391. Description: LINCOLN FOX (American b. 1942) A PATINATED BRONZE, "Blessing Little Brother," the patinaed bronze figural group of a bare chested American Indian shaman with extended right arm, bent over a wounded stag and holding the stag's head in his left hand, the stag draped with the Indian's tunic, with squash blossom necklace draped around his neck and bracelets around his extended front right leg, signed LINCOLN FOX 1973, mounted on shaped wooden base. Height: 9 1/2" Width: 18 1/2" Depth: 10" .
This piece has a special positive charge to it that draws one to really think about what this is about. As a big game hunter, it grabbed me and I could not get it out of mind, it had a great impact on me. 6/20.
I asked Lincoln about the piece, and his response follow:
December 22, 2014
I'm always glad to answer such questions. "Blessing Little Brother" holds a special place in my heart as well.
Many years ago when I started this piece, I was inspired by the fact that so many of the American Indian tribes believed that we all are created by the same Source...therefore, we were all brothers.
When a family needed to take a deer for food, the head of the family would not go out and try to ambush a deer, but would ask in a prayer for permission to take ones life. If he believed he had received permission he would go out into the woods and wait. When a deer showed up in his area he took it's life because that was the deer who had agreed to fill his need.
Once back in camp he honor the deer by putting bells and feathers in its antlers along with occasionally draping it with a shirt, jewelry etc. Heartfelt thanks would be given for the sacrifice.
I created this composition with one arm stretched out reverently in prayer. After I created it I suddenly realized that an arm could pray. Later I saw that every part of our body responds perfectly to the emotions we are feeling.
This work was created in 1973 I believe. It is bronze in an edition of 20 ,and is a closed out edition...my first edition to sell out.
Because I do not like to flatten off a large spot to record all my information...It hurts the composition...I often put bits and pieces of information scattered around the base. Often I will place my symbol or the edition number, etc. on a small facet of form that isn't so easy to see. I believe with a thorough enough search the number will appear. I have no way of knowing which number this piece is without looking for the number...I do not know where it was originally purchased from.
I can and do control my prices as long as it's edition remains open. However, once it closes there is no way for me to do this.
Occasionally I will hear what a piece sells for and record that figure for inquiries such as this. It has been several years, but the last price I am aware of was it selling for $8,500. Of course the real value of anything is what someone is willing to pay for it at any given time.
Viva please tell our patron that we will soon be opening up a completely new web site with hundreds of photographs, work in progress and progress shots of many of the pieces that are now in galleries. The interesting thing, for me, is to show views and angles of my work not normally seen...a bit of insight into my creative process. I will have Sage Creek Gallery contact my patrons when the site goes up.
Here are a few artist's statements I have included on my past brochures.
"My art allows me to explore what animates us all-what drives us to grow beyond our limitations-and become more and bigger than our environment."
"Since most of our communication is non-verbal, I usually choose figurative subject matter, because the bodies language reveals so much about us-our fears, hopes, and aspirations."
"Sometimes i feel like a blind fisherman-sounding the depths of the creative sea- occasionally catching a 'big one' but not knowing exactly what I've caught until my sense of touch reveals it."
Of course the irony of my search is that it never ends. The moment I'm sure I've got it-a new dimension of understanding opens up and -here we go again."
I look forward to meeting you some day.
December 24, 2014
It is a great gift to me when others see in my work... some of what I see.
Please share with Dennis and Linda that the three triangles touching in the center, is my symbol.
I don't share the true meaning of this symbol with many, but since we have 'understanding' patrons here.....
If one were to trace the unbroken outline of the three triangles they would end up at the same place...back at the beginning.
To me this symbol shows power coming from above...flowing to and fro and returning to it's beginning in an unending flow of creative energy from the Source.
...A humorous side note about my symbol.
Some years ago I was in Japan creating a 32 foot tall sculpture for the Negoya World Park Festival. At the very beginning of the project, I found myself surrounded by 7 engineers, planners and dignitaries. They were all gathered around my 32 inch maquette of the "Tree Of Life". All of a sudden one raised up and exclaimed............................"MITSUBISHI".........???
Without hesitation I replied......."It's OK, I told them they could use the symbol."
Suddenly there was a defining silence...I begin to wonder if I should head for the door.
...gratefully soon there arose a crescendo of laughter.
This symbol is one of the oldest recorded...older than the star symbol. Mitsubishi was able to get a copyright on it ( only relating to their Automobile brand.)
