Dave McGary (sculptor)
Dave McGary (sculptor), A Legacy in Bronze Realism, 2016
book, 13 1/4 x 11 3/4 in.
Full color images. 247 pages. Hardback. $175, Shipping (USA only): $20.00
BOOK00007
$175
Dave McGary (sculptor), A Matter of Honor
Bronze with Patina and Paint, Maquette 31" high
"A Matter of Honor" is the second bronze sculpture in the trilogy of Crow King, following Dave's widely acclaimed work "Trophies of Honor". Crow King, a Hunkpapa Sioux Chief, commanded the mounted warriors at Battle of Little Big Horn in 1876 and was critical to the Sioux success, preventing Custer's troops from reaching the river. He and his famous dapple gray war horse survived unharmed. Even today, through stories passed down from generation to generation, the legacy of Crow King and his accomplishments in battle live on in the hearts of the Sioux.
17030
Dave McGary (sculptor), After the Ceremony
Bronze with Patina and Paint, masterwork 24" high 23.5" wide 14" deep.
This sculpture portrays the memories of a traditional Sioux ceremony as recounted to McGary by Gerald Red Elk, a Lakota historian from the Montana plains, who adopted McGary as family. With the ceremony marking her transition into adulthood complete, the young Lakota Red Elk woman looks to the future with her arm embracing the neck of the grey dapple mare, received from her grandfather. The bronze displays the gifts given to her by family and close friends. She holds a prayer fan created from the tail feathers of a Golden Eagle. Her horse carries a woman’s saddle, with distinctive pommel and cantle, and decorated with the intricate beading of the Crow Indian artisans. Looped to the saddle are delicately crafted belts one with an awl case, an illustration of the value of the gifts offered to the young woman. Two possible bags show in beaded detail the geometric designs found in traditional Sioux craftwork. A Lakota star quilt is draped across the horse offering its warmth of family and anticipation in its Morning Star design.
17986
Dave McGary (sculptor), American Horse
Bronze with Patina and Paint, maquette, 27" high
SCLP00396
Dave McGary (sculptor), Battle at Bear Paw
Bronze with Patina and Paint, Masterwork: 37.5" high, 22.5" wide, 15.5" deep; Maquette: 25" high, 15" wide, 10.35" deep
19494
"Battle at Bear Paw" Chief Joseph 1877
Colonel Nelson A. Miles left Fort Keogh on September 18 in pursuit of Chief Joseph with a force of 520 soldiers, civilian employees, and scouts, including about 30 Indian scouts, mostly Cheyenne but with a few Lakota (Teton Sioux). Some of the Indian scouts had fought against Custer in the Battle of the Little Big Horn only 15 months earlier, but had subsequently surrendered to Miles On September 25, Colonel Miles received a dispatch informing him of the Cow Creek fight and that the Nez Perce had crossed the Missouri going north. He changed his plans, crossed the Missouri, and headed toward the northern side of the Bear Paw Mountains to intercept Chief Joseph. Colonel Miles said of the battle at Bear Paw that "The fight was the most fierce of any Indian engagement I have ever been in...The whole Nez Perce movement is unequalled in the history of Indian warfare." For reasons never clarified by Colonel Miles, Chief Joseph was taken prisoner immediately after negotiations ended. In a strange circumstance of fate, Lt. Lowell Jerome had been allowed entry into the Nez Perce camp and was roaming unharmed. When the Nez Perce learned Chief Joseph was being held, they captured the young lieutenant. Rather than killing him as some in the village wanted to do, the Nez Perce offered to trade him for Chief Joseph. Whatever plan Colonel Miles had for Chief Joseph was forgotten. On the morning of October 2, Lt. Jerome and Chief Joseph were exchanged under a flag of truce. It is claimed that the stunning coat as depicted in this bronze, was given to second Lt. Jerome by Chief Joseph; this jacket was worn by Chief Joseph during the battle and siege at Bear Paw. Lt. Jerome donated this coat to his alma mater, the United States Military Academy at West Point where it now is on display in the museums permanent collection. His war coat made of red trade wool believed to have been obtained from the Sioux has polished brass trade buttons sewn in a distinct pattern all over the coat. Chief Joseph wore this coat in numerous battles and added the white ermines that was a favorite and distinctive adornment of the Nez Perce's regalia. His war bonnet inspired from photographs has a long trailer of honor feathers that confirms his accomplishments among his people and in battle. His moccasins are beaded with a traditional and beautiful beadwork designs of the Nez Perce. Along with the Crow, the Nez Perce were greatly admired for their artistry in regalia and were always desired in trades or sought as trophies in warfare. The Martingale the Chief holds is worn around the neck of his favorite war horse. Made out of trade wool and ornately beaded and decorated with hawk bells. This was a striking way the Nez Perce enhanced the beauty of their horses. The Nez Perce were horse rich, having acquired this "miracle animal" over a century earlier from trade with the Shoshone. Once horses were brought back to Nez Perce country, they were selectively bred for the best short-legged stock that could endure long trips up and down the mountainous terrain of their traditional homeland. In time, these horses would be given the name of "Appaloosa," often distinguished by their coat pattern with sprinkles of white or large dark spots on lighter bodies. I sculpted the thirty foot tall monument of Chief Washakie for the University of Wyoming during his famous battle against the Crow Chief Big Robber for the rights to stay in the Wind River Valley of Wyoming. This very important part of Wyoming's history known as "The Battle at Crow Heart Butte", was won by Chief Washakie. He rode an appaloosa war horse that was a gift from Chief Joseph and always gave much of the credit for his victory to the powerful war horse he rode that historical day. The friendship between Chief Joseph and Washakie was the source of inspiration for this sculpture. Chief Joseph holds a tomahawk used in battle that was decorated with brass tacks obtained through trade. Attached to the tomahawk is a trailer with beautiful bead work and fringe. The tomahawk and the Winchester rifle were his weapons of choice. His Winchester is in a beautiful beaded scabbard over his shoulder. The Winchester was the most desired weapon of choice by all warriors. Chief Joseph offered his rifle to General Howard upon his surrender at the Battle of Bear Paw. His long hair, braided and wrapped in otter fur was common with Chief Joseph. He wears many strands of trade beads as a necklace along with two strands of brass trade beads. This necklace was almost always a part of Chief Joseph's regalia during his years as the leader of the Nez Perce. Standing with great pride as a guardian of the elders and of the children, Chief Joseph after discovering a large group of his people fled to safety in Canada, to be with Chief Sitting Bull, made the decision to stay behind to secure the safety of his people. He then gave one of the most unforgettable speeches in American History: "I am tired of fighting. Hear me, my chiefs. I am tired. My heart is sick and sad. From where the sun now stands, I will fight no more forever." -Chief Joseph
Dave McGary (sculptor), Battle at Bear Paw bust
Bronze with Patina and Paint, Bust: 26" high
19623
"Battle at Bear Paw" Chief Joseph 1877
