970-225-2903 Land
970-305-0965 Text
Flying Bear Ranch Ft. Collins, CO
Sample Artwork
The finest in reproductive images are the giclee on canvas.
These are not under glass and include the
Certificate of Authenticity, or COA.
%20-P1.jpg)
%20-P2.jpg)
"Bonnet Case" by Howard Terpning
​
"These northern Plains men may be getting ready for a ceremonial function that calls for the use of a bonnet. A bonnet case was typically made of rawhide and could store feathered headgear or even occasionally personal 'medicine' - objects that people of the Plains believed gave them control over natural or spiritual forces."
​
Quoted from Howard Terpning 2000
The outside dimension is 32" x 42"
‘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 2000
The outside dimension is 33" x 50"
'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 pre scribed 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 COA 1997 The outside dimensions are 48” x 38”
“Crows in the Yellowstone” by Howard Terpning
To appeal to more tourists in the early days of Yellowstone National Park, the government put out propaganda that “superstitious” Indians were “afraid of evil spirits” and that rumor persists today.
There is a world of difference between recognizing the sacred nature, mystery and power of a place and being afraid of it. The Crow respected and revered what they called “land of the burning ground” or “land of vapors.” Although they lived primarily in the region to the east of what became Yellowstone National Park, the Crow camped and hunted throughout the region.
Quoted from Howard Terpning COA 2015
The outside dimension is 42" x 48"
‘Opening the Sacred Bundle’ by Howard Terpning
​
“These four Plains Indians are seated in a tepee around a smoldering fire of sweet grass and sage. The headdress of the figure opening the bundle may be familiar to you. It is the same one worn by the subject of ‘Talking Robe’, which is the painting I created to replace this one for the Cowboy Artists’ show because my wife and I decided to keep this one.”
Quoted from Howard Terpning 1995
The outside dimension is 39" x 49"
‘Prayers of the Pipe Carrier’ by Martin Grelle
Grelle paints the Native Americans as they went about their lives whether doing everyday chores or participating in tribal rituals. As the other braves gaze into the distance, the keeper of the pipe offers his prayers. The smoke from the pipe is believed to carry the breath of prayers to hopefully be answered.
This dramatic, beautiful work by Grelle won the Buyers Choice Award at the 46th annual Cowboy Artists of America exhibit in 2011. The recipient of this coveted award is selected by show attendees holding bid books. The Cowboy Artists of America is the most enduring and prestigious association of western artists in our nation
Quoted from Martin Grelle COA 2012
The outside dimension is 50" x 46"
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"
‘Protectors of the Cheyenne by Howard Terpning
​
“This painting provided me with the opportunity to portray three strong and resolute Cheyenne warriors in a simple setting of tranquility which belied the very nature of their responsibilities as providers and protectors of their women, children, and old people. Even though it is said that they never numbered more than 35,000 people, the Cheyenne has strict social rules and strong warrior societies that made them a force to be reckoned with."
​
Quoted from COA 2006
The outside dimension is: 53" x 61""
“Rivers Edge” by Martin Grelle
​
These three braves, with their horses, have stopped by the "River's Edge." Perhaps the braves are hunting for food or have been following tracks that now disappear into the river. This magnificent scene along the "River's Edge" is another wonderful story that comes alive on Grelle's canvas
By Martin Grelle 2011 w/ COA
The outside dimension is 50" x 44"
'Shaman and His Magic Feathers' by Howard Terpning
The title of shaman was given to a person within a tribe who had powers beyond the limits of human understanding.
The shamans were remarkable not only for their extraordinary powers, but for their ability to control them. The Native people of the American plains accepted these powers as proof of supernatural blessing, both of the shaman and of their tribes.
It was not uncommon for a shaman to give a public demonstration to inspire wonder and awe in his audience. In “The Shaman and His Magic Feathers,” a shaman has invited a small group of his tribesmen to witness his magical abilities. Away from the camp, the shaman has built a small fire and blessed it with sage and juniper. Before the approaching storm, he will use his powers to float the feathers in the air above the flames , where they will hang for as long as he wishes.
