Montana Art and Photography 2014-2015

In This Issue eric schmidt alan bublitz ryan turner wendy marquis

Publisher Mike Rey

Editor Jessica Bayramian Byerly

Marketing Director Chris Rey

Design Jared Byerly

Contributors Alan Bublitz Jessica Bayramian Byerly Jim R. Harris Marshall Lewis Wendy Marquis Dave Reuss Eric Schmidt Ryan Turner

Ad Sales Mike Rey Chris Rey Tiffany Sandholm

Published By Rey Advertising 3220 Hillcrest Drive Bozeman, MT 59715 406-539-1010 reyadvertising@q.com

On the Cover "On the Road to Wisdom, Montana"

by Eric Schmidt

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e r ic s c h mid t

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j im d o l an

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ge m gal l e r y

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yogo sap p h ires

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b oze man c am e ra

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ar t wal k

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al an b u b l it z

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m o nt an a ex p res s io n s

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r yan t u r n e r

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we n d y m arq u is

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when all factors coalesce

CAPTURING THE AUTHENTIC WITH

ERIC SCHMIDT

By Jessica Bayramian Byerly

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With an established reputation and an impressive portfolio spanning over 20 years, Eric Schmidt takes the accolades and awards sprinkled throughout his career in casual stride.

Initially inspired by a collection of Ansel Adams' imagery, Schmidt was gifted his first camera upon graduation from high school. He reveled in the ease and power of shooting, capturing the majestic wilderness of the Sierra Nevada Mountains, tracing the steps of his first inspiration with a Pentax K1000 in his hands. Schmidt vividly remembers the film he shot and processed that first summer while working in Yosemite: he found himself speechless upon discovering a collection of decidedly "awful" pictures. "It was a wake-up call and my first real lesson," remarks Schmidt with a knowing smile. "It takes a lot more than a pretty scene to create a beautiful photograph." So, Schmidt put in the work. He honed his skills, obtained a BFA from the Art Center College of Design and worked as a camera assistant for several well-known commercial photographers.

"These guys were busy shooting the kinds of campaigns that I wanted to shoot, so you can imagine how formative these years were for me professionally." It was during this time that Schmidt was able to develop his first body of work, while simultaneously acquiring the skills and knowledge necessary to start working with agencies nationwide.

Schmidt has spent the majority of his career working in advertising for corporate clients across the country, a professional world that is now in a state of flux as prospective clients turn toward stock photography, CGI and motion. Now, commissions inevitably launch Schmidt headfirst into exciting and challenging new realms of creativity, arenas he is both willing to explore and adroitly capable of so doing, and doing well. Schmidt recently completed six television spots for Billings Clinic, his directorial debut, and has incorporated CGI and a merging of motion and stills for a range of recent clients.

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Digital photography, while exponentially expanding the realm of possibility, has also undeniably and conclusively changed the landscape of the craft and profile of the craftsmen. Schmidt recalls with a laugh that Photoshop was first required for Art Center students during his final semester in college. But that predominantly “old school” training, the hours reviewing contact sheets with a loupe and burning and dodging in the darkroom to perfect a single black-and-white image, has irrevocably informed his product and colored his approach. He is a fine artist, taking the time and making the plans to finesse beauty from the unexpected and capture the remarkable in the split second between its transient birth and death.

“I’m glad I have the grind of making a print under my belt, the process of creating something special, of taking the time,” remarks Schmidt. Just as he has witnessed and adapted to the transformation of his craft, so has Schmidt begun a metamorphosis of his own, back to the beginning, to the child that wanted to shoot beautiful pictures and the young man that learned just that.

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Although the sensibility of printmaking has changed since the early days of his career, Schmidt still loves the process and sells fine art prints of his work to individuals and institutions. “My dream is to focus on fine art,” says Schmidt wistfully. And though, like everyone, he must negotiate financial responsibilities to keep his young family solvent, he is in a state of mental and professional preparation for a new chapter. Inspired by his children – not only watching them experience things for the first time, but also witnessing the passage of time on their features, the flashes never captured – Eric Schmidt is seizing this moment. Every year, Schmidt takes an inspirational journey with photography in mind. Though the images showcase his expertise and effectively secure him new commercial contracts throughout the country, they are also estimable works of art in their own right. Straddling the chasm between fine art and commercial photography with seeming effortless grace, Schmidt is making his own indelible mark on the craft while realizing his dream.

Much like their creator, Schmidt’s images are quietly imposing. Schmidt detests the pomp and self-aggrandizement that often defines artists, insisting, “I’m a pretty average guy: I like to cook, fly fish, work in the garden, be with my family and spend time with likeminded people.” But, that may be an admirably humble understatement. Schmidt is also the gifted author of a new (or perhaps very old) sort of story. His photos are poignantly dense vignettes and, yet, they are merely what is, what would be with or without him: timely encapsulations of a moment. While the images throughout his beautifully leather-bound portfolio range in color, content, style and approach they carry a single defining thread: they appear candid. Though he might employ the tools of his trade to accent that instant, the photos are honest and concise, unhindered by visual noise and excess. In fact, Schmidt’s most powerful images – those that capture the convergence of his vision and his subject in authentic cohesion – are penetratingly understated.

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Eric S chmidt

Snapshot B est month in Montana?

Septemb er. It’s t h e la st t a ste of su m m e r – gre a t f is h i n g , s u n ny days – and, a s I p a c k u p my s h o r t s a n d u n p a c k my f l a n n e l s, I get a solid g l i m ps e of t h e fa l l a n d w i nte r to co m e. An d t h o u g h it’s always a m o nt h of t ra n s i t i o n a n d c h a n ge, I n eve r re a l l y k n ow what to expe ct , esp e ci a lly h e re. I li ke t h a t su r p r i s e.

