“It is important to show the American Indian as he
appears in his natural surroundings. He lives with Mother Earth, and his spirituality is bound to
his environment. Many of my paintings are inspired by something
in nature. The thing I look for in a landscape is how it can be
dramatized to the best advantage in the painting.”
-Howard Terpning
Quite
simply, Howard Terpning is one of the most lauded painters of Western
art. His awards are so numerous and he is honored with them so often,
that to list them would require changing the count every few months. To
name three would be to cite the highest prizes awarded to Western art:
countless awards from the Cowboy Artists of America, the Hubbard Art
Award for Excellence, the National Academy of Western Art’s Prix de West
and the Lifetime Achievement Award from the Gene Autry Museum.
Why such praise? Passion, compassion, devotion and respect for his
subject matter, extraordinary talent in palette and brushstroke, an
exceptional ability to evoke emotion both in his paintings and from
those viewing them — all this and more has made Terpning the
"Storyteller of the Native American."
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Tribute to the Plains People
A Tribute to the Plains
People – The Collector’s Edition. This autographed and numbered book
comes slip-cased in a rich olive bookcloth, inset with a stamped leather
label and is lined with acid-free paper. The book is paired with The
Greenwich Workshop Fine Art Edition of the award-winning Traders Among
the Crow. This set will include a complimentary DVD of the new
documentary Howard Terpning: Portrait of a Storyteller.
About the painting
“The period in this scene is 1848–1850,”
explains Terpning. “These free traders have left the large fur
companies and are working on their own. They have entered the edge
of a Crow camp with many trade goods to entice the inhabitants to
exchange buffalo robes for gun powder, lead, knives, axes, blankets,
tobacco and the various other items displayed on the ground. They
use a wagon to carry their goods, and perhaps for transportation
because the man with the glengarry hat and a cane has an injured
leg. (Wagons were used on the Santa Fe Trail as early as 1821 so by
the late 1840s they could be found in many out of the way places
throughout the Plains.) Howard made the group small to give the
scene a sense of intimacy. Of course, there is no telling how many
people are surrounding the group pictured.”
Limited Edition Book,
Masterwork Collectors Edition Giclée canvas and DVD
This is a Crow Indian of
the pre-Reservation period, about 1850 to 1860. This shows the
character in the man with a lot of focus on his eyes. Actually,
chiefs gained prestige within their band or tribe if they did not
flaunt wealth. They would be more inclined to give things away and
be more austere in appearance than their comrades. This was a sign
of their leadership.
Here he has a bow case
which is quite a good one. It is made out of mountain lion skin and
has bead work on it. The strong pattern with the shape of the bow
case comes up diagonally, leading up to the face and the old Crow
war bonnet with the eagle feathers then back down the right side.
Limited Edition Giclée canvas
handsigned by the artist
The importance of the
horse to the Plains Indians cannot be overestimated. An Indian's horses
were a tangible sign of wealth. The women of a Plains family would each
need several pack horses, while the men could claim double that number
of hunt and war horses. Children had their own ponies. The Indian's
horses tended to be small; there are old photographs in which the toes
of mounted Indians nearly touched the ground. But what Indian ponies
lacked in size, they made up for in numbers, for histories speak of
herds numbering in the thousands. They had stamina and speed when the
need arose, earning the name 'spirit of the air faster than wind.'
The winter wind in the north
country blows cold and hard and can bite through to the bone. To
survive, man and beast must wear warm coats. In this painting, the Crow
Indian has a buffalo robe across his lap and a thick buckskin shirt to
protect him from the cold and snow. His pony, with hind quarters facing
into the wind's teeth, wears his own thick, shaggy winter coat.
Animal skins were essential
to the Indian's dress, rituals and shelter. In addition to his shirt and
robe, this Indian is carrying a society staff wrapped with otter fur. He
has a small medicine pouch tied to his belt and a stuffed ermine skin
attached to his shoulders. Thus, the pelts, or "coats" of many animals
serve two masters.
Inspired by the artist’s love
of his own granddaughters, this elegant portrait of a devoted
grandmother is distinctive within Terpning’s work because of its focus
on the feminine nature of tribal life.
Limited Edition Giclée canvas
handsigned by the artist
“Sharpshooters
Closing on the Herd is, in a way, a play on words, since the
warrior has a Sharps .50 calibre buffalo rifle in his hands,”
says artist Howard Terpning. “This was a very powerful rifle and
highly prized by the buffalo people. It’s getting late in the
day and they may have been following this herd for many miles.
If one buffalo sensed danger and started to run, the whole herd
would run, so caution was very important. The Blackfoot hunters
are downwind of the buffalo herd and are judging the distance
from their prey in hopes that they can get off a shot before
they are spotted by the herd. They have a good vantage point on
this rock outcropping so there may be meat in camp tonight.”
Limited Edition Masterwork Giclée canvas
handsigned by the artist
To the Native American, a spiritual force was
the source of all life and everything in nature had a soul, or a
spirit, independent of its physical being. Their entire world
was connected spiritually, with the physical and the mystical
living side by side. This spirituality was the fundamental
nature of the Plains Indian and the expanse of the West and the
grandeur of its landscape only enforced this notion.
