Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 14

Edward H. Bohlin
EDWARD BOHLIN 1920s-1930s SILVER ART PARADE SADDLE HOLLYWOOD WESTERN ARTIST VAIL

Circa 1940s 1950s

About the Item

Circa Late 1920s - Early 1930s. It is all Bohlin made and marked to include the saddle, the headstall and the breast collar. All made in Hollywood California. The only non-Bohlin item is the bit which appears to also be early California. There is some interesting provenance of the fine saddle. It was commissioned by Charles R. Bell, married to Margaret Vail Bell who was the daughter of Walter Vail. On the Bolin nameplate it has engraved, Vail Ranch as well as made for Charles Bell. Charles Bell Died in 1939. The Vail Ranch has some great Western History which I will go into a little detail. You see, not only am I selling Saddles, but I’m also selling History. If you want to skip the history lesson you can just scroll down past the following info to images of the saddle. It’s no secret that ranching runs in the family blood. There is no greater example of that than California Rangeland Trust CEO Nita Vail. On April 14, 2018 Nita had the opportunity to witness her great-grandfather Walter L. Vail’s induction into the Hall of Great Westerners at the National Cowboy & Western Heritage Museum. This high honor is bestowed by the Museum to “exceptional individuals who have made an indelible impact upon the history of the great West.” A pivotal figure in early California and Arizona ranching, Walter Vail joins just over only 200 individuals who have been inducted into this esteemed hall. The Vail legacy of advocacy and ranching lives on strongly through his descendants, including Nita. All these years later, Nita carries the mantle of advocacy for ranchers in her own work at the California Rangeland Trust. Reflecting on her great-grandfather’s induction ceremony in Oklahoma, Nita says, “Witnessing my great-grandfather’s induction with family and friends was an incredible experience and a reminder of why I do what I do. Ranching plays an integral role in the culture, economy, and quality of life in California. Generations later, I get to honor Walter L. Vail’s legacy in my work with the California Rangeland Trust every day, preserving those open spaces for new generations and partnering with ranchers to continue to sustain life on the range in California.” Walter Vail History A native of Liverpool, Nova Scotia, Walter Vail purchased the 160-acre Empire Ranch southeast of Tucson, Arizona in 1876, along with an Englishman named Herbert Hislop. In 1882, the Empire Land & Cattle Company was formed with Walter L. Vail as principal shareholder. Over the years Vail, along with various partners, expanded the original land holdings to include over one million acres. The year after Walter purchased the Empire Ranch, the Southern Pacific Railroad built a railroad line, which was great news for the Vail family as it provided a means for them to ship their cattle. Edward L. Vail, George Scholefield and Bird at the mouth of Rosemont Canyon ca. 1896-1898 Standing Up for Ranchers In the fall of 1889, the Southern Pacific Railroad announced they would raise cattle freight rates by 25 percent. They ignored loud protests from ranchers who had already been hit hard by depressed cattle prices. In response, the Vails made a plan to drive the cattle overland themselves without the railroad. They knew that, if they were successful, they could break the railroad’s monopoly on the ranchers and force prices down. Walter’s brother Edward Vail and foreman Tom Turner volunteered to drive the almost 1,000 steers on the 300-mile trip to the Warner Ranch in San Diego. The journey ahead would be grueling. Most of their trip was through desert with water sources 15 to 30 miles apart. The ranchers would face a slew of obstacles—a stampede, a chaotic Colorado River crossing, an encounter with a group of horse thieves. In spite of all the dangers and challenges, they reached their destination. Just 71 days after leaving Arizona, the Empire cowboys arrived at the Warner Ranch. They had only lost 30 steers. The historic Empire Ranch Trail Drive of 1890 inspired other Arizona ranchers to make similar drives as a stand against the railroad. That fall, a group of Arizona cattlemen met and agreed to fund improvements to establish a safe cattle trail from Tucson to California. In response to the united stand of the ranchers, sparked by the Vails, the railroad finally agreed to restore the old freight rate—on the condition that the cattlemen would make no more cattle drives. Walter Vail led by example, but he was also an active representative of ranching interests in the legislature. He served in the 10th Arizona Territorial Legislature in 1878 and in 1884 on the Pima County Board of Supervisors. He introduced two significant bills: One proposing the creation of Apache County in the northeastern corner or Arizona Territory, and the other calling for the repeal and replacement of a Pima County fencing ordinance. Elected to the Arizona Stock Growers Association in 1884, Walter L. Vail advocated for levying fines on outfits that brought diseased cattle into the Territory, proposed a system of recording brands and earmarks, and requested the establishment of the livestock sanitary commission to oversee quarantines on infectious diseases, and tighter trespass laws. Moving to California In the late 1880s when a long drought hit Arizona, the Vails began leasing California pastures and shipping increased numbers of their cattle there to fatten. This marked the beginning of Walter’s efforts to purchase land in Temecula Valley. Vaqueros (Mexican