This is a nice bronze statue of a walking bear by Philip Russell Goodwin, marked by Calhoun's. The statue has an unknown country/region of manufacture and an unclear provenance, as the ownership history is not available. The statue falls under the categories of Western Americana, Cultures & Ethnicities, and Collectibles. In pretty good condition with some minor surface wear and it comes exactly as shown. It measures 4 1/8" x 2 1/4" x 2 1/4"

Philip Russell Goodwin (1881 - 1935) was active/lived in New York, Connecticut. Philip Goodwin is known for Animal, field-stream illustration. Known for his illustrations of hunting, fishing, and cowboy scenes, especially scenes featuring firearms, Philip R. Goodwin was from Norwich, Connecticut. By the age of eleven, he had already sold his first illustrations to Collier's magazine. He was educated at the Rhode Island School of Design in Providence and the Art Students' League in New York. He also studied with Howard Pyle in Pennsylvania. His works exhibit much of Pyle's earnestness and discipline, but are restricted almost entirely to subjects of hunting and fishing. In this limited area, however, he produced many notable pictures, the subject matter always convincing and dramatic in color. In his early twenties, he established a studio in New York and met Charles Russell, whose paintings of western subjects provided a great influence on Goodwin's work in that genre. Goodwin's interest in scenes of cowboys and ranch life is evident in Bronco Buster. The two men traveled together on several occasions, sketching source material for their paintings. Meanwhile, Goodwin appeared in such books as Jack London's Call of the Wild. Goodwin's pictures were also published in Harper's Monthly and Weekly, Outing, Scribner's, and Everybody's magazines, in addition to calendar subjects for Brown & Bigelow, advertising for Winchester Arms and the Marlin Firearms Company. He also illustrated African Game Trails for Theodore Roosevelt. Goodwin's interest in Charles Russell is seen not only in Goodwin's use of bright, vivid colors, but also in the romanticized subject matter, which appears to celebrate the bonding of rider and mount.

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A19