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Yellowstone Falls
Bierstadt, Albert | Painting...
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2.63 | ca. 1881 | H: 44.25 in, width: 30.5 in, Frame height: 54 in, Frame width: 39.5 in, frame depth: 4.5 in | Yellowstone Falls | Gift of Mr. and Mrs. Lloyd Taggart | The author of one of the first guidebooks to Yellowstone National Park wrote that he "had the pleasure of sitting beside and conversing with the famous American artist, Bierstadt, as he was seated on a point in the Grand Canyon about 400 feet below the surface engaged in reproducing in oil, upon canvas, the Grand Canyon and Falls. It was indeed marvelous to see with what rapidity and accuracy these scenes were by him transferred to the canvas." | LLC: ABierstadt | Acoustiguide. | Magazine: Yellowstone Science; Volume 13, number 3, summer 2005; article: Yellowstone, Art, and the Emergence of Aesthetic Conservation by Peter H. Hassrick; U.S. Department of the Interior; page 9 | 2.63.jpg | 2.63.jpg | 2.63.JPG | 2.63.jpg | 2.63.web.jpg | Yellowstone Falls | Landscape | Painting | oil on canvas | Bierstadt, Albert

Col. William F. C...
Bonheur, Rosa | Painting | o...
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8.66 | 1889 | H: 18.5 in, width: 15.25 in, Frame height: 24 in, Frame width: 21 in, frame depth: 2.5 in | Col. William F. Cody | Given in memory of William R. Coe and Mai Rogers Coe | Buffalo Bill enthralled Europeans with his Wild West exhibition when he took it to Paris in 1889. Bonheur visited the grounds of Cody's Wild West to sketch the exotic American animals and the Indian warriors with their families. Cody, in turn, accepted the invitation of Rosa Bonheur to visit her chateau in Fontainebleau where she painted this portrait. For Rosa Bonheur, Buffalo Bill embodied the freedom and independence of the United States | LLC: "Rosa Bonheur/ -1889-" | Acoustiguide. | Book: Iconic America: A Roller-Coaster Ride Through the Eye-popping Panorama of American Pop Culture; by Tommy Hilfiger with George Lois; Universe Publishing, a division of Rizzoli International Publications, Inc.; New York, 2007, page 99 (detail) | 8.66.jpg | 8.66.jpg | 8.66.jpg | 8.66.JPG | 8.66.jpg | 8.66.web.jpg | Figure | Landscape | Animal | Buffalo Bill | Painting | oil on canvas | Bonheur, Rosa

Indian With Tomah...
Scholder, Fritz | Painting |...
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15.77 | 1970 | H: 58.25 in, width: 58.25 in, Frame height: 59.5 in, Frame width: 59.5 in | Indian With Tomahawk | William E. Weiss Contemporary Art Fund Purchase | Fritz Scholder created a series of Indian paintings in the years 1967 through 1980. He did not adhere to the traditional, idealized interpretation of the Indian as the noble savage. Instead, Scholder sought new and innovative pictorial representations to convey the harsher realities of the Indian world. As seen in this painting, the artist used bold, unnatural colors and distorted the image with loose painterly brushwork to create his personal vision of Indian reality. | Upper left: Scholder; Upper left reverse: -Indian with Tomahawk-1970/Oil on canvas | 15.77.jpg | 15.77.JPG | 15.77.JPG | Indian | Painting | oil on canvas | Scholder, Fritz

