Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "In The Land Of Giants", is dated circa 2007 and numbered 53/950. It shows a large grizzly bear standing on its hind legs in a lush, vibrant green meadow. Johnson described the scene: "Few sights are more memorable than a face-to-face encounter with a monster grizzly. Standing over eight feet tall, my 600mm lens only magnified the bear's power and my own sense of vulnerability and awe. Weighing in excess of a thousand pounds, these huge males keep to themselves and are rarely seen. Since I was downwind, the bear couldn't catch my scent and stood, nostrils flaring. I spoke to him in a calm tone. "Hey, big bear. Hey, big bear...... Hey, big bear". I kept talking as he dropped to all fours and slowly ambled away." The second work, "The Wild Bunch", is dated circa 2014 and numbered 178/950. It shows a mother bear with her three young cubs standing together at the edge of a verdant forest. Johnson described the scene: "In the world of momma grizzlies, bringing three youngsters into their second summer is a real success story. Now mom must teach her rowdy yearling triplets how to find food, how to cross a river, and where to dig a den. Of course, there is still time for fun. The triplets favorite game was 'king of the hill' using mom as the mountain-a real hoot to watch!" The third work, "In Harm's Way", is dated circa 2002 and numbered 428/950. It shows a large grizzly bear running across a gravel stream bed. Johnson described the scene: "Under a beautiful blue sky on a sunny June day I set up my camera along the Mikmik Creek to photograph brown bears fishing for red salmon. Late June is also the mating season for grizzly bears and I watched as a male made his advances towards a female grizzly. Just as the bear couple were getting romantic, out of the brush on the opposite bank came an enormous male grizzly. I thought there might be a confrontation so I focused my 600mm lens on the 'new' bear. Sure enough, the instant he spied the mating couple he charged them in a frightening burst of speed and power letting out a deafening roar. The mating bears split apart instantly and the male took off running for his life with the enormous 'new' grizzly in hot-pursuit. This huge carnivore was the scariest yet most magnificent bear I have ever seen in over twenty years of photographing Alaskan grizzlies. And I bet in the end he got the female!" All pieces are signed, dated, and numbered in the lower left corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and the largest measures approximately 24.5" x 20.5".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Breach of Worlds", is dated circa 1994 and numbered 143/950. The accompanying description reads: "A humpback whale performs a full body breach near Admiralty Island in Southeast Alaska. When 40 tons of whale bursts from the water your heart stops and for a few quick seconds this behemoth of the deep appears. Then in a great crash of water it is gone." The second work, "Romancing the Dawn", is dated circa 2011 and numbered 30/950. The accompanying description reads: “As I pulled up to Denali National Park Headquarters in the pre-dawn chill of mid-September, I saw my friend Gary eagerly awaiting me. "it's a perfect morning," he exclaimed excitedly. Gary was Denali Park's Chief Ranger and an avid amateur photographer. The mating season for moose had just started and the associated interaction often provided excellent opportunities to photograph moose behavior. It wasn't long before we spotted a large bull moose defending a harem of more than a dozen females. Wasting no time, we grabbed our cameras and bushwhacked thru the brush three-quarters of a mile. We set up our tripods just as the morning light turned the bull's enormous antlers into beacons of gold. To our delight, a young female approached the bull and they began to nuzzle. Minutes later, it was over and they were gone. "Did you get that?" Gary asked in a whisper. "Absolutely" I said, "it just doesn't get any better than that!"” The third work, "Sea Wolf", is dated circa 2002 and numbered 36/950. The accompanying description reads: "Orcas or killer whales have a social structure much like a pack of wolves. The large male in this photo, taken near the southern tip of Admiralty Island in Southeast Alaska, was the leader of a group of about ten whales. My wife and I were able to observe the pack hunting for salmon and actually saw them take a seal and later a sea otter. It was fascinating to watch them hunting within ten feet of land and cooperatively encircle their prey before making a kill. In this image the Orca whale is traveling very close to shore and the spruce tree covered mountains are reflected in the ocean which explains the marvelous patterns of green in the blue water. The spray is created when the whale exhales upon surfacing in preparation to take another deep breath of air before diving." All three are signed, dated, and numbered in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. The photographs are shrink-wrapped on board; the larger measures approximately 18.5" x 24.5".