Painting Taos; Harper's Weekly B-roll, Forrest Fenn Interview

I'm rolling now, looks great, and this is a Birch Phillips scrapbook. With the original Birch Phillips material in it, this is a wonderful little watercolor that he painted for his wife. Unpublished pictures about Birch Phillips, his original drawings, and then who posed for him, here he is standing in the garden of his studio. Manage scripts that he wrote letters to his wife. Here's a son Ralph posing for a penitenti picture. Here's Ralph's studio. These turn influence on Birch Phillips, but you can see I said that Birch Phillips really compared with the artist could not draw.

These are examples of that. Here's another watercolor that he sent to a client to trying to sell him something, and here's an ad for his studio, his curiosity shop, letters from Frank Phillips, more drawings. So he just wasn't an illustrator, like, living time? No, he wasn't, and this is a good example, but he was avid, you know, you got to give him credit for that, and people jump all over me when I say he wasn't much of a painter. I say that in the context of the other artist up there, compared with a lot of the Santa Fe painters, he was a genius. See the manuscripts that he's written? An etching. Society of Western artists, more drawings, more pencil drawings. Here's Kit Carson Scout with Birch Phillips daughters daughter.

Was she a model for him? Yeah, but not much. He didn't paint his family much. He painted Indians. Here's a birthday, a happy New Year from Oscar Burning House to Birch Phillips. It's a burning house etching. This again shows, this is a major drawing for Birch Phillips. You can see that he didn't have the knack that that's that cast had, particular cast was great with the pencil. And here's his, his horse and his models.

Tows Society of Artists, their litter head. Frank Phillips is buying paintings from Birch Phillips also. John D. Rockefeller, Jr., original drawings. Here's Dorothy Brett with Phillips. There he is in a studio. Here's this great, huge painting, six inches high. I bought that out of a bank in Ratton, New Mexico. Don't tell me, don't ask me how they got it. And here he is with this grandson Billy Butler. And here's his bank account. Let's see how much money he had. In 1937, February, he had $1,155 in seven cents.

Which was not very much money. But it went a long way in those days. Here's Wade Phillips, the brother of Frank Orphillips, the Phillips Oral Company. He's buying paintings. There were five brothers and they all bought paintings from Sharpen Phillips. What's he nationally known? Phillips. I don't know how to answer that. And be perfectly honest, I doubt it. You know, the great painters were William Merritt Chase and, you know, those guys. All of these are manuscripts that Phillips wrote. Okay, what else is there?

Well, actually, maybe if you keep that book out, we'll... You want to keep it up? Do you want to get cutaways of some of that stuff that he sent me? Put the paper pot right in the middle of the gutter. Yeah, like like that, evens better. I'm on the pot. Just tell you on the pot. Okay, can you point to the pot? Here's a big Santa Clara pot that belonged to Sharpen. He's painting a large painting, 40 inches by 48 inches, called Shelling Carn. It's a picture of Elkfoot Jerry Maribol on the left and Crusito on the right. And you can see that Crusito is a little bit older than she was in those earlier paintings. And this big pot is in my collection upon my wall here. And the moxons were in the estate when I bought the estate also. And also over here, this drum and that skin.

It's fun to be able to relate objects with the paintings. Well, and it seems like they had an appreciation for like the craft, right? Because they were kind of living during this mass produced in them. Yeah. That's cool. Got it. Got it? Okay. And these are Shelling Carn and putting it in that big oil. Great, so we can clock off those. You got them on. Thank you. Thank you.

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Thank you. Thank you. I wanted to screen it up in Taoist, but in the August, I had silence for a moment.

Okay, we're rolling, guys. Thank you. Thank you.

Okay. These are some of Joseph Sharps in the artifacts. These shine mocksins, I think, were used in five or six hundred paintings, which is also up there. These are patchy mocksins, or in that great painting that's in the Buffalo Building Starkel Center, called Mending the Bow, and here's the bow, where the man's still on it. These are rock medicines that belong to Crow Indians, and here's the wonderful flower sack. Grown by a crow, the crow tribe of Indians, they solved, they had their own male right there.

They grew the wheat and made the flower, and Sharps used that as a prop in some of his paintings. In pictures of Sharps Studio, you see some of these objects hanging on the wall or from the balcony. This great old knife has seen better days, but that was a favorite prop of Sharps. What did he think of Indian crafts? What? What did he think of Indian crafts? Oh, he collected them, he loved that stuff. He had hundreds, there's a great story about Gilchrist was the best client he ever had, and when Sharps got old, he moved to Pasadena to stay, but he was still in contact with some of his clients, and he told Tom Gilchrist that he could have some of his Indian artifacts. So there's a letter from a lawyer's Liebert, his handyman, to Sharps in Pasadena, that says, my god, Tom Gilchrist came over here with a big truck, and he hauled away most of your Indian

things. And Sharps wrote, oh good lord, what are we going to do? He took all my stuff, he said, but he has been a good client, and he is going to build a museum, so that's okay. And are there things in the museum now? Yeah, they have all the great shirts that were picked up on the Custard Battleground, and thanks Sharps, knew a lot of those Indians that fought against Custard, and with Custard, the Scouts, Curly was a good friend. This is Curly's medicine, medicine rock, or rock medicine. He's Curly? Curly was a scout for Custard, and they say the only survivor of the Custard fight, actually, he left just before the fight, but he was one of the prominent Indians. He was hard to get to know Sharps, and he was surly. And why did Sharps include so much of this stuff in his paintings? Well, this is what it was all about. If you're a landscape painter, you got to collect trees, and so that's what Sharps was doing.