Custer's Last Stand
Paxson, Edgar Samuel | Paint...
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19.69 | 1899 | H: 70.5 in, width: 106 in, Frame height: 98 x 73.75 in, Frame width: 132.75 x 108.75 in, frame depth: 2 in | Custer's Last Stand | Museum purchase | Paxson researched the Battle of the Little Bighorn and spent several years completing the painting. He then circulated it as a traveling exhibition. As part of the explanatory material on the painting, he prepared an outline key which identified the major figures (see diagram at right). | LRC: copyright by/E.S. Paxson Butte/M./99 [verso, LL:] E.S. Paxson/Butte Mont. U.S.A./copyright applied for - | Source: Paxson Heirs | Magazine: Western Art & Architecture: From Cowboy to Contemporary; Perspective: Edgar S. Paxson: Painter, myth maker aspired to historical accuracy, Charles Finn, Winter/Spring 2008, page 72-73 | 19.69.JPG | 19.69.web.jpg | 19.69.jpg | 19.69.jpg | 19.69.jpg | 19.69.jpg | Group | Figure | Indian | military | Animal | Painting | oil on canvas | Paxson, Edgar Samuel

Radisson and Gros...
Remington, Frederic | Painti...
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14.86 | 1905 | H: 17.125 in, width: 30.125 in, Frame height: 22.5 in, Frame width: 35 in | Radisson and Groseilliers | Gift of Mrs. Karl Frank | In 1903 Remington signed an exclusive contract with Collier's magazine to produce works in color on various historic themes related to the American frontier. As part of that work, he initiated a series of eleven paintings for Collier's in 1905 which was titled The Great Explorers. Radisson and Groseilliers is the only painting which remains from the original set. | LRC: FREDERIC REMINGTON [Back:] piece of wood attached to bottom of stretcher: 4 Raddison & Grossilliers - 1609 | Book: Shining Big Sea Water: The Story of Lake Superior, by Norman K. Risjord, Minnesota Historical Society Press, St. Paul, 2008, page 37 | 14.86.jpg | 14.86.jpg | 14.86.jpg | 14.86.JPG | 14.86.web.jpg | Indian | Other | Figure | explorers | Painting | oil on canvas | Remington, Frederic

The Last of the B...
Bierstadt, Albert | Painting...
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2.60 | ca. 1888 | H: 60.25 in, width: 96.5 in, Frame height: 68.5 in, Frame width: 105.5 in | The Last of the Buffalo | Gertrude Vanderbilt Whitney Trust Fund Purchase | With bleeding buffalo and bleached skulls in the foreground, the landscape artist Bierstadt represented the theme of wildlife vanishing from the wilderness. He made the shapes of distant mountains repeat the shapes of the main figures, thus underlining the interdependent relationships in nature. The Last of the Buffalo implies other endings. | LLC: ABierstadt | Book: Redrawing Boundaries: Perspectives on Western American Art; Institute of Western American Art, Denver; and the University of Washington Press, Seattle; 2007, page 75 | 2.60.jpg | 2.60.jpg | 2.60.jpg | 2.60.JPG | 2.60.jpg | 2.60.jpg | 2.60.web.jpg | Animal | hunting | Indian | Other | Painting | oil on canvas | Bierstadt, Albert

The Wild, Spectac...
Wyeth, N.C. | Painting | oil...
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44.83 | 1904-1905 | H: 38.125 in, width: 26 in, Frame height: 46.25 in, Frame width: 34.125 in | The Wild, Spectacular Race for Dinner | Gift of John M. Schiff | In 1904, N.C. Wyeth made his first trip out West, even though as a young art student he had already obtained several commissions for Western illustrations. He worked for three weeks on a cattle roundup in Colorado which provide the inspiration for a series of paintings about cowboys. | LRC: N.C. Wyeth/Cottonwood Camp/1904 | Catalog rasionne: N.C. Wyeth: Catlaog Raisonne of Paintings, Volume one, Christine B. Podmaniczky, Scala Publishers Limited, London 2008, page 135 | 44.83.jpg | 44.83.web.jpg | 44.83.jpg | 44.83.JPG | 44.83.jpg | Animal | Group | Cowboy | Painting | oil on canvas | Wyeth, N.C.

