SOLD.....

Our two Louis ShipShee works have gone to a leading private ShipShee collection.

Above is listed artist Louis ShipShee's (California interior designer) (1896-1975 American) 1958 vintage work "Geronimo". Canvas is 16x20 inches. Evocative - Powerful. Would make a unique gift. Sold
Louis ShipShee (1896-1975)

ABOUT LOUIS SHIPSHEE: Louis ShipShee was born on the Prairie Band Potawatomi Reservation near Mayetta, Kansas, in 1896. A self-taught artist, he became well-known among collectors of Native American art for his portraits of noted figures, past and present. One source has indicated that his most famous works were of Chief Joseph of the Nez Perce and Chief Red Cloud of the Oglala Sioux, both done on sheepskin. ShipShee also painted works on deer and elk skins as well as velvet and canvas. While he preferred portraits, ShipShee's landscapes often included buffalo in the scenes. One of those paintings was donated to the Kansas Museum of History in 1999 by Charles King of Tucson, Arizona. The work is said to have been in the collection of Kansas Governor Alf Landon, and may have been given to Landon by ShipShee himself. Louis ShipShee moved from job to job, wanting to see what he could of the world. He served in the U.S. Army in World War I, stationed in Siberia. By the 1930s he was working as an instructor of interior decorating at Haskell Indian Junior College in Lawrence, Kansas, where he also gave art lessons. His ability in interior decorating proved successful in both Oklahoma and California. In the early 1950s ShipShee married and returned to Topeka. Proud of his heritage, he acquired a collection of Native American artifacts, often by trading his own paintings. He died in Topeka in 1975 and is buried in the reservation cemetery on land his father had set aside for that purpose. We are located on the border of North Dakota and Minnesota, Fargo - Moorhead. Call (701) 451-9111

Various Artist Quotes.
Don Bluth (American 1937-):

All the painting on the cels was farmed out to women all over the city of Los Angeles. They took it into their kitchens and painted it.


As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.


Basically the children who watch it just see the little characters they love, and so they're not discerning about whether it looks great or it's a great story or anything.


But I've been surprised over the years. I mean, someone told me the other day that maybe 360 million people have played this game in the world. That's a lot of people.


Dragon's Lair 3D is about as close as you can come to controlling an animated feature film.


How can you have a director that doesn't go to work with the crew every day and talk to them?


I can look at one that Warner Brothers just did - The Iron Giant. A really cool movie. I truly enjoyed that movie.


I cannot explain why they made that sequel to Secret of NIMH. Because they claim that it the original didn't make money, so what was the enthusiasm to make a sequel?

I have never seen a game's graphics look so sharp and clean. The sound design for the game is also unique on the Xbox. The memory on this system allowed us to provide the user with 5.1 Dolby surround sound for home theatre owners.


I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.

I remember when we were doing the first Dragon's Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.


I think the work that they do and the style of 3D graphics is absolutely fabulous and I think it's a great brush to use for some stories. And there are other brushes that I think are exclusive to a different kind of story.

I think we have to bottom out. When the studios jump out of the ring, perhaps the artist can get back in.

I'm also very pleased that we were able to include a full orchestrated score for Dragon's Lair 3D. The 40 different music pieces blend with the action to make you feel more a part of the whole adventure.

I'm saddened to see that everyone's pitched out the baby with the bath, in that we say that it can't be one or the other, it could be both. I mean, just because we listen to classical music doesn't mean that we can't listen to jazz.


If the machines can take the drudgery out of it and just leave us with the joy of drawing, then that's the best of both worlds - and I'll use those computers!

If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.

In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.

In the corporate structure, you get people who are highly competitive with each other... Trying to get more money and more prestige.

It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong.


It's whatever sells; it's the business of it.


Now they call in all of the authority figures they can find and hire them - the cost has gone up. The picture may or may not get better, but definitely, it gets more cumbersome.

Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.


Reese Witherspoon. She's sophisticated enough that you just like her. You like her and she's smart.


Shelf-life for a regular video game usually is about three to five years, and that's it.


The best studio exec that we worked with was Bill Mechanic at Fox, because he was a listener. He was pliable, flexible.

The heart of Dragon's Lair has always been its compelling story. With Dragon's Lair 3D, we think the team has really created an interactive animated movie.

The marketing department is really an important part of getting an animated film to work. If the people running it are used to selling live action films and the hard rock music and the sex and all those things... Anything outside that, they just don't know what to do with it.


The only one that seems to be able to hold the business is Disney. They do it is because they have a fabulous philosophy about marketing- but even they wavered.


The studios are not hiring right now, and they're beginning to have second thoughts about what they're producing. Even Dreamworks.


The studios will go wherever they smell money. It's like sharks to the blood.

There's about 260 rooms in the new castle which you go through, but it's all about the game play.


Usually with things, you go where you can find the financing to do it.

We started getting the script to different people and we were in the business of trying to fund it so we could get it off and running, and all the characters and sets designed and everything.




We'd love to do Space Ace 3D. It has a lot of potential. But, it is really up to the publishers.


We're waiting for the pendulum to swing back again, which I am absolutely confident it will.

When business executives are making the artistic decisions and don't understand animation, things can go awry.


With movies, you are always in search is a good story, one that everyone will relate to and love. I love finding those stories and creating a visual world to tell the story.

You just can't keep pouring money down an endless hole and never recoup any of it. It's got to be a business.

You've got to be able to make animation for much less... Less is not the studio's way.

Various Artists Quotes.

Frida Kahlo (Mexican 1907-1954):