FLORAL ARTISTRY
REFLECTIONS OF CLEVELAND
AND BEYOND
Jim Ptacek
on exhibit thru September
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JAMES BAMA - LIMITED EDITIONS
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JAMES BAMA
At the Burial of Gallager and Blind Bill |
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paper |
1500 signed & numbered |
17.5" x 23.5" |
email price request |
JAMES BAMA
Bittin' Up, Rimrock Ranch |
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giclee canvas |
150 signed & numbered |
22" x 22.5" |
email price request |
JAMES BAMA
Black Elks Great Grandson |
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giclee canvas |
150 signed and numbered |
20" x 20" |
$750 |
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Clifton DeSerca, a Sioux, lives and works in the modern world but has strong ties to the last days of the free-roaming horseback Native American of the plains. His great-grandfather was Black Elk, a Sioux holy man whose autobiography is considered one of the most important pieces of Native American literature. As a young man, Black Elk participated in the battle of the Little Big Horn. In his older years, he told his story to John G. Neihardt who translated it into the classic Black Elk Speaks. DeSerca serves his people by being involved in a reservation outreach program working with alcoholics. He is portrayed here wearing a Sioux headdress and a historic shirt from the trading-post period. |
JAMES BAMA
Blackfoot Ceremonial Headdress |
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canvas |
200 signed & numbered |
30" x 16" |
email price request |
JAMES BAMA
Buffalo in Storm |
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giclee canvas |
100 signed & numbered |
14" x 25" |
$495 |
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Ask James Bama why he went into Western art and he will tell you quite plainly: he didn't. "Norman Rockwell lived in New England and so he painted small town scenes and harbors. I happen to live out West, so I paint the Indians, ranchers and landscapes I see." Bama's portraits of today's denizens of the West are thoroughly modern, but their occupations, dress and spirit echo those of their predecessors centuries ago.
More than any other animal, the buffalo embodies the rugged tenacity required to survive on the frontier. The day Bama encountered this buffalo, the snow was fourteen inches deep and the animal's coat and hooves were crusted with ice, but still the animal ventured on. This evocative winter scene follows in the footsteps of the immensely successful Chuck Wagon in the Snow , Old Saddle in the Snow and Old Sod House. |
JAMES BAMA
Contemporary Sioux Indian |
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anniversary giclee canvas |
150 signed & numbered |
20" x 30" |
$950 |
The focus of Contemporary Sioux Indian is Oglala Sioux Wendy Irving, a modern-day Indian whose choker necklace, ribbon shirt and braids wrapped in otter skin indicate that he clings to the traditions of his people, yet finds himself caught between two worlds. To give the painting a contemporary flavor Bama placed him against a peeling wall that warns, "No Parking, Violators Towed Away," suggesting that the Indian does not fit in the white man's affluent neighborhood." These are sophisticated young Indians, very aware of what is going on," says Bama." They are not about to sit back passively and endure injustices. They seem limited in what they can do other than become educated and find a niche in the white man's world where their old ways have been accorded little or no place." |
JAMES BAMA
The Davilla Brothers - Bronc Riders |
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paper |
1250 signed & numbered |
15.5" x 19.5" |
email price request |
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JAMES BAMA
Heading for the High Ground |
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giclee canvas |
100 signed & numbered |
18" x 24" |
$745 |
| To create the scene that would become Heading for the High Ground , artist James Bama called upon his friend Jim Williams. Williams, says Bama, is a "real modern-day mountain man. He used to trap and he lived in the Southwest in a cave. He had an old-fashioned porcelain bathtub and all that you would expect. He's a terrific guy." With Williams signed on to model for the painting, they traveled to nearby Rimrock Dude Ranch to borrow a horse for the day.
James Bama's portraits of the denizens of the Southwest are renowned for their touching combination of Old West valor and modern reality. With Heading for the High Ground , Bama hearkens back to both a legendary time and a time that could have been only yesterday. |
JAMES BAMA
Indian Boy at Crow Fair |
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giclee |
75 signed & numbered |
13" x 9" |
$245 |
Crow Fair, held every summer, comprises the largest annual gathering of North American Indians. It lasts for five days and is attended by some ten thousand Indians who set up a thousand tepees. There are parades, rodeo events and horseracing. Drumming and dancing continue far into the early morning hours. This boy was one of four Arapaho brothers from the Wind River reservation who danced at the fair. His distinctive costume and face paint represent his personal creativity and individual style. |
JAMES BAMA
Ken Hunder Working Cowboy |
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artist proof |
signed & numbered |
24" x 21" |
JAMES BAMA
Mountain Man 1820 - 1840 Period |
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paper |
1500 signed & numbered |
21" x 14.5" |
email price request |
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JAMES BAMA
Mountain Man with Rifle |
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paper |
1250 signed & numbered |
21.5" x 13" |
email price request |
JAMES BAMA
Northern Cheyenne Wolf Scout
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paper |
1000 signed & numbered |
21.25" x 13.5 " |
email price request |
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JAMES BAMA
Old Arapaho Story-Teller |
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paper |
1500 signed & numbered |
19.75" x 19.25" |
email price request |
JAMES BAMA
On the North Fork of the Shoshoni |
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artist proof |
signed & numbered |
22.5" x 22" |
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JAMES BAMA
Paul Newman as Butch Cassidy |
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paper |
2000 signed & numbered |
19" x 27.75" |
email price request |
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JAMES BAMA
The Pawnee |
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giclee canvas |
125 signed & numbered |
19" x 15" |
$545 |
| James Bama has derived a great deal of joy from the friendships he has developed with many of the Native American subjects of his portraits. Years ago, he discovered that on a personal level, they are often very different from the confrontational image they often project. For example, Wes Studi, a full-blooded Cherokee, established an impressive screen-acting career with his intense portrayals of a Pawnee war-party leader in Dances with Wolves and as the vengeful Magua in The Last of the Mohicans, yet Bama found him genial and obliging. During their visits to the Bama home, Studi and his children often spent happy hours playing basketball with the artist and his son. The cultural gap was bridgedas two fathers enjoyed time with their children. |
JAMES BAMA
Pow-Wow Dancer |
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canvas |
100 signed & numbered |
25" x 15" |
$695 |
JAMES BAMA
Pow-Wow Singer |
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canvas |
75 signed & numbered |
11" x 11" |
$245 |
JAMES BAMA
Riding the High Country |
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paper |
1250 signed & numbered |
24" x 24.5" |
email price request |
JAMES BAMA
Southwest Indian Father and Son |
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paper |
1250 signed & numbered |
20" x 14.5" |
email price request |
JAMES BAMA
Waiting for the Grand Entry |
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giclee canvas |
150 signed & numbered |
23" x 18" |
$850 |
JAMES BAMA
Young Indian Dancer |
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canvas |
75 signed & numbered |
12" x 9" |
$245 |
JAMES BAMA
Young Plains Indian |
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giclee canvas |
150 signed & numbered |
24" x 24" |
email price request |
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Phone 1-800-621-1141 or 1-440-255-1200
Last modified:
July 22, 2008
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