Yellowstone Lilies
Fillerup, Mel | Painting | o...
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6.05 | 2004 | sight height: 51.5 in, sight width: 45 in, Frame height: 60.25 in, Frame width: 54.25 in, frame depth: 2.25 in, H: 52 in, width: 46 in | Yellowstone Lilies | William E. Weiss Purchase Award - 2005 Buffalo Bill Art Show | Inspired by several sketching sessions, this painting portrays an ideal image of Yellowstone beauty, not one limited to a specific site. "Among the wonders of Yellowstone National Park are several lakes and streams which are covered with luxurious mountain lilies. One such lake is Isa Lake on Craig Pass. Another is along DeLacy Creek between West Thumb and Old Faithful. I have, with much joy, painted at both locations several times," wrote the artist. | 6.05.jpg | 6.05.jpg | 6.05.web.jpg | Painting | oil on canvas | Mel Fillerup (b. 1924) Yellowstone Lilies 2004, oil on canvas William E. Weiss Purchase Award-2005 Buffalo Bill Art Show, 6.05 Inspired by several sketching sessions, this painting portrays an ideal image of Yellowstone beauty, not one limited to a specific site. "Among the wonders of Yellowstone National Park are several lakes and streams which are covered with luxurious mountain lilies. One such lake is Isa Lake on Craig Pass. Another is along DeLacy Creek between West Thumb and Old Faithful. I have, with much joy, painted at both locations several times," wrote the artist. | Mel Fillerup (1924-2010) Yellowstone Lilies 2004, oil on canvas William E. Weiss Purchase Award–2005 Buffalo Bill Art Show 6.05 | Fillerup, Mel

Madonna of the Pr...
Koerner, W.H.D. | Painting |...
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25.77 | 1921 | H: 37 in, width: 28.75 in, Frame height: 43.5 in, Frame width: 35.5 in, frame depth: 3.5 in | Madonna of the Prairie | Museum purchase | In the novel The Covered Wagon, Molly Wingate traveled the Oregon Trail with a wagon train of settlers. Encountering prairie fires and Indian arrows, the beautiful maiden eventually reached Oregon, where, in the conventions of popular fiction, she found true love. In this illustration for the novel's book jacket, Koerner used the covered wagon to form a halo around the pioneer's head. | LR: WHD/Koerner/1921 | see ARGUS record SEP.V194.40.1922, The Saturday Evening Post, April 1, 1922. Madonna of the Prairie was used as the cover illustration. | Book: exhibition catalog, La Mythologie De L' Ouest, Dans L'Art Americain 1830-1940, Laurent Salome, editor, Silvana Editoriale, Milan, 2007, page 89 | 25.77.jpg | 25.77.JPG | 25.77.jpg | 25.77.web.jpg | 25.77.jpg | 25.77.jpg | covered wagon | woman | Painting | oil on canvas | Koerner, W.H.D.

"Bucking"
Wyeth, N.C. | Painting | oil...
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2.77 | 1904-1905 | H: 38 in, width: 26.125 in, Frame height: 46.125 in, Frame width: 34 in | "Bucking" | Gift of John M. Schiff | N.C. Wyeth headed a family of three generations of artists. He was the father of Henriette and Andrew Wyeth and grandfather of James Wyeth. Henriette married one of her father's pupils, artist Peter Hurd. | LL: N. C. Wyeth/Jim's Canyon Colo./-1904- | Catalog rasionne: N.C. Wyeth: Catlaog Raisonne of Paintings, Volume one, Christine B. Podmaniczky, Scala Publishers Limited, London 2008, pages 136-137 | 2.77.JPG | 2.77.jpg | 2.77.jpg | Animal | Landscape | Cowboy | Painting | oil on canvas | N.C. Wyeth (1882-1945) Bucking (Jim’s Canyon Colo.) 1904-1905, oil on canvas Gift of John M. Schiff N.C. Wyeth headed a family of three generations of artists. He was the father of Henriette and Andrew Wyeth and grandfather of James Wyeth. Henriette married one of her father’s pupils, artist Peter Hurd. 2.77 | N. C. Wyeth made his first trip out West in 1904, even though he had already obtained several commissions for Western illustrations as a young art student. He worked for three weeks on a cattle roundup in Colorado, which provided the inspiration for a series of swashbuckling paintings about cowboys and life on the trail. Wyeth used these images to accompany “A Day at the Roundup,” a story he wrote for Scribner’s Magazine. | Wyeth, N.C.

