DAVID BUNN MARTINE - Artist
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ART OF THE MOMENT
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David Martine

David Bunn Martine, is an artist with diverse artistic interests. In 2014, he is offering custom painted portrait commissions in oil. Samples of previous commissions are located in the "commissioned portrait" gallery.

In addition to his Native American series, science fiction series, spiritual series, and landscapes, custom portrait work is a specialty. Located below is the artists agreement for ordering a custom portrait commission. Please call for more information.

David Martine, Artist
PO Box 1285
Southampton, NY 11969
631-287-6931
cswmartine@hotmail.com
Portrait Commission Agreement
1. Commission Agreement. This is an agreement between the “client”
(Name)________________________________________________
(Address)______________________________________________
(City, State, Zip)_________________________________________
(Email)________________________________________________
and David Martine, PO Box 1285, Southampton, NY 11969-1285, cswmartine@hotmail.com
/hereinafter referred to as “artist”, for creation and transfer of said work. All rights and liabilities of either party in the work shall be governed by this agreement.

2. Client wishes to commission the artist to create an artistic portrait of : (Description of Work) (Subject):______________________________________________________________________
(Brief Description: Bust, ________, Three Quarter, _________, Head,_________, Full_______
A. ____________________________________________________________________________________________________________________________________________________________(Background: Minimal___________, Detail- _____________________________environment________________________________ ____________________________________________________________________________________________________________________________________________________________Additional Subjects define:_ Details: Pose, clothing, jewelry, furniture, pets, objects, accessories
_______________________________________________________
the “subject”. By entering this agreement the client acknowledges that they have reviewed other portraits by the artist and is familiar with the artist’s style and wishes to have a fine art portrait of the subject completed by the artist in oils, acrylics, or pastels. Examples of the artist’s work can be seen on the Internet at davidmartine.com

3. Fees and Schedule of Payment
A. Initial Consultation –
Explanation of Procedure and Agreement
Show Sample book
Prices:
18x24 - $900 – unframed; $1,200 framed (one figure); (each additional figure is $450 extra or 50% the cost of one figure, $225 extra or 25% the cost of one figure for an animal)
24x36 - $1,200 – unframed; $1,600 framed (one figure); (each additional figure is $600 extra of 50% the cost of one figure, $300 extra or 25% the cost of one figure for an animal)
36x48 - $1,600 – unframed; $2000 framed (one figure); (each additional
Figure is $800 extra of 50% the cost of one figure, $400 extra or 25% the cost of one figure for an animal)
Time required number of sittings:
1st sitting – 1hr – 1 ½ hr. pencil sketches (Preliminary study)
2nd sitting – 1hr – 1 ½ hr. confirm pose and details – pastel sketches for color,(preliminary study) take 20/30 photos (All sketches and preliminary drawings and paintings remain the property of the artist.)
B. Second Consultation –
½ way through painting, artist will show unfinished painting to client for approval to finish(receive 50% of the Total Price for downpayment which is non-refundable.)
Delivery of painting to purchaser
A. Travel Expences. All travel expences incurred by the artist in the execution of this commission wil be covered by the client. Such expenses will be estimated by the artist at the beginning of this commission.
B. Remaining 50% of the Total Price is paid upon satisfactory completion and delivery of the painting. The final painting is usually completed within two months after it is started.

4. Cancellation and Cancellation Fee: In the event that the client wishes at anytime to cancel the commission he may do so by contacting the artist. If the commission is canceled before color study approval (1/2 way point), the artist shall return the commission installment less a 25% cancellation fee. If the commission is canceled after color study approval, the artist shall return the commission installment less 50% for a cancellation fee. The painting shall become the property of the artist including all legal rights to show and sell. ( If artist is unable to complete the commission and must cancel, artist shall return the commission installment in full).

5. Delivery of Work: All other expenses incurred by the artist, i.e., framing, crating, and shipping, shall be covered by the client. Such expenses will be estimated by the artist during the course of the commission and will be due upon final payment of price of work, and prior to shipping.

