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Stolen Artwork Lisa Loucks-Christenson Gave one LEGAL copy to Charlie Daniels, She owns one copy, a third piece is stolen

Collector Alert: Stlen art reported Copy may be signed or not Forensic science tests will validate the inks - only Lisa knows the inks Lisa Loucks-Christenson's print stolen Only Lisa knows whose signatures are on the third print Print made for Charlie Daniels of his eagle is stolen Stolen 24x36 canvas giclee print Third print stolen of Lisa Loucks-Christenson's Daneils Charlie

This is an alert to my clients:


Do NOT purchase any copy of my print, "Daniels Charlie" (the giclee canvas print as shown There are no other legal reproductions of this print, only three were made, one was stolen). Of course there is an entire life cycle of these prints, thousands of him growing up, flying off, and spending the next couple of years with his family in the Whitewater Valley. This particular stolen print is signed by Charlie Daniels. He owns the legal copy. I own a legal copy. One copy is a stolen art piece, a 24x36 rolled canvas. 

There are only three copies of this print, no other copies exist, none will ever exist. 

This picture took the entire nesting season and beyond to "know" it was the one for Charlie Daniels. I  personally shot, printed, stretched the print and framed it with my husband's help.  I personally gave this print to Charlie Daniels back in 2008, a print from that years documentary, 2008, Year Four, Dancer & Daedee: Snow Falling on Eagles.

I was the outdoor photographer, as seen on Ron Schara's Minnesota Bound that same year, and on that show, they filmed Daniels Charlie and his brother.  This footage might even be on Amazon by now, they've put some of the episode on there, but I don't know if either show is up anywhere, but they made two shows that ran on regional television over the next 4-5 years, maybe it still runs, I don't know. I made that print for Charlie Daniels to make good on my promise to him.

The day Daniels Charlie was born, I sat there in the ice storm with the eagles. It was -30 degrees to -45 Fahrenheit with wind chill. I've been cold many times out there, but never like that day. I was soaked to the skin, covered in ice, my equipment had ice on it, I had to chip the ice to focus my manual lenses.

I know I cried and prayed over this family of eagles because I had to go, hypothermia was setting in. That was the reason I cried. I could go home and could get out of the ice storm, they couldn't.  I was worried the parents wouldn't survive, they were already both soaked and coated in ice. When the dad came in,  the mother would not get up or leave her just hatched baby, Daniels Charlie. He continued to nudge at her sides, but finally, he laid down next to her. I had to leave because I was ice-coated in a layer of ice and had been like that for a few hours and still had a 45 minute drive back into and through the blizzard.

In those first four years I'd driven through many blizzards, storms, but nothing like this one. Never in the spring after the eaglets hatched. Never where I had to fear the eagles couldn't handle the weather. I hardly slept all night. I kept looking at the trees and the ice, knowing the eagles were draped like the hanging chains of ice on the trees in my yard. 

I had spent several months trying to decide on the very image that best represented "Daniels Charlie." Only his management knew I was doing this project and would be presenting the print to him that fall.  

I picked the print above because when I hiked out that night, about six weeks after he and his brother had fledged from their nest, and I'd tracked them every day (without radios, without any devices, only by instinct), there he was sitting on the river looking through the brush, looking back to me. His family was all downstream. It would be the picture I say captured him best, his spirit, his look of expectancy. That's what I saw. He knew I'd arrive, the male eagle knew my truck.

I can't speak eagle, not even after studying this pair of eagles entire nesting life cycle. I did however, know looks, calls, cries, and the female had given me a five second warning when a pack of wolves came in on me. When Daniels looked at me that night,  I could sense he didn't want to go downstream. I can wonder if maybe he was waiting for me to follow--like we had always done, I'd be on the river, he and his brother would fly to where I was and sit, this happened for years with all the eagles.

I'm likely the only photographer in the world that can show images of the previous years eagles sitting in their nest tree with their newly hatched siblings below, with their dad on the nest.  I doubt any photographer has images of those same eaglets that fledged sitting on the sandbar with siblings from the previous year, who'd been watching over them the entire season. 

I have a very unique body of work. I'm also searching for the right home for my collection because time isn't always going to be on my side. The recipient will gain over a million images, many journals, art, loose prints and I hope they can teach the world about the eagles and how they are a lot like us, and if we spend enough time with them, and can open our hearts, we can learn many things from them. Maybe that's why God has so many verses about them in the Bible.

 

I made a second copy, and a third copy. The National Eagle Center was supposed to receive it once it was stretched and framed. Now this will never happen, unless my thief is an honest thief, but considering thousands of dollars of cameras, countless other items have not been returned, I won't expect it any time soon.

The honest thing to do would be to give it the intended recipient, the National Eagle Center, that piece of art. That is who I made it for. No questions ask. Simply, bring it to them in the tube it's rolled up in. 

It's worthless to you or any collector, because I will spend eternity promoting that it's stolen. I know what I have printed. Collectors of my art, know that I only print handfuls of prints, if even a second print. Many of my collectors know they own the only copy of an image I've made. 


This was stolen from a previous property we owned, along with dozens of my cameras, other art, negatives, very personal clothing, personal things. 

If the print is found anywhere it is a stolen copy in any size. Unless, Charlie Daniel's estate/museum sells their copy, that is legal and I will defend that piece for you.

If you find a 24x36 print on canvas at any auction, at any sale, framed or still rolled in the tube (I'm being very vague here, purposely for obvious reasons) please contact my attorney.

 

 Stolen 24x36 giclee canvas print by Lisa Loucks-Christenson, copy #

To the criminals:

You'll hang yourself, no matter what story you give, once you're found or the art,  because I'm the only person who knows the entire truth. That and you have a one in three chance to get your story correct, strike two, you're caught.

 Don't forget there are forensic tests that can be run on the exact ink formula (which I know but you don't). The manufacturer of the printer and the manufacture of the inks and I have a history,  they know the story behind those exact prints, because that is how I personally caught a vendor who did a bait and switch on the product I bought and got away with their crime.

There are only three of these prints. 
1. Charlie Daniels and me as seen above

2. The National Eagle Center (they didn't receive it because now it's stolen)

3. A print for my personal collection. 

You don't know what order the prints are in, but I do.

You won't know the ink, manufacturer, or even if you do, you won't know what to look for because that's all forensic science and I'm the only person in this world that knows the key.

You can't go around stealing art. It's wrong.

There are other things I do to my prints to determine originals from fakes. I'm the only person who can tell you that too.

Looks like I'm off on another mouse hunt. I usually find the mice. I have a good track record, but I'm even better at finding moles and RATS.

 



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