The Drover's Dance
Blake, Buckeye | Painting | ...
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22.95.1 | 1992 | H: 20.125 in, width: 32.125 in, Frame height: 34 in, Frame width: 40 in | The Drover's Dance | Gift of Jim and Suzy King | verso: BUCKEYE BLAKE BOX 423 AUGUSTA MT. 59410 406-562-3422 NOV 92 "DROVERS DANCE"/ 406-562-3422 | Buckeye Blake 92 | 22.95.1.JPG | Painting | oil on canvas | Blake, Buckeye

Custer & 20,000 I...
Scholder, Fritz | Painting |...
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7.08 | 1969 | Frame height: 34.25 in, Frame width: 44 in, width: 40 in, H: 29.75 in | Custer & 20,000 Indians | Gift of Janis and Wiley T. Buchannan III | In the past, artistic representations of the story of the Battle of the Little Bighorn have focused on the noble valor of George Armstrong Custer and his men. Contemporary reevaluations look at the event in new ways. Scholder, an artist of native descent, has adapted his figure of Custer from the first newspaper illustration that reported the battle in 1876, but he has taken a modern, satirical approach. | oil on canvas, "Custer & 20,000 Indians," Fritz Scholder, 1969 | l.180.2002.1.jpg | Indians | Custers Last Stand | George Armstrong Custer | Painting | oil on canvas | Fritz Scholder (1937-2005) Custer & 20,000 Indians 1969, oil on canvas Gift of Janis and Wiley T. Buchannan III Historic representations of the Battle of the Little Bighorn often focused on the noble valor of George Armstrong Custer and his men. Contemporary society evaluates this event in new ways. This painting is based on an 1876 newspaper illustration reporting the story, but Scholder added a modern, satirical twist. The artist exaggerated, and thus questioned, the accounts. 7.08 | Scholder, Fritz

The Conquest of t...
Bacon, Irving R. | Painting ...
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14.64 | 1908 | H: 47.25 in, width: 118.5 in, Frame height: 59.625 in, Frame width: 130.75 in | The Conquest of the Prairie | Bequest in memory of the Houx and Newell families | This painting portrays William F. "Buffalo Bill" Cody as the guide bringing modern life to the West. In the distance gleams the future--an industrialized city. Cody purchased this painting from the artist and displayed it in the Irma Hotel where it hung until it was donated to the Buffalo Bill Historical Center. | LLC: Copyrighted 1908/Irving R. Bacon | LRC: Irving R. Bacon/Munich 1908 | 14.64.jpg | 14.64 URC detail of frame.jpg | 14.64.JPG | 14.64.jpg | 14.64.jpg | 14.64.web.jpg | Landscape | Indian | Cowboy | Group | Animal | Cody, William F. | transportation | Painting | oil on canvas | Irving R. Bacon portrays William F. "Buffalo Bill" Cody as a guide bringing modern life to the West. A group of mounted warriors, whose way of life will soon be displaced, observes Cody’s approach, while an industrial city gleams on the horizon. Cody purchased this painting from the artist and displayed it in his Irma Hotel in Cody, Wyoming, where it hung until it was donated to the Buffalo Bill Center of the West. | Bacon, Irving R.