6. Copywrite. Fees are only for the original artwork and do not include copyrights or reproduction rights which remain with the artist. (Clarification of Artist rights as protected by the Federal Copyright Act of 1976 and the Federal visual rights act of 1991. Purchase of a copyrighted artwork does not transfer the copyrights. The copyright to reproduce the works in copies, to produce derivative work based on the copyrighted image and distribute copies is retained by the Artist. Any transfer of this copyright must be in writing expressly identifying what rights are being sold and for what purpose.) Works of art cannot be modified without the permission of the artist. Works cannot be mutilated or modified in any way that would prejudice the reputation of the Artist. (A reproduction of work will appear on artist’s website and portfolio.)

7. Title of Ownership. Title of ownership in the work shall pass from the artist to the client upon the clients payment of the final installment of the artist’s fee for the work.

Client:__________________________________
Signature:_______________________________
Date:___________________________________
Agreement Date:____________________________
Agreement Number:_________________________
Artist: David Martine
Signature:__________________________________




"The Peaceful People and the First Nations Mural" guide. This is the explanatory guide of the mural that shows the meaning of the designs on the `First Nations` mural. Pen and ink illustrations for publication: "Time and Memories". Original illustrations done in pen and ink on paper from photos. Pen and ink illustrations from book: "Time and Memories". Original illustrations done in pen and ink on paper. Pen and ink illustration from book: "Time and Memories". Original illustration done in pen and ink on paper. Pen and ink illustration from "Time And Memories". Pen and ink illustration was done on paper from photograph. Illustration from children’s book: "Would You Hug A Porqupine". Original painting done in oil on canvas. Untitled: illustration for children’s book: "Would You Hug A Porquipine". Original paintings done in oil on canvas. Untitled illustration from children’s book: "Would You Hug A Porqupine". Original painting done in oil on canvas. Untitled illustration from children’s book: "Would You Hug A Porqupine". Original painting done in oil on canvas. Untitled - Illustration from Children’s book: "Would You Hug A Porqupine". Original illustration done in oil on canvas. Untitled illustration from "Would You Hug A Porqupine". Original illustration done in oil on canvas. Untitled illustration from "Would You Hug A Porqupine". Original painting done in oil on canvas. Untitled - From Children’s book: "Would You Hug A Porqupine". Original illustration was oil on canvas. Untitiled - Children’s book illustration sample. Original piece was oil on canvas. Untitled - Children’s book cover illustration - sample. Original was oil on canvas illustration from Original poetry book `Would You Hug A Porqupine` by Tammy Nuzzo Morgan and David Bunn Martine Charles Martine, pastel on paper, late 1980;s. Oil on canvas, late 1980’s. Oil on canvas, 1980’s. Pastel on paper, 1980’s. Lundberg, Oil on canvas, 2000’s. Mr.& Mrs. Charles Ashman, 1990’s, Oil on canvas. Alice O. Martinez, Oil on canvas, 1980’s. Marjorie Martinez, 1990’s, Oil on canvas. Oil on canvas, 1980’s. Oil on canvas, 1980’s. Bob Vetter, 1980’s, Oil on canvas. Charles Sumner Bunn, 1980’s, pastel on paper. Pastel on paper, 1980’s. Oil on canvas, early 2000’s. Boxing Image 1, 2013, Oil on canvas. Boxing Image 2, 2013, Oil on canvas. Roof Terrace, Palace at Agacoe, Atlantis. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Evening view of the roof terrace on the Palace at Agacoe in the capital city of Caiphul in Poseid (Atlantis). Atlantean dwellings, 10,000 years B.C.. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Ancient Atlantean homes carved into the rock in the Capital city of Caiphul. Volcano, Continent of Atlantis. From the book: ` A Dweller on Two Planets` by Phylos Electric cavern transportation, Atlantis. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Sight-seeing tours in copper mine caverns in ancient Poseid (Atlantis). Palace at Agacoe: Capital of Atlantis. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Electric rail cars going into the Palace at Agacoe, in the Capital City of Caiphul in ancient Poseid (Atlantis). Seeker of gold in the mountain country of Atlantis. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Looking for gold in the mountain country, the ancient continent of Poseid (Atlantis). Electric trams and tourists, Atlantis, 10,000 B.C.. