Tag Archives: wildlife art

Sculpted Elegance

Loet Vanderveen
Loet Vanderveen

Loet Vanderveen, A Master of Stylized Animals In Bronze, Is Today The True Elder of Wildlife Art.

Loet Vanderveen may not be a household name in the Safari Club world.  But he is the undisputed elder of modern wildlife art and may boast the distinction of having his works in wider circulation than any other animal sculptor on the planet.

The prospects are good that Vanderveen may also be making a rare public appearance at SCI when the 2014 edition opens in Las Vegas.

For collectors who savor sleek and stylized sculptures that range from iconic African species to creatures of the ocean, American West, and Far North, Vanderveen has won acclaim for mastering the magnetic allure of the animal form.

Even today as a nonagenarian (a man in his 90s), he still is churning out captivating compositions. The long list of famous clients owning and proudly displaying Vanderveen’s work over the years has included Her Royal Majesty Queen Elizabeth, the late U.S. Presidents Ronald Reagan and Gerald Ford, famed conservative senator Barry Goldwater, Arnold Schwarzenegger, Mary Tyler Moore, comedian Bill Cosby and racecar driver A.J. Foyt, winner of the Indianapolis 500, Daytona 500 and Le Mans.

“I began buying Vanderveens 20 years ago because they were affordable and my wife absolutely loved them,” says an SCI lifetime member who has a large collection of wildlife art but who asked not to be identified in this story.  “We have a home in the city that is filled with traditional art and a retirement place in the Desert Southwest that has a more contemporary motif. Loet’s animals fit in well at both.”

loetvanderveenCapeBuffalohnt4evrblog112213Vanderveen’s passion for nature—and his mission to celebrate and protect it—actually began during wartime in an era that now seems distant to many. In 1940, when German bombs were falling upon Rotterdam, Holland, Vanderveen’s birthplace, the artist, then a late teenager, vividly remembers what happened to animals housed in the nearby city zoo.  Authorities shot all the predators such as lions, tigers and bears ironically to spare them suffering and, secondarily, to ensure they didn’t escape. One of the big cats was a lion he had bottle-fed as a cub.

“As a boy, the Rotterdam zoo had been a sanctuary, my favorite place in the world. I credit its influence with giving me the dream of going on safari in Africa,” Vanderveen reflects.  “After the bombing raids, the zoo, like much of Rotterdam, was pretty much destroyed.  Elephants and rhinos and other big animals that weren’t killed or maimed by the blasts were found roaming loose inside the zoo gates. A seal had been propelled out of its water enclosure into a canal and a chimpanzee, shell-shocked, tried to find shelter in a bar.  It was a sight of chaos and pain I’ll never forget, but their survival and resilience also helped people heal.”

It was a metaphor that has stayed with him these last 70 years. The subsequent German invasion drove Vanderveen, orphaned of his parents and half-Jewish, underground though he was captured by the Nazis and thrown in prison. Somehow attaining a release, he joined the armed resistance, hooking up with Dutch fighters in Vichy France and then decamped to the Dutch West Indies before heading to London. There, he received a medal of valor from exiled Dutch Queen Wilhelmina.loetvanderveenGerenukAndTreehnt4evrblog112213

While in England, Vanderveen enlisted in the Royal Air Force with hopes of becoming, ironically, a bomber pilot or navigator, but vision problems stopped him from being assigned to the cockpit.  Following the carnage of war, he vowed to devote the rest of his life to elevating the profile of beauty.

Using his skills as a draftsman, Vanderveen landed jobs in Zurich, Switzerland, London and New York City with clothing designers.  One of the biggest mistakes of his life, he said, was turning down a job offer to collaborate with a young contemporary clothing designer in Paris named Christian Dior.

Dissatisfied with the clothing industry, he would eventually head west in America, settling along the rugged Pacific Coast near Big Sur where his studio exists today. In the meantime, his talent in creating tactile objects earned him three years of mentorship from Fong Chow, the renowned curator of the Far Eastern department at the Metropolitan Museum of Art.

