17

Tom Lovell

1909-1997

"A Warrior No More," 1994

Oil on canvas
Signed and dated lower left: Tom Lovell / NAWA / © 1994; signed again and titled on the frame's backing board, as well as signed and titled multiple times, and inscribed, on labels affixed to the frame's backing board
30" H x 22" W

  • Provenance:
    National Academy of Western Art/National Cowboy Hall of Fame, Oklahoma City, OK
    Barbara and Frank Batsch Collection, Naples, FL, Santa Fe, NM, and San Diego, CA, acquired from the above
  • Exhibited:
    Oklahoma City, OK, National Academy of Western Art, circa 1994
  • Notes:
    This lot is accompanied by a sales invoice dated June 11, 1994, from the gallery mentioned above, and other documentation materials related to the painting.

    Tom Lovell wasn't just a painter—he was a historian with a brush, a storyteller who brought the past roaring to life on canvas. Born in New York City in 1909, Lovell's fascination with the American West and Native American culture began early. Though he earned a Bachelor of Fine Arts from Syracuse University in 1931, his true education came from his relentless research and passion for authenticity.

    Before shifting to fine art, Lovell made a name for himself as an illustrator for Collier's, McCall's, and National Geographic, even crafting eerie, unforgettable covers for pulp fiction magazines. But it was the untamed landscapes and poignant stories of the Old West that truly captivated him. In 1969, a commission for fourteen large-scale paintings of Southwestern history solidified his devotion to Western art. By 1974, he had already won the prestigious Prix de West, an award he would claim twice—becoming the first artist to do so. His meticulous research and cinematic compositions made him a legend, earning him a Lifetime Achievement Award from the National Academy of Western Art and the National Cowboy Hall of Fame in 1992. Producing no more than a dozen major oil paintings per year, Lovell ensured every brushstroke held meaning. His work didn't just capture the West—it preserved its spirit.

    In "A Warrior No More" (1994), Lovell captures a moment of quiet surrender, a warrior's final farewell to his fighting days. The aged warrior sits atop his trusted horse, leaning forward to place his eagle-feathered, horned war bonnet on the limb of a dead tree. Clad in tanned hide, beaded breeches, and moccasins, he gazes out across the vast open landscape. The once-prized headdress—a symbol of leadership, honor, and battle-earned achievements—is now set aside, marking the end of an era.

    The horned war bonnet was not given but earned, feather by feather, through acts of bravery, wisdom, or leadership. Each eagle feather in the headdress told a story; only the most respected warriors and chiefs could wear them. Traditionally, these bonnets were adorned with bison or cow horns, horsehair, owl feathers, and European red wool trade fabric, creating an imposing and sacred object. Yet here, Lovell paints a warrior retiring from his past, acknowledging that the battlefield is no longer his place.

    The vast landscape behind him suggests an uncertain future—not just for him but for his people. Lovell's masterful use of light and space amplifies the painting's emotional depth, making "A Warrior No More" a powerful reflection on change, loss, and the passage of time.
  • Condition: Visual: Overall good condition.

    Blacklight: No evidence of restoration.

    Frame: 37.5" H x 29.5" W x 2.5" D


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