Lot of 3 Duck Stamp Prints
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Lot 0138 Details
1) Ken Carlson, "Pintails", 2nd Texas Duck Stamp 1982, 2609/9500, image size: 6.5 x 9", frame:19.5 x 19.5"
2) David Maass, "Wood Ducks", 4th Texas Duck Stamp 1984, 2609/9400, image size: 6.5 x 9", frame: 19.5 x 19.5"
3) Herb Booth, "Green Winged Teal", 5th Texas Duck Stamp 1986, 2609/8600, image size: 6.5 x 9", frame: 19.5 x 19.5"
1) Born and raised in Morton, along the banks of the Minnesota River in southwestern Minnesota, Ken Carlson developed an early affinity for the wildlife that he so skillfully paints as a mature artist.
He took his early art training with Walter Wilderding, head of the Art Instruction School in Minneapolis, and after high school graduation, moved to Minneapolis where he attended the Minneapolis School of Art and also did illustration work for a local TV station and a newspaper. He spent evenings at the zoo studying the animals, and the director gave him a key so he could roam at will. However, he was attacked by a bull elk, which sent him to the hospital, and later in Alaska, he was charged by a bull moose.
In 1972, he illustrated a coffee-table book on North American birds, and two years later had his first one-man show of bird paintings in New York. But he found he was more successful with the large animals such as moose, bears, bull elk, caribou, and bison.
He and his wife, Mary Lea, lived for a period in California, then in Montana, and then settled in Kerrville, Texas whose charms he discovered on a turkey hunt. He spends his days studying and painting big game animals and also does woodworking.
Dedicated to saving wildlife in their habitats, he was named the "Living Legend for Wildlife Art" in 1998 by the Foundation for North American Wild Sheep. His work with that organization began in the 1980s when he created posters for their fund raising, which is used for research centers and game departments.
After high school graduation, Maass worked in the tool and die department for Josten Jewelry, a manufacturer of high-school and college jewelry, and he eventually became the Art Director. Stu Ferreira, a wildlife artist, worked in the department and helped Maass improve his technique and gave him the encouragement he needed to continue painting.
2) David Maass, essentially a self-taught wildlife illustrator, was born on November 27, 1929 in Rochester, Minnesota. As a youngster he rescued wounded birds and raised pigeons in his home. Also, there was a tradition of hunting in his family as his mother Ora was a Minnesota state trap-shooting champion. Also he hunted frequently with his stepfather, "Kelley".
Maass also spent two years in the Marines in California, where he became friends with another wildlife painter, David Hagerbaumer, receiving pointers from him. After his service, Maass returned to Minnesota.
Maass has won thirty-three duck and conservation stamp competitions, including two of the coveted Federal Duck Stamp Contests, one of them in 1974, when he was also chosen Artist of the Year by Ducks Unlimited. He has been named Artist of the Year and feature artist by many other exhibitions and conservation organizations, including the National Wild Turkey Federation and the National Wildlife Art Collectors Society. Maass has raised millions of dollars for conservation causes through donations of his original artworks and limited edition prints.
Over three hundred of Maass' illustrations have been published by Wild Wings, Inc., and he has produced calendar illustrations for twenty-seven years for Brown & Bigelow.
His work has been widely reproduced in journals, books and magazines. Two books are: A Gallery of Waterfowl and Upland Birds, with writer Gene Hill; and The Wildfowl Art of David Maass by Michael McIntosh from the Master of the Wild Series.
Maass shows his work in the annual Lywam Birds in Art and Lywam Wildlife in Art exhibitions in Wausau, Wisconsin. He is represented in the collection of the Minneapolis Institute of Arts, Minnesota.
Maass was termed a "master artist" by U.S. Art in June 1997.
3) Herb Booth wedded his artistic skills with decades of experience as a naturalist and hunter and became a painter of sporting and wildlife scenes in Texas. Booth designed eleven conservation stamp prints. He is best known for his watercolor paintings. Author Michael McIntosh notes: "It is a peculiar fact of sporting art it cannot be successfully faked. A sporting scene, if it aspires to any degree of acceptance, must not only reflect genuine experience on the artist's part but must also evoke the memory and feeling of similar experience in the viewer." In Booth's art the sense of authenticity and depth of personal experience are instantly recognizable. For the past twenty years he specialized in personalized sporting scenes including scenes of families hunting or fishing together.