Like a modern-day shaman, Howard Terpning uses his artistic powers to create a scene electric with awe and excitement.
Quoted from COA
The outside dimensions is 45” x 58”
‘Shield of Her Husband’ by Howard Terpning
​
This painting shows a Sioux Indian woman proudly carrying the shield of her husband. She is wearing a hide dress of the 1840 to 1850 period. The yoke is covered with pony beads and the sleeves are left natural, with no attempt at tailoring. Sioux women were allowed to carry their husbands’ weapons whereas the Cheyenne women were not.
​
Quoted from Howard Terpning 2018
The outside dimension is 38" x 48"
'Slippery Rock Falls' by Doug Hall
Doug Hall has always lived in the hills and woods of Southwest Missouri. Growing up in Neosho Missouri, he wanted to be a frontiersman.
He says he has no recollection of a time when he did not paint. Doug focuses his paintings on Eastern Woodland Indians.
He paints at his Log Cabin Studio in Southwest Missouri, where he also rides his Missouri Fox Trotters. On Sundays he hosts a black powder shoot at the range behind the Studio.
An award winning painter of Native American people and their culture, Hall grew up painting in Neosho, Missouri and lives in rural McDonald County. Fellow painter and master of color Bob Tommey was influential in his artistic development.
He is now represented by Altermann Gallery
The outside dimension is 57" x 48"
‘Spirit of the Plains” by Howard Terpning
They followed the warriors’ 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 COA 2016
The outside dimension is 34” x 41”
‘Status Symbols’ by Howard Terpning
What the plains warrior wore or carried often told much about his life. War shirts and robes were painted with simple lines to depict figures, horses and weapons. Here a Crow, haughty in his status, has wrapped himself in a buffalo robe painted with the scenes of his triumphs on the hunt and in warfare. Every warrior of note, no matter what tribe he was a member of, used any occasion to display his successful exploits in fights with his enemy’s and his ability to steal horses from enemy camps. His lance is decorated with feathers. Many men adorned lances, war shields, or even their horses’ bridles with scalps taken from their enemies. The shield here carries the warrior’s depiction of a buffalo.
Quoted from Howard Terpning COA 2017
The outside dimension is 39" x 48"
‘The Trackers’ by Howard Terpning
“Scenes such as this played out countless times in the 18th and 19th centuries. We don’t know who they are tracking, but they do not seem to sense immediate danger because they don’t have their bows in hand. They see signs among the rocks, such as a broken twig or displaced moss. We do not know that they won’t give up their search – whether they find the enemy they are seeking, we will never know.”
Quoted from Howard Terpning COA 2014
The outside dimension is 46" x 47"
‘Three Generations’ by Howard Terpning
“An extended family of Crow women is portrayed in ‘Three Generations’ Skilled in the many demanding domestic tasks of their culture, these tribeswomen passed their traditions down from one generation to the next, ensuring the future of their tribe and customs. In this family portrait, the distinctive and expressive faces of the grandmother, mother, and granddaughter are unique and yet universal. The middle generation carries the weight of responsibility with dignity; the elder, perhaps, now knows joy in understanding the circle of all life and the adolescent is in the awkward stage we see in many of our own family portraits!”
Quoted from Howard Terpning 2004
The outside dimension is 43" x 46"
“Treetop Advantage” by Doug Hall
Doug Hall has always lived in the hills and woods of Southwest Missouri. Growing up in Neosho Missouri, he wanted to be a frontiersman.
He says he has no recollection of a time when he did not paint. Doug focuses his paintings on Eastern Woodland Indians.
He paints at his Log Cabin Studio in Southwest Missouri, where he also rides his Missouri Fox Trotters. On Sundays he hosts a black powder shoot at the range behind the Studio.
An award winning painter of Native American people and their culture, Hall grew up painting in Neosho, Missouri and lives in rural McDonald County. Fellow painter and master of color Bob Tommey was influential in his artistic development.
He is now represented by Altermann Gallery
The outside dimension is 60' x 48"
“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, volume 1. 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 – and I considered it as part of the "ornaments” given as gifts. The buffalo skull sits in the traditional position of the lodge used as an altar, 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"