Lot 300
John J. Scott (American, 1919-2016). "Ah-Wa Coos" silicon bronze, 2000. Inscribed with the artist's signature as well as the title of the piece and the edition number 9/250 on the integral bronze base. Skillfully and meticulously cast via the lost wax process, "Ah-Wa Coos" demonstrates American sculptor John Scott's painstaking attention to the details of his subject's anatomy as well as his deep respect and connection to wild life. The pronghorn antelope gazes out with wide open eyes (responsible for a 320 degree field of vision) and a prominent snout, its proud visage crowned by alert ears and branched horns with pointed tines. Scott skillfully rendered the animal with impressive realism. Note the various textures delineated on its furry coat and pointy horns A fabulous bust of a pronghorn antelope, the fastest land mammal in the Western Hemisphere, achieving speeds of up to 55 miles per hour! Size: 7" H (17.8 cm); 8.375" H (21.3 cm) on included custom stand.
Prior to Europeans arrival in North America, the pronghorn enjoyed living in the region of the Plains Indians as well as the indigenous peoples of the Northwest Plateau where it was the primary food source of the natives. In addition, Native American mythology and oral history featured the pronghorn. Lewis and Clark described the pronghorn antelope which the called an "antelope" or a "goat" as follows, "Of all the animals we have seen the Antelope seems to possess the most wonderful fleetness. Shy and timorous they generally repose only on the ridges, which command a view of all the approaches of an enemy ... When they first see the hunters they run with great velocity ... The Indians near the Rocky Mountains hunt these animals on horseback, and shoot them with arrows. The Mandans' mode of hunting them is to form a large, strong pen or fold, from which a fence made of bushes gradually widens on each side. The animals are surrounded by the hunters, and gently driven towards this pen, in which they imperceptibly find themselves enclosed, and are then at the mercy of the hunters." (Guthrie, W.; Ferguson, J. (1815). A New Geographical, Historical, and Commercial Grammar and Present State of the Several Kingdoms of the World. Vol. 2. Philadelphia, USA: Johnson & Warner. p. 308.)
John Scott was an American artist of Scottish heritage. He lived in a log cabin in the woods of Kittredge, Colorado that he built from the ground up and created sculptures and paintings inspired by the wildlife and scenery of Colorado and Wyoming. According to his wife Dorothy, "He was always working and always looking for something to throw himself into completely." Of note, John was immensely proud of his Scottish heritage, learned to play the bag pipes, and wore his Clan Scott tartan kilt. John was also an avid hunter of large game in Colorado and Wyoming as well as British Columbia and Alaska.
Not only did John build his log cabin which he called "Brig-O-Doon" - he also built and operated his own studio and foundry. John created his bronzes via the lost wax process, a method first used by the ancients. His technique involved 24 steps from the creation of the mold to pouring the hot bronze to welding the piece back together to the embellishing with finishing touches. Indeed, John's passion for his chosen profession was boundless; in his words, "Art is a monster that sweeps over me and it seems I never satisfy that creative spirit."
John Scott loved his homeland and his art has been exhibited throughout the American Southwest and beyond in reputable galleries of Colorado, New Mexico, Arizona, Texas, Nevada, and California.
Provenance: Private John J. Scott Collection, Kittredge, Colorado, USA, acquired from the late John J. Scott
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Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#170557
- Condition: Bronze is excellent and presents with a beautiful patina. Wooden base has minor scuffs and wear, but is otherwise very nice. Inscribed with the artist's signature as well as the title of the piece and the edition number 9/250 on the integral bronze base.
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