Colonel Nelson A. Miles left Fort Keogh on September 18 in pursuit of Chief Joseph with a force of 520 soldiers, civilian employees, and scouts, including about 30 Indian scouts, mostly Cheyenne but with a few Lakota (Teton Sioux). Some of the Indian scouts had fought against Custer in the Battle of the Little Big Horn only 15 months earlier, but had subsequently surrendered to Miles On September 25, Colonel Miles received a dispatch informing him of the Cow Creek fight and that the Nez Perce had crossed the Missouri going north. He changed his plans, crossed the Missouri, and headed toward the northern side of the Bear Paw Mountains to intercept Chief Joseph. Colonel Miles said of the battle at Bear Paw that "The fight was the most fierce of any Indian engagement I have ever been in...The whole Nez Perce movement is unequalled in the history of Indian warfare." For reasons never clarified by Colonel Miles, Chief Joseph was taken prisoner immediately after negotiations ended. In a strange circumstance of fate, Lt. Lowell Jerome had been allowed entry into the Nez Perce camp and was roaming unharmed. When the Nez Perce learned Chief Joseph was being held, they captured the young lieutenant. Rather than killing him as some in the village wanted to do, the Nez Perce offered to trade him for Chief Joseph. Whatever plan Colonel Miles had for Chief Joseph was forgotten. On the morning of October 2, Lt. Jerome and Chief Joseph were exchanged under a flag of truce. It is claimed that the stunning coat as depicted in this bronze, was given to second Lt. Jerome by Chief Joseph; this jacket was worn by Chief Joseph during the battle and siege at Bear Paw. Lt. Jerome donated this coat to his alma mater, the United States Military Academy at West Point where it now is on display in the museums permanent collection. His war coat made of red trade wool believed to have been obtained from the Sioux has polished brass trade buttons sewn in a distinct pattern all over the coat. Chief Joseph wore this coat in numerous battles and added the white ermines that was a favorite and distinctive adornment of the Nez Perce's regalia. His war bonnet inspired from photographs has a long trailer of honor feathers that confirms his accomplishments among his people and in battle. His moccasins are beaded with a traditional and beautiful beadwork designs of the Nez Perce. Along with the Crow, the Nez Perce were greatly admired for their artistry in regalia and were always desired in trades or sought as trophies in warfare. The Martingale the Chief holds is worn around the neck of his favorite war horse. Made out of trade wool and ornately beaded and decorated with hawk bells. This was a striking way the Nez Perce enhanced the beauty of their horses. The Nez Perce were horse rich, having acquired this "miracle animal" over a century earlier from trade with the Shoshone. Once horses were brought back to Nez Perce country, they were selectively bred for the best short-legged stock that could endure long trips up and down the mountainous terrain of their traditional homeland. In time, these horses would be given the name of "Appaloosa," often distinguished by their coat pattern with sprinkles of white or large dark spots on lighter bodies. I sculpted the thirty foot tall monument of Chief Washakie for the University of Wyoming during his famous battle against the Crow Chief Big Robber for the rights to stay in the Wind River Valley of Wyoming. This very important part of Wyoming's history known as "The Battle at Crow Heart Butte", was won by Chief Washakie. He rode an appaloosa war horse that was a gift from Chief Joseph and always gave much of the credit for his victory to the powerful war horse he rode that historical day. The friendship between Chief Joseph and Washakie was the source of inspiration for this sculpture. Chief Joseph holds a tomahawk used in battle that was decorated with brass tacks obtained through trade. Attached to the tomahawk is a trailer with beautiful bead work and fringe. The tomahawk and the Winchester rifle were his weapons of choice. His Winchester is in a beautiful beaded scabbard over his shoulder. The Winchester was the most desired weapon of choice by all warriors. Chief Joseph offered his rifle to General Howard upon his surrender at the Battle of Bear Paw. His long hair, braided and wrapped in otter fur was common with Chief Joseph. He wears many strands of trade beads as a necklace along with two strands of brass trade beads. This necklace was almost always a part of Chief Joseph's regalia during his years as the leader of the Nez Perce. Standing with great pride as a guardian of the elders and of the children, Chief Joseph after discovering a large group of his people fled to safety in Canada, to be with Chief Sitting Bull, made the decision to stay behind to secure the safety of his people. He then gave one of the most unforgettable speeches in American History: "I am tired of fighting. Hear me, my chiefs. I am tired. My heart is sick and sad. From where the sun now stands, I will fight no more forever." -Chief Joseph
Dave McGary (sculptor), Battle of Two Hearts
Bronze with Patina and Paint, maquette 30" high, masterwork 46" high
"Battle of Two Hearts" depicts Washakie as a ferocious warrior and protector at the Battle of Crowheart Butte which would change the course of his legacy forever. This bronze captures the moment when Washakie first raises his lance challenging Big Robber to begin their duel. Chief Washakie led the Shoshones for more than 60 years during a lifetime that spanned three centuries. He is remembered not only for fighting battles successfully, but also for facilitating peace, goodwill and brotherhood. His greatest achievement was securing Wyoming's dramatically beautiful 3 million acre Wind River Valley for his people by overcoming the Crow Chief Big Robber and obtaining the “Warm Valley of the Wind”. This land became the home of the Shoshones through the 1868 Fort Bridger treaty. At his death in 1900, the widely respected leader was accorded a full military funeral.
17033
Dave McGary (sculptor), Blessing of the Bear
Bronze with Patina and Paint, maquette 28" high, masterwork 41" high
In Dave McGary's masterwork "Blessing of the Bear", Kicking Bear is being prepared for another battle against the calvary. Holding up his magnificent bear headdress with over forty honor feathers on the trailer. Kicking Bear's regalia includes his beaded war shirt, rifle scabbard with his Winchester and his shield for pretection. His Bear Claw necklace he wears to draw upon the power of his bear medicine, as well as his Beaded ammunition bag tied at his waist.
17035
Dave McGary (sculptor), Challenges Met
Bronze with Patina and Paint, Masterwork 37.5" high
Four Bears was revered for his exceptional bravery and his concern for all members of the Mandan tribe. His name was given to him by a rival tribe who said he “fought like four bears.” His ermine tail and shaved buffalo horn headdress with a trailer of over 30 eagle feathers was but one of many elaborate ceremonial regalia befitting a man of his position. His tribe inhabited a territory in the region of the upper Missouri River, peaking in strength in the mid-19th century. The title, Challenges Met, refers to Four Bears’ numerous victories in battle. He proudly holds his chief’s staff, rare trade musket and war shield painted with the images of four bears. His war horse is unique in the fact that only the elite and most accomplished warriors possessed horses in the early 1800’s. Four Bears’ horse was elaborately adorned as the chief himself. The war horse’s mask features numerous eagle feathers and beaded symbols representing the horse’s and Chief Four Bears’ battle accomplishments.