Gallatin, Madison or Yellowstone?

Defi ni tely, t h e Ga lla t i n Ri ve r. I love f ly f i sh i n g w i t h my b oys and, while i t m ay n ot b e t h e m ost p ro d u c t i ve of t h e t h re e r i ve rs, i ts beauty an d a ccessi b i li t y to wa d e f i sh i n g m a ke i t o u r favo r i te.

Favorite local restaurant?

My wi fe an d I a re fa n s of Te d ' s Mo nt a n a Gr i ll. Eve r y t h i n g on the menu wo r ks fo r u s. An d w h e re e lse d o yo u f i n d p a p e r st raws?

A quote to live by?

“Don’t worr y a b o u t t h e m u l e go i n g b l i n d , j u st ke e p l o a d i n g t h e wagon . . .”— so m e fe lla f ro m Co n n e ct i cu t

Favorite lens?

The one at t h e e n d of my ca m e ra , of co u rse.

B est light?

It takes place d u r i n g t h e l a st m i n u te o r t wo of t h e d ay . . . star ting wit h w h e n t h e s u n i s a b o u t a f i n ge r w i d t h a b ove t h e western hor i zo n . It’s d ef i n i te l y a n exc i t i n g t i m e of t h e d ay w h e n you are wor k i n g o n l o c a t i o n – k n ow i n g t h a t t h e m a g i c w i l l e n d about as qu i ckly a s i t b e gi n s.

Why Wise River Productions?

I fi rst fell i n love w i t h Mo nt a n a m a ny ye a rs a go a n d st i l l treasure my co l l e c t i o n of m e m o r i es c re a te d a l o n g t h e B i g Ho l e Ri ver, not to o fa r f ro m w h e re t h e Wi se Ri ve r sp i ll s i nto i t .

It’s an inspi r i n g p a r t of t h i s st a te a n d i t ' s st i l l my favo r i te p l a ce to visit – so i t m a kes p e r fe c t s e n s e to m e ! An d f ra n k l y, B i g

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Produ ct i o n s ju st d i d n ' t h ave t h e sa m e sw i n g.

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On Schmidt’s mantle sits a large, favored photograph, the composition beguilingly simple: an old broken-down truck, the line of a weathered fence, and wide-open fields under a brooding sky. Focused on the image, Schmidt explains: This represents the kind of landscape imagery I love to do. I never get tired of looking at it. Yes, it’s a still image, but it doesn’t feel that way. I came across this wonderful composition on the outskirts of Wisdom, MT and saw the potential it had. Although I had my digital kit with me, I chose to shoot it with my 4x5 wooden field camera. I sat in wait, under this tumultuous Old Testament kind of sky, for the moment to arrive. It was one of those images that I completely pre-visualized; I knew exactly how the final print would look when I tripped the shutter. No surprises . . . which is the case more times than not.

Another favorite that graces his walls is of a quintessential Montana homestead, monochromatic in the stark high noon light, collapsing into a

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deep basement. In dilapidated glory, the structure stands in a sweep of dry sage atop the Cayuse Hills outside of Melville, MT. The image is another testament to his attention to subtlety and love for Montana.

As with many artists, one of Schmidt’s biggest inspirations is place and it’s obvious that he’s found his Last Best Place. “Montana – its people, places, climate, landscape – is both beautiful and unpredictable. And that makes for great photos,” remarks Schmidt. Whether of mountains, rivers and rolling hills or the people and animals that call them home, Schmidt’s work is most recognizably his – and that work most powerful – when it incorporates and features the elements of nature. The firmament, in particular, becomes a dominant and reoccurring character throughout his story; it is his metaphor. Perfectly encapsulating his preoccupation with the momentary, the sky provides a mutable feast of opportunities to capture fleeting moments of interaction between sensual light and foreboding darkness, peaceful quietude and windblown tumult as it plays across the features of subjects and landscapes alike.

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So, I'm on the roof of this old grandstand in Shelby, MT when all hell breaks loose.

I find myself perched on the edge of the roof with my wooden field camera on my tripod; this camera has been around the world with me and I decided to bring it along during this trip for posterity – just to keep things interesting. Knowing that I am drawn to inclement weather, the boredom of the bluebird sky in front of my lens didn't phase me at all . . . as the horizon at my back was dark and ominous. I was more than happy with the hand I was holding, as past experiences were whispering all of the possibilities that might unfold.

This year's Marias Stampede was scheduled to begin in about an hour, which would be about the same time the weather would be coming out of the gate. Staying optimistic, I decided to hunker down (besides, I'd already shot a couple of polaroids and those babies are hard to come by). Time passed, the light grew dark and, when the wind kicked in, I found myself scrambling into the shanty attached to the top of the grandstand. It was an old announcers booth, probably 20 years past its expiration date. It was there that I found myself surrounded by pigeon shit and a significant collection of potential shrapnel should the wind open the place up.

As I finished securing my gear, it seemed as though someone hit a switch titled "lightning" and then threw another titled "downpour" for good measure. The two large speakers on the rooftop started making static laced sounds and immediately lightning and concurrent thunder was above the arena.

That's when I decided to leave the coop.

With a cloud of feathers in tow, I high-stepped it out of the shanty, flew across the rooftop and zipped down the wooden access ladder in record time. As I bolted out the door, I managed to take one picture on the fly with my handheld.

