Sample Artwork

Home Page Strip.jpg

The finest in reproductive images are the giclee on canvas.

These are not under glass and include the

Certificate of Authenticity, or COA.

Vanishing Pony Tracks  fixed P1.jpg
Vanishing Pony Tracks

Vanishing Pony Tracks  by Howard Terpning

"Horse stealing was a sport among the Plains Indians and an important way to gain honor and prestige among other members of their tribe" says Terpning. "The man in the foreground has his horse stealing medicine attached to his belt with a miniature rope. These four Blackfoot warriors have been following a large band of trappers just waiting for the right moment to capture some of their stock. They no doubt took these ponies in the middle of the night and are now trying to put as much distance as they can between themselves and the trappers who are certainly attempting to track the Blackfoot and take their ponies back. These raiders are using every ruse to elude their pursuers including crossing the river in hopes that their tracks will be lost or at least delay their pursuers."  

Quoted from Howard Terpning COA 2006

The outside dimension is 48" x 62"

Apsaroke Guardian P2- 2022-page-001.jpg

Apsaroke Guardian  by Martin Grelle

"The Apsaroke are among Martin Grelle’s favorite subjects and have populated some of his most notable pieces. This Native American portrait has everything – fine composition, beautiful color, light playing on the figure and the snow, and a sense of peace and dignity."

Quoted from Martin Grelle 2009 COA

The outside dimension is 47" x 56"

Apsaroke Guardian P1-2022-page-001.jpg
A Cautious Encounter P1-2022-page-001_edited.jpg
A Cautious Encounter P2-2022-page-001.jpg

Cautious Encounter  by Martin Grelle

"Trappers encounter a number of American Indians and approach them very cautiously in the hopes they will want to make a a trade or just talk. This is definitely in the middle of the wilds of the Rocky Mountains' gorgeous scenery."

Quoted from Martin Grelle COA 2019

The outside dimension is 44" x 36"

Wedding Preperations P1_edited.jpg
Wedding Preparations

Wedding Preparations by Martin Grelle

"The idea for this painting came from reading a passage in George Bird Grinnell's book on the Cheyenne Indians, volume1. This paragraph is a small part of his description of wedding activities: 'When the girl set out she was dressed in fine new clothing, but after she had been taken into her mother-in-law's lodge, the sisters or cousins of her husband took her to the back of the lodge, removed the clothing that she wore, and dressed her in new clothing they had made, combing and rebraiding her hair, painting her face, and hanging about her various ornaments as gifts.' I have taken artistic license on one part of the painting - as I have shown her to have a red ribbon wrap on her braided hair. Traditionally, Cheyenne women did not wrap their braids, but I thought it added an extra interaction between the girl& her helper, who has the ribbon in her hands & is preparing to wrap the second braid. The buffalo skull sits in the traditional position in the lodge used as an alter, and is sitting on a bed of sage. Various other items adorn the lodge, including storage bags & parfleche cases, a willow backrest, a tin trade cup, etc. The small beaded pouch hanging from the bride's belt, in the shape of a turtle, holds her umbilical cord - a tradition among many Northern Plains Indian tribes. The cord was dried & placed in the pouch after the child's birth and was kept throughout their lifetime."

Quoted from Martin Grelle COA 2014

The outside dimension is 44" x 50"

Prospector Among the Blackfeet P1_edited.jpg
Prospector Among the Blackfeet P2.jpg

Prospectors Among The Blackfeet  by Howard Terpning 

"In 'Prospectors Among the Blackfeet", Blackfeet warriors find evidence of intrusion by white men: a prospector's gold pan and other debris carelessly left behind in a shallow stream," says the artist. "The Blackfeet were among the most implacable in their enmity toward white trespassers, first the beaver trappers and later the prospectors. And for good reason. Blackfeet had only to look at their neighbors, the Sioux and Cheyenne, where the discovery of gold in the treaty-protected Black Hills led to the final, crushing military campaigns against them."

Quoted from Howard Terpning COA 2010

The outside dimension is 43" x 50"

Between Earth and Sky P1-2022-page-001.jpg
Between Earth and Sky P2.jpg

Between Earth and Sky  by Martin Grelle

"In this giclee on canvas, I have created an idyllic image of a Native American camp. The spectacular sky provides a tranquil backdrop for the daily chores. The teepees are majestic looming against the skyline as a brave is arriving home with his horse and pet dog. Perhaps, he is coming home, empty handed, from a failed hunting trip. The woman is spreading the furs on the ground to air them out. For now, life looks very peaceful and calm, Between Earth and Sky."

Quote from Martin Grelle COA 2018

The outside dimension is 44" x 44"

White Water Passage P1-2022-page-001_edited.jpg
White Water Passage P2- 2022-page-001_edited.jpg

White Water Passage  by Howard Terpning

"When the American West was truly wild country, sometimes traveling on horseback was very difficult, if not impossible. Dense forest and fallen timbers often required riders to dismount and lead their horses through a passage that under normal conditions wouldn’t even be considered. In this case, these Crow warriors have found the forest so dense that passing through on horseback was out of the question, so their line of least resistance was forging ahead through icy cold water and slippery boulders".