cowboys) at the Empire Ranch in Arizona In 1890, with growing corporate holdings in California, Walter Vail established his headquarters in downtown Los Angeles and moved his family there. By this time, he had pieced together four Mexican land grants—Pauba Rancho, Santa Rosa Rancho, Temecula Rancho and Little Temecula Rancho—to form the Pauba Ranch. Eventually, the Vails would own more than 87,500 acres surrounding the little town of Temecula. In 1892 they leased Catalina Island and in 1901-1902 in partnership with J. V. Vickers, they purchased most of the interests in Santa Rosa from the estate of A.P. More. In March of 1894, Vail and Gates joined Vickers in setting up a third cattle company, the Panhandle Pasture Company, with the hopes of expanding new markets in the east. The Panhandle Pasture Company bought seven thousand acres of grassland in Sherman County, Texas, and an equal amount across the line in Beaver County, Indian Territory (later Oklahoma). Walter Vail was tragically killed in a Los Angeles streetcar accident in 1906. After his death, the Empire Land & Cattle Company (later renamed the Vail Company) assumed control of all his ranches and other real estate holdings. Walter had five sons and they would all have a hand in running the various ranches and the Vail Company as whole throughout their lives. The Empire Ranch in Arizona was sold in 1928. The Temecula area ranches continued to operate until it was sold in 1965. Santa Rosa Island, the last of Walter Vail’s holdings, was sold to the National Park Service in 1986, and ranching operations shut down there in 1998. Walter Lennox Vail (May 13, 1852 - December 2, 1906) was an American businessman, cattle dealer, and politician. He is known for his Empire Land & Cattle Company (later the Vail Company), which spanned over one million acres throughout five states.[1] Vail has been called "a pivotal figure in early California and Arizona ranching." Early life Vail was born in Liverpool, Nova Scotia on May 13, 1852, to Mahlon Vail, Sr. and Eliza Vail. Career Empire Ranch The headquarters of the Empire Ranch in the modern day Vail left his family's Plainfield, New Jersey house in the middle of 1875 to pursue riches in the West. He worked for a few months in Virginia City, Nevada as a mine's timekeeper, but in November he wrote of his intention to get involved in Arizona's sheep business. He, along with an Englishman named Herbert R. Hislop, then purchased the Empire Ranch along with its 612 cattle on August 22, 1876. The purchase from Edward Nye Fish and Simon Silverberg cost $1,174 at the time and was only 0.25 square miles (0.65 km2). Vail had met Hislop for the first time in August of that year, at the Lick House in San Francisco. Vail also became the main shareholder of the Empire Land & Cattle Company, which was formed in 1882. Politics Vail additionally served in the House of Representatives on the 10th Arizona Territorial Legislature for two years, starting in 1879. He was one of five representatives from Pima County. There, he proposed the creation of Apache County in the northeast. In 1884, Vail was elected to the Arizona Stock Growers Association, where he introduced many laws relating to cattle farming. California Vail moved his main operations to California in the late 1880s due to a long drought in Arizona. He started leasing Californian land mainly in Temecula Valley, but established his headquarters in downtown Los Angeles. By this time, he had already bought four ranches: the northern half of Rancho Little Temecula, Rancho Pauba, Rancho Santa Rosa, and Rancho Temecula. Later, Vail would own over 135 square miles (350 km2) surrounding the city of Temecula. He also leased Santa Catalina Island and Purchased Santa Rosa Island in 1892 and 1901, respectively. Vail, along with Carroll W. Gates and J.V. Vickers, set up the Panhandle Pasture Company, which bought about 22 square miles (57 km2) in Sherman County, Texas and Beaver County, Oklahoma. Personal life Vail married Margaret "Maggie"[a] Newhall in 1881, with them having five children: Nathan Russel, Mahlon, Mary, Walter Lennox Jr., and William Banning (who used his middle name) together. In 1890, a Gila monster bit Vail on his middle finger, and for years thereafter he experienced bleeding and swelling in his throat, which was thought to be caused by the venom from the bite. Death Vail died at 54 on December 2, 1906, due to complications from a tram (Trolley Car) accident in Los Angeles. He was cremated, then buried at the Hollywood Forever Cemetery on December 6. Legacy Vail's sons took over the company after his death, renaming it to the Vail Company. The Empire Ranch was sold in 1928, and the Temecula ranches were bought by a syndicate of companies, including Kaiser Aluminum, Kaiser Industries, and Macco Realties in 1965. Santa Rosa Island was acquired by the National Park Service in 1986, and ranching ceased in 1998. Vail was inducted into the Hall of Great Westerners at the National Cowboy & Western Heritage Museum in 2018.