For centuries, the native inhabitants of the Western regions have captivated those from outside their communities. The allure has been enhanced by the artistic endeavors of individuals like Charles M. Russell, Frederic Remington, and Joseph Henry Sharp. These talented artists, hailing from the Eastern parts of the country, ventured to the Great Plains to observe and chronicle the indigenous people’s traditional way of life, which was undergoing significant changes due to their relocation to reservations. The captivating and idealized worlds they portrayed have since become ingrained in Montana’s folklore, adding to its rich tapestry.
One such work, “The Young Chief,” a 20×30” oil painting by Sharp that portrays an intimate exchange among an Apsáalooke (Crow) family, will be available at auction on July 15 in Reno, Nevada, during the Coeur d’Alene Art Auction. The painting, one of Sharp’s first open-air camp scenes, depicts the family preparing for a sweat lodge ceremony as the warm hue of morning hits the prairie. Grazing horses dot the horizon and tepees rise in the background, merging with a pink-tinted sky.
According to the auction catalog, the estimated value of “The Young Chief” ranges from $300,000 to $500,000.
The fact that the painting is available for purchase is not uncommon in the art market. There is a wealth of paintings that have significantly appreciated in value as their original versions become scarce, while the “western” lifestyle trend continues to be fashionable.
The painting, crafted by Sharp in 1905, holds its uniqueness in the captivating story behind it. In 1915, Charles Bair, a prominent businessman of the region and a dear friend of the artist, generously presented this artwork to the Billings Chamber of Commerce.
Selling the painting has raised concerns among local art experts who fear it is just another example of Montana’s historical artwork being sold to the highest bidder. However, the current leadership of the chamber argues that since the painting is rarely viewed by the public, it should be sold and the proceeds utilized for other purposes.
According to John Brewer, President of the Billings Chamber of Commerce, the painting is an extraordinary masterpiece. He expressed optimism that it would find a buyer, either an organization or an individual, who could truly relish and value its beauty.
Brewer, when asked, did not disclose any other works the chamber intends to sell, but Warren Rollins’ “Indian Portrait,” a 38×28” oil painting valued between $15,000 to $25,000, will also be auctioned in July. According to the Coeur d’Alene Art Auction, billed as the nation’s largest auction of western art, the painting also is owned by the Billings Chamber of Commerce.
From 1982 to 1998, Gordon McConnell served as the assistant director of the Yellowstone Art Center in Billings, which is now known as the Yellowstone Art Museum. McConnell holds a contrasting opinion regarding the sale of Sharp’s artwork.
We believe the painting is an exceptional masterpiece, and we have high hopes that it will find its way to an organization or individual who can truly revel in and value its beauty.
Billings Chamber of Commerce President John Brewer
McConnell stated that his initial response to the decision to sell the painting is that it lacks any sense of social or cultural responsibility. He vividly remembers “The Young Chief” being showcased in the inaugural exhibition of the Yellowstone Art Museum back in 1998. This exhibition was particularly significant as it coincided with the expansion of the museum, which involved transforming the old Yellowstone County Jail into an art center.
The museum was given a significant donation by Virginia Snook, a resident of Billings whose family was known for their art collection and hosting artists and writers such as Russell, Sharp, Ernest Hemingway, Will James, and Isabelle Johnson. Despite being a contemporary art museum, the YAM felt obligated to accept Snook’s generous gift in order to preserve it for the people of Montana. McConnell explained that they saw it as an opportunity to enhance the art history narrative in Montana.
According to Laura Krapacher, the registrar of YAM, the painting has been loaned to the museum since 1967 and has been stored as a courtesy to the chamber.
In the early 1980s, historian Thomas Minckler experienced a deep sense of awe upon witnessing “The Young Chief”.
Minckler, a Montana scholar and author of “Montana: A Paper Trail” and “In Poetic Silence: The Floral Paintings of Joseph Henry Sharp,” described the painting as a classic representation of a Crow encampment by Joseph Henry Sharp, showcasing the significance of that period.
Minckler was approached by Brewer in November 2022 to evaluate the worth of the painting. Although Minckler did not perform an official appraisal, they approximated that the artwork could fetch a minimum of $300,000 and potentially reach a maximum value of $800,000.
Brewer stated in an email response to MTFP that the chamber board unanimously decided in December 2022 to engage in a contract with the Coeur d’Alene Art Auction. The decision was solely based on the sale’s merits, and Brewer emphasized that the Chamber is in a strong financial position, boasting healthy reserves.
Brewer explained that the Billings Chamber Foundation was established in May 2023 with the purpose of operating for educational and charitable endeavors. The corporation’s focus will be on supporting the educational programs of the Billings Chamber of Commerce, along with various community placemaking initiatives.
Brewer declined to explicitly state if the funds from the sale would be directed towards the foundation. However, according to an email obtained by MTFP, Brewer informed Minckler that the proceeds will be donated to the chamber foundation.
According to Brewer, the board is contemplating treating the principal as an endowment, ensuring long-lasting benefits for the community. Brewer envisions the chamber supporting various initiatives like diversity, equity and inclusion endeavors, workforce development, and boosting tourism.