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Electric tram rides for tourists in Caiphul, the ancient capital of Poseid (Atlantis). Vailx airships over the Capital of the continent of Atlantis. Taken from the book `A Dweller on Two Planets` by Phylos<br /><br />Vailx airships over Caiphul, the ancient capital city of Poseid (Atlantis).<br /> Twin souls, Atlantis and the vailx airships, 10,000 B.C.. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Cover page, `Twin souls on Atlantis (Poseid), showing the vailx airships, electic cars and the ancient temple. Electric transportation, Continent of Atlantis. From the book: `A Dweller on Two Planets` by Phylos <br />Called an `electro-odic` transit carriage` was a means of transportation in the Atlantean (Poseid) capital city of Caiphul. Contemplating his destiny, the ancient continent of Poseid (Atlantis). The seeker of Destiny #1: Atlantis. From the book: `A Dweller on Two Planets` by Phylos Explosion in the gold mine: Atlantis, 10,000 years B.C.. From the book: `A Dweller on Two Planets` by Phylos The Seeker of Destiny: Atlantis. From the book: `A Dweller on Two Planets` Capital city of Caiphul on the continent of Atlantis, 10,000 B.C.. From the book: `A Dweller on Two Planets` by Phylos<br /><br />Man-made hills and buildings and waterways in the ancient capital in Poseid (Atlantis). The Palace at Agacoe: Atlantis, 10,000 B.C.. From the book: `A Dweller on Two Planets` by Phylos<br /><br />The royal capital building in the ancient city of Caiphul, Poseid (Atlantis). Electro-odic carriage rails outside the walls. Country Dwellers in the city: Atlantis, 10,000 years, B.C.. From the book: `A Dweller on Two Planets` by Phylos<br /><br />The country dwellers move to Caiphul, the Capital of Poseid, (Atlantis) - showing a classroom in a school, and the electric transportation cars in the streets of the city. Kwan Yin with Blue Crown. Kwan Yin is a Chinese Goddess.<br /><br />The original of this image is an oil on canvas size 24x30 and is unframed. The price is $2000 plus shipping charges. For more information contact the artist. Great Sage of Wisdom. This is an image of a great Chinese spiritual master.<br /><br />The original of this image is an oil on canvas, unframed, $1800 plus shipping charges. For more information contact the artist. Kwan Yin with Blue Sash. Kwan Yin is a Chinese Goddess.<br /><br />The original of this image is an oil on canvas, 24x30, and is unframed. The price is $2000 plus shipping charges. For more information contact the artist. Jesus’ missing years in India. This is an image of Jesus in India during the so called missing years in the Bible. He is shown with his sacred heart as a heart chakra after the manner of the eastern masters. <br /><br />The original of this image is an oil on canvas, 28x36, unframed, and is $5000 plus shipping charges. For more information contact the artist. Cosmic Angel. The original of this image is an oil on canvas, unframed, size - , $2000 plus shipping charges. For more information contact the artist. St. Francis. This is an image of St. Francis showing his special relationship with the creatures of nature. <br /><br />The original of this image is an oil on canvas, 28x36, unframed, $3000 plus the shipping charges. For more information contact the artist. Jesus’ missing years in India #2. Here is another version showing Jesus during his years in India during the `missing` years from the Bible. He is shown in meditation as an eastern master. The original is an oil on canvas, $2000 plus shipping charges, unframed. For more information contact the artist. <br /><br /> Woodland Period, Shinnecock Nation Museum. Oil on canvas, 1990’s. Wyandanch - Montauk Sachem, Ca. 17th Century. Wyandanch was a very important leader of the Montauk Indian Tribal nation of Eastern Long Island during the 17th Century. This Native American negotiated extensively with the English colonial powers during a critical time in history. Here he is shown toward the end of his life with face paint, wampum shell jewelry, tattoos, turkey feathers and deerskin mantle. Archaic Period, Shinnecock Nation Museum. Oil on canvas, 1990’s. Quashawam - Ca. 17th Century - Daughter of Wyandanch. Quashawam, Daughter of Wyandanch, Sachem of the Montauk Tribal Nation of Eastern Long Island, also became political leader of that Nation after the death of Wyandanch. She was a party to political agreements and negotiated with the colonial powers during the 17th century. She is shown here with a fringed deerskin tanned garment with glass trade beads, and different styles of wampum jewelry. She also wears a fur robe and face painting of red ochre. She was a proud Native American. (The original of this image is an acrylic on canvas, unframed, $2000 plus the shipping charges. For more information contact the artist. "The Peaceful People and the First Nations