[2] Various properties have been named after the Vail family including: Vail Headquarters, an outdoor shopping mall, Vail Lake, and Vail, Arizona. In 1867, German immigrant, Louis Wolf, and his Chumash wife, Ramona, built a small adobe trading post next to Temecula Creek. Their Wolf Store helped launch the Temecula community, serving as a saloon, livery stable, legal services, hotel, general store, stagecoach stop, post office, school and employment agency. After Louis and Ramona’s deaths, their land and other Ranchos were purchased by Arizona cattle baron Walter Vail. By 1905, the 87,000-acre Vail Ranch became one of the largest cattle operations in California, stretching from Camp Pendleton to Vail Lake to Murrieta. It operated through the late 1970’s when it was sold to build Temecula’s housing. Some of the ranch’s oldest buildings survived in a cluster around the long-vacant Wolf Store. Together they would wait more than 40 years to be restored and once again become a center for community life in the Temecula Valley. ​ In 1905 after his death, Wolf’s Temecula was purchased by Arizona cattle baron Walter Vail, along with three other Ranchos totaling 87,500 acres. The sprawling Vail Ranch spread from South of Highway 79 to South of Clinton Keith Road, East to Vail Lake Resort and West to Camp Pendleton and continued operations through the late 1970’s when it was sold for housing subdivisions. The remaining buildings that comprised the Vail Ranch Headquarters, several having been demolished, have sat mostly vacant since then awaiting their restoration and re-use. John N. Harvey, Edward L. Vail, Walter L. Vail, 1879 Ned Joins the Partnership - May 1879 In May of 1879 Walter’s older brother, Edward Lang Vail, known as Ned, joined the Empire Ranch partnership. He had no ranching experience but quickly learned. The Empire Ranch herds were finally sufficiently developed for sale, and the Empire Ranch found a ready market in the town of Tombstone and its nearby mines. Walter finally had sufficient funds to begin to pay off some of the loans from his Uncle Nathan and Aunt Anna. North end of the original four rooms of the Empire Ranch House. Empire Ranch Census Records - 1880 The 1880 U.S. Census documents that eight men were living full time at the Empire: the partners, Walter Vail, John Harvey and Ned Vail; John Randolph Vail, Uncle Nathan and Aunt Anna’s son; John Milton Requa, nephew of Isaac Requa who hired Walter in Virginia City; John Dillon, who was instrumental in locating the Total Wreck Mine; Tomás Lopez, a herder; and Mon Ta, the cook. Section of Official Map of Pima County by Roskruge 1893. The Southern Pacific Railroad Arrives in Pantano - April 1880 In 1880 the Southern Pacific Railroad finally reached Tucson and by April it was extended to Pantano, north of the Empire Ranch. The availability of rail transportation was a major boom to the Empire Ranch as it was now possible to sell cattle and beef to markets beyond Southern Arizona. The railroad also increased the availability of goods in Tucson and allowed for much quicker and safer transportation to California and the East. Empire Ranch land acquisitions are highlighted in red. Courtesy of Dave Tuggle Land Holdings Expand-1881-1882 Starting in 1881 the land holdings of the Empire Ranch expanded considerably. They acquired Charles and Agnes Paige’s Happy Valley Ranch near the Rincon Mountains in 1881. 1882 saw the addition of Don Alonzo Sanford’s Stock Valley Ranch totaling over twenty-eight square miles of grassland between the Whetstone and Empire Mountains. Charles Bell Bohlin Saddle. All of the leather has been professionally cleaned and conditioned. All of the sterling has been professionally polished as are all of my saddles. THE BOHLIN BRAND IS AS ICONIC AS THE FAMED WESTERN STARS that wore it. The late actor Richard Farnsworth sported a recognizable gold steer-head Bohlin buckle for decades, the engraving and edges worn smooth from years of daily wear, rodeo riding, and stunt work. When the Lone Ranger cried “Hi-yo, Silver!” as he rode to the rescue, both he and his white horse were equipped with Bohlin-made silver-mounted gear. Happily, The Bohlin Company that created these products in the 1940s continues today, maintaining original designs and traditions for fancy belt buckles and other jewelry in the mode of the company founder, all while innovating with new and exciting products to serve a contemporary audience. Despite his cowboy credentials, when Ed Bohlin spoke there was an unmistakable residue of a Swedish accent that gave away his origins. He left the country of his birth when he was only 15 years old, arriving in New York in 1910 and immediately heading West, where by 1912 he was punching cattle in Montana. Four years later he was in Cody Wyoming, driving a stagecoach, working at area ranches, and learning to do leatherwork. He soon married and had a daughter, Lillian, but his wife tragically died in the influenza epidemic of 1918, leaving Bohlin alone to provide and care for his daughter. After some crude attempts at fashioning silver and copper buckles, Bohlin opened his own leather shop in 1920. But after a second marriage failed, Bohlin – who had become proficient with twirling rope and shooting his Colt revolver – abandoned his business and joined a traveling Wild West show headed to the coast. It was just as well. His temper had gotten him in trouble with the law more than once, and it was time for him to move on. Legend has it that during the show’s appearance at the Pantages Theatre in Los Angeles, Bohlin was approached by silent film Cowboy Tom Mix, who wanted to purchase his handcrafted calf-skin jacket. Others soon recognized the flare in Bohlin’s style, and he began to appear as an extra in cowboy movies and started making tooled leather gear for stars like Mix, William S. Hart, and others. In 1922 he opened the Hollywood Novelty Leather Shop and scratched out a living by making special pieces for film star Buck Jones and his wife Dell, who did stunt work. Major contracts to make leather outfits and harnesses for decidedly un-western films such as The Ten Commandments (1923) and Ben-Hur (1925) helped him keep solvent. Bohlin’s firm was formally organized in Hollywood in 1926 as Edward H. Bohlin Inc. The shop