According to Brewer, although the sale has not been advertised in Billings, the artwork was showcased at the C.M. Russell Auction in Great Falls in August 2022, as well as in various national art publications, aiming to generate interest.
SHARP AMONG THE CROWS
Sharp and Russell ventured westward in pursuit of a mystical and romantically rugged existence, their paintbrushes skillfully capturing awe-inspiring scenes. These depictions merged elements of folklore with keen observations of Indigenous communities, who had harmoniously coexisted with the land for countless millennia.
Sharp, born in Ohio in 1859, embarked on his artistic journey at the tender age of 14. After attending the McMicken School of Design in Cincinnati, he ventured to Antwerp, Munich, and Paris, immersing himself in the works of the modernists and impressionists. With a newfound appreciation for their sweeping brush strokes and relaxed style, he returned to America, infusing these elements into his own creations. While his artistic repertoire encompassed various subjects such as florals, landscapes, and portraits, it is his depiction of Native Americans during the turn of the century that truly distinguishes him. Immersed in their culture through his time spent on the Crow Reservation and regular visits to the Blackfeet Reservation in the early 1900s, Sharp painted with an intimate familiarity. His impressionistic portrayals of Native life and the tribes of the region were not only visually captivating but also deeply rich in detail, capturing the nuances of their everyday existence.
Minckler praised his remarkable versatility as a painter, highlighting his expertise in capturing the mesmerizing sight of firelight scenes during the early onset of sunset, which beautifully illuminated the interiors of tepees. Additionally, he skillfully portrayed figural scenes in the Southwest region, with his masterful depiction of Crow and Blackfoot camps being particularly noteworthy.
Upon first reflection, it appears that [subject] lacks any sense of social or cultural responsibility.
Gordon McConnell, former assistant director of the Yellowstone Art Center
In contrast to his contemporaries, who frequently depicted the conflict between Native people and western pioneers, Sharp’s paintings stood out.
In “The Charles M. Bair Family Collection” published by the Yellowstone Art Museum in 2004, Peter Hassrick noted that Frederic Remington and, to a lesser extent, Charles Russell, particularly in his early works, had a tendency to depict the Native American as a threatening presence. The artists portrayed them as resistant to progress and were both feared and respected for their aggressive customs.
In 1902, upon reaching Crow Agency, Sharp encountered Charles Bair, an individual who had acquired land on the reservation to oversee his sheep and cattle operations. This meeting would prove significant for Sharp, as Bair eventually became his foremost patron in Montana. Carolyn Reynolds Riebeth, in her book “J.H. Sharp Among the Crow Indians 1902–1910,” highlights Bair’s role as a prominent supporter of Sharp’s work. Riebeth further mentions that Bair would frequently purchase paintings both for personal enjoyment and as gifts, with one notable piece now adorning the [Billings Chamber of Commerce] after being presented to them by Bair many years ago.
Riebeth, the daughter of Samuel Guilford Reynolds, an Indian Agent, moved to the Crow Reservation in the same year as Sharp. Bair, Sharp, and Reynolds developed a strong friendship, with Bair generously gifting Sharp a covered sheep wagon equipped with a stove for his winter painting expeditions. Sharp’s fascination with the winter landscapes of the plains prompted this kind gesture from Bair.
According to Hassrick, Bair served as the patron, Sharp was the driving creative force, and Reynolds played the role of facilitator.
According to Brewer, Bair presented “The Young Chief” as a gesture of gratitude to the Billings Commercial Club (later known as the Billings Chamber of Commerce) in 1915. This act of generosity was in recognition of their support and promotion of Sharp’s artworks.
In the early 1980s, Minckler had a conversation with Alberta Bair, the daughter of Charles Bair, regarding the painting. Both were part of the “Yellowstone Corral of the Westerners,” a local chapter of an international history group that met at the Northern Hotel downtown. According to Minckler, Alberta shared that her father had a close friendship with Billings. When he gifted the painting, it held a value of approximately $400 or $500, which was considered a substantial amount during the year 1904. It was evident that the gift was not given casually, but held significance.
Despite multiple attempts to reach out for comment, Elizabeth Guheen, executive director of the Charles M. Bair Family Museum in Martinsdale, remained unresponsive.
In accordance with author Hassrick, “The Young Chief” depicted a change in Sharp’s choice of themes. Hassrick explains that these paintings were seen as a way to rectify the portrayal of Native Americans in art. Having spent a considerable amount of time living harmoniously among the Pueblo in Taos and the Crow in Montana, Sharp ventured into a different, more accommodating aspect of Native American culture.
Sharp, despite his aversion to depicting scenes of conflict, ultimately painted the battlefield of Custer’s final stand. Riebeth, in his written account, mentioned that from the rear window of his studio located at Crow Agency, he had a clear view of Custer Hill.
“Custer Battlefield,” a thickly layered, 24×36” oil painting depicting the Little Big Horn Valley blanked in snow with the battlefield in the distance, is owned by the Billings Public Library. It is one of six paintings by Sharp, dating back to the early 1900s, owned by the Billings library. Sharp donated the painting to the library in 1944 in memory of Reynolds. The painting was described as one of his few remaining Crow Reservation paintings in a letter from Riebeth, acting on Sharp’s behalf, to offer the artwork to what was then the Parmly Billings Library.