I landed safely on the upper row of benches and into the throws of hardcore rodeo fans plus a Hutterite family working on an early round of beer. I'm still not sure who was more surprised to see whom. Thinking back now, I see about 50 of us under that old leaky roof. We were clinging to the concept of safety in numbers and wore smiles on our faces, too. That storm continued north and George Strait's "Blue Clear Sky" played overhead. I took that as my cue to head back to the roof where my gear was safely cached.

I went through the motions again: recomposing, focusing, and cursing at my dark cloth as it flailed in the wind.

Loving every single moment . . .

By the time the barrel racing started, I had scoped out the rider that would be perfect for the image already exposed in my mind. Seeing how the passing storm provided me with a truly epic backdrop, I decided to expose a sheet of film as a passing train entered my composition. It was a one-second exposure and it just so happened to capture a bolt of lightning in the distance. My heart skipped a beat and visions of Frederic Remington's "Stampede" came to mind as I visualized the merging of two images.

And that's how it all played out the year I went to the Marias Stampede.

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Schmidt’s true skill lies in his ability to make a calculated photograph appear effortless, as if he had just happened upon a perfectly framed image and taken a mere snapshot. Whether lying in wait for a desirable break in the clouds or the distant expression as it passes across his towheaded son’s features, “capturing authentic moments in the lives of people and the spirit of places” is the defining characteristic of Schmidt’s sizable body of work. And his greatest interest. “In the end, the camera is an intrusion,” Schmidt states matter-of-factly. “Capturing real, unrehearsed moments is hard because you’re authentically trying to be a part of them while shaping them artificially with the technicalities intrinsic to the camera.” These preoccupations are the underpinnings of Eric Schmidt’s world, a place of self-awareness and worldly consciousness, of restless anticipation and a touch of fear, all pregnant in their import, the weight visible in his eyes.

“The changing significance of moments and wanting to capture those spaces – feeling disappointed when I don’t, perhaps because I’ve missed them in the past – that’s where my mind strays now,” Schmidt remarks quietly. “When all factors coalesce and a moment comes together to create a perfect image, like these simple, candid shots of my daughter or my boys, it’s magic.” As his children mark the years’ passage before his eyes, Schmidt finds himself managing that tenuous grasp on the momentary a little more carefully, finding a balance between the photographer’s eye and the father’s heart. Indeed, deciding whether to capture the magic – those fleeting moments of stark authenticity – or to live them.

For more of Eric Schmidt’s work visit www.wiseriverproductions.com or follow him on Instagram @wiseriverproductions. Eric can be reached at eric@wiseriverproductions.com.

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" I h ave to a d mi t t h a t I a m n ot a h u ge s o c i al media guy. But if I was to c h o os e my favo r i te p l a tfo r m, i t wo u ld have to be Instagram.

Fe e l f re e to c h e c k o u t mo re of my p ost s @w is eriverproductions "

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Always an Artist An Interview with Renowned Sculptor

Jim

Though born and raised in California, Jim Dolan knew Montana was his home for as far back as he can remember. So, when he graduated high school in 1966, he moved to Bozeman and began work toward the Masters in Agriculture that he would eventually obtain. While attending classes and earning his tuition by delivering papers and driving a school bus, a position he would continue to hold after graduation, Jim found his passion: sculpture. Though he finished his degree, he knew before his sophomore year was complete that he would rather be a sculptor than a cowboy. And Jim never looked back. Now, at the age of 66, with 43 years of sculpting under his belt and international recognition, Jim reflects on a life well lived and loved, on his education and inspiration, and on the 29 years he has to go until retirement.

JB: How does someone with your agricultural background, both education and family, end up a sculptor?

JD: By the time I was halfway through college, I knew I would be a sculptor. I first learned how to weld in high school, but honed the skill in college. At the time, MSU had access to piles of surplus scrap metal from the war. And the school paid for all of our other supplies. So, I could really just experiment and learn with unlimited abandon. I just knew, at that point: this will be my life. I continued driving a bus to cover my hard costs and just sculpted. My resume is pretty impressive, actually. The last job I held was in 1971 as a school bus driver.

Soon after I finished college, I met my wife, Jean, and we married in 1974. She taught elementary school so, between the two of us, we made about $5,000 a year, which allowed us to live comfortably and me to continue sculpting. It’s so hard to

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By Jessica Bayramian Byerly

believe, now, especially having just weathered the last six years. The recession hit me – and the art world at large – pretty hard. It’s nice to be on the other side of that now.

My wife died in 1991 from breast cancer. I later remarried and then divorced.

I’ve had ups and downs and everywhere in between, but I’ve never lost my love for what I do. Every morning I walk into my shop and just grin. It’s like Santa’s workshop and all I have to be concerned with is precisely what I want to do on any given day. And then I get to do it.

JB: Ever have any doubts?

JD: I’ve never questioned being a sculptor and I honestly don’t believe I’ve peaked yet. My best work is still to come.

JB: What inspires you?

JD: The IRS quarterly. Making house payments.

JB: Very funny.

JD: It’s true. It has always been, and will always be, a part of the picture. It has to be. So I concentrate on those pieces, usually commissions, that can cover my hard costs and allow me to be comfortable and then I can play.

When I started out, the first 10 to 12 years or so, I did a lot of birds. But it’s hard to connect with a turkey. I still do them, but if I had to work on them every week, I might consider returning to my other calling driving a school bus.