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "In The Land Of Giants", is dated circa 2007 and numbered 49/950. It shows a large grizzly bear standing on its hind legs in a lush, vibrant green meadow. Johnson described the scene: "Few sights are more memorable than a face-to-face encounter with a monster grizzly. Standing over eight feet tall, my 600mm lens only magnified the bear's power and my own sense of vulnerability and awe. Weighing in excess of a thousand pounds, these huge males keep to themselves and are rarely seen. Since I was downwind, the bear couldn't catch my scent and stood, nostrils flaring. I spoke to him in a calm tone. "Hey, big bear. Hey, big bear...... Hey, big bear". I kept talking as he dropped to all fours and slowly ambled away." The second work, "The Wild Bunch", is dated circa 2014 and numbered 171/950. It shows a mother bear with her three young cubs standing together at the edge of a verdant forest. Johnson described the scene: "In the world of momma grizzlies, bringing three youngsters into their second summer is a real success story. Now mom must teach her rowdy yearling triplets how to find food, how to cross a river, and where to dig a den. Of course, there is still time for fun. The triplets favorite game was 'king of the hill' using mom as the mountain-a real hoot to watch!" The third work, "In Harm's Way", is dated circa 2002 and numbered 434/950. It shows a large grizzly bear running across a gravel stream bed. Johnson described the scene: "Under a beautiful blue sky on a sunny June day I set up my camera along the Mikmik Creek to photograph brown bears fishing for red salmon. Late June is also the mating season for grizzly bears and I watched as a male made his advances towards a female grizzly. Just as the bear couple were getting romantic, out of the brush on the opposite bank came an enormous male grizzly. I thought there might be a confrontation so I focused my 600mm lens on the 'new' bear. Sure enough, the instant he spied the mating couple he charged them in a frightening burst of speed and power letting out a deafening roar. The mating bears split apart instantly and the male took off running for his life with the enormous 'new' grizzly in hot-pursuit. This huge carnivore was the scariest yet most magnificent bear I have ever seen in over twenty years of photographing Alaskan grizzlies. And I bet in the end he got the female!" All pieces are signed, dated, and numbered in the lower left corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and the largest measures approximately 24.5" x 20.5".

Two signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Night Goddess", is dated circa 1995 and numbered 373/950. Johnson described the scene: "Curtains of light shimmer across a winter sky above Denali National Park Headquarters. An intense solar storm provided the energy for this brilliant display. Commonly referred to as northern lights, these moving bands of color extend from forty to several hundred miles high. They were named by Galileo in 1619 after the Roman goddess, Aurora. The way the northern lights works is a lot like a neon sign, except that in the aurora the conducting gas is in the ionosphere, instead of a glass tube, and the current travels along magnetic field lines instead of along copper tubes. Some people see a polar bear in the aurora's shape - do you see it?" The second work, "Midnight Dancer", is dated circa 1999 and numbered 61/950. Johnson described the scene: "The cold was intense the night I shot this photograph, the temperature hovered around -20 Fahrenheit. Dressed in warm arctic parkas my wife and I searched the starry sky for signs of the aurora borealis. Towards midnight a three-quarters moon rose casting eerie shadows over the snow-capped peaks of the Alaska Range. Suddenly a swirl of light began to glow directly above the summit of a nearby mountain. I quickly checked my cameras and began to photograph. The light show was so spectacular we forgot all about the cold." Both are signed, dated, and numbered in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. The photographs are shrink-wrapped on board. The largest measures approximately 16.5" x 24.5".

Two signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Unseen Presence", is dated circa 2005 and numbered 38/950. The accompanying description reads: "While photographing this wolf, he paused for a drink near the Toklat River in Denali National Park. It is a perfect illustration of natural camouflage. For me, this image presents the wolf as a symbol of the 'whole of nature', the unspoiled wilderness. The fresh flowing stream connects the wolf to the very essence of all life-water." The second work, "Toklat", is dated circa 1999 and numbered 61/950. The accompanying description reads: "Photo opportunities with wild wolves are extremely rare as they are wary of humans. Imagine my delight when I saw this magnificent grey wolf perfectly posed in a patch of autumn colored tundra in Denali National Park. I held my breath, focused and shot two frames - then he was gone! I listened to the distant roar of the Toklat River as the image etched itself into my memory forever." Both are signed, dated, and numbered in the lower left corners in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. Also included are Johnny Johnson's 2014 Alaska Wildlife Calendars, Alaska magazine, 1997/98 The Art of Johnny Johnson Limited Edition Ilfochrome photographs catalogs, artist's biography sheet, and an Alaska address book. The photographs are matted and framed under glass. The larger measures approximately 33" x 29" overall.