17040
Dave McGary (sculptor), Emergence of the Chief
Bronze with Patina and Paint, masterwork 37" high
"The Emergence of the Chief" honors the Iroquois Confederacy & specifically the Mohawk peoples of North America. In matriarchal societies, the clan mothers have the powers to elect or impeach the Mohawk Chief. This newly appointed Mohawk chief wears the gus-to-weh headdress & holds a condolence cane designating him as the head chief of the Mohawk Nation. The clan mother is presenting the chief with the Two Row Wampum Belt. the two dark rows of the belt represent the canoe & the sailing ship, a metaphor for the relationship between the First Nation peoples and the European settlers. The belt tells the story of how the two peoples navigate the same waters & exist in harmony, never interfering with each other while treating each other with respect.
17043
Dave McGary (sculptor), Enemies Past
Bronze with Patina and Paint, maquette 26" high, masterwork 39" high
The powerful image of Pehriska-Ruhpa, (Two Ravens or Two Crows), presents the Dog Soldier, warrior and chief of the Hidatsa as a strong figure of dignity. He assumes the persona that would have been native to all men of power and rank, his worth displayed in his regalia and adornment. Around his neck is a strand of Grizzly bear claws, spaced with trade beads of blue, fastened to a roll of otter skin that decorates his broad chest. Symbols of significant wealth, these necklaces made from the fore-claws of bears were taken in the spring when the claws were largest. The cluster of owl feathers on his headpiece associates him to the prestigious Dog Society. The great warrior displays his exploits on his shirt and holds a lance with spike feathers of the eagle and scalps of "Enemies Past." His long hair is adorned with beads, trade bells and feathers of honor. An exclusive tribal characteristic, bears grease, oiled hair was believed to promote growth to its utmost ability.
17048
Dave McGary (sculptor), Eye of the Raven
Bronze with Patina and Paint, masterwork 32.5" high, bust 24" high
The Chief in "Eye of the Raven" is wearing a beautiful carved mask and traditional regalia. His legging are made of strips of cedar bark which also hangs down from the mask to hide the face of the chief, creating the illusion of transformation. The traditional mask is decorated with eagle feathers and painted with beautiful colors that would catch the eye of any person who experiences Northwest Coastal Art. Carved cedar masks representing the wildlife and culture of the coast are still produced by the contemporary artist of the region today. The rattle was one used from the collection at the Anthropology Department at the University of British Columbia. The peoples of the Northwest Coastal tribes took great pride in the carving and sculpting of their dance regalia. This is obvious as shown by the artistry and great detail in each of the masks, rattles and other dance regalia used by them.
17052
Dave McGary (sculptor), Hearts of Conviction
Bronze with Patina and Paint, maquette 30" high , masterwork 48" high
Hearts of Conviction depicts a Lakota warrior and his wife in a quiet and tender moment with thoughts of the future on their minds. Hearts of Conviction is a continuation of images honoring the Stronghearts Society, which was a select group of warriors dedicated to the defense of the tribe. The scene depicted is especially poignant, since this warrior has been given the honor of being chosen to fight in an upcoming battle. He will establish a position on the battlefield and stake one end of his sash to the ground with his staff. It will mark him as a brave and strong warrior and a target for his enemies. His mind is focused on the battle to come, but his heart is committed to the protection of his family and tribe.
SCLP00269
Dave McGary (sculptor), Holy Man bust (Blessing of the Bear)
Bronze with Patina and Paint, bust 34" high
The Holy Man is blessing Kicking Bear with an eagles wing prayer fan and preparing him for warfare. His headdress has over sixty eagle feathers and speaks of his accomplishments in his lifetime.
17037
Dave McGary (sculptor), In His Father's Footsteps
Bronze with Patina and Paint, study 22" high
“In His Father’s Footsteps” portrays a young Teton Sioux boy as he wears his father’s elaborate split horn bonnet, ornately beaded pictorial vest and moccasins. The split horn bonnet is adorned with spiked eagle feathers the full length of the trailer. The young brave’s tiny feet appear very small in his father’s large moccasins. Over the young boy’s shoulder is a bow and quiver full of arrows. His father’s regalia also includes a war shield that he holds with his left hand and a trade axe in his right hand with the weeping heart design. The beautiful details of the shield depict his father’s personal design and has several eagle honor feathers. The young boy’s tiny stature is overshadowed by his excitement and enthusiasm for his proud heritage to walk in his father’s footsteps.
17065
Dave McGary (sculptor), In Victory I Stand
Bronze with Patina and Paint, masterwork 43.75" high
In this fourth bronze of Dave McGary's series honoring the "Strongheart Society", the valiant Teton Sioux warrior depicted in Point Of No Return is again featured. Battle-weary and drained of emotion, the exhausted brave still stands poised and ready to d
17067
Dave McGary (sculptor), Iron Bear
Bronze with Patina and Paint, maquette 27.25" high , masterwork 42" high
Iron Bear received his name at the Battle of 29 Crows where he charged into the fray and fought without being wounded. True to his name, Iron Bear wears a grizzly bear headdress adorned with three hawk feathers on each side.
17071
Dave McGary (sculptor), Iron Hail
Bronze with Patina and Paint, maquette 29" high, masterwork 43" high , bust 23" high
Iron Hail fought alongside such notables as Crazy Horse, Sitting Bull, Gall and Red Leaf during the Indian Wars. The storyteller recounts how as a young warrior, out hunting alone, he was attacked by an enemy war party of Crow.
17073
Dave McGary (sculptor), Kicking Bear bust - Blessing of the Bear
Bronze with Patina and Paint, 25" high
In Dave McGary's masterwork "Blessing of the Bear", Kicking Bear is being prepared for another battle against the calvary. Holding up his magnificent bear headdress with over forty honor feathers on the trailer. Kicking Bear's regalia includes his beaded war shirt, rifle scabbard with his Winchester and his shield for pretection. His Bear Claw necklace he wears to draw upon the power of his bear medicine, as well as his Beaded ammunition bag tied at his waist.