I’ve always loved animals, representing them in sculpture and capturing their untamed connection with the land and each other still inspires me. The Bleu Horses sculpture, for instance, was one of those projects I had been thinking about for a long time. When I decided I wanted to do something for the people of Montana, I knew that I had finally found the opportunity to realize that vision.

Horses are such a part of our culture, go back three generations and they were a part of everyone’s life. There’s something about them that we personally connect with. When I was working on them at one point, I had 24 in a circle in my shop and I came out at 5AM with my coffee and oatmeal and just looked at each one. Then I went and put each one’s muzzle into my oatmeal. Strange, I know.

But I felt such a kinship with them. Fifteen months of work and they were finally installed just north of Wheat Montana on Kamp Hill, land owned by my friend, Dean Folkvord. It was a big moment. And then the three were stolen, which is a whole other story and, interestingly, one that only further confirmed my love of Montana and it’s people.

JB: How so?

JD: The story got pretty substantial coverage, both nationally and internationally.

People really came together to help in the search and recovery. When I was finally driving them home, the police received several calls from people who saw them in my trailer and were turning me in, not knowing who I was. I like that. When all is said and done, no matter how the area grows and the demographics change, we’re still a community, still Montanans, and it’s special.

I tend to work on my commissions first because, as I said, you have to. Those projects pay for the creativity and flexibility with my other ventures. I completed a commissioned elk piece for a company in Japan earlier this year and the sale of that piece has allowed for me to work on some personal projects, like this sheepherder’s wagon for my grandkids. It had been in my family in northeast Montana for years and now I want to restore it and create a playhouse for the kids. To be able to give them something so steeped in history, to merge it with the new so that it can withstand another 50 years in the elements is amazing and humbling.

JB: I noticed a piece as I walked in that appears to be made from washers; am I mistaken?

JD: Nope. Those are washers. They’ve just been gold powder coated. That piece is called ‘Wings of Knowledge.’ It was actually a commissioned piece that was returned when the company that bought it got into a bit of legal trouble. I’m happy to have it back and have since reworked it pretty significantly. Haven’t yet decided where she’ll end up.

JB: Is it common for you to use found objects or things like washers in your sculptures?

JD: Occasionally I’ll work with some treasure I’ve found here or there. But, for the most part, I work with steel and stainless steel, some brass and copper. None of my work is cast, so everything is original, which is kind of exciting for me, as the artist, but also for those who purchase my work: even if I attempt to make a copy, it will never be exactly the same.

JB: So, where do you go from here? What do you envision for your future?

JD: Last year, I turned 65 and I committed to a 30-year plan. I want to sculpt until I’m 95. I intend to keep that promise to myself. Beyond that, I have no expectations. I’m blessed. I’m happy and doing what I love, every single day.

One year down, 29 to go.

JB: I see some figures around your shop as well. Is that Abe Lincoln?

JD: It is! My newest piece, actually. I’m definitely doing more people now, particularly inspiring people. I’ve done around two-dozen sculptures of people; quite a few of them are around Bozeman, in fact, and several on campus. I’ve read around 40 books about Lincoln, so I have a good handle on the kind of man he was. When I work on a subject like that, there’s more there than just the steel. And people can relate to something beyond the metal, they can feel something more than just the sculpture.

JB: So, what does your process look like? Once you have the idea, is there a lot of planning and modeling involved? Or do you just jump in?

JD: I start with the feet.

JB. You really are quite the comedian.

JD: Really. It’s true. If I had formal art training, of which I’ve had none, maybe I would approach things differently. I’m sure I would be a different artist. But, as it is, I approach my art logically. What makes more sense than to just start? And, beyond that, to start at the bottom? So, for Lincoln, it literally started with a pair of size 16 shoes. Truthfully, at least half of the time I create the model after the piece is finished and more for the sake of the person who commissions or buys it than for any utilitarian purpose.

If I were just working on Lincoln full-time, he would take about six weeks. But, I usually have three or four projects going at once. I come and go as my enthusiasm ebbs and flows for each piece. Sometimes I’ll leave a piece for months and revisit it when my excitement returns.

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history of the

Gem Gallery

By Dave Reuss

After nearly two decades of serving customers in Bozeman, The Gem Gallery has moved west—12 feet and 11 inches west, to be exact. But by moving just three paces across the hall in their same building at 402 East Main, the company can now enjoy nearly 1,000 square feet of more space. And along with all that open space comes a river rock fireplace studded with garnets, platinum, fool’s gold, and Yogo sapphires; original hand-hewn fir floors; cherry display cases made right here in the Gallatin Valley; and a 44,000-pound walk-in vault—just to keep his inventory safe at night.

For owner Don Baide—a fourth-generation Montanan—gemstones and precious metals have been nothing short of an obsession ever since he was a child. “I still remember my cousin showing me a pill vial of Yogo Sapphires—I was mesmerized, and I made a vow to figure out where they come from,” Don says. After receiving a Bachelor of Fine Arts in Metalsmithing from MSU in 1979, he spent two years traveling the globe, fulfilling his childhood goal and finding out exactly where gems and stones come from.

For many years after he settled back in Bozeman, Don ran his gemstoneimporting business out of his home. He opened his first downtown shop at 107 North Grand and was met with great success. Orders kept coming in, and things really took off once he saw a “For Sale” sign in the window

of the newly built Blackwood building on east Main. When he finally signed the papers and opened his doors at the new location in 1994, The Gem Gallery was an overnight hit, capitalizing on the solid clientele base Don had established over the years.