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "In The Land Of Giants", is dated circa 2007 and numbered 28/950. It shows a large grizzly bear standing on its hind legs in a lush, vibrant green meadow. Johnson described the scene: "Few sights are more memorable than a face-to-face encounter with a monster grizzly. Standing over eight feet tall, my 600mm lens only magnified the bear's power and my own sense of vulnerability and awe. Weighing in excess of a thousand pounds, these huge males keep to themselves and are rarely seen. Since I was downwind, the bear couldn't catch my scent and stood, nostrils flaring. I spoke to him in a calm tone. "Hey, big bear. Hey, big bear...... Hey, big bear". I kept talking as he dropped to all fours and slowly ambled away." The second work, "The Wild Bunch", is dated circa 2014 and numbered 174/950. It shows a mother bear with her three young cubs standing together at the edge of a verdant forest. Johnson described the scene: "In the world of momma grizzlies, bringing three youngsters into their second summer is a real success story. Now mom must teach her rowdy yearling triplets how to find food, how to cross a river, and where to dig a den. Of course, there is still time for fun. The triplets favorite game was 'king of the hill' using mom as the mountain-a real hoot to watch!" The third work, "In Harm's Way", is dated circa 2002 and numbered 442/950. It shows a large grizzly bear running across a gravel stream bed. Johnson described the scene: "Under a beautiful blue sky on a sunny June day I set up my camera along the Mikmik Creek to photograph brown bears fishing for red salmon. Late June is also the mating season for grizzly bears and I watched as a male made his advances towards a female grizzly. Just as the bear couple were getting romantic, out of the brush on the opposite bank came an enormous male grizzly. I thought there might be a confrontation so I focused my 600mm lens on the 'new' bear. Sure enough, the instant he spied the mating couple he charged them in a frightening burst of speed and power letting out a deafening roar. The mating bears split apart instantly and the male took off running for his life with the enormous 'new' grizzly in hot-pursuit. This huge carnivore was the scariest yet most magnificent bear I have ever seen in over twenty years of photographing Alaskan grizzlies. And I bet in the end he got the female!" All pieces are signed, dated, and numbered in the lower left corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and the largest measures approximately 24.5" x 20.5".

Three signed photographs by Alaska wildlife photographer Johnny Johnson (1947–2025). The first work is entitled "In Harm's Way" c.2002, numbered 435/950, depicting a large grizzly bear running across a gravel stream bed. Johnson describes the scene: “Under a beautiful blue sky on a sunny June day I set up my camera along the Mikmik Creek to photograph brown bears fishing for red salmon. Late June is also the mating season for grizzly bears and I watched as a male made his advances towards a female grizzly. Just as the bear couple were getting romantic, out of the brush on the opposite bank came an enormous male grizzly. I thought there might be a confrontation so I focused my 600mm lens on the 'new' bear. Sure enough, the instant he spied the mating couple he charged them in a frightening burst of speed and power letting out a deafening roar. The mating bears split apart instantly and the male took off running for his life with the enormous 'new' grizzly in hot-pursuit. This huge carnivore was the scariest yet most magnificent bear I have ever seen in over twenty years of photographing Alaskan grizzlies. And I bet in the end he got the female!” The second photograph is titled "The Wild Bunch" c.2014, numbered 170/950, showing a mother bear with her three young cubs standing together at the edge of a verdant forest. Johnson describes the scene: “In the world of momma grizzlies, bringing three youngsters into their second summer is a real success story. Now mom must teach her rowdy yearling triplets how to find food, how to cross a river, and where to dig a den. Of course, there is still time for fun. The triplets favorite game was 'king of the hill' using mom as the mountain-a real hoot to watch!”. The last photograph is titled "In The Land Of Giants" c.2007, numbered 64/950, featuring a large grizzly bear standing on its hind legs in a lush, vibrant green meadow. Johnson describes the scene: “Few sights are more memorable than a face-to-face encounter with a monster grizzly. Standing over eight feet tall, my 600mm lens only magnified the bear's power and my own sense of vulnerability and awe. Weighing in excess of a thousand pounds, these huge males keep to themselves and are rarely seen. Since I was downwind, the bear couldn't catch my scent and stood, nostrils flaring. I spoke to him in a calm tone. "Hey, big bear. Hey, big bear...... Hey, big bear". I kept talking as he dropped to all fours and slowly ambled away.” All pieces are signed, dated, and numbered in the lower left corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. A care guide and artist biography are included on the reverse. Each one is shrink-wrapped on board, and the largest measures approximately 24.5" x 20.5".