The stint gave him knowledge about ancient Chinese glazing techniques for fired ceramics and, by extension, the nuances of patinas (the surface coloring) that would become his signature when he moved into creating bronze wildlife works.

In 1960, Vanderveen started producing one-of-a-kind wildlife creations in ceramic, 15 years later he moved to bronze, and has expanded to marble from the same Italian quarry used by Michelangelo. “You see a lot of wildlife art that usually is very realistic and detailed,” Vanderveen says.  “I want to achieve a totally different effect and try to convey the essence of the animal or group of animals with a minimal amount of detail.”

Vanderveen says he’s been influenced by art produced during the Han Dynasty in China 2200 years ago and more recently by some of the European animaliers like Rembrandt Bugatti and Francois Pompon.

loetvenderveenBaboonhnt4evrblog112213Many high-end collectors are familiar with Vanderveen’s acclaimed series of pieces created in fine crystal for Baccarat, hencely called “the Safari Collection.” His bronzes range from small portrayals that one can hold in the hand to monuments adorning the grounds of private and corporate clients.

While today there are plenty of talented stylists in wildlife art, people like Simon Gudgeon, Rosetta, Tim Cherry, and Robert Duerloo, Vanderveen was arguably the first to popularize it for a mass market.

Vanderveen, who divides his time between Big Sur and Polynesia, makes few public appearances. But he is planning to be at Call of Africa’s Native Visions Gallery in Las Vegas during the 2014 show.– Todd Wilkinson



Writer, hunter, conservationist and art connoisseur Todd Wilkinson, who pens this column in every issue of Safari, is author of the new critically-acclaimed book, “Last Stand: Ted Turner’s Quest to Save a Troubled Planet.”


From Field to Canvas: Painting from Real Life Experiences


The 2014 SCI Convention is very excited to have a seminar given by noted wildlife artist Joshua Spies. Listen to this international award-winning wildlife artist and conservationist  discuss the process by which he paints from his own experiences, traveling and hunting. Learn how Spies’ desire to work for conservation has led to his success as an artist. And observe Spies in action as he works on a new piece during this seminar. Questions and interaction are encouraged.



The Art Of Memory

Trevor Swanson, offspring of an iconic painter father, is asserting his own talent as one of SCI’s favorites

Long before he was old enough to drive, and only a short while after he passed hunter safety, Trevor Swanson set out on the first of several African safaris. For

With a Baleful Glare by Trevor Swanson
With a Baleful Glare by Trevor Swanson

him, it was the inaugural trip–to Kenya back in the 1970s–that still looms largest. The teenager came in contact with lion prides, leopard ambushing prey in tall savanna grass, thundering elephants, and temperamental rhinos darting alongside the Land Rover.

The memories are sacred, he says, because the journey was chaperoned by his late father, Gary, who, at the time, was rapidly rising as one of the better-known contemporary sporting/wildlife artists in America.

“He wanted to give me a taste of wild Africa because he was worried that, in the future, it might be gone—and he was right. Much of it is in danger of being lost,” Swanson reflects. “I saw how art became a personal statement of what he cared about, what his values were.”

Trevor Swanson today can tell you a lot about the meaning of heritage and values.  They flow through the feelings he has about hunting, family, nature and art. In his clan of remarkable painters, there is no line of separation between what one does and who one is.

When collectors buy his paintings and lithographs for their walls, just as they did his famous father’s and uncle’s, they know there’s a deeper story behind them.

Remnants of the Old Field

In “Remnants of the Old Field,” a 30 X 20-inch oil, Swanson takes us nostalgically to an old homestead cabin in the Rockies near Grand Junction, Colorado. There, a band of mule deer has reclaimed the abandoned sagebrush-covered pasture.  The painting speaks to nature’s resilience and the power that resides in wild landscapes.