SCLP00145
Dave McGary (sculptor), Last Stand Hill
Bronze with Patina and Paint, maquette 24" high
On June 25, 1876, the Battle of Last Stand Hill took place on the banks of the Little Big Horn River in Southern Montana territory. About fifteen thousand Indians were in the area, the largest concentration that history has ever recorded. This was the biggest defeat of the U.S. Army by the Plains Indians, it was also the beginning of the end for the Indians. Depicted in McGary's Masterwork, "Last Stand Hill", the initial warrior Iron Star led the attack against Custer and was celebrated as a great warrior in this battle. The central figure, Crow King, had eighty warriors in his band and led the charge against Reno's troops in the valley before joining the battle against Custer. Red Horn Bull was believed to have taken the Flag that was held high regard as a trophy until it was later recaptured at the Battle of Slim Buttes. This long anticipated bronze has been an extensive research project spanning over three years. Dave's Native American friends have played a significant role in referencing the stories told of their relative's experiences. McGary's perseverance and dedication to his art reflect once again his integrity in preserving a relevant American historical account.
17078
Dave McGary (sculptor), Little Good Voice Elk
Bronze, 20" high
Standing with innocence, this young girl Little Good Voice Elk holds with great pride her doll and her fully beaded cradle board, a gift from her grandmother. The Good Voice Elk families of the Lakota Sioux people were well known for their beautiful singing voices. This part of their family history was shared with Dave during one of his many trips to the Pine Ridge reservation in South Dakota . Depicted here is Dave’s fourth bronze in his Native American Children Series. Little Good Voice Elk shown in her favorite traditional Elks Tooth dress made from dark blue wool, twill weave, cut from length of material folded over at the shoulders: slit cut for neck opening, tapered sleeves added. This cloth was an item obtained through trade from the white people. The style of her dress was worn for many occasions and symbolizes prestige and wealth. In observing the elk in death, it is found that two teeth remain after everything else has crumbled to dust. These teeth will last longer than life of a man, and for that reason the elk tooth has become the emblem of long life. When a child is born its parents desire long life for it, and for this reason an elk tooth is given to a child if its parents can afford the gift. The gift is expensive because of the mature elk has only two upper canines, or two milk teeth. Owning such a dress implied a father or husband who was a good hunter or who had enough wealth in horses or other belongings to trade for teeth. Her dress has a long belt with silver disk known as Conchos ; they were manufactured by white people for trade with Indians and were popular among many tribes during the later part of the nineteenth century. Her leggings have a traditional butterfly design; early Native American legends reveal stories of butterflies carrying various wishes to the Great Spirit. This design is still used today and can be seen in many different ceremonies in the northern plains region. Her long braids are embellished on one side with an eagle and red tail hawk feather attached by a medicine wheel with quill work and pony beads. Most tribes carried babies on cradle boards. These “vertical cradles” allowed children to view the world from the same perspective as their parents. Native Americans have deep respectful relationships with children. Girls assist in the care of younger siblings and relatives. Dolls and miniature baby carriers were treasured by Plains youngsters.
019786
Dave McGary (sculptor), Memories of Honor
Bronze with Patina and Paint, maquette 31" high, masterwork 46" high
"Memories of Honor" reveals Crow King as an older Man. This is the third in the series depicting the Hunkpapa Sioux Chief Crow King. As befitting the tribal leadership earned, he now wears a chief’s bonnet that has the extra touch of his trademark, crow beaded and mounted on the crown. His necklace is made of pony beads, red tail hawk feathers and a quilted pendant characterizing the four sacred directions. Although it is now faded and worn, he still wears the U.S. Seventh Cavalry Lieutenant Colonel’s coat he obtained at the Little Big Horn. One of the most important items that he carries for all ceremonies is a wooden carving of his favorite war-horse. The mane and tail of this carving is made from the hair taken from his famous dappled gray horse that he rode during the Battle of Little Big Horn. Crow King remained an important leader of his people until his death.
17079
Dave McGary (sculptor), Memories of Honor bust
Bronze with Patina and Paint, bust 22" high
"Memories of Honor" reveals Crow King as an older Man. This is the third in the series depicting the Hunkpapa Sioux Chief Crow King. As befitting the tribal leadership earned, he now wears a chief’s bonnet that has the extra touch of his trademark, crow beaded and mounted on the crown. His necklace is made of pony beads, red tail hawk feathers and a quilted pendant characterizing the four sacred directions. Although it is now faded and worn, he still wears the U.S. Seventh Cavalry Lieutenant Colonel’s coat he obtained at the Little Big Horn. One of the most important items that he carries for all ceremonies is a wooden carving of his favorite war-horse. The mane and tail of this carving is made from the hair taken from his famous dappled gray horse that he rode during the Battle of Little Big Horn. Crow King remained an important leader of his people until his death.
17081
Dave McGary (sculptor), Pow Wow Limo
Bronze with Patina and Paint, masterwork 32" l x 19.25"w x 20.25" h
While in Washington, DC, during a ceremony in which his sculpture, Chief Washakie was presented to the permanent collection of the Smithsonian, Dave McGary spent some time reviewing archived photographs of Native Americans. During this visit, he was delighted to see vintage photographs from the 30’s and 40’s of Native Americans seated in antique automobiles. Drawing on his memories as a guest at numerous pow wows and his love for classic automobiles, McGary was inspired to create a sculpture that would embrace these subjects and depict a unique and historic portrayal of Native Americans.
17721
Dave McGary (sculptor), Red Horn Bull
Bronze with Patina and Paint, masterwork 34" high
On June 25, 1876, the Battle of Last Stand Hill took place on the banks of the Little Big Horn River in Southern Montana territory. About fifteen thousand Indians were in the area, the largest concentration that history has ever recorded. This was the biggest defeat of the U.S. Army by the Plains Indians, it was also the beginning of the end for the Indians. Depicted in McGary's Masterwork, "Last Stand Hill", the initial warrior Iron Star led the attack against Custer and was celebrated as a great warrior in this battle. The central figure, Crow King, had eighty warriors in his band and led the charge against Reno's troops in the valley before joining the battle against Custer. Red Horn Bull was believed to have taken the Flag that was held high regard as a trophy until it was later recaptured at the Battle of Slim Buttes. This long anticipated bronze has been an extensive research project spanning over three years. Dave's Native American friends have played a significant role in referencing the stories told of their relative's experiences. McGary's perseverance and dedication to his art reflect once again his integrity in preserving a relevant American historical account.
SCLP00172
Dave McGary (sculptor), Retired with Honors bust
Bronze, 20" high
SCLP00101
Dave McGary (sculptor), Star Gazers
Bronze with Patina and Paint, maquette 23" high , masterwork 35.25" high
Dave McGary’s masterwork "Star Gazers", portrays a Sioux mother, Red Elk Woman, with her young daughter. Adorned in an elaborate Star Quilt and full ceremonial dress, she gracefully points to the stars with the beaded cradleboard at her side. Hanging from the cradleboard is a beaded amulet which contained the baby’s umbilical cord. This was used as a longevity charm by the Plains Indians. Girls’ pouches took the form of turtles; boys’ were made in the shape of snakes and lizards. The bead work on these Lakota amulets reflects the pride relatives took in making presents for newborns. The mother’s ceremonial breastplate made of bone beads, the pipe bag next to her side and the beading in the leggings and the yolk, display the importance of the mother in her tribe.