The Golden Gate, ...
Moran, Thomas | Painting | o...
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4.75 | 1893 | H: 36.25 in, width: 50.25 in, Frame height: 46.5 in, Frame width: 60.5 in, frame depth: 4 in | The Golden Gate, Yellowstone National Park | Museum purchase | Moran's name became synonymous with Yellowstone. He accompanied the official governmental expedition into the region in 1871. His sketches of the wonders helped to convince Congress to establish Yellowstone as the first national park. The artist returned to the Park in 1892 and painted a view of the pass named Golden Gate. | LRC: TMoran./1893 | Book: Exhibition catalog; America! Storie di pittura dal Nuovo Mondo; linead'ombralibri, Treviso, Italy; 2007; page 64-65 | 4.75.jpg | 4.75.jpg | 4.75.JPG | 4.75.jpg | 4.75.jpg | 4.75.web.jpg | transportation | Figure | Landscape | Group | Animal | Painting | oil on canvas | Thomas Moran (1837-1926) Golden Gate, Yellowstone National Park 1893, oil on canvas Museum purchase Thomas "Yellowstone" Moran was the artist's nickname because of his close ties to Yellowstone National Park. He joined an official government expedition to the region in 1871. The artist returned to the Park in 1892 and painted a view of the pass named Golden Gate. 4.75 | Born in England, Thomas Moran created thousands of oil paintings, watercolors, drawings, and prints of the American West. The artist accompanied Ferdinand V. Hayden’s 1871 survey of the Yellowstone region and catapulted to fame the following year when Congress purchased his monumental painting The Grand Cañon of the Yellowstone, 1872. Twenty years later Moran returned to Yellowstone to paint the dramatic landscapes that had made him famous. This view of the passage known as the Golden Gate highlights a new trestle, built to accommodate the growing number of tourists drawn to America’s first national park. | Moran, Thomas

Pueblo at Sunset ...
Moran, Thomas | Painting | o...
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1.00 | 1901 | H: 20 in, width: 29.875 in, Frame height: 28 in, Frame height: 37.875 in, frame depth: 3.5 in | Pueblo at Sunset (Laguna) | Museum Purchase with funds from William E. Weiss Memorial Fund; Pat and Jerry Evans; The Coe Foundation; Naoma and Hal Tate; The Anne and C.W. Duncan Jr. Foundation; Mr. and Mrs. Charles Kepler; Harriet and Edson Spencer; John C. and Meredith Sullivan; Mrs. J. Maxwell Moran; John Marse; Hazel Robertson; Nancy Petry; Mr. and Mrs. Cortlandt S. Dietler; Nancy Petry in memory of Silas Cathcart and Hal Tate; Sarah E. Boehme. | Greatly affected by his wife's death in 1899, Moran painted emotionally charged landscapes in the following years. He made several trips to Laguna and Acoma in New Mexico, drawn by the beauty of the Indian villages. Dramatic contrasts of light and dark in this painting produce a romantic view of Laguna. | LLC: N.A. [reverse, right side of frame:] 13 5/8 Mat 20 x 30 17701/ 7358 20 x 30 Mat 177013 [beneath bottom stretcher:] 1200/ (hidden) [remnants of label on bottom stretcher:] EXH / he Peublo/ Thoma | 1.00.jpg | 1.00.jpg | 1.00.web.jpg | 1.00.jpg | sunset | San Jose Church | Pueblo Laguna | Painting | oil on canvas | Thomas Moran (1837-1926) Pueblo at Sunset (Laguna) 1901, oil on canvas Museum Purchase with funds from William E. Weiss Fund; Pat and Jerry Evans; The Coe Foundation; Naoma and Hal Tate; The Anne and C.W. Duncan, Jr. Foundation; Mr. and Mrs. Charles Kepler; Harriet and Edson Spencer; John C. and Meredith Sullivan; Mrs. J. Maxwell Moran; John Marse; Hazel Robertson; Nancy Petry; Mr. and Mrs. Cortlandt S. Dietler; Nancy Petry in memory of Silas Cathcart and Hal Tate; Sarah E. Boehme; and other pending donations. 1.00 Greatly affected by his wife's death in 1899, Moran painted emotionally charged landscapes in the following years. He made several trips to Laguna and Acoma in New Mexico, drawn by the beauty of the Indian Pueblos. Dramatic contrasts of light and dark in this painting produced a romantic view of Laguna. | Greatly affected by his wife's death in 1899, Thomas Moran painted several emotionally charged landscapes in the following years. He made a number of trips to Laguna and Acoma Pueblos, drawn by the romantic beauty of the villages and the drama of the New Mexico skies and landscape. | Moran, Thomas