Now, with autumn approaching, Swanson is again locked in his Arizona studio, finishing more than a dozen new oil paintings of big game animals and birds that he’ll roll out at the 2014 Safari Club International gathering this January in Las Vegas.

“SCI was always a place my dad loved because it brings together friends from around the world,” Swanson says. “I’m proud to be carrying on the tradition. I’m honored to be creating art that appeals not only to those of my father’s generation but to a younger breed.”

Indeed, Swanson’s booth is a fixture at SCI but not everyone is aware of the course that led him there.  “Trevor’s one of the good guys out there. He’s genuine and sincere in his painting,” says his friend and contemporary, the well-known wildlife sculptor Tim Shinabarger.

Born in California in 1968, Swanson was raised in Prescott, Arizona, where he had ready access to his father and uncle Ray who nurtured artistic expression in younger members of an extended family.

Trevor absorbed a lot of the instincts about painting that his elders possessed by joining them on research missions, hunting trips and watching them in the studio. During high school, he would draw incessantly in class and open his sketchbook again at night when he was supposed to be doing his homework.

Dusty Cattle Drive
Dusty Cattle Drive

His father charmed Trevor’s teachers, convincing them that allowing the boy to travel would do him good, he said.  His “learning adventures” led him to spending months on the plains of the Serengeti beneath Mt. Kilimanjaro, in South Africa and Botswana.  During summers and autumns, they went to a ranch outside Livingston, Montana and ventured north to Alaska and British Columbia.

“Both Ray and my dad would say ‘No matter what you do, you need to identify the things that energize you. Whatever charges your

batteries, go find a way to pursue it.  If you’re a painter, go out and witness it, study it, bring the memory of it back, and then paint it.”

In 1994, Swanson attracted national attention when the Foundation for North American Wild Sheep named him artist of the year.  A recent work that dramatically shows Swanson’s command with alpine scenes is “Dwellers On High,” a depiction of mountain goats.

As Trevor’s reputation grew, Gary and Ray Swanson offered him critiques, if asked, and they were careful not to dole out false praise.  When it came to art, they imparted tough love.  One afternoon, for example, Trevor was toiling on a figurative painting of a trapper.  His uncle stepped forward and with the flick of only a few brushstrokes put a face on the subject.

Trevor admired Ray’s contribution, believing it would help sell the work. But just as quickly, the elder pulled out a rag soaked with turpentine and wiped the image away, leaving the challenge for Trevor to overcome.

If there’s an enduring lesson that his father and uncle taught him, Swanson says, it’s knowing the freedom to start over, or even to scrap a painting that isn’t working.  Better than forcing a work to be something it isn’t, or trying to pass off an inferior work to collectors, is to walk away and start anew.

“Dad and Ray had a ritual. They would take a knife and shred the surfaces of any paintings they weren’t happy with or didn’t live up to their standards.  I have a zebra91713couple of swords I use and it’s strangely liberating,” Trevor explains.  “They said ‘Don’t be afraid to chalk up a bad painting as a mistake and aim to do better the next time.’ They believed that great painting is a product of numerous failures.’”

Gary and Ray also painted with a sense of urgency, as if they knew they didn’t have a lot of time to waste, Swanson says, an allusion to the fact that Gary (1942-2010) and Ray (1937-2004) died relatively young.

Today, Swanson himself gives back to young artists and aspiring older painters by hosting classes and workshops. Jennifer, his wife and mother of their two teenage children, describes Swanson’s studio as a “beautiful disaster.”  “I claim that moniker with pride,” he says.  “Who has time for filing when there is painting to be done?”

In reality, the studio offers a glimpse into how Swanson thinks and what he treasures.  Painting frames, piles of sketches, glass jars filled with dry paint brushes, and stacks of art and nature books abound.  Inhabiting easels and leaning against the wall are 10 different paintings in various stages of completion. Above, there’s an old warrior mask made out of seal guts by Inuit artisans in Alaska. And nearby, his father’s backpack that he used to carry Trevor into the wilderness more than 40 years ago.

