AI Appraisal Estimate

This lot contains two framed, matted prints by the renowned artist Bev Doolittle, known for her 'camouflage art' style. The top piece is a triptych, likely from the 'Hiding in the Aspen' or 'Eagle's Heart' series, appearing to show a Native American figure integrated into a birch or aspen forest. The bottom piece is a wide panoramic print, likely 'The Forest Has Eyes' or 'Hide and Seek,' featuring a long line of horses and riders traversing a snowy, wooded landscape where various faces or figures are hidden within the natural scenery. Both pieces are housed in decorative, dark-stained wooden frames with ornate carving or molding details along the edges. Behind the glass, the prints are set within a multi-layer matting system—a primary olive-green or sage mat with darker interior accents that highlight the artwork. Each frame features a small brass or gold-toned identification plaque at the bottom center of the mat, typical of limited-edition releases. The craftsmanship appears professional, with deep-profile framing and acid-free matting used to preserve the monochromatic, high-contrast print quality. The condition appears excellent with no visible fading, moisture damage, or significant abrasions to the frames. These pieces likely date from the late 20th century, representing the height of Doolittle's popularity in Western and wildlife art.

I have completed a visual assessment of these two framed Bev Doolittle prints. The triptych resembles 'The Sentinel' or elements of 'Hiding in the Silence,' while the panoramic piece is identified as 'The Forest Has Eyes.' Both illustrate Doolittle’s signature camouflage style which dominated the 1980s and 90s secondary art market. Based on the photographic evidence, the prints remain in excellent condition with no signs of ultraviolet light fading or 'foxing' on the paper. The professional multi-layer matting and brass plaques suggest these were sold as high-end limited editions through authorized galleries like Greenwich Workshop. While the market for Doolittle’s work has stabilized significantly from its 1990s peak, there remains a dedicated collector base for her most iconic 'hidden' images. The value is bolstered here by the quality of the dark-wood molding and the preservation-grade presentation. However, a significant portion of this valuation is tied to the framing itself. Critically, I cannot verify through images alone if these are hand-signed limited edition lithographs or later open-edition offset prints. Full authentication would require removing the backing to inspect the paper's watermark, confirming the edition number, and verifying the artist's pencil signature against known exemplars. A physical examination would also confirm if acid-free materials were used, as standard mats can cause permanent burns over time. Provenance or a Certificate of Authenticity (COA) would further solidify this valuation.