For all the years of hard work, travel, and research, Don really has the Yogo Sapphire to thank for all his success in Bozeman. “Honestly, The Gem Gallery was truly built by Yogo Sapphires—we’ve got one of the most major collections in the state,” Don says. He owns two digging claims at Yogo Gulch outside Utica, Montana and spends time every summer mining for these little blue pebbles. Don frequently teaches classes on them, and more than a few people around the state consider him the leading authority on these precious gems found only in the Treasure State.

With mining claims in Montana and even more projects across the globe fighting for his attention, Don has slowly started to think about retiring from the store. Thankfully, he’s planning to keep The Gem Gallery as a family-owned business, with his son Jason eventually taking over operations. “Really, I’m expanding into the new store so my son can one day run the place—once he’s out of college and through gemology school,” Don says. But until he hands the keys over to Jason, he’ll enjoy their new location on the corner of Rouse and Main, imagining all the precious stones that the next twenty years will bring.

To find out more, visit Don at 402 East Main or at gemgallery.com.

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the history of

Y O G O S A P P H I R E S LITTLE BLUE PEBBLES

By Dave Reuss

In 1895, a prospector named Jake Hoover discovered gold along Yogo Creek in the Little Belt Mountains of Montana. He thought a significant amount of gold would be found, so he formed a mining company with two partners, Simon Hobson and Jim Bouvet, who raised $40,000 in capital to begin the mining operation. Like many others, Hoover had travelled to Montana during the gold rush era looking to make his fortune. After one year of mining, however, the three partners had found just 40 ounces of gold, worth only $700, and a few pretty blue pebbles in a sluice box.

While other miners discarded the tiny blue rocks, Hoover began to collect them until he had a cigar box full of them. He sent the cigar box to Tiffany & Co. in New York for identification and sought a determination of value for the stones.

In 1899, the British company sent T. Hamilton Walker, a mining engineer, an assistant, Charles T. Gadsden, to America to oversee the mine, in an effort to minimize expense and increase profits. While not an engineer, Gadsden would play a major role in the history of the English Mine.

Operations at the mine during the beginning of the century were very successful, and millions of carats of rough Yogo Sapphires were excavated.

The pebbles were identified by the foremost gem expert in America at the time, Dr. George F. Kuntz, as not just pretty stones; they were actually excellent quality, natural sapphires! Kuntz was intrigued by them because of their quality, color and clarity, and deemed them “the finest precious gemstones ever found in the United States.” Wanting to purchase the “superbly-colored, gem-quality sapphires,” Tiffany & Co. sent Hoover a check for $3,750 for the box of stones, which was over five times the money he had made on gold from the mine.

The operations at the English Mine during the beginning of the century are considered the most successful endeavors to profit from Yogo Sapphires.

Gadsden was put in charge of the operations, becoming the resident supervisor of the English Mine. He steadily profited using “outdated” hand-drilling techniques and mules for pulling carts of ore. Gadsden was successful at many areas of mining that others on the American Mine were not, such as finding ways to separate sapphires from heavy minerals, and keeping the miners from stealing the stones. Unfortunately, all the rough sapphires mined from the English Mine were shipped to London, where they were cut and sold in Europe, often as sapphires from the Orient.

The sapphires (now referred to as Yogo Sapphires) had more value than Hoover and his partners ever dreamed of, and they certainly were more valuable than all the gold Hoover had spent a good portion of his life mining for. The partners now concentrated their efforts on finding the source of the Yogo Sapphires. Eventually, however, Hoover became disenchanted with mining sapphires and sold his shares of the mine to his two partners.

As Dr. Kuntz said, “In purchasing a mere gold mine, they had acquired the most valuable sapphire mine in America, yielding more wealth than all the other sapphire mines in America put together, and a finer quality of gem.”

This would be the start of what would be decades of ownership changes at the Yogo Mine.

The British Take Over Hoover's Stake

Once Hoover sold his shares of what was then called the New Mine Sapphire Syndicate, it was not long before his former partners followed suit and sold their interests. Hoover sold his share for $5,000, only for it to be sold again two months later to the British company of Johnson, Walker and Tolhurst, Ltd. for $100,000. The eight lode claims that were originally staked by Hoover became the foundation of the English Mine. In 1896, two other American men staked claims at six remaining sections along the dike, in areas Hoover had deemed unfit for mining, and it became known as the American Mine. For the first half of the 20th century, the two separate mines were known as the English Mine and the American Mine.

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British marketing experts arranged exposure for Yogo Universal Exposition in Paris, where the sapphires of Montana received a medal for their fine quality and color. However, European retailers were beginning to market them as Orient Sapphires, which, at the time, fetched a better price and were similar in color.

The Two Mines Become One

Operations at the American Mine were less successful, and ownership changed hands frequently. The money invested in the development of mining operations usually exhausted the owners’ resources, and left them without enough capital to continue. The American Mine, unlike the English Mine with its rolling, hilly terrain, was concentrated in rough, rugged cliffs that were harder to access. For the rough stones they did manage to acquire, the poor quality of the cutting and the unsatisfactory marketing of the sapphires sealed the mine’s fate.

In 1913, the Yogo American Sapphire Company, owners of the American Mine at the time, was forced into bankruptcy, and put the dike property up for sale for $80,000. Gadsden wanted complete control of the dike for himself, and felt the Americans were inefficient at mining. He went to England to the New Mine Sapphire Syndicate, owners of the English Mine, to acquire ownership of the American Mine, and therefore full control of the entire stretch of the known Yogo dike. Gadsden was able to convince the English Mine owners that purchasing the American Mine would reduce competition and that the purchase price would be easily recouped. Gadsden then set forth washing the tailings left behind from the American Mine. In the first year’s cleanup of the old tailings, he

reclaimed more than $80,000 in value of stones missed by the miners of the American Mine, thus paying for the purchase of the American Mine before new operations even began.