Two signed photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Frozen Eden", is dated circa 1999 and numbered 49/450. Johnson described the scene: "To make this photo of an emperor penguin rookery, nestled on the fast ice between huge tabular icebergs, I traveled by Russian icebreaker through the Indian Ocean from Capetown-South Africa to Perth-Australia. During this 7000 mile, five week voyage I photographed several colonies of emperor penguins along Antarctica's wild and rarely visited eastern coastline. Emperor penguins breed on sea-ice, in the coldest conditions endured by any bird. The juveniles are carried out to sea as the ice breaks into floes. Fully independent, the young must moult to the diving plumage of an adult coat before their ice floe disintegrates, dumping them into the sea to dive for their own fish. In this picture some chicks have begun to moult to adult plumage - can you spot them?" The second work, "Denali Sunset", is an Artist's Proof, dated circa 1988 and numbered 43/95. Pink alpenglow bathes Denali and is reflected in the calm water below. Johnson described the scene: "Alpenglow on Mt. McKinley reflected in a tundra pond at Denali National Park. This image was taken at 10:00 p.m. with a 35mm lens. I was all set up, camera on tripod, waiting for the light to illuminate the high peaks of the Alaska Range when suddenly to my pleasant surprise a trio of ducks swim into my picture. Great images are always made better with a little luck." Both pieces are signed, dated, and numbered in the lower left corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss and Ilfochrome paper. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and each measures approximately 17.5" x 24.5".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Circle of Life", is dated circa 1993 and numbered 128/950. It shows an emperor penguin family. Johnson described the scene: "Near a grounded iceberg along Antarctica's Riiser-Larsen Ice Shelf, a pair of emperor penguins watch over their three-month-old chick. Standing four feet high and always impeccably dressed, the emperor penguin is by far the world's most impressive bird. They are the largest of seventeen species of penguins, and they are the only living creature to breed and over-winter on the open ice of Antarctica." The second work, "Council of Kings", is dated circa 2001 and numbered 23/300. It shows a group of adult king penguins standing on a snowy landscape. Johnson described the scene: "This close-up of king penguins at Royal Bay on the Island of South Georgia-Antarctica was taken with a 28mm lens while I was only five feet away. King penguins are very curious and these birds quietly gathered behind me as I was photographing other penguins engaged in a courtship ritual. My wife whispered to me that I should turn around slowly and look behind me. I did as she suggested and to my delight this group of magnificent adult king penguins filled the frame of my lens." The third work, "Frozen Eden", is dated circa 1998 and numbered 33/450. Johnson described the scene: "To make this photo of an emperor penguin rookery, nestled on the fast ice between huge tabular icebergs, I traveled by Russian icebreaker through the Indian Ocean from Capetown-South Africa to Perth-Australia. During this 7000 mile, five week voyage I photographed several colonies of emperor penguins along Antarctica's wild and rarely visited eastern coastline. Emperor penguins breed on sea-ice, in the coldest conditions endured by any bird. The juveniles are carried out to sea as the ice breaks into floes. Fully independent, the young must moult to the diving plumage of an adult coat before their ice floe disintegrates, dumping them into the sea to dive for their own fish. In this picture some chicks have begun to moult to adult plumage - can you spot them?" All pieces are signed, dated, and numbered in the lower corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss or Ilfochrome paper. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and "Circle of Life" measures approximately 24.5" x 20.5".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Spell of the Yukon", is dated circa 2005 and numbered 119/950. Johnson described the scene: "I photographed this unique aurora in March near Denali National Park. I have never seen a similar display. White lights are considered the rarest of all the colors. In 1619, Galileo named the northern lights after the Roman goddess of morning-Aurora. Ancient peoples thought of them as flying dragons, sky dwellers or dances of the dead. Rising from forty to several hundred miles above the earth, the aurora borealis is just like neon lights. When electricity runs through certain gases, they glow in certain colors." The second work, "Midnight Dancer", is dated circa 1999 and numbered 96/950. Johnson described the scene: "The cold was intense the night I shot this photograph, the temperature hovered around -20 Fahrenheit. Dressed in warm arctic parkas my wife and I searched the starry sky for signs of the aurora borealis. Towards midnight a three-quarters moon rose casting eerie shadows over the snow-capped peaks of the Alaska Range. Suddenly a swirl of light began to glow directly above the summit of a nearby mountain. I quickly checked my cameras and began to photograph. The light show was so spectacular we forgot all about the cold." The third work, "Night Goddess", is dated circa 1995 and numbered 379/950. Johnson described the scene: "Curtains of light shimmer across a winter sky above Denali National Park Headquarters. An intense solar storm provided the energy for this brilliant display. Commonly referred to as northern lights, these moving bands of color extend from forty to several hundred miles high. They were named by Galileo in 1619 after the Roman goddess, Aurora. The way the northern lights works is a lot like a neon sign, except that in the aurora the conducting gas is in the ionosphere, instead of a glass tube, and the current travels along magnetic field lines instead of along copper tubes. Some people see a polar bear in the aurora's shape - do you see it?" All three are signed, dated, and numbered in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. The photographs are shrink-wrapped on board. The largest measures approximately 24.5" x 16.5".