According to local historian Joseph Lanning, the paintings are considered city assets and belong to the people of Billings. Additionally, the collection consists of a watercolor painting by Russell, six hand-tinted prints by photographer L.A. Huffman, and an oiled-silk map from the 1870s created by Luther “Yellowstone” Kelly.
Lanning, who oversees the library’s archives, described the library in the early 1900s as the place residents went for cultural exposure, which is why such artworks hung on its walls. Sharp, who held painting demonstrations at the library during his “old days,” Riebeth wrote, believed the library was “a logical place for a memorial to my father, and who I know was Mr. Sharp’s best friend in Montana and one of his best anywhere.”
Lanning makes use of the library’s art collection for educational programming and to showcase the diverse cultures found in the region.
He emphasized the significance of not solely relying on this art for retrospective purposes. Instead, he expressed his desire to explore ways to utilize this art collection in the future. He aimed to not only educate future generations about it but also to witness their fresh perspectives and interpretations, viewing the artworks through a different lens.
Lanning explained that the paintings, being of high value, are not permanently displayed at the library. Instead, they are stored in the vault of the Yellowstone Art Museum.
A LEGACY OF LOSS
The sale of Sharp’s work is intertwined with a broader narrative of loss that traces its origins to the 1950s. During this time, the people of Montana suffered a significant loss when they were deprived of one of the most remarkable collections of C.M. Russell’s artistic creations. This collection was acquired by Amon G. Carter, a wealthy individual hailing from Texas, who utilized these artworks as the cornerstone for the establishment of the Amon Carter Museum of American Art, situated in Fort Worth, Texas.
Born in St. Louis in 1864, Russell arrived in Montana at the age of 16 and remained there for the rest of his life. He gained worldwide recognition as the “original cowboy artist.” Following his demise in 1926, Nancy Russell, his widow, aimed to preserve her husband’s legacy in Montana. As a result, she generously bestowed Russell’s studio and all its belongings to the city of Great Falls. These valuable items would eventually become a cherished part of the C.M. Russell Museum.
During his lifetime, Russell’s works were highly sought after and the demand for them only increased after his death. In the 1940s, a significant collection of his paintings found its way to Billings after the passing of his close friend, Malcom Mackay. Bill Mackay, in his book “Montana’s Charlie Russell: Art in the Collection of the Montana Historical Society,” fondly recalled his father’s profound and enduring love for Montana. He believed that living in Montana represented a unique way of life, and it was no surprise that his father was immediately captivated by Charles M. Russell’s paintings.
According to the archives of the Montana Historical Society, the Mackay collection grew so large that the family constructed a dedicated space called the “Russell Room” in their New Jersey residence to showcase their impressive collection of paintings, drawings, and bronze sculptures. After the passing of Malcom in 1932, his wife, Helen, approached the Northern Hotel in Billings to inquire about exhibiting the collection. The hotel was undergoing reconstruction following a devastating fire and prided itself on its modern and fire-resistant new facility. In July 1942, when the hotel reopened, Russell’s paintings were prominently displayed in the lobby, captivating tourists for the following ten years.
The Montana Historical Society leaders in Helena were eager to preserve and promote Russell’s legacy. Director K. Ross Toole played a crucial role in expanding the society’s reach, advocating for the establishment of art galleries and a museum. In 1952, Toole successfully secured the acquisition of the Mackay Collection of Russell’s paintings and bronzes. This endeavor was fueled by the unfortunate loss of another significant collection of Russell’s works obtained by Sid Willis, the owner of the Mint saloon in downtown Great Falls. Willis, who had built a friendship with the artist and served him drinks over the years, had amassed an extensive collection of Russell’s artwork.
According to Paul T. Devore’s publication “The Mint Collection and the Saloon Entrepreneurs,” Willis sold his collection of nearly 100 original oil paintings, watercolors, pen and ink drawings, illustrated letters, and clay models in 1945 to the Mint Corporation. The Mint Corporation was established by Maurice and Gretchen Egan of Billings and George and June Sterling of Great Falls.
As per the sale agreement, if the collection were to be resold, it had to be offered to Montanans first. In 1948, this condition was fulfilled, and the Charles M. Russell Memorial Committee was formed to raise the $125,000 asking price. However, the committee failed to raise even half of that amount. Consequently, the collection was eventually purchased by Amon Carter.
Helen Mackay made the decision to offer the family’s collection to the state after the Willis collection was lost. She requested a mere $50,000, which was only a fraction of its actual value. Toole took charge of fundraising and actively promoted the collection as the final opportunity to preserve Russell’s extensive body of work within the state.
In a brochure aimed at promoting the purchase, Toole expressed his inability to justify the loss to their children and reconcile their indifference and self-centeredness. “Do we possess enough awareness to preserve this remarkable collection?” he questioned. This endeavor proved successful, and today, the Charles M. Russell room at the Montana Historical Society proudly houses this invaluable collection.
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