Mural". This original mural is 8`x12` and was done in oil on Masonite panel. It is a commemorative piece depicting relations between Native Americans and the Quaker church. Oil on canvas, 1980’s. Mocomanto - Shinnecock Sachem - Ca. 1640. Mocomanto, a Shinnecock Sachem during the 17th century was present during the founding of the Town of Southampton in 1640 and placed his mark on the deed of the founding. He is shown here with bone and wampum shell jewelry, eagle and turkey feathered headdress, a fur robe and a painted deerskin cape. Wampum jewelry was common in Native American dress and was made from the purple and white of the quahog clam shell. Archaic Period Mural, detail, Shinnecock Nation Museum. Oil on canvas, 1980’s. Mandush - Shinnecock Sachem - CA, 1640. Mandush - Shinnecock Sachem - Ca. 1640 was also a party to the original deed of the founding of the Town of Southampton on Eastern Long Island. Here he is shown with face paint and wampum shell jewelry from the quahog clam shell. His shaved hairstyle and dyed deerhair headdress was typical of the period as well as the wrapped and cut feathers colored with dyed porcupine quills and dyed deerhair tassels. He also wears an extensively painted, tanned, deerhide mantle. His Native American culture is strongly displayed. (The original of this image is an acrylic on canvas, unframed, $2000 plus the shipping charges. For more information contact the artist.) Archaic Period Mural, detail, Shinnecock Nation Museum. Oil on canvas, 1980’s. Manatacut - Shinnecock Sachem - CA, 1640. Manatacut - Shinnecock Sachem was another of the important Shinnecock leaders during the 1640 settlement of the Town of Southampton. He also affixed his mark on the founding deed of that settlement. Here he is shown with wampum shell jewelry, tattoos for clan symbols, a fur robe and deer hair roach headdress with eagle plumes. The sides of his hair is trimmed except for the top as was another Native American custom of the period. (The original of this image is an acrylic on canvas, unframed, $3000 plus shipping charges. For more information contact the artist. Palio-period, Shinnecock Nation Museum. Oil on canvas, 1980’s. Sylvestor Pharaoh, Montauk Tribal Leader. Sylvester Pharaoh was head man of the Montauk Tribal Nation of Eastern Long Island during the 19th century and father of Steven Trackhouse Pharaoh. This is from a photo taken of this Native American at Sag Harbor, New York. Palio-period detail. Oil on canvas, late 1990’s. Steven Talkhouse Pharoah - Montuak Leader, Ca. 19th Century. Stephen Talkhouse Pharoah - Montauk Indian tribal leader was a very famous person during the 19th century on Eastern Long Island. He was a mail carrier and long distance walker. It is said that P.T. Barnum new of his exploits and his endurance at walking long distances. He was a direct descendant of the Native American Wyandanch the Montauk Sachem of the 17th Century. Woodland Period detail. Oil on canvas, early 2000’s. David Pharaoh - Montauk Leader, Ca. 19th Century. David Pharaoh - was the head political figure for the Montauk Tribal nation for most of his life during the mid- 19th century. He died before he was 50 years old, but was respected for his leadership by many Long Island Indian Tribal Nations. He was an inspirational Native American figure. Cornfield, Woodland Period. Oil on canvas, 1980’s. Shinnecock Indian Man - 18th Century. This is a picture of a Shinnecock/Montauk Indian man at his camp site at twilight. He is dressed in typical Native American clothing of the late 17th and 18th centuries Algonquian/woodlands culture of Long Island during the early years of European contact. His traditional home in the background is made of thatched meadow-grass. Historic Period, Shinnecock Nation Museum. Stephanson, 1980’s, pastel on paper. Shinnecock Indian Man - Ca. 18th Century #2. It`s been a long day and this Shinnecock Man during the year 1780 is dressed and ready for an evening of social dancing. He is dressed in the typical combination of colonial and native American clothing styles of the period: he wears a medicine bag of fur around his neck, cloth shirt, wool leggings and blanket as well as bead embellished shoulder bandolier and garters, eagle feather fan, deer hair headpiece and carved Algonquian ceremonial club, traditional wigwam dwelling of meadow grass and cattail reeds in the background was the original style of dwelling of the Shinnecock people through the 1830`s as well as plain wooden salt-box style colonial inspired houses. Paleo-Period, second verion, Shinnecock Nation Museum. Oil on canvas, early 2000’s. Late Afternoon Rest. It is late after and the young Shinnecock mother is resting after a day of preparing food for the ceremony about to start the next day. The year is 1770 