I mean, these artifacts were, but all the task painters had artifacts in that collection. Bert Phillips had a big collection, and he used a lot of these in his paintings, so lots of paintings were these necklaces in this props, this old, first phase, Navajo Contra Belt. That great crow blanket strip, he used in paintings. That's a youth bull and air set there that was used in a number of paintings, and then sitting on a baco with a fire, and Indian doing something in that bull and air set laying on the baco. And where were you able to get, did you get this from his family members? I bought the estate. A lawyer's Liebert had two sons, and when Sharps died, a lawyer's Liebert bought the estate from Louis Sharps, and then when Louis died many, many years later, I bought the estate

from the two sons, and that's what this stuff is, but there were hundreds of pieces, and all of the great furniture from Roy Crawlford and Molesworth furniture. Okay. Do you want me to give them a little, I'm a lot of them, I'm sure they're that. They're just in the drawing room. Alright, tilt up to it. That's Sharper. Yeah. Alright. Alright, I can turn the end of the door. Okay.

You can say that Sharps used that drum at least 500 photographs of 500 paintings. Yeah, now that you said that I recognized it. Quick look tilt up to it maybe. Quick picture. You know what I mean? So if people can see the detail. Okay. How about this white necklace as you just went by, do you guys? Okay. There's a burnt spot there. You can control that. They'll catch you. Yeah, come down, okay. Okay. That's a good picture.

Your camera makes it warm. Do you want to do wonder about the whole piano? Okay.

Have you been watching this PBS special called Visha Remain that's on right now by the Indian history? It's really good. Yeah. It's like eight parts in here. What I didn't like about it was to use the same scene over or fading in and fading out. Yeah. Of course that's all I had to work with. I haven't seen all of them yet. Be close up, maybe. And actors to read some of their letters. To read some of the letters here. There's a couple more. The narrator can make it. The narrator is everything I think. I definitely believe that. Well, the next thing about narrators is now the technology that they can record pretty much from anywhere. You can kind of hook up by this.

It's called an ISDN line. It's like basically a really high-quality telephone call, more or less. And so you can have a narrator in New York connect via this line to a recording studio in Santa Fe and record it that way. So that opens up your possibilities of who you can use. Would you have to tell anyone to talk and when to be quiet? Yeah. That's a lot of what I do at National Geographic is I record. I probably do. Yeah.

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Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Okay. This Elkskin was given to Sharp by Flatiron who was a suit sub-chief in the Custophyte. You can see the two beaded bullet holes and a dragonfly painted. And Flatiron told Sharp that this was the best Elkskin you can find in two days right in any direction. You can see how it was pegged to the ground so they could scrape the flesh over. This is an end-in-10 skin, a little bit of bead work on the front legs. This is a great skin and a giant Elk. Did that work? Yeah. Did Sharp use this in his paintings? Sharp used this in five paintings that I know of, but probably a number of other paintings. It was hanging on the wall in his studio.

He always used it as a backdrop. I think it was needed to beaded the bullet holes. Okay. You ready? Go ahead. Okay.

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gloves gloves gloves gloves gloves gloves gloves gloves gloves gloves I think to be a popular a little internet series about the basements and national geographies if there's all these tunnels that you can walk around and they all are white walls white walls and then there's these little human signs outside of them they say weird little things about, you know they'll just say 19 sensors or something like that it's not as I said and nobody ever goes in and out of those those those rooms and I want to know it's down here I thought it would be fun to go with the camera and just go around the basin and ask them to go back and see what they have

so based on the bottom you have the stuff that they have you know, they haven't had a lot of them yet and troubles for you know, things that they have that they probably didn't have and people didn't even use that you know you know you know you know but it's fun to work it's fun to work there the 7th floor of my building is all the cartographers all the macmasers they have a dorm floor it's really exactly oh my gosh I think they're size they're just so you don't think they're size they're size and you know they used to match and all things that they ally with mm-hmm they can match but they can match but they can match yeah, so you get up from 7th floor it's so important

you can match everywhere so you can tell your profile and you can you can do and you are I don't know I I'm glad you did you did and you did so well probably but we've seen something in the last 6th floor and next 5th floor and next 5th floor and next 2nd floor and next 5th floor and next 3rd floor and again and you can just press and see if you can and you can and then actually you can see so you can see but it's 6th floor and then you have so you can see or you can see on the floor and then you can see you can see the front

and you can see the side and then you can see this side and then you can see you can see the back and the gliss the main this is how the chopper and I can sceptics you can see how we cut it