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Circle of Life", is dated circa 1993 and numbered 124/950. It shows an emperor penguin family. Johnson described the scene: "Near a grounded iceberg along Antarctica's Riiser-Larsen Ice Shelf, a pair of emperor penguins watch over their three-month-old chick. Standing four feet high and always impeccably dressed, the emperor penguin is by far the world's most impressive bird. They are the largest of seventeen species of penguins, and they are the only living creature to breed and over-winter on the open ice of Antarctica." The second work, "Council of Kings", is dated circa 2001 and numbered 22/300. It shows a group of adult king penguins standing on a snowy landscape. Johnson described the scene: "This close-up of king penguins at Royal Bay on the Island of South Georgia-Antarctica was taken with a 28mm lens while I was only five feet away. King penguins are very curious and these birds quietly gathered behind me as I was photographing other penguins engaged in a courtship ritual. My wife whispered to me that I should turn around slowly and look behind me. I did as she suggested and to my delight this group of magnificent adult king penguins filled the frame of my lens." The third work, "Frozen Eden", is dated circa 1998 and numbered 28/450. Johnson described the scene: "To make this photo of an emperor penguin rookery, nestled on the fast ice between huge tabular icebergs, I traveled by Russian icebreaker through the Indian Ocean from Capetown-South Africa to Perth-Australia. During this 7000 mile, five week voyage I photographed several colonies of emperor penguins along Antarctica's wild and rarely visited eastern coastline. Emperor penguins breed on sea-ice, in the coldest conditions endured by any bird. The juveniles are carried out to sea as the ice breaks into floes. Fully independent, the young must moult to the diving plumage of an adult coat before their ice floe disintegrates, dumping them into the sea to dive for their own fish. In this picture some chicks have begun to moult to adult plumage - can you spot them?" All pieces are signed, dated, and numbered in the lower corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss and Ilfochrome paper. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and "Circle of Life" measures approximately 24.5" x 20.5".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Breach of Worlds", is dated circa 1994 and numbered 136/950. Johnson described the scene: "A humpback whale performs a full body breach near Admiralty Island in Southeast Alaska. When 40 tons of whale bursts from the water your heart stops and for a few quick seconds this behemoth of the deep appears. Then in a great crash of water it is gone." The second work, "In The Land Of Giants", is dated circa 2007 and numbered 62/950. It shows a large grizzly bear standing on its hind legs in a lush, vibrant green meadow. Johnson described the scene: "Few sights are more memorable than a face-to-face encounter with a monster grizzly. Standing over eight feet tall, my 600mm lens only magnified the bear's power and my own sense of vulnerability and awe. Weighing in excess of a thousand pounds, these huge males keep to themselves and are rarely seen. Since I was downwind, the bear couldn't catch my scent and stood, nostrils flaring. I spoke to him in a calm tone. "Hey, big bear. Hey, big bear...... Hey, big bear". I kept talking as he dropped to all fours and slowly ambled away." The third work, "Romancing the Dawn", is dated circa 2011 and numbered 55/950. It shows a large bull moose with massive antlers interacting with a cow moose during the autumn rut. Johnson described the scene: “As I pulled up to Denali National Park Headquarters in the pre-dawn chill of mid-September, I saw my friend Gary eagerly awaiting me. "it's a perfect morning," he exclaimed excitedly. Gary was Denali Park's Chief Ranger and an avid amateur photographer. The mating season for moose had just started and the associated interaction often provided excellent opportunities to photograph moose behavior. It wasn't long before we spotted a large bull moose defending a harem of more than a dozen females. Wasting no time, we grabbed our cameras and bushwhacked thru the brush three-quarters of a mile. We set up our tripods just as the morning light turned the bull's enormous antlers into beacons of gold. To our delight, a young female approached the bull and they began to nuzzle. Minutes later, it was over and they were gone. "Did you get that?" Gary asked in a whisper. "Absolutely" I said, "it just doesn't get any better than that!"” All pieces are signed, dated, and numbered in the lower left corner in gold leaf ink and printed on Fuji Crystal Archive Supergloss and Ilfochrome paper. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and "In The Land Of Giants" measures approximately 24.25" x 20.5".

