater than $10,000 is subject to the filing of IRS form 8300, as required by law.
21. Automatic Credit Card Billing: Internet bidders are subject to the payment terms and conditions outlined on the internet bidding platform they utilize, which may include the automatic payment of auction invoices with the credit card information on file at the time of registration.
22. NON-PAYMENT: HWAC reserves the right to cancel any invoice not paid in full within 15 days. A cancelled invoice does not relieve the bidder from their obligation to pay seller fees and buyer’s premiums compensating HWAC for its services in conducting the auction. Interest shall run on all outstanding balances at the highest rate permitted by law. HWAC shall have a lien against the merchandise purchased by the bidder, and any other of bidder’s property then held by HWAC or its affiliates, to secure payment of the invoice, and with respect thereto HWAC shall have all the rights of a secured creditor under the Nevada Commercial Code, including but not limited to the right of sale. HWAC may sell the lot(s) securing the invoice to any under bidders in the auction that the lot(s) appeared, or at subsequent private or public sale, or relist the lot(s) in a future auction conducted by HWAC. A defaulting bidder agrees to pay for the reasonable costs of resale (including a 10% seller’s commission, if consigned to an auction conducted by HWAC). The defaulting bidder is liable to pay any difference between his or her total original invoice for the lot(s), plus any applicable interest, and the net proceeds for the lot(s) if sold at private sale or the subsequent hammer price of the lot(s) less the 10% seller’s commissions, if sold at an HWAC auction. If HWAC refers any invoice to an attorney for collection, the bidder agrees to pay attorney’s fees, court costs, and other collection costs incurred by HWAC. Any bidder who fails to follow the terms of payment will be reported to iCollector, Live Auctioneers, Invaluable, or applicable bidding platform, and may be barred from participating in future Holabird Western Americana auctions.
23. RESTOCKING FEE: In the event that purchased item(s) remain unclaimed by the buyer for a period of more than 30 days after the auction concludes, or is returned without valid reason, the buyer shall be subject to a restocking fee equal to 10% of the total purchase price. This fee is intended to cover administrative costs, storage fees, and other expenses incurred as a result of the unclaimed or returned item.
24. UNCLAIMED MERCHANDISE: In the event that a successful bidder has paid in full for their merchandise but fails to settle outstanding shipping invoices or make arrangements for merchandise pickup within 60 days, HWAC reserves the right to declare the merchandise forfeited. This forfeiture will result in the merchandise becoming the property of HWAC and the successful bidder shall have no claim to or rights over the forfeited merchandise.
25. CONDITION: We strongly recommend that you attend the live preview to see lots in their entirety. Conditions are not always noted, and large lots may not be itemized due to catalog restraints. For questions, detailed information, or additional images of any lot please contact our office at 775-851-1859. Bidders are responsible for understanding the condition of items. Conditions noted are subjective, and may differ person to person. High resolution images of all items are available online for inspection. HWAC is not responsible for condition discrepancies; it is the bidders responsibility to determine condition prior to bidding.
26. RETURN POLICY: All items are guaranteed to be authentic unless otherwise noted. If authenticity is challenged, please call our office for assistance. ALL SALES ARE FINAL. You may only return any piece that was significantly inaccurately described by calling our office within 10 days of receipt of item(s) and notifying us of the error and reason for return. We do not refund postage or insurance. Please call us if you require a more specific condition report. Any items that are returned must be returned in the exact, unaltered condition. When we receive your bids we will assume you have read the description in the catalog, viewed the image of the item, have contacted us regarding any questions you may have on any lot and/or have previewed the lot in person.
27. This sale is being held under the laws of the State of Nevada.
28. HWAC shall not be held responsible for any problem due to the bidder’s failure to follow the rules, terms and conditions of this sale, or any failure to bid due to the loss of the online auction process provided by any of the online auction networks; or missed bids, changed bids or cancelled due the bidder’s failure to follow the proper bidding procedure outlined herein.
29. By placing a bid or otherwise participating in the auction, Bidder accepts these Terms and Conditions, and specifically agrees to the dispute resolution provided herein.
30. HWAC shall not be responsible for consequential damages, incidental damages, compensatory damages, or any other damages arising or claimed to be arising from the auction on any lot. Bidder’s sole remedy for any proven act or omission shall be rescission of sale and refund of the amount paid by Bidder.
31. Any claim, dispute, or controversy in connection with, relating to and/or arising out of the Auction, participation in the Auction, award of lots, damages of claims to lots, descriptions, condition reports, provenance, estimates, return and warranty rights, any interpretation of these Terms and Conditions, any alleged verbal modification of these Terms and Conditions and/or any purported settlement shall be exclusively heard by, and the parties consent to exclusive in personal jurisdiction of, the Superior Court of Washoe County, Nevada. The parties expressly waive any right to trial by jury. Any claim must be brought within one (1) year of the auction from which the claim arose or the claim is waived. In every case, the prevailing party shall be entitled to an award of its attorney’s fees and costs.