“It is important to show the American Indian as
he appears in his natural surroundings,” says Howard Terpning.
“He lives with Mother Earth, and his spirituality is bound to
his environment. Many of my paintings are inspired by something
in nature. The thing I look for in a landscape is how it can be
dramatized to the best advantage in the painting.”
Many of Terpning’s most revered paintings focus
on the wonder, admiration and respect the Native Americans held
for the land in which they lived. The Force of Nature Humbles
All Men, With Mother Earth and On the Edge of the World all
explore the introspective power nature has over man. Where
Spirits Dwell takes that idea one step further by presenting, in
scale, the majestic scope of the land in relationship to man.
This Limited Edition is published from the
Original work in Howard Terpning's personal collection. Is the
first time this image is being offered for sale.
Limited Edition Giclée canvas
handsigned by the artist
In the painting, we see a gathering of
Cheyenne and Sioux men intently listening to a man who is an orator
among his people. The words of the peace commission have been translated
to him and he is expressing his distrust of those words. Terpning wanted
the entire focus of the painting to be on the native people, so we see
only the corner of a table and the shoes of the commissioner. The scene
depicted here is not a specific treaty signing event, but it is loosely
patterned after the Fort Laramie treaty of 1868. The title comes from
the Indian expression that the treaty always said one thing to the white
man and quite another to the native people.
Limited Museum Edition Giclée canvas
handsigned by the artist
Personal Commision
The Apache warrior was born “Goyathlay” (One
Who Yawns) but died Geronimo, a legend in his own time. In the 1850s,
his wife and three small children were slaughtered while he traveled
with others in his tribe to Old Mexico to trade.
His life became an act of fierce defiance against soldiers and the
settlers who colonized Apache territory. It was the Mexicans who called
him “Geronimo,” Spanish for “Jerome.” There were periods of relative
peace for Geronimo, but those were brief. He resisted attempts to move
Apaches to the barren San Carlos reservation and twice left with small
bands, once for ten years during which he conducted raids against white
settlements. He kept 5,000 soldiers plus hundreds of Indian scouts busy
for five months chasing him across 1,645 miles until he surrendered in
Sonora, Mexico.
Geronimo lived long enough to appear as the legend himself at fairs and
parades, selling souvenirs. He dictated his memoirs, which were
published in 1906. He died at age 80 in 1909
Limited Edition Giclée on paper
handsigned by the artist
In the 18th and 19th
centuries, many Plains warriors told the stories of their war deeds and
accounts of important events that took place each year in their lives,
in simple form drawings that were not literal but rather highly
stylistic—with many symbols that were understandable only to the Native
Americans. These stories were drawn and painted on hides such as
buffalo, elk, deer and antelope. The warrior who produced the drawing on
animal hides was telling friends and foe alike of his many
accomplishments and deeds of bravery.
This painting shows a young warrior proudly displaying his father’s
painted robe on the back of his pony. He has placed his moccasins on the
withers of his mount so they won’t get wet as he cools his feet in the
water
Limited Edition Giclée canvas
handsigned by the artist
I once read an account of a
Cheyenne warrior who painted his body and his horse’s body entirely blue,” says
Howard Terpning. “Just imagine the startling effect that must have had on his
enemies as he charged them in battle. That description gave me the idea for the
title (which seemed obvious). Adding the warrior’s son in the painting felt
logical and gave the picture a higher level of human interest. To have listened
in on the father and son conversation as this warrior prepared himself for
battle would have been something.”
Limited Edition Giclée canvas
handsigned by the artist
“The Apache were great
horsemen,” says artist Howard Terpning. “All the Plains Indians were. This group
of tribesmen travels between the mountains with only the clothes on their backs
and a minimum of equipment—a far cry from the so-called ‘light cavalry’ of the
American army.”
Limited Edition Giclée canvas
handsigned by the artist
"When the American West was
truly wild country," says artist Howard Terpning, "sometimes traveling on
horseback was very difficult, if not impossible. Dense forests 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."
Limited Edition Masterwork Giclée canvas
handsigned by the artist
Few works garner more attention at the major shows
than a Howard Terpning painting. Devotion to the
subject, extraordinary brushwork and a sensitive
palette drive the thunderous acclaim.
Hard Trails Wore Out More than Ponies
brings together all these elements in a classic
Terpning work of art. The original painting won the
Thomas Moran Memorial Award for Painting at the
Autry National Center’s 2008 Masters of the American
West Fine Art Exhibition and Sale and sold for over
$1.25 million.
“Moccasins and all manner of equipment wore out
constantly when the Plains Indians were traveling,”
says Howard Terpning. “The long days were hard on
their ponies and their gear. On lengthy journeys,
they always carried awls and extra buckskin to make
repairs on their moccasins. These three Blackfoot
men have stopped to rest their horses and themselves
so that they may continue on their hard trail.”
Limited Edition Masterwork Giclée canvas
handsigned by the artist
“Many years ago, I camped overnight about a hundred
feet from this spot,” says Howard Terpning. “As I recall, it is in an area of
the Ruby Mountains in Montana, which was part of the vast region that was home
to the Blackfoot people.