Two signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Night Goddess", is dated circa 1995 and numbered 372/950. Johnson described the scene: "Curtains of light shimmer across a winter sky above Denali National Park Headquarters. An intense solar storm provided the energy for this brilliant display. Commonly referred to as northern lights, these moving bands of color extend from forty to several hundred miles high. They were named by Galileo in 1619 after the Roman goddess, Aurora. The way the northern lights works is a lot like a neon sign, except that in the aurora the conducting gas is in the ionosphere, instead of a glass tube, and the current travels along magnetic field lines instead of along copper tubes. Some people see a polar bear in the aurora's shape - do you see it?" The second work, "Midnight Dancer", is dated circa 1999 and numbered 71/950. Johnson described the scene: "The cold was intense the night I shot this photograph, the temperature hovered around -20 Fahrenheit. Dressed in warm arctic parkas my wife and I searched the starry sky for signs of the aurora borealis. Towards midnight a three-quarters moon rose casting eerie shadows over the snow-capped peaks of the Alaska Range. Suddenly a swirl of light began to glow directly above the summit of a nearby mountain. I quickly checked my cameras and began to photograph. The light show was so spectacular we forgot all about the cold." Both are signed, dated, and numbered in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. The photographs are shrink-wrapped on board. The largest measures approximately 16" x 24".

Two signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Night Goddess", is dated circa 1995 and numbered 389/950. Johnson described the scene: "Curtains of light shimmer across a winter sky above Denali National Park Headquarters. An intense solar storm provided the energy for this brilliant display. Commonly referred to as northern lights, these moving bands of color extend from forty to several hundred miles high. They were named by Galileo in 1619 after the Roman goddess, Aurora. The way the northern lights works is a lot like a neon sign, except that in the aurora the conducting gas is in the ionosphere, instead of a glass tube, and the current travels along magnetic field lines instead of along copper tubes. Some people see a polar bear in the aurora's shape - do you see it?" The second work, "Midnight Dancer", is dated circa 1999 and numbered 23/950. Johnson described the scene: "The cold was intense the night I shot this photograph, the temperature hovered around -20 Fahrenheit. Dressed in warm arctic parkas my wife and I searched the starry sky for signs of the aurora borealis. Towards midnight a three-quarters moon rose casting eerie shadows over the snow-capped peaks of the Alaska Range. Suddenly a swirl of light began to glow directly above the summit of a nearby mountain. I quickly checked my cameras and began to photograph. The light show was so spectacular we forgot all about the cold." Both pieces are signed, dated, and numbered in the lower left or right corner in gold leaf ink and printed on Ilfochrome. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and "Night Goddess" measures approximately 24" x 16".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "River Dance", is dated circa 2015 and numbered 29/950. Johnson described the scene: "As the sun set, I knew it was time to get off the river, but it was just too beautiful—too exciting. I decided to stay a little longer and was rewarded when an adult grizzly emerged from the crimson current with his prize— a large sockeye (red) salmon. It seems the gulls are always present hoping for scraps. During the three months I spent documenting life on a salmon stream for the National Geographic, I learned a great deal about the importance of salmon to a healthy watershed. Each day was an adventure, a new chapter in my understanding of our vanishing wild world." The second work, "Sea Wolf", is dated circa 2002 and numbered 21/950. Johnson described the scene: "Orcas or killer whales have a social structure much like a pack of wolves. The large male in this photo, taken near the southern tip of Admiralty Island in Southeast Alaska, was the leader of a group of about ten whales. My wife and I were able to observe the pack hunting for salmon and actually saw them take a seal and later a sea otter. It was fascinating to watch them hunting within ten feet of