Biography of Lincoln Fox: After living in New Mexico for over twenty years, Lincoln and his wife, Rachelle, moved to the Western Slope of Colorado in 1990. Orchards, vineyards and ranches surround his studio, in a valley of snow-capped mountains. The area's beauty and tranquility provide inspiration for his creativity.
Lincoln holds two master's degrees, and continues private studies in Europe, the Mediterranean, the Mid-East, and Africa.
He has been honored with one-man shows at the Smithsonian Institution in Washington, D.C., the Kennedy Galleries in New York City, and many museums and galleries across the nation. Lincoln has been a member of the National Sculpture Society in New York since 1982.
Some of his sculpture commissions include a 17' piece for the Albuquerque International Airport; an 18' piece for the Fine Arts Museum of Albuquerque; a 23' piece for a university in Texas; and a 14' piece near Montgomery, Alabama, dedicated by President George Bush.
The Global Family Tree of Life, sanctioned by the United Nations (U.N.E.P.), is four stories tall. The Japanese prefecture of Aishi commissioned a 32-foot study, cast in metal-reinforced F.R.P. to be shown at their international park festival, held in Nagoya, Japan. Lincoln's powerful modeling reveals the "breath of life" in his work.
SELECTED SHOWS, JURIED EXHIBITIONS AND PROFESSIONAL ACTIVITIES:
• Mid-America I Exhibition, Kansas City, Missouri (Sculpture Award)
• International Art & Craft Exhibition, McAllen, Taxas (Sculpture Award)
• 60th Annual National Competition of American Art, Jackson, Mississippi (Purchase Award)
• Southwest Fine Arts Biennial, Museum of New Mexico (Juror Award)
• First Contemporary International Exhibition, Chico, California
• Museum of Fine Arts, Riverside, California
• National Rendezvous of Western Art, Helena, Montana
• The West Returns to Grand Central, Grand Central Gallery, New York, New York
• National Cowboy Hall of Fame and Western Heritage Center, Solon Borglum Memorial Sculpture Exhibition (Bronze Medal)
• One-Man Show - Smithsonian Institution, Washington, D.C. (Two months, 46 pieces shown)
• One-Man Show – O'Brien's Art Emporium, Scottsdale, Arizona
• One-Man Show – Kennedy Galleries, New York, New York
• One-Man Show – Fine Arts Museum, Albuquerque, New Mexico
• One-Man Show – El Paso Fine Arts Museum, El Paso, Texas
• New Mexico in Toronto, Linda Durham Gallery, Toronto, Ontario, Canada
• Oklahoma Fine Arts Museum, Oklahoma City, Oklahoma
• National Academy of Western Art, National Cowboy Hall of Fame, Oklahoma City, Oklahoma
• Western Heritage Sale and Auction Show, Houston, Texas
• National Sculpture Society's Annual Exhibitions, New York, New York (Misner award, 1982; Bedi-Makky Prize, 1985)
• National Western Artists Annual Exhibitions, Lubbock, Texas (Silver Medal, 1984; Gold Medal, 1985)
• Grand National Exhibition, American Artists Professional League, New York, New York, (Medal of Honor)
• Member National Sculpture Society since 1982 (Advanced to "Fellow" 1990)
• National Western Artists Exhibitions
• Texas Cowboy Artists (Gold Medal, 1986; House Foundry Award, 1986)
• Listed in "Who's Who in American Art"
• Listed in "Men of Achievement", International Biographical Center, Cambridge, England
• Independent Study in Western Europe, Africa, Mediterranean and Mid-East
• Commission – "Before the Second Coming", 16'x15' relief (cold cast bronze), Ruidoso, New Mexico
• Commission – "Star Shooter", Franklin Mint, Franklin Center, Pennsylvania
• Commission – "Dream of Fight", 17' monument, Albuquerque International Airport, Albuquerque, New Mexico
• Commission – "The Shepherd", 18' monument, Albuquerque Fine Arts Museum, Albuquerque, New Mexico
• Commission – "In the Cool of the Day", 9' bronze, San Angelo, Texas
• Commission – "The Aspen Grove", 11' double arched doors of bronze, etched glass and hammered copper, Aspen, Colorado
• Commission – "Strength of One", 14' bronze fountain, near Montgomery, Alabama
• Commission – "Global Family Tree of Life", 32' monument. Sanctioned by U.N.E.P. Funded by Aishi prefecture, Japan. First displayed in Nagoya Japan's International Park Festival
• Commission – "The Quest", 23' monument, Angelo State University, San Angelo, Texas
• Commission – "Pioneer Woman", 12' monument for D.A.R. (Daughters of the American Revolution), Grand Junction, Colorado