"I enjoy painting water for a great many reasons, particularly white water. As an artistic device it creates drama and tension and draws the viewer’s eye through the scene. I wanted to express the motion of these travelers and the dangers they faced. Capable, resilient and experienced though these men  might have been, the great force of the rushing waters posed quite a threat to them and their laden horses as they crossed."

Quoted from Howard Terpning COA 2008

The outside dimension is 45" x 54"

Pride P1.jpg
Pride P2.jpg

Pride  by Dave Holman

This is an original oil painting called "Pride" of a Havasupai Native American woman by late artist Dave Holman. Inspired by a trip taken  to attend a Havasupai Pow-Wow in the Grand Canyon area known as Cataract Canyon. In 1975, this tribe was able to regain about 10% of their original lands back from the National Park Service where they currently survive thru tourism. It is still a challenging issue.

The outside dimensions are 46" x 58"

Spirit of the Plains P1-2022-page-001.jpg
Spirit of the Plains P2- 2022-page-001.jpg

Spirit of the Plains by Howard Terpning

"They followed the warrior’s way as proud horsemen with an appetite for competition, excellence and danger. Emboldened by bravery and with the protection of their sacred medicines, the Plains Indians would fight for revenge but welcomed the chance to test their courage.

Our ideal image for the Plains Indian warrior endures even though the full glory of his greatness has vanished. He remains an important American icon, every bit as pertinent to our past as the cracked bronze bell in Philadelphia or Plymouth Rock in New England. However, the ‘winning’ of the American West is not a tale told of triumph, but rather of tragedy."

Quoted from Howard Terpning COA 2016 

The outside dimension is 32" x 40"

Challenge P1-2022-page-001_edited.jpg
Challenge p2-2022-page-001_edited.jpg

Challenge  by Martin Grelle

This painting has all the beauty, color and excitement of the finest Martin Grelle paintings. 
"As the braves challenge their adversaries, their ponies, painted for the fight, stand ready to carry their masters into battle.  The huge cloud bank and very distant hills give us a sense of the vast, empty plains they called their own."

Quoted from COA by Martin Grelle

The outside dimension is 44” x 60”

Parisols and Black Powder P1-2022-page-001 (1)_edited.jpg
Parisols and Black Powder P2-2022-page-001_edited.jpg

Parasols an Black Powder by Martin Grelle

"The annual rendezvous, where trappers for the fur trade companies, free-trappers, and various Indian tribes would gather to exchange their year-long labor’s worth of furs for much-needed, desired goods from the east and from the south. The event was held on the Green River near present-day Pinedale, Wyoming, during the rendezvous period of 1825 to 1840. Many items were brought from St. Louis and Mexico, to be traded for beaver pelts and other furs; this also included blankets, many kinds of cloth, cotton shirts, kettles, dry goods, and various iron items. In addition, there were other standard items such as lead, black powder, and of course, whisky. 

I researched and discovered that parasols, or umbrellas, were greatly treasured by the Native Americans, and they appeared in the area by the latter years of the fur trade. The idea that parasols could be in this setting intrigued me. I decided to paint a typical situation at a rendezvous – an Indian trying out a flintlock trade gun near one of the many encampments on the Green River and the Horse Creek, but with the addition of the colorful, delicate parasols. For me, it is a blending of extremes – the fanciful parasols in the midst of this rowdy, annual event of the Rocky Mountain West."

Quoted from Martin Grelle COA 2010

The outside dimension is 50” x 58”

Council of Chiefs2 P1-2022-page-001_edited.jpg
Council of Chiefs2 P2-2022-page-001_edited.jpg

Council of Chiefs by Howard Terpning

"This is the early 1870’s period. These men represent chief or head men from different warrior societies within the Blackfoot nation meeting in council.

In council, the individual leaders gathered to set the course of the nations. Decisions were reached by consensus, youth acknowledging the wisdom of age and the power of experience valued over the experience of power. The man seated on the far right has painted part of his face and shoulders with vermilion, which was a sacred color and symbolized blood or life. The standing figure an the near right has white dots painted on his back; these represent hailstones falling down to destroy his enemies. His knife scabbard is more the design that a trapper or mountain man might carry. The warrior on horseback in the foreground is carrying a banner staff lined with eagle feathers. These so-called flags could be ceremonial in use or employed as a rallying point in battle."

Quoted from Howard Terpning COA 2000

The outside dimension is 50” x 33”

Crow Pipe Ceremony P1-2022-page-001_edited.jpg
Crow Pipe Ceremony P2-2022-page-001_edited.jpg

Crow Pipe Ceremony by Howard Terpning

"Crow Pipe Ceremony is a painting I’m proud of. I painted it as a gift for my wife, Marlies. It occupies a very prominent and important place in our home. Here, a small group of Crow men have come together to seek the guidance of the Great Spirit. Their every movement is prescribed by tradition which has been handed down by their elders. The semi-circle in which they sit opens toward the east, from where the sun rises.

The pipe has been furnished by the initiator of the ceremony. He begins with a prayer asking for guidance on a subject shared by all the men assembled. The pipe is then passed along the left and then the right. Each man accepts the pipe with dignity, points it methodically toward each of the four points of the compass, toward Mother Earth, and them to the Great Spirit in the sky above."

Quoted from Howard Terpning COA 1997 

The outside dimensions are 48” x 38”