When Swanson isn’t at SCI, he shows with a number of art outlets, including Legacy Galleries in Scottsdale and Jackson Hole. He’s been with Legacy since it opened a quarter century ago.

At Home in the Santa Rosas by Trevor Swanson
At Home in the Santa Rosas by Trevor Swanson

“Trevor grew up with hunter’s eyes and he sees things the way that hunters do,” Brad Richardson, Legacy founder, says.  “He puts loads of information into his paintings.  If you’re a hunter and detail is exactly what you’re looking for, then Trevor is feeding meat to the hungry.”

One of those with in insatiable appetite for Swanson’s work is Gail Zimmerman, an oil industry veteran who lives in Casper, Wyoming.  At the 2013 SCI convention in Reno, Zimmerman bought a desert quail painting titled “At Home in the Santa Rosas.”  Swanson captured the scene after studying the covey for hours one evening just before sunset.

“It looks lifelike and realistic and the colors are vivid,” Zimmerman told me.  “Trevor knows his subjects.  That, to me, is important.”  The work is one of several that Zimmerman owns. Others are a moose painting and a grizzly with cubs.

Richardson notes that it would be difficult for any son of an icon to tread in the same business terrain as his elder, especially given Gary Swanson’s stature at SCI.  But Trevor, he says, has handled it extraordinarily well and come into his own.

“Trevor’s been at it for many years.  He enjoys a devoted group of collectors and yet he, unlike a lot of other artists his age, has stood the test of time,” Richardson says.  “If you don’t have talent and persistence, then you won’t have staying power and your tenure in the art world is likely to be short term.”

He adds, “Here’s what I find interesting. Trevor has longevity because his whole life has been spent around artists and yet he himself is still relatively young.  If he continues to evolve, if he is willing to challenge himself and push beyond his comfort zone, then I think he has the potential to be among the greatest artists who ever showed their work at Safari Club. The future is up to him.”

Swanson’s painting stylbison91713e is in the midst of a subtle shift.  Rather than adhering to ultra-Realism, his works have taken on softer edges and a more diverse range of color. Fully half of his collectors today are women who hang his pieces in the living room while men tend to display them in the den.

“I don’t have to paint the biggest elk or rams with full curls or a hulking lion. I don’t feel compelled to paint giant trophy animals like I used to. I paint what I see when I go into the field,” he says.  “It’s not the size of an animal that lingers in the memory. It’s all of the different aspects that I try to bring together. That’s what hunters can relate to.”

For years, Trevor Swanson shared a studio with Gary. It took him a decade, at least, he says, before the apprentice informed the teacher that he had enough confidence to strike out on his own.

“My goal is to paint the things that inspire me and take my breath away,” Trevor says, reflecting on all his encounters dating back to the first safari with his dad in Africa so many years ago.  “Growing up, I had a lot of those kinds of moments. My family is a big part of my good fortune.  Painting is my way of remembering.”– Todd Wilkinson

EDITOR’S NOTE:  Todd Wilkinson, a lifelong sportsman and journalist, is author of the critically-acclaimed new book, “Last Stand: Ted Turner’s Quest to Save a Troubled Planet.”

The Safari Club Bounce

Reflecting on Reno, looking ahead to Las Vegas, collectors say SCI is place for fine art.


As I strolled the makeshift avenues at the 2013 Convention, I saw a bullish sentiment for art that we haven’t seen in half a decade. SCI Artist of the Year, Fred Boyer’s “Limiting Out” had a retail price of $36,000, but commanded a closing bid of $43,000. Boyer, a lifelong hunter and bronzeman from Anaconda, MT, said that based upon demand at his booth, he had “an excellent show,” but the exclamation point for rebounding sales was the performance of “Limiting Out.”

“The sense I get is that more people are encouraged about the economy,” Boyer said. “Then again, Safari Club has always been a place where quality art is appreciated.”