moved many times over the next 19 years as the founder skillfully promoted his wares and developed some of the most enduring designs for Western-styled buckles, saddles, and accessories. He became a master of brand promotion, publishing lavish catalogs, turning his shop into a gathering place for real and imagined cowboys, and joining organizations like the exclusive men’s equestrian group, the Rancheros Vistadores, whose members then bought and displayed his products. Bohlin’s ever expanding Hollywood associations included cowboy detective Charlie Siringo and artist Charlie Russell. He collaborated with Al Furstnow’s saddlery company, which was based in Montana but had set up a satellite shop in Hollywood, adding luxurious silver and gold embellishments to a saddle for Col. Tim McCoy, former Wyoming cowboy and first-rank cowboy movie star. Bohlin’s buckles, spurs, scarf slides, and jewelry could be spotted on Jackie Cooper, Clark Gable, John Wayne, Barbara Stanwyck, Clara Bow (the “It Girl” of the day), and scores more. With the proliferation of low-budget western films, a new flock of performers took on the accessories of the Bohlin shop. Hopalong Cassidy (William Boyd), the Lone Ranger (Clayton Moore and John Hart), Roy Rogers, Ray “Crash” Corrigan, The Cisco Kid (Duncan Renaldo), Pancho (Leo Carrillo), Ken Maynard, and more adopted Bohlin gear for both performances and personal wear. Even in the middle of the Great Depression, The Bohlin Company flourished, in large part thanks to the still-wealthy customers who rode in Pasadena’s Tournament of Roses Parade. Fancy silver-mounted horse gear had been used to show off finely bred horses and the gentry of California since the 1800s, and well-known Hispanic pioneer families such as the Sepulvedas and Yorbas continued to use Bohlin gear to display their prized equines well into the next century. Bohlin himself claimed to have ridden in every parade from 1922 until 1973. Around the world, especially with the advent of television, the annual broadcast of the Rose Parade reinforced a clear image of elegant equestrian riders. The Los Angeles County Sheriff’s Silver Mounted Posse, the Long Beach Mounted Police, and many private horse groups predominantly used Bohlin gear. While the claim that The Bohlin Company made over 12,000 saddles cannot be reliably documented, the business flourished in the 1930’s and ‘40s. A new Bohlin store opened on Highland Avenue in Hollywood in 1945; it was a one-stop shop with a full line of Western clothing, boots, gloves, hats, and anything else needed by a stylishly dressed rider or horse. Complete tack sets and riding outfits went to the Emperor of Japan, South American oil magnates, and European royalty. Bohlin-made prize buckles were awarded at rodeos on California, Colorado, and beyond, and riders from Kansas City horse shows to Indianapolis Shriner parades to Central Park riding clubs all sported Bohlin gear. By the 1960s business began to decline, so Bohlin diversified once again, developing new products ranging from a peculiar iron camping stove to aluminum rifle cases. Inspired by his hero Charlie Russell, he turned his own hand toward bronze sculptures of Western wildlife. But the greatest creative endeavors of his waning years took him back to the beginning, designing some of the most elegant buckles and saddles in the Highland shop’s history for loyal customers, as well as for himself. In 1996 the Autry Museum of Western Heritage staged a 5,000 square-foot exhibition of the most famous Bohlin gear and published this writer’s book Saddlemaker to the Stars: The Leather and Silver Art of Edward H. Bohlin. The Big Saddle bought and donated by Gene Autry himself was the star of the show. A young Ed Bohlin Edward H Bohlin Company Saddlery-Saddle Maker 1895-1980 BP: Sweden LKL: Hollywood, CA. Born in Sweden in 1895, Edward Bohlin ran away from home at age 15, working his way to America on a huge four-mast schooner with dreams of Buffalo Bill Cody's Wild West in his head. Ed worked cattle drives around Montana before opening his first saddle shop in Cody, Wyoming where he did rope tricks in front of his shop to draw business. He met Tom Mix while performing at the Pantages Theatre in Hollywood and Mix convinced Ed to stay and produce silver and leather items in the Los Angeles area. From his humble beginnings to his fame in Hollywood for high-end pieces, Ed crafted more than 12,000 Bohlin saddles including many grand silver outfits of Tournament of Roses Parade fame. He also dressed many silver screen heroes and horses with his grand style of buckles, spurs and gun belts. His company was without equal among western style silversmiths building a reputation on flawless workmanship. The Edward H Bohlin company, which operated from the early 1920s through the 1980s (under Ed's watchful eye but continues to operate under other ownership), reached its apex in the 1930s when the Hollywood cowboys reigned supreme. Bohlin was a stickler for details and employed the finest silver and leather workers of his era to satisfy discriminating clients including Mae West, Hopalong Cassidy, Monte Hale, Lyndon Johnson and Ronald Reagan. Bohlin Saddles Ed Bohlin was known for his beautifully crafted parade saddles. A perfectionist, for good and bad, he never accepted anything less than the best craftsmanship. The leather on his saddles still squeak after 60 years. The silver requires only a cloth to clean because he used the highest grade of sterling. He and his artisans made many of the pieces by hand, especially the gold figures on his saddles. His carving was stunning and recognizable. Many of High Noon's customers