17084
Dave McGary (sculptor), Stronghearts
Bronze with Patina and Paint, maquette 28" high , masterwork 44" high
Stronghearts study portrays a Sioux mother and her baby son in a beaded cradleboard. The young Sioux and his family represent the surviving family of a Stronghearts Society Warrior, who died protecting his family and the tribe.
SCLP00268
Dave McGary (sculptor), Symphonies of the Heart
Bronze with Patina and Paint, maquette 27.5" high, masterwork 41" high, bust 22" high
"Symphonies of the Heart" features a Lakota couple in the shadow of a cottonwood tree. He has a traditional courting robe made from trade blankets. The courting robe was used by a young couple as a sign to the rest of the community of their marriage intentions. When a couple was together within the robe it was understood that they wanted to be left alone. The warrior is playing the courting flute, an integral part of the plains and southwestern Native American culture. The flute served many important functions connected with courtship. Love and Warrior hopes that the haunting sounds of the love flute will win her heart and entice her to stay by his side. The flute had seven notes representing the four directions, the heavens, the earth and the final note representing the place where they all come together in us: the heart.
17086
Dave McGary (sculptor), The Crow and the Bear
Bronze with Patina and Paint, maquette 22" high, masterwork 27" high
In "The Crow and the Bear" Kicking Bear is living his legacy created during the Indian Wars of the Northern Plains. Cousin of Short Bull and responsible for bringing the Ghost Dance religion to the Sioux and Arapahoe tribes, Kicking Bear, was a fascinating figure in our country's history of the nineteenth century. Mounted on his war horse, he is locked in combat with his sworn enemy the Crow. Always at odds over hunting grounds and to achieve honors in battle, the Sioux and the Crow found themselves testing each others strengths in warfare until the late 1800's. Kicking Bear has shot one Crow warrior from his horse and is being pursued by Two Bulls. Kicking Bear was notorious in this battle and took great honors along with two Crow horses back as trophies. Kicking Bear surrendered shortly after the Wounded Knee Massacre on December 19th, 1890. Negotiated out of prison by Buffalo Bill, Kicking Bear performed briefly in his Wild West Show before he resigned from the shows. He passed away at a relatively old age with great honors and the respect of his Lakota people.
17089
Dave McGary (sculptor), The Crow and the Bear study
Bronze with Patina and Paint, study 20" high
In "The Crow and the Bear" Kicking Bear is living his legacy created during the Indian Wars of the Northern Plains. Cousin of Short Bull and responsible for bringing the Ghost Dance religion to the Sioux and Arapahoe tribes, Kicking Bear, was a fascinating figure in our country's history of the nineteenth century. Mounted on his war horse, he is locked in combat with his sworn enemy the Crow. Always at odds over hunting grounds and to achieve honors in battle, the Sioux and the Crow found themselves testing each others strengths in warfare until the late 1800's. Kicking Bear has shot one Crow warrior from his horse and is being pursued by Two Bulls. Kicking Bear was notorious in this battle and took great honors along with two Crow horses back as trophies. Kicking Bear surrendered shortly after the Wounded Knee Massacre on December 19th, 1890. Negotiated out of prison by Buffalo Bill, Kicking Bear performed briefly in his Wild West Show before he resigned from the shows. He passed away at a relatively old age with great honors and the respect of his Lakota people.
17092
Dave McGary (sculptor), The Dollhouse
Bronze with Patina and Paint, masterwork 19" high
On a warm sunny day while the elders are busy preparing for a special ceremony we see three of the young children quietly at play. The children surround a small crafted tepee that was fashioned for one of the girls by her grandfather. Painted on the "dollhouse" are ledger drawings portraying the life accomplishments of her grandfather. Many happy hours were filled by the Lakota Sioux children playing with their beautifully hand made dolls and toys. The young brother has dropped his quiver in an attempt to get his sister's doll and join the girls at play. The girls are ready for this special day and both are portrayed in their ceremonial dress. One of the girls is wearing an elk's tooth dress which signifies great wealth and stature in the tribe. Many of the elaborate beadwork designs were passed down from mother to daughter. Children and family life were of the most importance among the Lakota Sioux families.
17093
Dave McGary (sculptor), The Gatekeeper
Bronze with Patina and Paint, maquette 30" high, masterwork 37.5" high, bust 25.75" high (man), 17.75" high (horse)
In "The Gatekeeper", Iron Thunder is depicted on his war horse taunting the enemy. Iron Thunder rides back and forth waving his staff to let his enemy know he is a Strongheart and ready for battle. The staff, consisting of more than forty feathers, is held in his right hand above his head which he proudly waves to challenge the enemy to battle. Iron Thunder's face is painted with the Strongheart Society's signature black and white war paint. His green war shirt and buckskin leggings are adorned with strips of colorful beads. Tied to his scalp lock are five eagle honor feathers. His regalia includes a shield decorated with his personal design, bows and arrows in the quiver strapped to his back and a unique trade ax with a heart-shaped hole in the blade. The jet black war horse's neck is beautifully arched and he is aggressively fighting the bit in his mouth as the warrior pulls back on the reins. Owl feathers are attached to the side of his beaded face mask and scalp locks are attached underneath his chin. The edge of the saddle blanket is also decorated with beads.
17054
Dave McGary (sculptor), The Honor Dress
Bronze with Patina and Paint, maquette 22.5" high, masterwork 33" high
In "The Honor Dress" the warrior's widow honors and pays tribute to the passing of her brave husband from battle by wearing a rare hand painted ceremonial dress. Her dress is uniquely adorned with paintings which symbolize and recognize this brave and fearless warrior's celebrated war accomplishments. She proudly carries his buffalo robe, shield and distinctive headdress with a trailer of over 100 golden eagle tail honor feathers. It was a tradition for female relatives of warriors killed in battle to carry such items to ceremonies and parades.