With the retraction of the general art market, SCI has solidified its reputation for being the largest and premier venue for sporting art under one roof.

Day of Reckoning--Laurel Barbieri
Day of Reckoning–Laurel Barbieri

Laurel Barbieri first became an exhibitor at SCI in 2009, which was arguably the worst time to be trying to exert a presence.  “But every year that I’ve been at Safari Club, my sales have grown,” the 48-year-old from Portland, OR, says. “The people who have been purchasing my work have been in their 30s, 40s and 50s,” she says.  “What this tells me is that there’s a range of art connoisseurs. There are older collectors who prefer work that is more tightly rendered and then there’s a new generation of SCI members who are decorating their homes with more contemporary, more modern, expressions of the animals they love. I feel like, with these collectors, we’re growing up together and I look forward to my interactions with them in the decades ahead.”

A true youngster, Zimbabwe-born Maxine Bone, said SCI is her most important meeting with collectors every year. The daughter of artist Craig Bone, who once set a sales record at SCI auction for his work “Year of the Leopard,” Maxine and her painting sister, Lauren, are making names for themselves in America.

“I wasn’t expecting the show to go that well this year with all the uncertainty that exists out there, but it turned out to be great,” Bone said.  Her large oil, “Beneath the African Sun,” which portrays an African elephant, was one of several she sold.  “For my family, SCI is the main show we do and allows us to interact directly with the people who buy our work.”

The Old Guard--Walt Matia
The Old Guard–Walt Matia

SCI again attracted an international clientele, collectors from as far as away as the Middle East and Asia. As Fred Boyer attests, it’s not just big game that appeals to discriminating buyers.  His small-edition pheasant casting, “Flushed” brought avid interest from bird hunters. Not far away, Maria Hajic, senior curator with the Gerald Peters Gallery based in Santa Fe, was visiting with collectors interested in acquiring sporting sculptor Walt Matia’s new setter piece, “The Old Guard.”

“We value the diverse flavor that fine art always brings,” says SCI CEO Phil DeLone.  “We know that the tens of thousands of hunters and anglers who attend our convention are wild about art, and we appreciate that the sale of art has helped us fulfill our mission of protecting wildlife, its habitat and bolstering our Hunter Defense Fund.”

DeLone adds,  “SCI is all about honoring those who proudly view hunting as a lifestyle.  But it’s not limited just to people who hunt. What we’ve found over the years is that dramatic artistic portrayals of game animals, be they the Big Five from Africa or iconic species in North and South America, Europe or Asia, family members enjoy having art in their lives as much as the hunters do.”

DeLone and SCI president-elect Craig Kauffman made a point of meeting with as many artists and gallery owners as possible.  A couple of takeaways from SCI 2013:

First, it’s now a buyer’s market for collectible art. Rising prices for works by many living artists have actually slowed and deals are there to be had. Second, many painters and sculptors, knowing that not as many people can afford large pieces, are making more smaller works available for sale. Third, hunters are waking up to the fact that original art is a perfect heirloom to pass down to the next generation. Fourth, there’s a dramatic shift occurring among collectors who are choosing original paintings and sculptures over limited edition prints.

For readers, you’ll be seeing more art-related feature stories and interviews in Safari publications, DeLone says.  Among some of the other possibilities in the works: a brand new miniature art show, following the trends of similar shows launched by museums and galleries, featuring works by some of the world’s top wildlife artists who happen to be SCI regulars; a pre-convention luncheon for artists and galleries operating art booths; and a special “artwalk map” that will help art lovers navigate the conference facilities in Las Vegas.

“We’ve had an excellent run in Reno.  The city’s been a great partner. We expect even bigger things next year in Las Vegas,“ DeLone says.  “If you are a wildlife artist and a person who collects wildlife art, we want to re-affirm the fact that Safari Club is the place where you need to be.” DeLone has just one recommendation to the SCI faithful: spread the word.– Todd Wilkinson

Limiting Out–Fred Boyer