remember going into Bohlin's shop as children while their fathers' purchased saddles, buckles, belts, bolos and money clips. Sometimes the kids got a special gift, too, from their dads. A few child's saddles (The Jackie Cooper model) were made to match their fathers for parades. The Tim McCoy model and others were made for the stars of the era. Fiesta was truly a work of art, both in the silver and the pictorial carving. The Murietta was one of his brilliant models, mounted with Indian and Tepee design with distant hills all done in three shades of gold. The Dicksons were used many times for riders who wanted to twinkle with silver in parades. Bohlin saddles have always been valued higher than any other maker and have kept their value throughout the years. Both riders and collectors of Western Americana still clamor for Bohlin, whether they plan to ride using them or only to display them proudly in their offices or living rooms as art. It all started in the Wild West — Cody, Wyoming, to be exact. At the time, just a few years shy of the era known as the “Roaring ’20s,” Cody was a frontier town located on the fringes of Yellowstone National Park. The area’s wide-open ranges and rivers were teeming with wildlife, and Cody’s dusty streets were filled with cowboys, one of whom was named Edward H. Bohlin. Bohlin followed the long-trodden path of a typical American dreamer by immigrating to the United States from Sweden at just 15 years old. He landed in New York City, but the call of the West quickly drew him out across the plains. It wasn’t long before he was a Western horse-riding, cattle-herding cowboy through and through. Bohlin opened a leather shop in Cody in 1920 that began the Bohlin Company. Perhaps it’s fitting that a story about becoming a cowboy in the Wild West would also be a tale of making it big in Hollywood. That’s exactly what happened for Bohlin. Life’s twists and turns led Bohlin to take up a second career as a performer in a Wild West show headed to California. There he befriended movie cowboy Tom Mix. It was reportedly Mix who convinced Bohlin to try his hand at staying in Los Angeles, relocating his shop there to supply his work to the movie industry. In the decades that followed, Bohlin would become known for his beautifully intricate leather and silversmith work, designing buckles, saddles, gun holsters, and more for many of the brightest western stars of the silver screen as well as notable figures off-screen. John Wayne and Rogers, all sported Bohlin designs in their time, but the legacy reached far beyond movie sets. Ed Bohlin rode in his first Tournament of Roses Parade in 1924, and by 1939, a majority of the parade’s equestrians outfitted their mounts in stunning tack built by Bohlin, which were seen by millions of TV viewers each year. Over the years, designs under the brand have become coveted, with many taking top dollar at auction. A Bohlin saddle from The Lone Ranger television show sold for more than $150,000 in 2018, and the Bohlin saddle for Rogers’ famous horse, Trigger, sold for more than double that amount. Some Bohlin Saddles sell in the $500,000 range. Bohlin Through the Decades 1920: Edward H. Bohlin, a young Swedish immigrant turned cowboy, opens his first leather shop in the frontier town of Cody, Wyoming. By the mid-1920s, Bohlin has relocated his shop to Hollywood and his work is featured in adventure and western movies. 1930s: Early film stars and notable equestrians catch on to the Bohlin brand, helping to spur its popularity on- and off-screen. 1940s: Bohlin’s shop takes up residence at a prime new Hollywood location on Highland Avenue, where the company continues its track to great renown, making custom saddles and tack that are shipped worldwide. John Wayne rides in a Bohlin saddle during this time. 1950s: The Lone Ranger star Clayton Moore dons a masterpiece Bohlin gun belt befitting the famous cowboy character, but Bohlin buckles also infiltrate the horse show, parade, and professional rodeo scenes, becoming cherished pieces for everyday cowboys and cowgirls around the country. 1960s: Bohlin expands his silver and gold artistry into sculptures and more, but the focus on his high-quality saddles and belt buckles is not lost. Some of Bohlin’s most sought-after pieces are created during this time. 1970s: Business continues as usual for the Bohlin Company, but Ed himself, now reaching his 80s, slows down, eventually retiring from the company. 1980s: Edward H. Bohlin passes away in 1980, beginning a period of change for the company in which it has multiple owners. Yet the Bohlin brand maintains its high profile, even appearing in Larry Hagman’s wardrobe on the popular TV show Dallas. 1990s: The Autry Museum of the American West honors Edward H. Bohlin with an extensive exhibit and publishes the biographical book Saddlemaker to the Stars: The Leather and Silver Art of Edward H. Bohlin by James Nottage in 1996, amid uncertainty about the company’s future. Dave Marold, along with a group of investors, buys the Bohlin Company in 1999.
  • Creator:
    Edward H. Bohlin (1895 - 1980, American)
  • Creation Year:
    Circa 1940s 1950s
  • Dimensions:
    Height: 36 in (91.44 cm)Width: 28 in (71.12 cm)Depth: 30 in (76.2 cm)
  • Medium:
    Silver,Leather
  • Movement & Style:
    Realist
  • Period:
    1930-1939
  • Condition:
    Silver has been professionally polished. Leather has been professionally cleaned. Leather has been professionally conditioned. Great looking western decor. If this one doesn't suit your taste, I have 10 other Bohlins.
  • Gallery Location:
    San Antonio, TX
  • Reference Number:
    1stDibs: LU769316264972

