Skip to main content

Forrest Fenn, Art Dealer Who Enticed Thousands to Hunt for Hidden Treasure, Dies at 90

"He loved families and he loved the idea of getting them out in the mountains and the open air, and his great joy was talking to the families that were seeking the treasure," said Dorothy Massey, the owner of Collected Works Bookstore in Santa Fe, who called Mr. Fenn a friend and a mentor. "That was the important thing to him."

Ms. Massey said Mr. Fenn had given her store the publishing rights to "The Thrill of the Chase," which drew so many explorers to Santa Fe that it had "quite an effect on the general economy of the city."

Forrest Burke Fenn was born on Aug. 22, 1930, in Temple, Texas. He spent idyllic summers fishing around Yellowstone National Park, and hunting for arrowheads with his father, a schoolteacher, and his football coach, both avid collectors. He found his first arrowhead when he was 9 and told The New York Times in 2017 that it was still "the most prized possession in my collection."

"My father taught me to not dwell on the center line, but to go out to the edge and see what was there," he said. "That thought manifested itself in many ways in my later life."

Mr. Fenn graduated from Temple High School in 1947 but struggled academically and joined the Air Force in 1950 after studying for several years at Temple Junior College, according to the Super Sabre Society, an organization dedicated to the history of the F-100 Super Sabre and the pilots who flew the aircraft.

As a pilot in t he Vietnam War, he flew 328 combat missions in 348 days and was shot down twice, in Vietnam and Laos, he said.

In the 1970s and 1980s, the Santa Fe art gallery he opened attracted big-name buyers. A 1986 profile in People magazine reported that former President Gerald R. Ford, Jacqueline Kennedy Onassis, Robert Redford, Cher and Steve Martin were among the patrons paying high prices for oil paintings and Native American art and artifacts.

Comments

Popular posts from this blog

History of Art Timeline

The historical past of art is usually told as a chronology of masterpieces created during each civilization. It can thus be framed as a narrative of high culture, epitomized by the Wonders of the World. On any other hand, vernacular art expressions can even be integrated into art historic narratives, called folk arts or craft. The more intently that an art historian engages with these latter sorts of low culture, the much more likely it is that they will determine their work as analyzing visual culture or cloth culture, or as contributing to fields associated with art historical past, akin to anthropology or archaeology. In the latter cases, art gadgets may be called archeological artifacts. Surviving art from this era comprises small carvings in stone or bone and cave painting. The first traces of human-made gadgets appeared in southern Africa, the Western Mediterranean, Central and Eastern Europe Adriatic Sea, Siberia Baikal Lake, India, and Australia. These first traces are general…

How to Show Art Work when the Gallery Says No Thanks

There are places in the town where you live where you can show your artwork when the big gallery you solicited said, "No, thanks."
Other artists may need to find venues other than galleries to show their artworks as well. Visual artists living in art-rich communities where there is a lot of local competition will need to get creative about display opportunities.

Or on the other hand, in towns without large art venues, it is important for artists to find smaller and less obvious places to show your art.

How to Show Art Work When The Gallery Says No Thanks

1. Show Where You Go

The most successful approach to finding a place in your town to display your artwork is to solicit a place that you go to frequently. Make a list of all the places you go to each day, each week, and each month.

Make a special trip, or the next time you visit note if the establishment currently exhibits any artwork, if it is local, and if it is for sale.

Also note if they have available wall space where a…

Book review (nonfiction): Form or function? In the history of poster art, the two sides are constantly at war

“Who takes the eye takes all,” said Mary Lowndes of the Artists’ Suffrage League in the early 1900s, neatly summarizing the need for striking graphics on the banners that suffragists were making for their marches. Lowndes’ statement could serve as the motto for all those who attempt to persuade by visual means, be they propagandists for political parties or advertisers selling soap. “The Poster,” edited by Gill Saunders and Margaret Timmers of the Victoria & Albert Museum in London, is a beautiful and entertaining account of the history of the medium, illustrated with examples drawn from the museum’s extensive collection.While handbill-sized fliers affixed to surfaces had long been in existence, it was the development of the large-scale color lithographic technique, with images composed of several pieces that could be pasted together into one picture, that made possible the explosion of graphic media campaigns in the 19th century. The first-rate artists who turned th…