

111
Whitney Weidow
Congress Ave 1913
oil
24 x 36 in.
$6,000–$7,000
Picture Congress Avenue, Austin, Texas in 1913: cobblestone streets echo where streetcars, early motorcars, and horse-drawn buggies all share the road. The Texas State Capitol stands proudly at the end of the avenue, built in 1857 through a deal with the “Capitol Land Syndicate,” which exchanged 3 million acres for its construction. Established in 1839 Austin flourished after the Houston and Texas Central Railroad arrived in 1871.

140
Brent Learned
Four Brothers
acrylic
16 x 20 in.
$2,500–$3,000
“Take only what you need and leave the land as you found it.”
Four Brothers is a painting about Cheyenne and Arapaho brothers being connected and how we must work together to preserve what we have for future generations. Growing up both Cheyenne and Arapaho, I was taught that we are here to preserve the land. We don’t own it, but we will pass it on to the next generation. The plants and animals are here for us to live with in harmony as well. We come from the dust and we go back to the dust, the cycle of life.
Place of memory is all around us; we have to listen to all living things as they will listen to us.

214
Sally Vannoy
Symbols of Hope
oil
32 x 50 in.
$15,000–$18,000
Blackfeet tribal members celebrated the release of 25 bison back to their native habitat in June of 2023. The release took place near Babb, MT with Chief Mountain towering in the distance. This historic and sacred event provides symbols of hope and healing for the Blackfeet Nation. Bison have not roamed free on these hallowed grounds for nearly 150 years.
Symbols Of Hope portrays the native herd of bison roaming freely on the Miistakis (Backbone of the World). The winter scene is especially significant as indigenous people were purposely starved in the winter months due to the near extermination of the bison.
Several years ago I painted a piece titled, On Sacred Ground with the idea and hope that this could someday become a reality. It gives me immense joy to see two sacred icons reunited and restored.

218
Jim Carson
Directions On The California Trail
oil
34 x 50 in.
$12,000–$15,000
The California Trail was an emigrant trail of about 1,600 miles across the western half of the North American continent from Missouri River towns to what is now the state of California. After it was established, the first half of the trail followed the same corridor of networked river valley trails as the Oregon Trail and the Mormon Trail. The trail had several splits and cutoffs for alternative routes to different destinations.
Sections of what became the California Trail were discovered and developed by American fur trappers including Kit Carson and Jedediah Smith, who often worked with the Rocky Mountain Fur Company the Hudson Bay Company. The first recorded party to use the California Trail to get to California was the Bartleson-Bidwell Party in 1841. They left Missouri with 69 people. About half of the party elected to continue by wagon to
California and half elected to go to Oregon on the more established Oregon Trail.
This painting depicts a group of westward emigrants seeking direction from a friendly Native American, something that happened frequently on the journey west.

225
Luke Frazier
Royal Couple
oil
30 x 40 in.
$25,000–$35,000
The mule deer is one tough hombre—I’ve found them in the high alpine forests of Montana, northwards through the plains of Alberta and Saskatchewan Canada. But some of the wisest and oldest bucks are found in the high desert and hardscrabble red-rock of Utah—southbound all the way down to the Sonoran Mexico delta. Most would think that extreme heat, juniper, sagebrush, sand and cactus seems like an unkind and unlikely combo for mule deer habitat. Right? Wrong my friend, they thrive in it.


226
Chris Owen
Keeping A Watchful Eye
oil
20 x 16 in.
$–$
The Cowboy understands the importance of keeping a watchful eye on his herd. He knows to observe attentively to be certain there are no problems with the happenings at the cattle ranch and being sure that things continue to run smoothly.


234
Tobias “Toby” Sauer
A Warrior’s Reflection
oil
40 x 30 in.
$15,000–$18,000
This Crow Warrior faces Southwest while holding his embellished Sharps rifle. This rifle is adorned with the Four Directions symbol; each Direction representing different winds with distinct meanings.
At the time this Warrior fought his battles, the winds were changing for his people. The bison were being slaughtered by the White Man and there was the threat of reservations and a drastic change of life. He faces West, which symbolizes the end of life, the sun setting, the death of hope; but also South, which symbolizes warmth and growth. Life comes from the sun, therefore all life is said to come from the South. With the threat of warring tribes, the elements, and the White Man surrounding him, the warrior reflects on the hope of life, and the comfort of warmth as he continues to fight for his people.
For their second collaboration, Montana natives Zach Schoffstall, owner of C. Sharps Arms, and Tobias Sauer, oil painter, decided to honor the role that Sharps rifles played in Native American culture by creating a work of art depicting a Native American warrior holding his tacked Sharps rifle. Native Americans wove meaning, art, and ceremony into many aspects of their lives, including war. This is evidenced by their bow cases and quivers, which would usually be beaded, and their rifles, which were often tacked and adorned.
Toby and Zach were honored to have Kevin Buck Elk, a descendant of Native Americans who fought at Little Bighorn, tack the Sharps rifle. He is also Crow, as is the warrior in this painting. All three collaborators hail from Montana, and hold a connection to the Crazy Mountains pictured. Toby, as an artist, Zach, as a manufacturer, and Kevin, as an heir to a rich Native American heritage, all came together to honor Montana’s legacy of being a place of vibrant history, which venerates its frontier spirit and Native American ancestry along with its connection to wild places.
This Model 1874 Sharps Sporting Rifle was manufactured by C. Sharps Arms of Big Timber, Montana. The configuration of military style steel buttplate and silver inlay nosecap in the wooden forend were common among Hartford made models but still optional on models made in the later Bridgeport factory.