In the early 1900s, the combined mines had produced over 13 million carats of rough Yogo Sapphires. These stones were not only used for jewelry production, but also for watch bearings in mechanical watches.

The non-gem quality sapphires were sold as abrasive for cutting steel. As World War I increased demand for cutting abrasives, production at the Yogo Mine was allowed to continue, while other mines were deemed nonessential, and subsequently their workforces were given other priorities.

World War and a Flash Flood Take Their Toll

By 1922, the combined mines began to fail. Synthetic sapphires had been introduced on the market, and with this, the need for Yogo Sapphires as watch bearings and abrasives was eliminated. The only value for Yogo Sapphires now was as gemstones. After the toll of World War I and a steady economic decline, interest by the British in Yogo Sapphires began to wane. The final blow came in 1923, when a tremendous flash flood destroyed most of the above-ground mining structures and washing pads, including washing away millions of carats of rough sapphire. The British decided not to put any more capital into the working structure of the Yogo mines, and put the mine up for sale.

The mine was eventually sold for back taxes, and several different parties owned the property at different times. For many years, the property was wide open, and many locals picnicked in the area, gathering the little blue pebbles during their outings. To this day, people are making jewelry from the stones they found during that period, recalling the time when they could go out and search for Yogos on their own without fear of being caught. The next few owners closed off the mine to the local rockhounds, and tried various attempts at mining and marketing of Yogo Sapphires.

The Rise of Roncor

In 1969, the mine was acquired by Herman Yaras of California, who later sold his interests to another Californian: a celery farmer named Chikara Kunisaki. The Kunisaki family formed a company, Roncor, with a master plan to raise capital by creating what is now known as Sapphire Village.

Roncor sold home sites to rockhounds near the Yogo Mine, and the home sites came with limited digging rights along the Yogo dike. Several families to this day live at Sapphire Village, and continue to do limited hand mining on their rights at Yogo. Roncor attempted to mine the dike from the west at the original American Mine, but was unsuccessful. They ceased mining operations and put the property up for sale. Roncor then sold the mine to a Colorado company, Intergem, that strip-mined a major portion of the eastern end of the dike. During its years mining, Intergem successfully mined and removed millions of carats of sapphires. However, Intergem was unable to complete its purchase agreement with Roncor, and Roncor regained complete ownership of the Yogo Mine.

After the fall of Intergem, a Canadian company called Pacific Cascade Sapphires attempted to purchase the Yogo property from Roncor with a mining lease. They raised start-up capital, built a wash plant and settling pond, and began their search for Yogo Sapphires. They scooped samples from many places, did mapping and magnetometer testing, but did not

locate a good mining location before their funds ran out and their option expired. Next to try their hand was Amex Engineering, who had a two-year lease from Roncor and mined two bulk samplings at the middle of the mine area and the eastern end of the dike. They found considerable fine stones, but decided not to continue their lease option. After Amex pulled out, Roncor retains control of the property to this day, but the mines remain inactive, except for the hand-diggers from Sapphire Village.

The Vortex Mine: Virgin Territory

During the rise and fall of companies trying to find success with the Roncor property, there was a new mine that had started at Yogo Gulch. In January 1984, four local residents, Lanny Petty, Chuck Ridgeway and their wives, Joy and Marie, made their own discovery at Yogo. They followed a wood cutting trail that led them to an untouched section of the dike that had been previously disregarded by Gadsden as not worth mining. They staked their own claims on property not belonging to Roncor, and began to mine.

This new area was called the Vortex Mine, and the mining was to be done underground. In time, they sank a shaft 280 feet down and discovered two different veins of Yogo-bearing ore.

The group operated this mine successfully for several years. Knowing that further capital was required and greater mine expertise needed, the mine was then leased to Small Mining Development (SMD) of Boise, Idaho.

SMD came in and drove a spiraling decline shaft down to a depth of 400 feet. SMD tried advanced mining techniques, such as high pressure water jets, to cut away the ore-bearing rock. Ultimately, SMD was dissatisfied with their production and profitability at Yogo. When SMD pulled out, they removed their wash plant and there was talk of possibly filling the spiral shaft with concrete and sealing the mine forever. The Vortex Mine became dormant and essentially closed in 2004.

The Future of Yogo Sapphires: Roberts Mine

The future for Yogo Sapphires looked very dim until the spring of 2008, when it was announced that Mike Roberts, a second-generation hard rock gold miner from Alaska, successfully acquired the Vortex Mine and its claims. He successfully commercially mined underground at Yogo, through the Vortex portal, utilizing the wash plant originally built by Pacific Cascade Sapphires. The mining was at the 300-foot level in areas overlooked and not explored by previous miners. Mike worked diligently in the mine and the mine reached a depth of over 400 feet.

Tragically, on March 19th, 2012, Mike Roberts died in an accident while working underground in the Yogo Sapphire mine. Mike died doing what he loved, searching for Yogo Sapphires. Mike was full of life. His favorite things to do were to drill and blast, and spend time with his wife and family.

His generosity to the Special Olympics is well known and was greatly appreciated. He was a great friend to all that knew him and he will be greatly missed.

As of the summer of 2012, Roberts Yogo Sapphire Company, now operated by Mike’s wife and family, still owns and hopes to continue mining the claim after all safety checks and updates to the mine are performed. When the mining will begin again is still to be determined.