17060
Dave McGary (sculptor), The Providers
Bronze with Patina and Paint, maquette 18" high, masterwork 28" high
18749
Born on the plains of Northwestern Wyoming at the edge of Yellowstone National Park, Dave McGary grew up with an understanding of the importance of the buffalo to the Native Americans. In the early 1800s enormous herds of buffalo roamed the plains rumbling across the land. During trips to the reservation, McGary heard stories of the buffalo and histories shared of the preparation and skills of the hunters. Twelve years in ideation and requiring six months to sculpt, The Providers shares the intensity of the chase as the mounted hunters with the herd just moments before weapons find their mark. Native Americans of the plains moved with the buffalo, many considered him sacred. As the ground thawed and the warmth returned, they prepared for the buffalo hunt. In the minds of the Plains Indians of 1750 - 1875, the classic buffalo hunt was the summer chase. Only the bulls were the target, the buffalo cows and the young were spared. Hunting them was close to warfare in its demands upon horsemanship and courage. To be included in the hunt was an honor for a young man, to not only provide for his own family but also for the less fortunate within the community. The hunt was a proving ground for the young. Bravery, horsemanship and weapon skills were tested in the danger of the stampede. Consider that the hunter holds in his hands his bow and arrow requiring expert horsemanship to guide his horse with only his knees. This horse is a prized possession protected for his ability to respond both during the hunt and in battle. Valued so highly, horses were tied to shelters in the evening, so that their whereabouts were always known. Like its rider, the horse wears the markings of its achievements and paint specific for the hunt; the lightning bolt for speed and star painted around the eyes to enhance the vision of the horse. Honor feathers of eagle, owl and red tailed hawk, recognizing the worth and abilities of the horse are braided into its mane and tail. Unlike the dress for battle with the enemy, the clothing of the hunter was very simple, stripped to the minimum to reduce their weight, free their movements and avoid tangling with the huge animals. The hunter wears leggings, showing coup marks or illustrations of his hunt or battle achievements. The re-curved bow for the buffalo hunt was designed for increased power, to offer the ability of the arrow to pierce completely through the animal. These prized bows were made of rare Osage Orangewood, available in limited quantities only through trade; rawhide with beadwork forming the grip of the handle and a bowstring made of sinew twisted and stretched. The buffalo hunt became the focus of the community. In preparation, families gathered for dances and ceremonies, with members participating in buffalo masks and headdresses. The hunt extended for days until the needs of the community were met and then great celebrations occurred. The buffalo used for the models in the bronze are descendants of the bison that were hunted in the Northern Plains by the Lakota (Sioux). These buffalo currently roam the Custer National Park in South Dakota. Bison can weigh as mush as 2,000 pounds. The earth literally shook as the buffalo thundered over it and few horses could match their speed. Charging bulls were described as "blind fury," a vivid description of an animal with poor eyesight but great strength, tenacity and agility. Every part of the buffalo, or "tatanka" as the Lakota called them, supported the families. The meat of the animal was eaten, some immediately and some worked into pemmican or jerky. The hides of these buffalo became moccasins, cradles, winter robes, leggings, dresses, belts, bags, and dolls. Rawhide was used in cinches, drums, ropes, thongs, and saddles. The hair can be found in headdresses, halters and saddle pads. Horns were fashioned into cups, powderhorns, spoons and toys. The tail could be used as a switch or whip. Hooves and feet became glue or a rattle. Pouches and medicine bags were made of the animals bladder. Bones carved into knives, arrowheads, shovels, saddle trees and the largest into winter sleds. Portions of the animal's stomach became containers for water or food storage. Bows, thread, arrows and saddle cinches were made from muscle. Nothing was wasted. Created to show the engagement of the pursuit, only five hooves of the animals touch the base, one buffalo is suspended completely in the air. The Providers is a celebration of the hunt, the extension of the rider with his horse and the magnificence of the American buffalo. The buffalo hunt was a not just pursuit of food but, a rite of passage for the providers of the family.
Dave McGary (sculptor), The Providers Buffalo study
Bronze with Patina and Paint, 15" high
18754
Born on the plains of Northwestern Wyoming at the edge of Yellowstone National Park, Dave McGary grew up with an understanding of the importance of the buffalo to the Native Americans. In the early 1800s enormous herds of buffalo roamed the plains rumbling across the land. During trips to the reservation, McGary heard stories of the buffalo and histories shared of the preparation and skills of the hunters. Twelve years in ideation and requiring six months to sculpt, The Providers shares the intensity of the chase as the mounted hunters with the herd just moments before weapons find their mark. Native Americans of the plains moved with the buffalo, many considered him sacred. As the ground thawed and the warmth returned, they prepared for the buffalo hunt. In the minds of the Plains Indians of 1750 - 1875, the classic buffalo hunt was the summer chase. Only the bulls were the target, the buffalo cows and the young were spared. Hunting them was close to warfare in its demands upon horsemanship and courage. To be included in the hunt was an honor for a young man, to not only provide for his own family but also for the less fortunate within the community. The hunt was a proving ground for the young. Bravery, horsemanship and weapon skills were tested in the danger of the stampede. Consider that the hunter holds in his hands his bow and arrow requiring expert horsemanship to guide his horse with only his knees. This horse is a prized possession protected for his ability to respond both during the hunt and in battle. Valued so highly, horses were tied to shelters in the evening, so that their whereabouts were always known. Like its rider, the horse wears the markings of its achievements and paint specific for the hunt; the lightning bolt for speed and star painted around the eyes to enhance the vision of the horse. Honor feathers of eagle, owl and red tailed hawk, recognizing the worth and abilities of the horse are braided into its mane and tail. Unlike the dress for battle with the enemy, the clothing of the hunter was very simple, stripped to the minimum to reduce their weight, free their movements and avoid tangling with the huge animals. The hunter wears leggings, showing coup marks or illustrations of his hunt or battle achievements. The re-curved bow for the buffalo hunt was designed for increased power, to offer the ability of the arrow to pierce completely through the animal. These prized bows were made of rare Osage Orangewood, available in limited quantities only through trade; rawhide with beadwork forming the grip of the handle and a bowstring made of sinew twisted and stretched. The buffalo hunt became the focus of the community. In preparation, families gathered for dances and ceremonies, with members participating in buffalo masks and headdresses. The hunt extended for days until the needs of the community were met and then great celebrations occurred. The buffalo used for the models in the bronze are descendants of the bison that were hunted in the Northern Plains by the Lakota (Sioux). These buffalo currently roam the Custer National Park in South Dakota. Bison can weigh as mush as 2,000 pounds. The earth literally shook as the buffalo thundered over it and few horses could match their speed. Charging bulls were described as "blind fury," a vivid description of an animal with poor eyesight but great strength, tenacity and agility. Every part of the buffalo, or "tatanka" as the Lakota called them, supported the families. The meat of the animal was eaten, some immediately and some worked into pemmican or jerky. The hides of these buffalo became moccasins, cradles, winter robes, leggings, dresses, belts, bags, and dolls. Rawhide was used in cinches, drums, ropes, thongs, and saddles. The hair can be found in headdresses, halters and saddle pads. Horns were fashioned into cups, powderhorns, spoons and toys. The tail could be used as a switch or whip. Hooves and feet became glue or a rattle. Pouches and medicine bags were made of the animals bladder. Bones carved into knives, arrowheads, shovels, saddle trees and the largest into winter sleds. Portions of the animal's stomach became containers for water or food storage. Bows, thread, arrows and saddle cinches were made from muscle. Nothing was wasted. Created to show the engagement of the pursuit, only five hooves of the animals touch the base, one buffalo is suspended completely in the air. The Providers is a celebration of the hunt, the extension of the rider with his horse and the magnificence of the American buffalo. The buffalo hunt was a not just pursuit of food but, a rite of passage for the providers of the family.