Buffalo Bill in t...
Remington, Frederic | Painti...
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23.71 | ca. 1899 | H: 27.25 in, width: 40 in, Frame height: 35.5 in, Frame width: 48.5 in, frame depth: 3.25 in | Buffalo Bill in the Limelight | Gift of The Coe Foundation, H.P. Skoglund, Ernest Goppert, Sr. and John S. Bugas | Remington had a long association with his friend, William F. Cody. He visited Cody's Wild West exhibitions on a number of occasions, using the visits to sketch western subjects. Remington produced this painting along with several other illustrations for the biography of Cody, Last of the Great Scouts, written by his sister Helen Cody Wetmore in 1899. | LL: Frederic Remington | Exhibition catalog: I Like America: Fictions of the Wild West; Edited by Pamela Kort and Max Hollein; Schirn Kunsthalle; Frankfurt; 2006; page 281 and (front) cover | 23.71.jpg | 23.71.v1.jpg | 23.71.JPG | 23.71.jpg | 23.71.jpg | 23.71.web.jpg | Group | Buffalo Bill's Wild West | William F. Cody | Animal | Figure | illustration | Indian | Painting | oil on canvas | Frederic Remington (1861-1909) Buffalo Bill in the Limelight ca.1899, oil on canvas Gift of The Coe Foundation, H.P. Skoglund, Ernest Goppert, Sr. and John S. Bugas Remington had a long association William F. "Buffalo Bill" Cody. He visited Wild West exhibitions, often using the opportunity to sketch western subjects. Remington produced this painting for the biography of Cody, Last of the Great Scouts, written in 1899. The artist depicts Cody as the great showman entering the arena. 23.71 | Remington, Frederic

Stormy Morning in...
Remington, Frederic | Painti...
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40.67 | 1906 | H: 12 in, width: 16 in, Frame height: 18 in, Frame width: 22 in, frame depth: 3 in | Stormy Morning in the Bad Lands | Gift of The Coe Foundation | LRC: Frederic Remington/(unclear wording) | This was formerly known as Untitled (Indian camp on Cheyenne River) | 40.67.jpg | 40.67.jpg | 40.67.JPG | 40.67.jpg | 40.67.web.jpg | Other | Landscape | teepees | Painting | oil on canvas | Frederic Remington (1861-1909) Stormy Morning in the Badlands 1906, oil on canvas Gift of The Coe Foundation 40.67 | Remington, Frederic

Arizona John Burk...
Burke, Matt | Painting | oil...
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18.74 | unknown | H: 32 in, width: 24 in, Frame height: 38 in, Frame width: 30 in | Arizona John Burke, Press Agent for Buffalo Bill's Wild West Show | 18.74.JPG | Portrait | Other | Painting | oil on canvas | Burke, Matt

Oliver Winchester
Hopkinson, Glen S. | Paintin...
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30.88 | Image height: 30 in, Image width: 23.875 in, Frame height: 33.75 in, Frame width: 27.75 in | Oliver Winchester | Gift of Olin Corporation, Winchester Arms Collection | 30.88.JPG | Winchester, Oliver | Painting | oil on canvas | Hopkinson, Glen S.

