Herbert Herget

The Day's Catch. American Indian Mid-Century Scene Painting with Canoe.

1944

A still life of Native American pottery, moccasins, and fur, that was likely arranged during one of the artist's many trips to New Mexico and California. This painting embraces th...

A finely executed late 19th-century still life by Walter Brackett (1823-1919) of a rainbow trout with rod and reel in the foreground, along with the fly that captured the trout. Fin...

American realist landscape by Cleveland artist Carl Gaertner. This snowy scene, painted in 1943, was typical of the traditional American realist landscapes of the time. Carl Ga...

A finely executed late 19th-century still life by John Bucknell Russell (1823-1919) of two brown trout in the foreground, along with a beautiful landscape. Fine example of a period ...

Astley David Middleton Cooper (American, 1856 - 1924) Signed: A.D.M. Cooper 90 " Indian Encampment by the River ", 1890 Oil on Board 20" x 30" Housed in a Walnut Frame with a L...

Provenance Acquired by the gallery directly from the artist Signed J. Buxton @ 2018" on lower left Artist Statement “This tender loving care is a necessary maintenance chore for these Native Iroquois women. It enhances the longevity of these delicate water craft. Their hulls of birch bark are thin and easily punctured. Heated resin is used to patch problem areas. Bark patches can be sewn, using Spruce roots, and resined over larger holes. These roots are also used to lash around gunnel, bow & stern. These canoes are extremely light weight, easily maneuverable, and capable of carrying heavy loads. I have one and it can be lifted with one hand and is a joy to paddle.” —John Buxton...

A large American Western, Native American oil on canvas landscape, by Frank Paul Sauerwein (1871-1910), "The Captive", 1901. This large oil on canvas depicts a Native American brave captively tied to a tree stump and being viewed by a rival tribe, who are evidently deciding his fate. Behind the collected tribe of elders, braves and children are a pair of conical tipi dwellings, to the background are grazing horses and another group of native people in a tree lined setting. The painting is indistinctly signed lower left, condition is good, the painting is housed in the original frame with a giltwood rabbet, the painting at sight is 40" x 26". Provenance; From a lifelong collection of 19th & early 20th Century Western Art, Portland, Oregon. Frank Sauerwein was a respected painter of western landscapes, Indian portraits, Indian genre scenes, and California missions. His promising career was cut short by his death of tuberculosis at age thirty-nine. The son of European-trained artist, Charles D. Sauerwein, Frank took his first art lessons from his father before studying at the Philadelphia School of Industrial Art, the Pennsylvania Academy of Fine Art, the Art Institute of Chicago and, finally, the Philadephia Museum School of Art. In 1891 he moved to Denver in hope of improving his health. In 1893, Sauerwein accompanied the artist Charles Craig on a trip to the Ute reservation in southwestern Colorado. This began Sauerwein's unyielding fascination with the Southwest and its Native inhabitants. After a trip to Europe, he returned to the American West, visiting Taos in 1899 and Santa Fe in 1900. That same year, Sauerwein visited the Navajo reservation, becoming good friends with trading post entrepreneur, Lorenzo Hubbell. He also spent time at Keam's Canyon on the Hopi reservation where he sketched local inhabitants. Sauerwein moved to Los Angeles in 1901, and then to Pasadena in 1902, but he maintained his contacts in the Southwest with Summer trips to the Grand Canyon, New Mexico Indian Pueblos, Taos, Santa Fe and Albuquerque. He especially loved the Grand Canyon which is the subject of a large number of his paintings. Rendered in a tight, academic style, Sauerwein's paintings clearly show the influence of German...

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