Dave McGary (sculptor), The Providers study
Bronze with Patina and Paint, 20" high
18751
Born on the plains of Northwestern Wyoming at the edge of Yellowstone National Park, Dave McGary grew up with an understanding of the importance of the buffalo to the Native Americans. In the early 1800s enormous herds of buffalo roamed the plains rumbling across the land. During trips to the reservation, McGary heard stories of the buffalo and histories shared of the preparation and skills of the hunters. Twelve years in ideation and requiring six months to sculpt, The Providers shares the intensity of the chase as the mounted hunters with the herd just moments before weapons find their mark. Native Americans of the plains moved with the buffalo, many considered him sacred. As the ground thawed and the warmth returned, they prepared for the buffalo hunt. In the minds of the Plains Indians of 1750 - 1875, the classic buffalo hunt was the summer chase. Only the bulls were the target, the buffalo cows and the young were spared. Hunting them was close to warfare in its demands upon horsemanship and courage. To be included in the hunt was an honor for a young man, to not only provide for his own family but also for the less fortunate within the community. The hunt was a proving ground for the young. Bravery, horsemanship and weapon skills were tested in the danger of the stampede. Consider that the hunter holds in his hands his bow and arrow requiring expert horsemanship to guide his horse with only his knees. This horse is a prized possession protected for his ability to respond both during the hunt and in battle. Valued so highly, horses were tied to shelters in the evening, so that their whereabouts were always known. Like its rider, the horse wears the markings of its achievements and paint specific for the hunt; the lightning bolt for speed and star painted around the eyes to enhance the vision of the horse. Honor feathers of eagle, owl and red tailed hawk, recognizing the worth and abilities of the horse are braided into its mane and tail. Unlike the dress for battle with the enemy, the clothing of the hunter was very simple, stripped to the minimum to reduce their weight, free their movements and avoid tangling with the huge animals. The hunter wears leggings, showing coup marks or illustrations of his hunt or battle achievements. The re-curved bow for the buffalo hunt was designed for increased power, to offer the ability of the arrow to pierce completely through the animal. These prized bows were made of rare Osage Orangewood, available in limited quantities only through trade; rawhide with beadwork forming the grip of the handle and a bowstring made of sinew twisted and stretched. The buffalo hunt became the focus of the community. In preparation, families gathered for dances and ceremonies, with members participating in buffalo masks and headdresses. The hunt extended for days until the needs of the community were met and then great celebrations occurred. The buffalo used for the models in the bronze are descendants of the bison that were hunted in the Northern Plains by the Lakota (Sioux). These buffalo currently roam the Custer National Park in South Dakota. Bison can weigh as mush as 2,000 pounds. The earth literally shook as the buffalo thundered over it and few horses could match their speed. Charging bulls were described as "blind fury," a vivid description of an animal with poor eyesight but great strength, tenacity and agility. Every part of the buffalo, or "tatanka" as the Lakota called them, supported the families. The meat of the animal was eaten, some immediately and some worked into pemmican or jerky. The hides of these buffalo became moccasins, cradles, winter robes, leggings, dresses, belts, bags, and dolls. Rawhide was used in cinches, drums, ropes, thongs, and saddles. The hair can be found in headdresses, halters and saddle pads. Horns were fashioned into cups, powderhorns, spoons and toys. The tail could be used as a switch or whip. Hooves and feet became glue or a rattle. Pouches and medicine bags were made of the animals bladder. Bones carved into knives, arrowheads, shovels, saddle trees and the largest into winter sleds. Portions of the animal's stomach became containers for water or food storage. Bows, thread, arrows and saddle cinches were made from muscle. Nothing was wasted. Created to show the engagement of the pursuit, only five hooves of the animals touch the base, one buffalo is suspended completely in the air. The Providers is a celebration of the hunt, the extension of the rider with his horse and the magnificence of the American buffalo. The buffalo hunt was a not just pursuit of food but, a rite of passage for the providers of the family.
Dave McGary (sculptor), The War Chief's Treasure
Bronze with Patina and Paint, masterwork 35" high
Buffalo's Bull's Back Fat, head chief of the Blackfoot Bloodtribe is depicted standing proudly dressed in his war shirt which is garnished with porcupine quill work and trade beads. Attached to the seams of his shirt and leggings are 156 scalp locks, symbols of his victory over his opponents. He stoically wears his war robe that portrays war exploits of his tribal enemies painted on the back of the robe. The enemies were the Crows, the Shoshones, the Knisteneaux, Assinneboins and Ojbbeways. He displays both his gun stock war club and personal bag. The bag which is made out of a river otter, is elaborately adorned with porcupine quill work, trade beads and bells. Standing beside him with all her beauty and grandeur is his young wife, Eeb-nis-kin, the Crystal Stone. Never letting her out of his watchful eye he protects, shields and guards her like a rare gem exempting her from the common daily work normally done by the women of the tribe. The Blackfoot Nation is comprised of four Blackfoot nations, all with a strong cultural and historical background. In "The War Chief's Treasure" McGary focuses on the fourth of these nations, the northern Montana tribe, who reigned over this area in the mid nineteenth century.
17095
Dave McGary (sculptor), The War Chief's Treasure bust
Bronze with Patina and Paint, bust 23" high
Buffalo's Bull's Back Fat, head chief of the Blackfoot Bloodtribe is depicted standing proudly dressed in his war shirt which is garnished with porcupine quill work and trade beads. Attached to the seams of his shirt and leggings are 156 scalp locks, symbols of his victory over his opponents. He stoically wears his war robe that portrays war exploits of his tribal enemies painted on the back of the robe. The enemies were the Crows, the Shoshones, the Knisteneaux, Assinneboins and Ojbbeways. He displays both his gun stock war club and personal bag. The bag which is made out of a river otter, is elaborately adorned with porcupine quill work, trade beads and bells. Standing beside him with all her beauty and grandeur is his young wife, Eeb-nis-kin, the Crystal Stone. Never letting her out of his watchful eye he protects, shields and guards her like a rare gem exempting her from the common daily work normally done by the women of the tribe. The Blackfoot Nation is comprised of four Blackfoot nations, all with a strong cultural and historical background. In "The War Chief's Treasure" McGary focuses on the fourth of these nations, the northern Montana tribe, who reigned over this area in the mid nineteenth century.