and the baby is in the traditional cradleboard that is carried on the mother`s back as she goes about her daily work. The mother`s dress of trade-cloth is inspired from the European womens clothing of the period and the nickel-silver broaches she obtained through the trade networks of other tribes who specialize in metal work. The Shinnecock homes or wickiups in the background are of two styles one of a grass thatch style similar to the English roofs and the other a more Native American style as well. plus shipping. For more information contact artists.) June Meeting, 1872,. Oil on canvas, early 2000’s. Shinnecock Ceremony CA - 1750. This picture is a statement about the traditional ancient cultures of the Long Island Indians of the 17th century. The image has references to the traditional cape of turkey feathers and also the traditional spiritual practices. The young Native American girl wearing the cape of feathers is either being honored in a special way or has a great deal of importance because of some experience or family recognition. Shinnecock Whaling ceremony. Oil on canvas, 1990’s. Woodland Period full mural design. Oil on canvas, 1980’s. Morning Prayer At Shinnecock. Shown is a Native American Shinnecock Elder, a medicine man or Powaw of the 17 Century. He wears red ochre face paint, tattoos, fringed and painted deer skin mantle and shell jewelry. He uses an eagle feather fan while he conducts his rituals. In the background is a fisherman who is poling the shallow bays in his one-man dugout canoe (mashue) near the cattail reeds looking for the best locations to post his traps. This would be in what is now Shinnecock Bay on eastern Long Island, New York, 17th century. (The original is an oil on masonite 48x48 mounted on 1x2 pine strip temporary frame. Price is $4500 plus shipping. For more information contact the artist.) Woodland period detail. Foreman, Oil on canvas, early 2000’s. Shinnecock Potedaup (Whale) Ceremony - 17th Century. The Powdawe or whale hunt of the ancient Shinnecock/Montauk Algonquian peoples of eastern Long Island was accompanied by prayers, dancing and feasting, appreciation for the gift of Moshup, the Giant, or representative of the Creator. He is depcted the great mashues or dug-out canoes made or tulip-poplar, cedar or oak which were used during the Powdawe or off-shore whale hunt. The dance is a form of `stomp` dance or line-dance in which the dance leader sings with the gourd rattle accompaniment. Also there are vegetables and food offerings for the communal feast of thanksgivig. The tails and fins were considered the most special parts of the whale and were highly prized. The bon-fire or sacred fire was also an ancient part of Native American community ritual. (The original of this painting is an oil on masonite panel mounted on a 1x2 pine temporary frame for hanging. The prise is $4,800 plus shipping. For more information contact artist.) Woodland Period, detail. Oil on canvas, 1990’s. Waukus, the Shinnecock Flute Player And Daughter. Waukus, the Shinnecock flute maker, is testing his instrument to see what kind of sound it makes. Both he and his daugher stand under and arbor of reeds during a Spring afternoon in 1760. Each flute of wood or reed he makes has a different personality and is only used during certain times for certain purposes. The sounds are inspired by the sounds of nature - the winds, the trees, and birds of the forest. His Native American clothing is made of trade-cloth he has received through barter from young apprentices, because of his knowledge of traditional ways. The corn, beans and squash in the wooden carved bowl, were recently harvested and Waukus`s daughter is the leader of a group of women who know all the special customs associated with the planting, cultivation and harvesting of the vegatables for the small Shinnecock clan group. Oil on cavnas. 1990’s. Powdawe -Shinnecock Whale Hunt of the 17 Century. The Powdawe or whale hunt of the Shinnecock/Montauk people of eastern Long Island was an ancient ritual in which drift whales were captured with the mashue or dug-out canoes. The whale or potedaup in the Montauk language,was considered a great spiritual gift from the Creator or the Giant whose name was Moshup. Later this form of whaling was called `off-shore` whaling and the Shinnecock - Montauk people of eastern Long Island taught the early English settlers this means of activity. Pictured whalers in the mashue and wooden flotation devises which would have been attached to the wounded whale. Eastern Long Island Native Americans practiced this Powdawe. (The original of this painting is an oil on masonite panel mounted on a 1x2 pine strip temporary hanging frame. Price is $4700 plus shipping. For more informaton contact the artist.) Oil on canvas, 