Indian Elopement
Miller, Alfred Jacob | Paint...
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28.64 | 1852 | H: 30.25 in, width: 36.25 in, Image height: 29.25 in, Image width: 36.25 in, Frame height: 36 in, Frame width: 43.25 in | Indian Elopement | Given in memory of Mai Rogers Coe by her son Robert Coe | A young Indian male, smitten by the charms of a maiden from a nearby tribe, has observed her camp until the warriors left for the day. Stealing into the compound he has persauded her to mount his horse and, fording the river, left the elders on the bank in dismay. | LR: Miller 1852 | has been relined - new stretcher;stretcher bar - A8412; label on stretcher:No. 61493 (red) Picture;also on stretcher - A99368. | 28.64.JPG | 28.64.jpg | Landscape | Indian | Animal | Group | Painting | oil on canvas | Alfred Jacob Miller (1810-1874) Indian Elopement 1852, oil on canvas Given in memory of Mai Rogers Coe by her son Robert Coe A young Indian male, smitten by the charms of a maiden from a nearby tribe, has observed her camp until the warriors left for the day. Stealing into the compound he persuaded her to mount his horse and, fording the river, leave the elders on the bank in dismay. 28.64 | Miller, Alfred Jacob

Landscape, Jackso...
Rishell, Robert | Painting |...
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22.91 | 1960 | H: 62.5 in, width: 197.875 in | Landscape, Jackson Lake, Wyoming | A native of California, Robert Rishell was a prolific painter of landscapes, murals and portraits. Many of Rishell's large canvases bear witness to his love of the vast and varied landscapes of the West. This view of Jackson Lake, Wyoming is characteristic of his work. | LRC: Robt.C Rishell/1960 | 22.91.JPG | Jackson Lake | Grand Teton National Park | Painting | oil on canvas | Rishell, Robert

Pahaska Tepee Hun...
Elwell, R. Farrington | Pain...
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12.64 | 1904 | H: 40.25 in, width: 60 in, Frame height: 51.625 in, Frame width: 71.125 in | Pahaska Tepee Hunting Party | Bequest in memory of Houx and Newell families. | LLC: R. Farrington Elwell/1904 | 12.64.jpg | Animal | Indian | Figure | Landscape | Other | Group | log building | Pahaska Tepee | Iron Tail | Painting | oil on canvas | Elwell, R. Farrington

H. Peter Kriendler
Wetmore, Gordon | Painting |...
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3.03 | 1985 | H: 40 in, width: 30 in, Frame height: 43.5 in, Frame width: 33.625 in, frame depth: 1.75 in | H. Peter Kriendler | Given in loving memory of my uncle H. Peter Kriendler in recognition of his unbounded love for and devotion to the Buffalo Bill Historical Center | LL: Gordon Wetmore / 1985. reverse UC: Gallery Madison 90 / KRIENDLER (upside down). reverse BC tag: GALLERY / Madison 90 / 1248 Madison Avenue, New York, New York 10028 / (212)348-6528 | 3.03.jpg | Kriendler, Peter | Painting | oil on canvas | Wetmore, Gordon

The Road to Orego...
Koerner, W.H.D. | Painting |...
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6.92.1 | 1933 | H: 26 in, width: 40.125 in, Frame height: 30.25 in, Frame width: 44.5 in | The Road to Oregon (The Trail Through the South Pass Had Been Worn Deep With the Wheel Tracks of the Covered Wagons) | Gift of Ruth Koerner Oliver | LRD: W.H.D./(underlined) Koerner/1933 [Back top stretcher, in pencil:] Fooforaw. | 6.92.1.JPG | 6.92.1.jpg | wagon train | Oregon Trail | Painting | oil on canvas | W.H.D. Koerner (1878-1938) The Road to Oregon (The Trail Through the South Pass Had Been Worn Deep With the Wheel Tracks of the Covered Wagons) 1933, oil on canvas Gift of Ruth Koerner Oliver Koerner illustrated stories of the American West in popular magazines such as Saturday Evening Post among others. Because of short deadlines, the artist would read the story, sketch different scenes, and render a final painting within a short time. The artwork would sometimes still be wet when taken to the publisher. 6.92.1 | Koerner, W.H.D.