Lon Megargee

The Bronc by Lon Megargee

ca. 1920s

Lon Megargee 1883-1960 "The War Bonnet" Wood block print Signed: original pencil signature, lower right Image size: 11 x 11 inches Frame size 22 x 22 inches Creator of Stetson's hat logo "Last Drop from his Hat" Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew...

Title: Hopi ca. 1920s Artist: Lon Megargee Medium: Block Print Size: 11 x 11 inches (Sight Measurement) Creator of Stetson's hat logo "Last Drop from his Hat" Image of Lon Megargee not included in purchase. Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew Davis...

Bomber And Buckeroos ca. 1939 Till Goodan Offset Lithograph PRINTS ARE IN GOOD CONDITION. PRINTS MAY HAVE SMALL FLAW ALONG EDGE OF PAPER, DOES NOT EFFECT THE PRINT IMAGE All the prints are 26 x 31 inches, Mustang Peeler, Bombers and Buckaroos, The stranger, Guardians of the Range and Range Baby. Note that “The Mustang Runner” is 3 inches shorter in height, 23 x 31 inches The print by Till Goodan was originally a painting and reproduced by the Westward Ho company as a set. Westward Ho produced the most sought after Western dinnerware ever made. The most popular pattern was the Rodeo pattern by Till Goodan. He Illustrated and branded many accessories sold by the Westward Ho Company. Tillman Parker Goodan 1896-1958 To the casual observer his paintings are exciting and colorful. To the scholars of the Western Era they are benchmarks of authenticity. Such is the style of Till Goodan. He was born Tillman Parker Goodan in Eaton, Colorado on March 27, 1896. His father was a true western pioneer, mayor of Eaton, publisher of its first newspaper, and County Commissioner for several years. After moving to California in 1905 and settling on a little farm that bordered the Michel Cattle Ranch, Till spent much of his boyhood with the Michel sons working on their ranch. There he developed his expertise as a calf roper and the skills of a working cowboy. As a young man Till pursued endeavors that would initially callous his emerging artistic hands. He worked for the famous Miller and Lux Ranch in California. He packed mules and ran pack trains into the Sierra Mountains. He broke horses and competed in local rodeos riding saddle broncs and roping calves. And during the quiet hours he would draw pictures of ranch life and the action of the rodeo. People began commenting on his talents as an artist. In 1917 he left the rodeo circuit and turned his full attention to a career in art. He studied with Roger Sterrett, William Paxton, and Dana Bartlett, all highly respected California artists. Till soon became a free-lance commercial artist doing work for Grauman’s Chinese and Lowe’s Theaters, Helms Bakery and Security Bank. He later assumed a position as Art Director for the Richfield Oil Company. However, his first love was still the art of the old west, horses, cowboys, and ranching. So, he left Richfield and gave his full attention to the field of fine arts. He did oil painting, water colors and lithographs. He drew the Gene Autry Comic Books. He illustrated and hand lettered a large collection of stories about famous bucking horses, ranches, horsemen of the world, and western gear. In association with W.C. Wentz, he started producing a complete line of western gift wares, ceramics, bronzes, leather, paper, and fabric. By the 1930′s he was beginning to receive recognition for his western art and by the early 1940s, he and his daughter, Betty, were illustrating comic books for his longtime friend, Gene Autry. Betty was also a world champion cowgirl. Till Goodan designs appeared in virtually every medium. But, the most famous was the four lines of dinnerware produced by Wallace China...

Bronc by Lon Megargee, Woodblock Print ca. 1920s Handmade Saguaro Rib Frame, double linen mat, museum archival materials Bronc Woodblock Print, signed in print Image: 8 3/4 x 9 7/8 inches Frame: 21 x 20 inches FINE ART ESTATE OF LON MEGARGEE Megargee Custom Handmade Saguaro Frame We offer signed in print and original signature block prints. Custom, hand carved, signature frames, with archival standards and a speciality in hand dyed mats and french matting are provided for a beautiful and timeless presentation. Free shipping Continental US Biography Megargee explored different mediums; printmaking captivated him in particular. The contrast of the black and white block print method captured perfectly his interpretation of a bold American West. The first print was produced around 1921 and culminated with the creation of “The Cowboy Builds a Loop” in 1933 with 28 images and poetry by his friend, Roy George. Megargee continued producing prints throughout the 1940s and early 50s. Creator of the iconic logo for the Stetson Hat Company, " Last Drop From his Stetson", still in use today. Fine Art Estate of Lon Megargee At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar Ranch . . . and, after a few years, was offered a job by Billy Cook...

This Winslow Homer woodcut engraving entitled "Skating on the Ladies' Skating-Pond in Central Park, New York", was published in Harper's Weekly in the January 28, 1860 edition. It depicts a large number of men, women and children skating on a recently opened pond in Central Park. At the time of publication of this engraving, Central Park was in the early stages of construction. This engraving documents the very early appearance of Frederick Law Olmstead and Calvert Vaux's masterpiece of landscape design. According to Olmsted, the park was "of great importance as the first real Park made in this century – a democratic development of the highest significance". The people of New York were very proud of the plans for their park. It was stated at the time: "Our Park, which is progressing very satisfactorily under the management of the Commissioners, will undoubtedly be, one of these days, one of the finest place of the kind in the world...Those who saw the Park before the engineers went to work on it are amazed at the beautiful sites which have been contrived with such unpromising materials; all fair persons believe that the enterprise is managed with honesty and good taste." Skating was rapidly rising in national popularity in part due to the opening of Central Park’s lake to skaters on a Sunday in December 1858 with 300 participants. The following Sunday it attracted ten thousand skaters. By Christmas Day, a reported 50,000 people came to the park, most of them to skate. There were rules governing who could use the skating pond. “The Ladies’ Pond...

Blossom Time in Tokyo Color woodcut, 1914 Signed by the artist in pencil on the image (see photo) Signed in the block with the artist red stamp and her initials (see photo) Condition...

This artwork titled "Keukenhof" 2000 is an original color wood block print by noted California artist Arnold A. Grossman, 1923-2016. It is signed, dated, titled and numbered 1/25 in...

Figurative landscape capturing dock workers' afternoon break by John Theodore Edward Stoll (b. Germany; 1889, d. California; 1974). Signed "John Stoll" lower right. Titled "Drowsy Bu...