More From This Seller

View All
" THE LAST DROP " Charles Schreyvogel (1861-1912) BRONZE SCULPTURE 1903 WESTERN
Located in San Antonio, TX
Charles Schreyvogel (1861-1912) New York / New Jersey Artist Image Size: 12" x 18.50" x 5" Medium: Bronze Sculpture 1903 "The Last Drop" Charles Schreyvogel (1861-1912) New York / Ne...
Category

Early 1900s Realist Figurative Sculptures

Materials

Bronze

" THE LAST DROP " Charles Schreyvogel (1861-1912) BRONZE SCULPTURE 1903 WESTERN

Charles Schreyvogel
" THE LAST DROP " Charles Schreyvogel (1861-1912) BRONZE SCULPTURE 1903 WESTERN, 1903

$112,000
"SAM HOUSTON" HORN CARVING 1936 TEXAS CENTENNIAL AMAZING WORK
Located in San Antonio, TX
Dan Super "SAM HOUSTON" (1873-1953) Houston Artist Image Size: 3 3/4 inches tall Medium: Carved Horn of Sam Houston to celebrate the Texas Centennial. Texas Centennial 1936 "Sam Houston Pin Cushion Holder" Biography Dan Super (1873-1953) Dan E. Super, Jr. (1873 – 1953) Dan Super had the eye of a sculptor, envisioning and then creating hundreds of objects from the elongated form of a Texas Longhorn’s tusk. At the age of six, Dan Super carved his first drawing into a piece of the horn of a Texas Longhorn. Over the next 56 years, he made utilitarian pieces like pencil cups, pin cushions, and backscratchers, realistic replicas of animals and birds, and imaginative carvings of elegant nudes. While these carvings resemble the traditional art of scrimshaw, carvings from whale bone, we’ve not been able to identify another carver who used the Texas Longhorn as his material. “My work is done with an ordinary pocketknife, hacksaw file and rasp,” Super wrote in 1937. He used the horn in every way conceivable; whole, allowing the shape to define the object he was making, flattened to make mosaic or inlay work. He incised and pierced it and carved in the round. His own hands polished the horn to a sheen. Daniel Super, Jr. was born in Houston on August 22, 1873. His father owned stock years, D. Super and Brothers Co., providing the young Super with ready access to his raw material. Throughout his life, he worked in the businesses key to the identity and success of young, booming Houston, cattle, oil, real estate and rail. In 1896 he married Lula, and took over the family business, expanding it to include a grocery. He closed the company in 1912 and got into the oil business...
Category

1930s Realist Figurative Sculptures

Materials

Other Medium

"SAM HOUSTON" HORN CARVING 1936 TEXAS CENTENNIAL AMAZING WORK

Dan Super
"SAM HOUSTON" HORN CARVING 1936 TEXAS CENTENNIAL AMAZING WORK, 1936

$3,200
Charles B Fletcher St. Louis Horn Furniture Maker Rare Horn Table Original 1880s
Located in San Antonio, TX
Charles B. Fletcher Has original upholstery St. Louis Horn Furniture Maker Rare Horn Table Original upholstery Top is 20 x 20 Height is 30 inches Details Made from Buffalo and Cattle Horns. It is extremely difficult to find Horn Tables. Circa 1880s Horn Furniture Biography Charles B. Fletcher St. Louis Horn Furniture Maker Charles Fletcher and John Crane, both of St. Louis, made furniture as a business. Makers, such as Wenzel Friedrich...
Materials

Animal Skin

Charles B Fletcher St. Louis Horn Furniture Maker Rare Horn Table Original 1880s

Charles B. Fletcher
Charles B Fletcher St. Louis Horn Furniture Maker Rare Horn Table Original 1880s, Circa 1880s

$7,500
"WILLOW" BRONZE SCULPTURE
Located in San Antonio, TX
John Bennett (Born 1952) Fredericksburg, Texas Artist Image Size: 36 tall x 13 x 14 Medium: Bronze "Willow" John Bennett (Born 1952) John Bennett was designated Texas State Artist 20...
Category

20th Century Modern Figurative Sculptures

Materials

Bronze

"WILLOW" BRONZE SCULPTURE

John Bennett
"WILLOW" BRONZE SCULPTURE, 20th Century

$14,400
"BELLE STARR" BRONZE SCULPTURE
Located in San Antonio, TX
John Bennett (Born 1952) Fredericksburg, Texas Artist Image Size: 25 x 18 x 4 Medium: Bronze "Belle Starr" John Bennett (Born 1952) John Bennett was designated Texas State Artist 201...
Category

20th Century Modern Figurative Sculptures

Materials

Bronze

"BELLE STARR" BRONZE SCULPTURE

John Bennett
"BELLE STARR" BRONZE SCULPTURE, 20th Century

$6,600
"FRANK REAUGH" PALLET BRONZE DATED 2014 1/30 TEXAS ARTISTS, SCULPTOR & SUBJECT
Located in San Antonio, TX
Garland Weeks (1942-Present) Lubbock Artist Image Size: 12 x 9 Frame Size: 17 x 14 Medium: Bronze 2014 "Frank Reaugh" Bronze Relief Pallet depicting Frank Reaugh at his easel.
Category

2010s Impressionist Figurative Sculptures

Materials

Bronze

"FRANK REAUGH" PALLET BRONZE DATED 2014 1/30 TEXAS ARTISTS, SCULPTOR & SUBJECT

Garland Weeks
"FRANK REAUGH" PALLET BRONZE DATED 2014 1/30 TEXAS ARTISTS, SCULPTOR & SUBJECT, 2014

$1,440

You May Also Like

Pendant Poodle sterling silver miniature sculpture/heart Paul Eaton of England
Located in Charleston, US
From Great Britain Paul Eaton VPRMS MAA hand carved a Poodle pendant an elegant sterling-silver miniature dog sculpture made into a jewelry piece you ca...
Category

21st Century and Contemporary Realist Figurative Sculptures

Materials

Silver

Pendant Poodle sterling silver miniature sculpture/heart Paul Eaton of England

Paul Eaton
Pendant Poodle sterling silver miniature sculpture/heart Paul Eaton of England, 2020