“Natosi (sun) was the dominant power in their lives and they believed that Sun
gave life-giving energy to all things. I imagined that early one morning as
Sun’s rays swept across the land, this old man dismounted from his pony. He held
up his sacred eaglewing fan and his pipe and prayed to Sun as his two warrior
grandsons looked on with deep respect for their grandfather and the traditions
he embodied.
Limited Edition Giclée canvas
handsigned by the artist
“Blackfoot warriors often traveled great
distances on foot, There are accounts of men walking as far south as
Mexico (the “always-summer land”) to obtain horses. A lone warrior
might decide to explore an unfamiliar part of the country; travel
alone and on foot to seek out and avenge an enemy or to perhaps
steal horses from that enemy. Whatever this man’s reason was for
walking a great distance we can only speculate, but he had the
survival skills and stamina to accomplish just about anything he set
out to do … provided he avoided
enemy war parties.”
- Howard Terpning
Limited Edition Giclée canvas
handsigned by the artist
In the middle of winter, on the side of
a snow-blanketed mountain, The Lonely Sentinel guards his post.
Although he is beset on all sides by icy blasts and his horse
shivers beneath him, the sentinel knows the value of honor and duty
and will allow no wind to bow his head or bend his back.
Limited Edition Giclée canvas
handsigned by the artist
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 arrives, 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.
Limited Edition Masterwork Giclée canvas
handsigned by the artist
“The Comanche
people ruled the Southern Plains until the last quarter of the 19th Century.
Their warriors were said to be some of the best horsemen in the world and
yet constant warfare and broken treaties drastically reduced their numbers.
The Quohadi (the antelope clan) were the last of the people to surrender. To
me, this scene represents the symbol of their strength as they clung to
their old way of life as a warrior society. The sun is low on the horizon
and the cottonwood trees cast long shadows that forebode the demise of their
culture.”
~Howard Terpning
Limited Edition Masterwork Giclée canvas
handsigned by the artist
The Native Americans had a multitude of ways to
communicate with other members of their tribes. The Cherokee would bend a
small sapling nearly to the ground, using the now-crooked tree to indicate a
direction. Some of these crooked trees can still be seen today. Other
trail-marking methods included piling stones or branches to create what are
known today as cairns. If a trail was devoid of natural debris, a traveler
might leave a personal item along the trail to attract attention and direct
those who would follow. The horseman in this scene has found the marker left
by his predecessor, confirming that he is on the right track.
Limited Edition Giclée canvas
handsigned by the artist
A Northern Plains Indian sits quietly on his
pony. A second horse on a lead drinks calmly from the stream in which they
stand. Even the stream is at peace. Terpning has captured a moment of
stillness, perhaps a moment for pondering life's meaning. What is this
warrior thinking? Will this be one of only a few quiet moments in his day? "I wanted to capture how much the Native people enjoyed the beauty and
serenity of the land."
- Howard Terpning
Limited Edition Giclée canvas
handsigned by the artist
Three Apaches race
to stay ahead of a dust devil, the desert hot-weather whirlwind full of dust
and debris .These ethereal pillars of air and dirt have meandered the baked
earth since the oceans first receeded .The white man speaks of thermals and
explains them in dry meteorological terms, but the Apache knew better. He
knew that the devil was inside the whirlwind, and that if you were caught
you would soon die. Howard Terpning created a strong feeling of motion to
convey the sense of the Apaches galloping their horses as hard as they
could, which is emphasized by this awe--inspiring composition.
Limited Edition Masterwork Giclée canvas
handsigned by the artist
Some years ago, while riding horseback in the
Bitterroot Range with a friend, we came upon this interesting maze of rocks
and fallen timbers high up in the mountains,” says Terpning regarding the
inspiration for Camp at Cougar’s Den.“
Upon close examination we could detect the smell of a cougar in the small
cave-like enclosure. The whole scene took on an even more primitive and wild
nature, and I knew that this den could be the setting for a story. I
realized a camp scene would be a logical choice, with Blackfoot raiders out
to create some mischief and stopped for the night before traveling on.”
Limited Edition Masterwork Giclée canvas
handsigned by the artist
The head masks (or
face masks) worn by horses were usually made for leading warriors and were
considered medicine objects that gave power, protection and strength to the
horse and its rider. The masks often had beautiful quill work, beads and
feathered adornment and their design was sometimes inspired by a vision.
Limited Edition Giclée canvas
handsigned by the artist
Cheyenne at the Disappearing
Creek Called "White Woman"
“In the 19th
century and before, in what is now western Kansas, there was an area called
the ‘White Woman Basin.
Small parties of Cheyenne warriors would often stop with their horses for a
welcome drink.”
Limited Edition Giclée canvas
handsigned by the artist
During the
early part of the 19th century, the Blackfoot Nation was the dominant tribe
of the North Central Plains. Their territory included some of America’s best
beaver trapping streams. This lone trapper will need to draw on all his
skills and luck if he is to survive being caught out in the open by this
stealthy war party.
Limited Edition Giclée canvas
handsigned by the artist
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