DuMouchelles

Dated 1990. Signed, dated and titled verso.

From Seven Apple Woodcuts. Signed and dated 1983 in pencil, numbered 56/60 (there were also fourteen artist's proofs), published/printed by Petersburg Press, Inc., New York, with full margins. Catalogue Raisonne: Corlett, 193. Sheet: H 31.4" W 41.75"

Dated 1981. Signed and dated in pencil lower right, numbered 40/50 (there were also 11 artist's proofs), from Eight Lithographs to Benefit the Foundation for Contemporary Performing Arts, Inc., with the blindstamp of the publisher, Gemini G.E.L., and with their inkstamp on the verso, with full margins. Catalogue Raisonne: G. 956, ULAE 219. Sheet dimensions: H 35.25" W 25.75"

Signed in pencil, dated and numbered 45/60 (there were also 10 artist's proofs), with the blindstamp of the publisher/printer, Crown Point Press, San Francisco, with full margins (deckle edges).

Dated 1997. Accompanied by a copy of the Certificate of Authenticity from Adam Adelson, Adelson Galleries, Palm Beach, Florida.

Signed in pencil lower left, dated 1968 and annotated AP VII (an artists proof, aside from the edition of 100), Published by Gemini G.E.L. (with the blindstamp). Printed by James Webb, Charles Ritt, Dan Gualdoni, George Page, Bruce Lowney, the full sheet. Catalogue Raisonne: Gemini 81

Dated 1979. Signed and numbered 3/25 with an electric engraving tool and further signed, titled and dated in black ink all on the reverse (there were also 6 artist's proofs), co-published by the artist and Sidney Janis Gallery, New York. Literature: Wildenstein Plattner Institute, Tom Wesselmann Digital Catalogue Raisonné, E16.

Signed and dated 1957 lower right.

Signed with colophon, "C. M. Russell" and Trademark buffalo skull on the upper surface of the base, near the edge. This is an extraordinary example with the details very much intact throughout. Measurement including marble base: H 12.6" W 11" D 7.25". This is the only sculpture for which Charles Russell sold the rights of reproduction. None of them were cast under his supervision. This bronze was most likely cast posthumously (note the brace on the horse's left foot), but before 1944. There does appear to be an indiscernible marking to the underside of the horse's belly. Literature: Rick Stewart, Charles M. Russell Sculptor, New York, 1994, fig. 1-57, pp. 35, 59, 120, 142, illustration of another cast; B. Byron Price, ed., Charles M. Russell: A Catalogue Raisonné, Norman, Oklahoma, 2007, pp. 189-191, illustration of another cast.

Dated 2018. Signed lower left. Exhibition History: Flint Insitute of Arts, Flint, Michigan, Wonderfully Made: The Anthony and Davida Artis Collection of African American Fine Art, January 18 - April 11, 2020; Saginaw Art Museum, Saginaw, Michigan, Wonderfully Made: The Anthony and Davida Artis Collection of African American Fine Art, October 30, 2020-March 31, 2021. Catalogue Note: Accompanied by a copy of a letter from Richard Mayhew writing on behalf of Evolve Gallery regarding the exhibition entitled The Spiral Experience, featuring Spiral Group artists.

Dated 1988. Screenprint with lithograph, linocut, hand coloring, marbling and collage on T.H. Saunders and Somerset paper, signed in pencil, dated ’88 and annotated A.P. X V (an artist’s proof aside from the edition of 60), published by Waddington Graphics, London, the full sheet. Catalogue Raisonne: Axsom, 193.

The complete set of 30 drypoints, on Crisbrook Waterleaf paper, each signed, dated and numbered 9/10 in pencil (there were also three artist's proof sets), published by Petersburg Press, London, printed by Maurice Payne, London, with copyright blindstamp, each with full margins (deckle edges). Literature: Williams College 63-92.

Signed on base, "Marshall Fredericks".