$675
Florentine singer / - The Renaissance of the Renaissance -
By Paul Dubois
Located in Berlin, DE
Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentine singer, 1865. Light brown patinated bronze with cast round plinth mounted on a square marble base (3.5 cm high). Total height 53 cm. Bronze dimensions: 49.5 cm (height) x 20 cm (length) x 10 cm (width), weight 5.6 kg. Inscribed on the plinth "P.[aul] DUBOIS", dated "1865", with the foundry's mark "F. BARBEDIENNE FONDEUR" and the signet "REDUCTION MECANIQUE A. COLLAS". - Patina very occasionally darkened, lute with loss of one tuning peg, otherwise in excellent condition. - The renaissance of the Renaissance - The bronze is a precisely executed and masterfully cast contemporary reduction of Paul Dubois 155 cm tall masterpiece "Florentine Singer", which is exhibited in the Musée d'Orsay and for which the artist was awarded the Medal of Honor at the Paris Salon in 1865. The work acted as a beacon, and was followed by a plethora of depictions of juveniles. Inspired by Donatello and Luca della Robbia, but also by painters such as Piero della Francesca, Benozzo Gozzoli, and Pinturicchio, the "Florentine Singer" is not an epigonal work that pays homage to a vanished era, but a successful attempt to draw vitality from the art of the past and thus give it new life. The effect of vitality is the core of Italian Renaissance art theory. In order to fulfill itself as art, art had to appear like nature. This naturalism also characterizes the "Florentine Singer". The young man appears to have been taken from life, which is reinforced by the momentary nature of his action. He has just struck a now fading chord. In addition, the natural appearance is enhanced by the detailed shaping of the figurative details, such as the laces with the slightly curved leather of the shoes, the belt buckle, or the ornamentation on the body of the lute. Even the fingernails are clearly defined. Unlike the Renaissance, however, the effect of liveliness here is not based on the "discovery" of nature and the human body, but primarily on the rediscovery of the art of the Quattrocento. The liveliness of the artwork is therefore at the same time a revitalization of this art, so that we can speak of a Renaissance of the Renaissance, just as the Pre-Raphaelites in England at the same time transferred the Quattrocento to contemporary art. Dubois takes on the most difficult of all subjects, the depiction of singing through silent sculpture. He was preceded in this by Luca della Robbia and Donatello with their pulpits of singers created in the 1430s in the Museo dell'Opera del Duomo in Florence. Compared to these works, the physiognomy of Dubois singer is far less animated, yet he also depicts singing in a convincing manner. He uses the whole body. He takes the ancient contrapposto, which was essential to Renaissance sculpture, and transforms the standing leg-playing posture into a late medieval S-swing, giving the body an elegant beauty and at the same time setting it in melodic motion. In the equally elegant finger position, the music is expressed in a much more literal way with the beating of the lute. Finally, the musicality of the sculpture culminates in the face with the mouth open to sing. Through the act of singing, which is a great challenge to the artistic will to depict perfect beauty, the gracefulness of the classical face is not diminished, but enhanced. Starting from the face with the singing mouth and the gaze absorbed by the sounds, the inner vitality spreads, giving the bronze sculpture an intense aura, enhanced by the music. Dubois transfers the beauty of the Renaissance to the musical, sublimating the visible sculpture to the invisible of music. He took up the challenge of transcending the Renaissance with the Renaissance, thus responding to the Querelle des Anciens et des Modernes, which arose at the end of the 17th century around the French Academy and remained virulent into the 19th century, in which antiquity was regarded either as an unattainable ideal or as a standard to be surpassed. With his work, Dubois proved that the Renaissance, which had championed the art of the ancients, could lead to a new renaissance of art. About the artist Paul Dubois' great-uncle was the famous French Baroque sculptor Jean-Baptiste Pigalle, in whose footsteps the talented great-nephew followed. When he debuted at the Paris Salon in 1858, he signed his work "Dubois-Pigalle". At his father's request, however, he first studied law before devoting himself to sculpture under the tutelage of François Christophe Armand Toussaint in 1856 and entering the École des Beaux-Arts in 1858. From 1859 to 1863, he lived in Rome and traveled to Naples and Florence. Inspired by Florentine art of the quattrocento, Dubois initiated a school-forming neo-Florentine style that combined the elegantly simple forms of youthful grace with a precise wealth of detail.Two purchases by the French state (“envois de Rome”) were made during his stay in Rome, which brought him recognition in Paris. After his return there, he quickly became an internationally sought-after artist. Dubois was also active as a creator of monuments. His most famous work is the equestrian statue of Joan of Arc (1896) on the forecourt of Reims Cathedral. He was also a sought-after portraitist who produced around 50 busts and - Dubois was also a passionate painter - around 100 portraits in oil. From 1873 to 1878 he was curator of the Museum du Luxembourg, in 1876 he became a member of the Institut de France and from 1878 to 1905 he was director of the École des Beaux-Arts. In 1865, Dubois was awarded the Paris Salon Medal of Honor for his “Florentine Singer”. In 1867 he became Chevalier, in 1874 Officier, in 1886 Commandeur of the Légion d'honneur, which awarded Dubois the Grande Croix in 1896. Selected Bibliography Stole, Elmar: Paul Dubois. In: Saur. Allgemeines Künstlerlexikon, vol. 30, Munich - Leipzig 2001, pp. 677-678. GERMAN VERSION Paul Dubois (1829 Nogent-sur-Seine - 1905 Paris), Florentinischer Sänger, 1865. Hellbraun patinierte Bronze mit gegossener runder Plinthe auf quadratischem Marmorsockel montiert (3,5 cm Höhe). Gesamthöhe 53 cm. Maße der Bronze: 49,5 cm (Höhe) x 20 cm (Länge) x 10 cm (Breite), Gewicht 5,6 kg. Auf der Plinthe mit „P.[aul] DUBOIS“ bezeichnet, auf „1865“ datiert, mit dem Gießereistempel „F. BARBEDIENNE FONDEUR“ und dem Signet „REDUCTION MECANIQUE A. COLLAS“ versehen. - Patina sehr vereinzelt nachgedunkelt, Laute mit Verlust eines Stimmwirbels, ansonsten ausgezeichnet erhalten. - Die Renaissance...
Category