17098
Dave McGary (sculptor), Traditions
Bronze with Patina and Paint, artifact 19" wide
In "Traditions" Dave McGary brings us into the home of a Lakota Sioux family. Native American icons including an eagle prayer fan, morning star quilt, buffalo robe with pictorial drawings and a trade axe are all special elements. Also representing family life is a small doll, moccasins, ceremonial pipe and beaded pipe bag. These special possessions are all symbols of love, loyalty and friendship that allow each of us to become a part of history.
17100
Dave McGary (sculptor), Trophy Hunters
Bronze, Masterwork: 34"h, 26" wide, 19" deep
Trophy Hunters by Dave McGary Masterwork Edition Size 30 | Maquette Edition 40 "Trophy Hunters" announces a new chapter by acclaimed Master of Realism Dave McGary in depicting American Indians and the First Nations people of Canada. In this series McGary turns for a second time to the Woodland Tribes of the American Northeast and Southern Quebec, tribes whose rich histories include the critical roles they played in those regions during the mid-18th century. Only McGary’s important piece "Emergence of the Chief" has portrayed the tribes of this region, who differ greatly – from their customs to their manner of dress — from American’s Southwestern tribes and those of the Upper Plains, the Upper Midwest and the Mountain regions. "Emergence of the Chief" focused on the Mohawk Nation, while also paying homage to the other four Nations that made up the original Iroquois Confederation: the Cayuga, the Onadaga, the Oneida and the Seneca. "Trophy Hunters" again portrays members of the Mohawk Nation, but not in grand ceremony as in "Emergence of the Chief." Rather, the sculpture captures a moment in time as two Mohawk braves look into the early morning light, not knowing what the day would bring. Normally woodland hunters, today they are warriors and will seek trophies of war. "Trophy Hunters" depicts September 8, 1755, the day the British mounted the Battle of Lake George as part of an overall campaign to keep the French from advancing farther into New York Province and ultimately expel them from North America in the early stages of the French and Indian War. Indians of various tribes were brought into the war as scouts and warriors, some aligned with the British and some with the French. The British forces were under the command of Major-General William Johnson, and consisted of British regulars, colonial militiamen and British-allied Mohawks. On the French side, Jean Erdman Baron de Dieskau commanded a force of French regular grenadiers, Canadian militiamen and French-allied Indians – both Caughnawaga members of the Abenaki tribe in that region. The day unfolded into a series of brutal and bloody engagements. It began with a French ambush in which British forces, including their allied Mohawks, were engulfed in a blaze of enemy musket fire and killed in such numbers that historians refer to it as "The Bloody Morning Scout." As Dieskau then planned his attack on William Johnson’s encampment, he was confronted by the shaken and demoralized Caughnawaga Mohawks who, after killing their own brethren in the earlier ambush, refused to fight further; the Abenakis and eventually the Canadians also refused. Advancing with only his French grenadiers, Dieskau was caught in the open where he and his forces were felled row-by-row by British canons filled with grapeshot. The day ended with one more ambush when the British attacked what some presume were retreating French, but who others believe were in fact the Caughnawaga Mohawk, Abenaki and Canadians who had refused to continue fighting with Dieskau. The many dead were thrown into a pool, which to this day is known as "Bloody Pond." Of the Indians who withdrew from battle that day to avoid any further bloodshed between tribesmen, some never fought again during the ensuing years of the war. The only way to tell if these Mohawks were aligned with the French or with the British is their weaponry. The British forces carried a legendary and superior Land Pattern Musket colloquially known as the "Brown Bess," a flintlock barrel-loaded long gun ultimately used by land forces of the British Empire for over 100 years. The Brown Bess, with an overall length of some 60 inches, weighed over 10 pounds and used a 69 caliber musket ball. A practiced user could fire at a rate of 3 to 4 rounds per minute, inflicting the greatest damage when fired at 50 yards but with accuracy up to 100 yards. The French weapon was far inferior and had neither the actual nor symbolic power of the Brown Bess. From this it is evident that the two Mohawks depicted in "Trophy Hunters" are fighting for the British. The standing warrior holds his Brown Bess at his side, at a height close to his own; the other crouches, leaning on his Brown Bess as the two await the day’s events. Ultimately, the Battle of Lake George was seen as inconclusive given the loss of life on both sides. Its strategic importance, however, was clear: had they not been stopped at Lake George, the French would have continued their campaign further into New York, putting all of British-controlled New England in jeopardy. To the Mohawks the significance of the battle was of a much different nature. They had lost a substantial part of their population, and in the end they lost their land as well. The Battle of Lake George was a day of futility and sadness that pitted tribesman against tribesman with effects felt by the Mohawk Nation to this day.
SCLP00031
Dave McGary (sculptor), Walks Among the Stars lifesize
Bronze with Patina and Paint, lifesize 76" high
"Walks Among the Stars" is the second bronze in the Native American Women series. It depicts a late 18th century Lakota woman displaying her beautiful heirloom star quilt. As the Indian Wars ended and the North Plains tribes faced relocation to reservations, the Sioux women began making patchwork, quilts as replacements for traditional buffalo robes. Today, the star quilt is a symbol of prestige, sentiment, belonging and status within the contemporary Lakota culture.
17103
Dave McGary (sculptor), Walks Among the Stars maquette
Bronze with Patina and Paint, Maquette 25.5" high
"Walks Among the Stars" is the second bronze in the Native American Women series. It depicts a late 18th century Lakota woman displaying her beautiful heirloom star quilt. As the Indian Wars ended and the North Plains tribes faced relocation to reservations, the Sioux women began making patchwork, quilts as replacements for traditional buffalo robes. Today, the star quilt is a symbol of prestige, sentiment, belonging and status within the contemporary Lakota culture.
18858
Dave McGary (sculptor), Wyoming
Bronze with Patina and Paint, artifact 12.5" wide
In "Wyoming" Dave presents a bronze representation of his native state's history and culture. Among the distinguishing elements of this piece are Chief Washakie's war bonnet, beaded gloves from the Chief's great great grandson James Trospher and a pictorial pipe bag, which is believed to have been obtained in trade or taken from a Shoshone enemy. Symbolizing Wyoming's cowboy heritage is a Halstead Colt 45 and spurs. Also on this piece is a buffalo skull.
17104
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