land and cooperatively encircle their prey before making a kill. In this image the Orca whale is traveling very close to shore and the spruce tree covered mountains are reflected in the ocean which explains the marvelous patterns of green in the blue water. The spray is created when the whale exhales upon surfacing in preparation to take another deep breath of air before diving." The third work, "In The Land Of Giants", is dated circa 2007 and numbered 15/950. It shows a large grizzly bear standing on its hind legs in a lush, vibrant green meadow. Johnson described the scene: "Few sights are more memorable than a face-to-face encounter with a monster grizzly. Standing over eight feet tall, my 600mm lens only magnified the bear's power and my own sense of vulnerability and awe. Weighing in excess of a thousand pounds, these huge males keep to themselves and are rarely seen. Since I was downwind, the bear couldn't catch my scent and stood, nostrils flaring. I spoke to him in a calm tone. "Hey, big bear. Hey, big bear...... Hey, big bear". I kept talking as he dropped to all fours and slowly ambled away." All three are signed, dated, and numbered in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. The photographs are shrink-wrapped on board. The largest measures approximately 24.5" x 20.5".

Three signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Unseen Presence", is dated circa 2005 and numbered 201/950. Johnson described the scene: "While photographing this wolf, he paused for a drink near the Toklat River in Denali National Park. It is a perfect illustration of natural camouflage. For me this image presents the wolf as a symbol of the 'whole of nature', the unspoiled wilderness. The fresh flowing stream connects the wolf to the very essence of all life - water." The second work, "Breach of Worlds", is dated circa 1994 and numbered 120/950. Johnson described the scene: "A humpback whale performs a full body breach near Admiralty Island in Southeast Alaska. When 40 tons of whale bursts from the water your heart stops and for a few quick seconds this behemoth of the deep appears. Then in a great crash of water it is gone." The third work, "River Dance", is dated circa 2015 and numbered 47/950. Johnson described the scene: "As the sun set, I knew it was time to get off the river, but it was just too beautiful—too exciting. I decided to stay a little longer and was rewarded when an adult grizzly emerged from the crimson current with his prize— a large sockeye (red) salmon. It seems the gulls are always present hoping for scraps." All three pieces are signed and dated in the lower left corner in gold leaf ink and printed on Ilfochrome. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and the whale print measures approximately 20.5" x 24.5".

Two signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Midnight Dancer", is dated circa 1999 and numbered 88/950. Johnson described the scene: "The cold was intense the night I shot this photograph, the temperature hovered around -20 Fahrenheit. Dressed in warm arctic parkas my wife and I searched the starry sky for signs of the aurora borealis. Towards midnight a three-quarters moon rose casting eerie shadows over the snow-capped peaks of the Alaska Range. Suddenly a swirl of light began to glow directly above the summit of a nearby mountain. I quickly checked my cameras and began to photograph. The light show was so spectacular we forgot all about the cold." The second work, "Night Goddess", is dated circa 1995 and numbered 389/950. Johnson described the scene: "Curtains of light shimmer across a winter sky above Denali National Park Headquarters. An intense solar storm provided the energy for this brilliant display. Commonly referred to as northern lights, these moving bands of color extend from forty to several hundred miles high. They were named by Galileo in 1619 after the Roman goddess, Aurora. The way the northern lights works is a lot like a neon sign, except that in the aurora the conducting gas is in the ionosphere, instead of a glass tube, and the current travels along magnetic field lines instead of along copper tubes. Some people see a polar bear in the aurora's shape - do you see it?" Both are signed, dated, and numbered in gold leaf ink; "Night Goddess" is on Fuji Crystal Archive Supergloss, while "Midnight Dancer" is on Cibachrome/Ilfochrome. The photographs are shrink-wrapped on board; the larger measures approximately 16.5" x 24.5".

