Pop's work is rare and highly sought after.  She is largely championed for her flawless linework.  This mythical horse clealy demonstrates this strength.  Its mane and tail are superb in detail and handling.

This example is quite similar to the Mythical Horse pictured in color on page 196 of Margaret Cesa's book, The World of Flower Blue Pop Chalee An Artistic Biography.  This example illustrated in the book is in the collection of the School of American Research in Santa Fe, New Mexico.

What to say when you are "allowed" to offer a shining example of a truly accomplished artist's work?

This painting was purchased sometime between 1974 and 1976 from a gallery in Colorado. The gallery had the opportunity to sell Corn Pollen Gatherer because of the owner's friendship with Richard Spivey, dealer and friend to Helen Hardin.

Helen's contribution to American Indian painting had to do with her morphing traditional subject matter into an elegant level of abstraction.  Her choice of color leaned toward the secondary colors heightened with extremely strident saturated accent color, which in this case is turquoise.

Confident well orchestrated design Helen married to a sophisticated choice of color. Corn Pollen Gatherer epitomizes Helen's contribution. We are proud to offer such a major painting by Helen Hardin.

Lightning has struck twice!

Most dealers encounter one major painting by Oscar Howe in a decade.

We are doubly privileged to offer two sincerely great examples of one of the most innovative artists of the 20th century within the genre of American Indian art or perhaps within the broader scope of American painting.


Woman Scalp Dancer demonstrates Howe's magnificent fluid design and color sense blended with implied motion.

Double signed, this tidy composition on canvas presents a snapshot of an American farming scene.

Painting's title is written on a paper label attached to painting's upper stretcher bar and written directly on the lower stretcher bar.

Harvey Company Style wide sterling silver cuff bracelet from the very early 1900's.

The silver material basis of the bracelet is hammered from ingot into sheet. The ornamentation is elaborate, using a variety of hand cut stamps--including two part dyes for the little repousse "buttons" or "raindrops".

There is a such a density of decoration in the silver alone that the 9 very fine natural turquoise mounted in this bracelet appear to be surrounded in lace. The stones alone, are fantastic. They are perfectly cut and polished ovals ranging in size from 1/4" X 1/3" to 1/3" X 5/8" set in smooth bezels. The deep teal color of these stones with the dark patina in the stampwork enhance the already dramatic effect of the exquisite bracelet that measures 5 3/4" plus 1" opening.

Eight strand necklace using carnelian and agate beads from North Africa, Egypt and the Middle East (circa 300 AD - late 1700's).

Silver beads are from Northern India and the small ones made of wire, from coin silver, are Ethiopian (circa 1800's).

There are white quartz glass trade beads from Europe (circa early 1800's).

The silver plates and attachments are hand made by Kateri, by utilizing a lost wax process of casting. They are taken from colonial Spanish bracelet designs.

The tassel strands on each side contain pendant and amulet pieces from India.

"Holy medals" have their form in every culture. 

Hinged Ethiopian cross of coin medals (circa late 1800's-1910). Trade glass "carnelian" drops are late 1800's and signify the "Blood of Christ".

The hand-woven rope necklace is made of Ethiopian silve wire beads and carnelian as well as agate beads (circa 200 - 500 AD) from northern Africa, Egypt and Persia.

The cross is executed in a style identified with the town of Aksum. The Celtic influenced interwoven linework without end symbolizes the eternal.

This necklace is woven from cultures who still live in the lands where prophets and apostles walked.

Rare to experience such a large composition by Woodring!

Its vibrant color and fluid linework is an additional bonus.