1990’s. A Rose Harvest. The year is 1685 and this Shinnecock brother and sister are pausing on their trip to the ceremonial grounds. The sister is collecting roses while her brother practices some of the ceremonial songs that are always sung during the rituals which are similar to the Delaware Bighouse Ceremonies. Here he is shown with a gourd rattle and on the ground is a small water-drum and a rolled hide drum with sticks. The women below begin the food preparations for the feast which always accompanies a public event within Native American culture. Wolfe, Oil on canvas, 1980’s. Shinnecock Legacy of the Sea. This painting is symbolic of the legacy of Shinnecock - Montauk and Eastern Long Island Native Americans who were whalers, and seamen who saled around the world hunting whales during the height of the whale industry in the United States. It shows two whalers of the 17th century and two the 19th century with their typical garb. Oil on canvas, 1980’s. The Shaman. A Native American Shaman.<br /><br />The original of this image is an oil on canvas, unframed, $2000 plus the shipping charges. For more information contact the artist. Shinnecock Woman of the 17th Century. This is a picture of a young Shinnecock girl who is wearing a cape or mantle of wild turkey feathers. This was a common Native American garment used by the Shinnecock (Algonquian tribe of Eastern Long Island) during the 17th and 18th centuries. In the background is a wigwam or wickiup, the traditional dome-shaped dwelling of the Shinnecock people. Shinnecock Homecoming. This Long Island Shinnecock-Algonquian Indian husband and wife await news from a friend coming in a dug-out canoe from a distant village. This Native American scene is during the 17th century. Northern Plains Woman. This is a picture of a North Plains Indian woman of the 19th century. This Native American has a lot of spiritual power - with a visible aura surrounding the body.<br /><br /> Sag Harbor, N.Y. #1. This is a scene of a quiet road in Sag Harbor, Long Island, New York. It is an area that was populated by Native Americans in the past.<br /><br />The original is oil on canvas, $2000 plus shipping charges, and unframed. For more information contact the artist. Sag Harbor, N.Y. #2. This is a picture of a boat yard in Sag Harbor, Long Island, New York - an area that was populated by Native Americans in the past. Sag Harbor, N.Y. #3. Sag Harbor, New York - an area once populated by Native Americans. A beautiful village also the center of the whaling industry during the 19th century.<br /><br /> Southampton, New York. Southhampton, New York - an area that was populated by Native Americans in the past.<br /><br />The original is an oil on canvas, unframed, $3000 plus shipping charges.<br /><br /> Old Fishing Shack - Southampton, N.Y.. This is a scene of an abandoned shack by Shinnecock Bay in Southampton, Long Island, New York. The area was populated by Native Americans in the past. Beach Cedars - Southampton, N.Y.. This is a picture of the beach at Southampton, Long Island, New York. This is a different feel from my usual Native American theme.<br /><br />The original on canvas is unframed, $900 plus shipping charges, oil on canvas. For more information contact the artist. Coopers Beach - Southampton N.Y.. This is a painting of Coopers Beach in South Hampton, New York. This is a different feel from my usual Native American work.<br /><br />The original is an oil on canvas, $900 plus shipping charges, unframed. For more information contact the artist. Turbulent Seas. This is a scene of two people by a turbulent sea and a small cabin by the ocean at sun set. This is a different focus from my usual Native American work. The Boat House. Different from my Native American works, it is a painting of a boat house. Doing Laundry. This is the picture of a fishing shack that is the home of a solitary Native American man. It is an imaginary image based on the wetlands surrounding the south shore of eastern Long Island. Old Blue Boat. This is a scene of a small cabin by the ocean with an old blue boat. It is a different subject from my Native American paintings. Kuanyin - Goddess Of Mercy. Kuanyin is the bodhisattva `enlightened being` of compassion as revered by the East Asian Buddhists. It is a different feel from my Native American works. Twilight Mood. This is a picture of a young girl wearing a sun hat at twilight in front of a New England house and picket fence. This is a different subject matter from my usual Native American work. Noche, Chiricahua Apache leader. Picture of Chiricahua Apache leader, Noche. Has been misidentified for many years as Taza, son of Cochise. Naiche - Chiricahua Apache Chief - Son of Cochise 1856-1921. Naiche was the son of Chief Cochise and was last chief