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Photo by Marshall Lew i s

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BE INSPIRED WITH

bozeman camera & r e pa i r

By Jessica Bayramian Byerly

Photo by Brian Lew is

“Photography is a series of decisions,” remarks professional photographer Ken Sklute. But, those decisions don’t always lead to success. “To get something good, you kind of have to fail,” Sklute says with a smile. It’s all about looking at things differently, stresses Sklute, and being open to possibility. A Canon Explorer of Light – one of only 42 such honored photographers worldwide – Sklute shared tips, tricks and inspired wisdom gleaned from 38 years behind a lens with a crowd of enraptured amateur and professional photographers during his presentation at the third annual Bozeman Photo Expo in October.

“There’s something to be said for just promoting photography,” remarks Bozeman Camera & Repair (Bozeman Camera) owner Marshall Lewis.

“The expo is really about igniting passion for the art form.” Sponsored

by Bozeman Camera, Canon, Nikon and Sigma, the free two-day event featured nationally and locally renowned guest speakers, a trade show and classes. This year’s event also included two expert-led photo shoots.

Professional photographer Kenton Rowe and Canon educator Jim Dicecco took one group on an exploration of Silver Star, MT. Attendees worked on off-camera flash and light painting – techniques that most had never tried – to produce some remarkable images, while enjoying handson instruction and support. Pro portrait photographer Judy Host also provided an exciting workshop on available light.

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Photo by Brian Sorg

Lewis’ brainchild and personal passion second only to his shop, the Photo Expo is unrivaled in Montana; the closest comparable events are in Salt Lake City and Seattle. “The Expo is an amazing networking and educational opportunity,” says Lewis. “Participants have access to world famous photographers, local professionals and equipment experts. They can try out equipment, win prizes, participate in photo shoots, and get hands-on instruction. It can be a real launching point for anyone, from the soon-to-be pro to the point-and-shoot novice.”

“Whether it’s through the Expo or in the shop, getting people excited about photography is my passion,” states Lewis simply. Montana’s premier resource for professional and consumer photography equipment, Bozeman Camera offers the largest used camera selection in the state, a full Canon and Nikon dealership and a large rental inventory. Providing personalized customer care, lifetime technical support, in-store trainings and a host of related services, Bozeman Camera offers hands-on service from selection to point-of-sale to long-term equipment upkeep.

Unique to Bozeman Camera is its on-site repair shop featuring 20year veteran technicians and emergency repair services. “How many businesses actually service what they sell?” asks Lewis. “You could call it old fashioned, but our customers love it. The level of customer service we provide really sets us apart.”

Photo by Brian Sorg

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Ph oto by B r i a n Lewi s

Ph oto by Ma rs h a l l Lewi s

Bozeman Camera is located at 1008 N 7th Ave, Ste. B in Bozeman. For more information about Bozeman Camera & Repair or the fourth annual Photo Expo in October of 2015, contact the store at 406.586.8300 or visit www.bozemancamera.com.

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D O W N T O W N B O Z E M A N A S S O C I AT I O N P R E S E N T S

a r t wa l k The Downtown Bozeman Association, Downtown Bozeman art galleries,

Maps for the 2014 Art Walks are available now and throughout the year

and retailers and the Emerson Center for Art and Culture are proud to

at www.downtownbozeman.org. In addition to the featured openings at

present the Downtown Bozeman Winter Art Walk on Friday, December

the galleries and businesses, the Art Walks also feature live performances

12, 2014 from 6-8pm.

throughout downtown. Look for your musicians as you stroll and for specific locations are also available online at www.downtownbozeman.org.

The Winter Art Walk is the last Art Walk of the 2014 season which occur on 2nd Fridays of the month; June through September and again in

This FREE community event is brought to you by our gracious sponsors;

December in Downtown Bozeman. The businesses and galleries generally

KBZK, First Security Bank, 95.1 “The Moose”, Insty Prints,

feature artists’ openings and receptions during the event and often provide

The Bozeman Daily Chronicle, and the Bozone. The Art Walks are also

complimentary hors d’oeuvres and refreshments.

open to the public and will go on rain or shine, and for more information visit www.downtownbozeman.org or call the Downtown Bozeman Association at 586-4008.

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alan bublitz MAKING OLD NEWS NEW

By Jessica Bayramian Byerly

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Originally from Wisconsin, locally renowned cartoonist Alan Bublitz was the second youngest of six kids. “As the fifth kid, by the time I did anything it was old news,” Bublitz recounts with a smile. His father was a fuel delivery truck driver, his mother a stay-at-home mom. When his third grade teacher demonstrated how to enlarge a picture with a grid system, Bublitz realized what would become a lifelong passion for drawing. “I drew using that system for years,” remarks Bublitz, “and then one day I didn’t need it anymore. I could draw.”

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And draw he did, developing some degree of notoriety in high school as “the poster guy”. While drawing in the library – something that was expressly forbidden – the librarian caught him red handed, brusquely concluding his masterpiece with the dreaded, “The principal will see you now.” However, after reviewing Bublitz’s drawing – a classic old severed head in a jar being kept alive by various machines – the principal excused himself to consult with the typing teacher who asked Bublitz if he would draw covers for the basketball and football sports programs. Bublitz replied with a request of his own: “I’ll do it on one condition; I get to draw anywhere in the school.” They agreed with a stipulation of their own: not in class. Upon returning to the library, Bublitz opened his notebook right in front of the librarian and started drawing. Outraged, the librarian demanded to know just what Bublitz thought he was doing? To which young Bublitz replied, “The principal will see you now."