237
Jeremy Winborg
Dahteste—As Skillful As The Men
oil
38 x 50 in.
$32,000–$37,000
Dahteste (1860–1955) was a remarkable Chokonen Chiricahua Apache woman known for her bravery, leadership, and exceptional skills in combat, tracking, and strategy. Both a mother and a warrior, she joined raiding parties as a young woman and later fought alongside Geronimo and Lozen during the Apache Wars. Fluent in English and Spanish, she served as a messenger and negotiator, advocating for her people. Admired for her beauty, she wore her hair down—a unique choice among Apache women—and carried herself with grace and sophistication. This painting depicts Dahteste as a young leader guiding a band of Apaches.

253
Chris Owen
The Seasoned Roper
oil
36 x 18 in.
$–$
Today’s Cowboy is undeniably an integral part of the major beef and cattle industry. After years of working on the ranch, he developed capabilities and understanding that are very significant to the entire operation. Roping is an important skill that requires a measure of expertise and is an essential part of his job. Along with his other ranching talents, he has appreciatively become a symbol of the American West.
“…the artist uses a time consuming technique in his oil paintings to bring together light and dark tones to give prominence to form and luminosity, as well as to present an embodiment of an uncontrived and natural perception of his subject.”


277
Jason Rich
Rooster’s Ride
oil
45 x 41 in.
$25,000–$35,000
The American cowboy is an iconic symbol of our country. When Americans participate in international competitions, presentations, pageants, etc., and are asked to wear something representative of their native country, it is very often traditional cowboy attire.
Growing up, I idolized the cowboy lifestyle and nobody epitomized that more for me than John Wayne, sitting tall and tough in the saddle. I watched all his films and removed my hat and bowed my head every time I heard his voice recording of the Cowboy Prayer played over the loud speaker at the many rodeos I attended. Beyond his acting career, Wayne was a patriot and often expressed his love of country. In his 1977 book, America, Why I Love Her, John spoke of overcoming divisions and prejudice, “America is made up of every race, color and creed under the sun. …Our country stands today as the world’s oldest living Republic. We are the greatest sociological experiment that the world has ever known. …When we all tear down the walls of bigotry and prejudice and live in real harmony with ourselves and others then we’ll all say ‘I am an American.’”
One of my favorite John Wayne movies is True Grit, the film he received the Academy Award for “Best Actor” in 1969. This painting interprets the climactic scene where Rooster Cogburn faces off with Ned, his gang, holding the reins in his teeth and wielding a pistol and rifle in each hand.

288
Jim Carson
Geronimo Awaits his Fate
oil
32 x 46 in.
$12,000–$15,000
Geronimo (Chiricahua: Goyathlay in English), born June 16, 1829, died February 17, 1909, was a Native American leader, not a chief, of the Chiricahua Apache tribe. The name Geronimo was given to him by Mexican soldiers who called to Saint Jerome while fighting him. After his family was murdered by Mexican soldiers, he went to the mountain and had a vision that no white man’s bullets could touch him. He became the greatest fighting warrior of the Apache nation. He led 38 Apache men, women, and children to resist being sent to reservations by the U. S. government or being captured by the Mexican Army. In March of 1886, General George Crook forced Geronimo to surrender, but at the last minute, Geronimo and 40 followers escaped under cover of darkness. Five thousand U.S. soldiers and 3,000 Mexicans pursued the escapees. They held out for five months before Geronimo turned himself in to General Nelson Miles at Skeleton Canyon, Arizona on September 4, 1886. Depicted here, Geronimo awaits the decision of the tribunal. He was by then an American legend and he and his fellow captives were sent by train to Florida. He was called by his enemies, ‘a tiger of the human species.’

293
Echo Ukrainetz
Contemplation
batik
35 x 27½ in.
$7,000–$9,000
Little is known about this native American man but it is evident that his photograph was taken in a studio setting. I can’t help but think he must be contemplating his past, his present, and his unknown future.
During the late 1850s, the development of glass plate negatives and paper photographs made photography a more commercial—and thus more public—enterprise. Photographs were used not only as private commemorations of a particular sitter, to be viewed only by his or her family, but also as a public record of, and commentary on, current events and culture.
Beginning in the 1820s, the United States government collected portrait paintings of American Indians for its “Indian Gallery,” as a way to preserve a visual record of a race that most considered doomed to extinction in the face of western expansion and by the perceived inability of natives to adapt to modern American culture. As photography became more acceptable as an artistic and documentary medium, photographic portraits of Native Americans superseded paintings as a public documentation of the “vanishing race.”
Carte de visite and tintype photographs of Indians provided the average American a means by which to view unfamiliar tribes in a non-threatening manner, without a direct encounter.

323
Nancy Josephine Clark
Time To Reflect, Time To Renew
acrylic gouache
30 x 40 in.
$1,400–$2,250
Many of us have a “special place” to relax, reflect, and feel renewed. For me, it’s this tipi, nestled among tall trees with open skies—far from city noise and buildings. I designed it after Blackfeet tipis often seen at powwows, with sunflowers as my vision. Native to North America, sunflowers were first domesticated by Indigenous peoples in Arizona and New Mexico over 4,500 years ago, and I’ve always loved them.