Two signed photographs by Alaska wildlife photographer Johnny Johnson (1947–2025). The first work is entitled "Romancing the Dawn," c.2011, numbered 11/950. The accompanying artist statement reads: “As I pulled up to Denali National Park Headquarters in the pre-dawn chill of mid-September, I saw my friend Gary eagerly awaiting me. "it's a perfect morning," he exclaimed excitedly. Gary was Denali Park's Chief Ranger and an avid amateur photographer. The mating season for moose had just started and the associated interaction often provided excellent opportunities to photograph moose behavior. It wasn't long before we spotted a large bull moose defending a harem of more than a dozen females. Wasting no time, we grabbed our cameras and bushwhacked thru the brush three-quarters of a mile. We set up our tripods just as the morning light turned the bull's enormous antlers into beacons of gold. To our delight, a young female approached the bull and they began to nuzzle. Minutes later, it was over and they were gone. "Did you get that?" Gary asked in a whisper. "Absolutely" I said; "it just doesn't get any better than that!"” The second piece is entitled "McKinley Dawn", c.1993, numbered 41/950. The accompanying artist statement reads: “For one whole month I got up early hoping to capture the sunrise over Mt. McKinley at the end of Wonder Lake. Day after day the weather was lousy and I was losing hope. on the 28th day of my vigil all elements converged for a classic image of Denali.” They are signed, dated, and numbered in the lower left and right corners in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. Also includes 1997/98 The Art of Johnny Johnson Limited-Edition Ilfochrome photographs catalog, Johnny Johnson's 2002 Denali National Park Calendar, and 1996 Engagement Calendar, along with a 1996 moose calendar. They are matted and framed under glass, the larger measuring approximately 26" x 33" overall.

Two signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Midnight Dancer", is dated circa 1999 and numbered 26/950. Johnson described the scene: "The cold was intense the night I shot this photograph, the temperature hovered around -20 Fahrenheit. Dressed in warm arctic parkas my wife and I searched the starry sky for signs of the aurora borealis. Towards midnight a three-quarters moon rose casting eerie shadows over the snow-capped peaks of the Alaska Range. Suddenly a swirl of light began to glow directly above the summit of a nearby mountain. I quickly checked my cameras and began to photograph. The light show was so spectacular we forgot all about the cold." The second work, "Night Goddess", is dated circa 1995 and numbered 386/950. Johnson described the scene: "Curtains of light shimmer across a winter sky above Denali National Park Headquarters. An intense solar storm provided the energy for this brilliant display. Commonly referred to as northern lights, these moving bands of color extend from forty to several hundred miles high. They were named by Galileo in 1619 after the Roman goddess, Aurora. The way the northern lights works is a lot like a neon sign, except that in the aurora the conducting gas is in the ionosphere, instead of a glass tube, and the current travels along magnetic field lines instead of along copper tubes. Some people see a polar bear in the aurora's shape - do you see it?" Both pieces are signed, dated, and numbered in the lower left or right corner in gold leaf ink and printed on Ilfochrome. A care guide and artist's biography are included on the reverse. Each one is shrink-wrapped on board, and "Night Goddess" measures approximately 24" x 16".

Two signed and numbered photographs by Alaska wildlife photographer Johnny Johnson (1947-2025). The first work, "Night Goddess", is dated circa 1995 and numbered 385/950. Johnson described the scene: "Curtains of light shimmer across a winter sky above Denali National Park Headquarters. An intense solar storm provided the energy for this brilliant display. Commonly referred to as northern lights, these moving bands of color extend from forty to several hundred miles high. They were named by Galileo in 1619 after the Roman goddess, Aurora. The way the northern lights works is a lot like a neon sign, except that in the aurora the conducting gas is in the ionosphere, instead of a glass tube, and the current travels along magnetic field lines instead of along copper tubes. Some people see a polar bear in the aurora's shape - do you see it?" The second work, "Midnight Dancer", is dated circa 1999 and numbered 55/950. Johnson described the scene: "The cold was intense the night I shot this photograph, the temperature hovered around -20 Fahrenheit. Dressed in warm arctic parkas my wife and I searched the starry sky for signs of the aurora borealis. Towards midnight a three-quarters moon rose casting eerie shadows over the snow-capped peaks of the Alaska Range. Suddenly a swirl of light began to glow directly above the summit of a nearby mountain. I quickly checked my cameras and began to photograph. The light show was so spectacular we forgot all about the cold." Both are signed, dated, and numbered in gold leaf ink and printed on Fuji Crystal Archive Supergloss paper. The photographs are shrink-wrapped on board. The largest measures approximately 16.5" x 24.5".