After high school, Bublitz received his first formal art training while studying commercial art at Milwaukee Area Technical College in Madison, Wisconsin. Heeding sage advice to find a field to practice his trade and work on his masterpiece(s) at home, Bublitz accepted a position at the local newspaper – The Beaver Dam Daily Citizen – as a paste-up artist. While working there, Bublitz was approached by an editor from the Columbus Journal – Republican who requested a drawing, which later turned into the weekly cartoon Zebual Tailnab. Eventually picked up by the Beaver Dam paper as well, the strip lasted until Bublitz’ departure from that paper in 1982.

Unemployed during a recession, Bublitz took the only job readily available.

He enlisted in the Army. “It was really a great time to be enlisted,” says Bublitz. “Ronny Reagan had just been elected and scared the pants off of all the foreign leaders. Ronny did all of the great things: during a microphone check, he once said ‘the bombing starts in five minutes.’”

After getting engaged to the woman to whom he has been married for the last 31 years, Bublitz did a tour in Germany. He left the service after three years and got a job with a shopper-type publication, of which he eventually became the production manager.

Throughout buyouts, transfers and promotions, Bublitz’ skill with a pencil drew consistent attention. While working in Great Falls, Bublitz prepared a presentation for a room full of his superiors. Filling a huge presentation tablet with a flipchart full of cartoons, Bublitz breezed through his report before asking for questions. “Sure enough, one guy raised his hand and asked, ‘Why aren't you drawing cartoons for the paper?’ Bublitz remembers with a smile. “I said no one ever asked. And that was the start

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of drawing editorial cartoons.” For two years, then editor Jim Strauss would provide the subject and sometimes even the punchline and Bublitz would create the cartoon.

With the exception of Wausau, Bublitz has been published in every paper for which he’s worked since the Great Falls Tribune. After his stint in Great Falls, Bublitz went on to draw football cartoons for the sports page in Pine Bluff, Arkansas before returning to Montana – Livingston specifically – and his editorial roots. In addition to managing production, Bublitz has been drawing editorial cartoons for the Livingston Enterprise every week for the past three years.

Last year, Bublitz published a book of cartoons from 2011-2013, entitled So Far. He also wrote and illustrated Murphy Moves In, a lighthearted children’s story about bringing a dog home, as told from the dog's perspective. In 2011, he won Best Editorial Cartoon at the Montana Newspaper Association’s annual Better Newspaper Contest.

Bublitz continues to work at the Livingston Enterprise where he draws at least one editorial cartoon a week. For more information about Alan Bublitz, visit BlitzInk.webstarts.com.

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C L A S S I C M O N TA N A W I T H

r ya n t u r n e r

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Over the last 15 years, Ryan Turner has been capturing classic Montana activities like skiing, hiking, and fly-fishing against the most beautiful backdrops in the state. As an award-winning photographer, he’s traveled around the world taking pictures, but still has the Treasure State to thank for some of his best images.

“I love photographing in Montana because there are so many opportunities with its endless beauty in land and people.”

Between national ad campaigns, magazine features, and creating new prints for his gallery collection, Ryan continues to surround himself with the activities he loves to photograph. “Last year was amazing—every year continues to get more and more interesting.

I’ve been able to work with amazing people and create images I had only dreamed of,” Ryan says. In the last 12 months, his work has been featured in dozens of publications across the country, including the New York Times and the Wall Street Journal. Closer to home, the final touches were recently added to his permanent art installation at Big Sky Resort. The Yellowstone Conference Center now features 13 of Ryan’s framed prints on display—with some as long as 14 feet.

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The Ryan Turner Photography Gallery is in Big Sky, Montana, near the turn to Big Sky off Highway 191 in the Bighorn Center. Featuring museum-quality prints in handcrafted frames constructed from reclaimed lumber, his gallery showcases the heart and soul of the Treasure State with scenic images from Yellowstone Park, Big Sky Resort, the Gallatin River, and more.

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CAPTURING RURAL ROMANCE WITH

W E N DY MARQUIS Born into an artistic family in Pittsburgh, Pennsylvania, Wendy Marquis grew up exposed to the works of great masters in her home and at her mother’s gallery. She progressed to the School of the Museum of Fine Arts in Boston and graduated with a BFA from the University of Arizona. At 40 years old, she decided to continue her education through workshops in faux finishing, furniture and mural painting. Her art flourished and found its way into hotels, homes and businesses throughout central New Hampshire.

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In 2006, after moving to Montana, Wendy’s painting skills evolved. The western skies and the rhythms of man and nature greatly influence her work.

As she paints vintage trucks in the Montana landscape, she pursues what she likes to call “Capturing Rural Romance.” To her, the rusty old pickup is part of our landscape. Within the same vista, she also paints old barns and farm and ranch animals. As of late, Wendy is exploring close-up views of trucks – the rusted texture of weathered metal and the patina of old paint.

As she continues to create work that bridges the past and the present, her latest series has a more contemporary feel.

As you view her work, she invites you to feel the heat of the Montana sun on your back and see the intensity of color and light that is unique to this climate. But, most of all, savor this distinct time and feel a sense of place – a place that you want to linger in again and again.

To see more of her work, visit Wendy’s extraordinary studio and gallery, located in the 100-year-old Belgrade Bank building. If you’re lucky and you visit on a blue sky day, you will find her working amidst the beams of sunshine coming through the big picture windows, her colorful paintings hanging on the exposed brick walls behind her.

For more information or to view Wendy’s work, check out her gallery at 9 East Main Street in Belgrade or visit her website at www.wendymarquis.com

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