of the Chiricahua Apache Indians. He fought with Geronimo during the last Apache wars of the 1880`s. The Native American was held prisoner of war with the entire Tribe. Geronimo - Chiricahua Apache War Leader/Medicine Man 1829-1909. Geronimo was a war-leader of the Chircahua Apache people. He fought the U.S. Government and surrendered for the final time in 1886. He and the entire Native American tribe were held prisoners of war for many years. In this image is was located at Fort Sill Oklahoma and wears his medicine hat which was symbolic as his role as a medicine-man - one who had spiritual powers. Geronimo 2. This is taken from the earliest known image of Geronimo during the 1800`s. He was a war-leader and medicine-man of the Chiricahua Apache Tribe of Indians whose homelands were in southeastern Arizona and northern Mexico. He was a proud Native American. Geronimo - At Fort Still. This is a portrait of Chiricahua Apache War Leader/Medicine Man, Geronimo, while held prisoner of war at Fort Sill Oklahoma.<br /><br />The original of this image is an oil on acrylic panel with a brown frame. The price is $1800 plus the shipping charges. For more information contact the artist. Victorio - Warm Springs Chiricahua Apache Chief 1820-1880. Relative of Native American artist David Martine. Chief Victorio was the leader of the Chiricahua Warms Springs Apaches whose homelands were based around Warm Springs, New Mexico. The homelands were a large portion of western New Mexico. Chief Victorio was killed during a battle with the Mexican Army in 1880. Mangas - Son of Chief Mangas Coloradas. Artist`s Note:<br /><br />Relative of artist - David Martine<br /><br />Mangas, Son of Chief Mangas Coloradas surrendered a short time after Geronimo in 1886 and headed a Native American family group of the Warm Springs Chiricahua Apache people whose homelands were located in the Western Half of Central and Southern New Mexico. He was imprisoned in Ft. Pickens, Florida, Mobile Alabama, and Fort Sill, Oklahoma with the other Chiricahua Apache people after the surrender of Geronimo in 1886. Loco - Warm Springs Chiricahua Apache Chief 1823-1909. Chief Loco was one of the Native American leaders of the Warm Springs Chiricahua Apache Tribe who became more known after the death of Chief Victorio, who was killed in battle with the Mexican army in 1880. Nana - Great Warrior - 1800-1896 Chiricahua Apache. Relative of Native American artist, David Martine. Nana was a chief of the Warm Springs Chiricahua Apache people of western New Mexico. He rose to prominance after the death of Chief Victorio in 1880. He was one of the oldest Apache prisoners-of-war after the final surrender of Geronimo in 1886. Charles Martine Sr. , Chiricahua Apache Scout. Artist`s Note`<br /><br />Charles Martine Sr. was my great-grandfather. He was a famous Native American Apache Scout in history who with Kayitah went to help find Geronimo`s camp and pursuade him to surrender for the final time in 1886. He with other Apache Scouts were imprisoned for many years with Geronimo, first in Fort Marian, St. Augustine Florida, Mount Vernon Barracks, Mobile, Alabama, and final at Fort Sill, Oklahoma were my grandfather, Charles Martine, Jr. was raised. This portrait was from an image taken while the family were held prisoners-of-war at Fort Sill, Oklahoma.<br /><br />David Martine Chihuahua - Chief of The Chiricahuas. Native American Chief Chihuahua was one of several war-leaders of the Chiricahua Apache Tribe whose original territory was in south eastern Arizona and extended to northern Mexico. Chato - Chiricahua Apache Scout. Relative of artist David Martine. <br /><br />Chato was a prominant Chiricahua Apache war-leader who became a prominant Native American scout for the U.S. Army during the Apache wars of the 1880`s. He is shown during the early years of the 20th century. Dadezhti, Chiricahua Apache Woman Warrior. Native American Dahteste was involved in the Geronimo War of 1886 and was held prisoner-of-war with the tribe during the last years of the 19th century and early years of the 20th. Tsekan, Chiricahua Apache Woman Warrior. This is another image of a famous Chiricahua Apache Woman Warrior who played an important role during the Geronimo War of 1886. This picture of this Native American woman was taken while being held prisoner-of-war at Fort Sill, Oklahoma. Gouyen - Chiricahua Apache Woman Warrior. Gouyen is an example of a Chiricahua Apache Woman Warrior who was known during the Apache wars of the 1880s in the southwest U.S. Chiricahua Apaches were trained as warriors from a young age and women, on occasion, went through warriors training. She wears the typical Native American clothing of the Apache woman of the period.
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