1860s Realist Figurative Sculptures

Materials

Bronze

Florentine singer / - The Renaissance of the Renaissance -

Paul Dubois
Florentine singer / - The Renaissance of the Renaissance -, 1865

$4,152 Sale Price
20% Off
Pecheur / - Full of anticipation -
Located in Berlin, DE
Adolphe Jean Lavergne (1863-1928), Pecheur, c. 1900. Brown patinated bronze with rectangular cast plinth on a green marble base (3 cm high), total height with hinge 37 cm, width 9 cm, depth 8 cm, weight 2.9 kg, signed “Lavergne” on the plinth. - Base with old drilling and a few oxidized areas, patina occasionally rubbed, somewhat stained in the folds. - Full of anticipation - This bronze is the larger, highly detailed version of the fisherman that made Parisian artist Adolphe Jean Lavergne famous. In preparation for fishing, the boy prepares his rod before heading out to sea. The attachment of the iron ring and the rope behind him suggest a quay wall and a boat moored there. However, the depiction is entirely focused on the actual action of the young fisherman: With equal skill and concentration, he bends a hook to connect it to the fishing line. The contrast with his casual clothing, the loose-fitting trousers, the open shirt with its "wild" folds, and, last but not least, the sun hat boldly perched on his neck, reinforces the impression of the attentive care with which he goes about his work. His gaze makes him appear absorbed, as if he has forgotten the world around him and yet he is visibly filled with anticipation of fishing. GERMAN VERSION Adolphe Jean Lavergne (1863-1928), Pecheur, um 1890. Braun patinierte Bronze mit rechteckiger gegossener Plinthe auf grünem Marmorsockel (3 cm Höhe), Gesamthöhe mit Angel 37 cm, Breite 9 cm, Tiefe 8 cm, Gewicht 2,9 kg, auf der Plinthe mit „Lavergne“ signiert. - Sockel mit alter Bohrung und wenigen oxidierten Stellen, Patina mitunter berieben, in den Falten vereinzelt etwas fleckig. - Voller Vorfreude - Die Bronzefigur ist die größere äußerst detaillierte Ausführung des Fischers, mit dem der Pariser Künstler Adolphe Jean Lavergne bekannt geworden ist. In Vorbereitung auf das Fischen präpariert der Junge die Angel...
Category

1890s Realist Figurative Sculptures

Materials

Bronze

Pecheur / - Full of anticipation -

Adolphe Jean Lavergne
Pecheur / - Full of anticipation -, c. 1890

$664 Sale Price
20% Off
Native American On Horseback Bronze Sculpture Daro Flood
By Daro Flood
Located in Norwood, NJ
Native American on horseback. Signed and numbered 24/30, artists cypher. Daro Flood (1954 - 2017) was active/lived in Arizona. Daro Flood is known for Portrait bust Indian and cowboy sculpture...
Category

Late 20th Century Realist Figurative Sculptures

Materials

Bronze

Native American On Horseback Bronze Sculpture Daro Flood

Daro Flood
Native American On Horseback Bronze Sculpture Daro Flood, 1980's

$8,575
Dancing Bear
By Bjørn Okholm Skaarup
Located in Greenwich, CT
Ed. 1/6. Bronze sculpture by Bjorn Skaarup of a bear dancing on a ball.
Category

2010s Realist Figurative Sculptures

Materials

Bronze

Dancing Bear

Bjørn Okholm Skaarup
Dancing Bear, 2014

Price Upon Request
Hippo Odalisque
By Bjørn Okholm Skaarup
Located in Greenwich, CT
Ed. 4/6. Bronze sculpture of a hippo by Bjorn Skaarup, inspired by Ingres's Grande Odalisque.
Category

2010s Realist Figurative Sculptures

Materials

Bronze

Hippo Odalisque

Bjørn Okholm Skaarup
Hippo Odalisque, 2014

Price Upon Request

Recently Viewed

View All

More Ways To Browse

Liverpool Map
Alonzo Bronze
Swedish Post Modern Art
1920s Hollywood
Charles H Wells
General Store
Charles H White
Texas Coast Art
Ben Long
Native American Art Horses
Vintage 1920S Dress
Used Water Slides
Harvey Parks
1930s White Dress
Vintage Hollywood Dresses
Don Jones
Vintage Star Art Jewelry
1930s Gold Dress
View All Popular Figurative Sculptures Searches