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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

Where Elegance Me...
Palmore, Tom | Painting | ac...
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22.96 | 1996 | H: 46 in, width: 46 in, Frame height: 47.25 in, Frame width: 47.5 in | Where Elegance Meets Fear | Gift of Edward R. Bazinet Foundation | lrc: Palmore | 22.96.jpg | 22.96.jpg | 22.96.web.jpg | 22.96.JPG | Mountain Lion | Painting | acrylic on canvas | Palmore, Tom

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

Buffalo Bill Cody...
Ross, Thom | Painting | acry...
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2.07.2 | 2006 | sight height: 35.75 in, sight width: 36 in, Frame height: 38.875 in, Frame width: 38.75 in | Buffalo Bill Cody Performing | Virginia Boal Hayden Acquisition Fund | 2.07.2.jpg | Painting | acrylic on canvas | Ross, Thom

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

Self Portrait
Russell, Charles M. | Painti...
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98.60 | 1900 | Image height: 12.375 in, Image width: 6.875 in, Sheet height: 13.5 in, Sheet width: 7.75 in, Frame height: 22.5 in, Frame width: 16.375 in, frame depth: 1.25 in | Self Portrait | Gift of Charles Ulrick and Josephine Bay Foundation, Inc. | With his feet planted solidly and his hat tipped back, Russell portrays himself as a stalwart and yet open person. He wears the red Metis sash that marked his individuality. As he wrote about himself, "I am old-fashioned and peculiar in my dress. I am eccentric (that is a polite way of saying you're crazy). I believe in luck and have had lots of it....Any man that can make a living doing what he likes is lucky, and I'm that." | LLC: Complements/of/CM Russell/(skull)/1900 [verso, top center:] #50 | 98.60.jpg | 98.60.JPG | 98.60.jpg | 98.60.jpg | 98.60.jpg | 98.60.jpg | 98.60.web.jpg | Portrait | Russell, Charles M. | Painting | watercolor on paper | Russell, Charles M.

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

Out to Lunch
Coe, Anne | Painting | acryl...
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2.93.2 | 1990 | H: 45.375 in, width: 65.625 in, Frame height: 47.875 in, Frame width: 68 in | Out to Lunch | Gift of the artist and D. Harold Byrd, Jr. | Coe uses humor to deal with environmental issues. In Out to Lunch, bears picnic in the shadow of the Teton Mountains. The painting evokes controversies over management of bears in the National Parks, especially concerning issues of food, of the interaction between humans and bears, and of the definition of wilderness. | LRC, in script: Anne Coe | 2.93.2.jpg | 2.93.2.jpg | 2.93.2.JPG | 2.93.2.jpg | 2.93.2.web.jpg | 2.93.2.jpg | bear | picnic | Tetons | Painting | acrylic on canvas | Coe, Anne

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.

Hickok and Cody
Ross, Thom | Painting | acry...
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12.98.2 | 1998 | H: 48 in, width: 60 in, Frame height: 50.25 in, Frame width: 62 in | Hickok and Cody | Gift of Mr. and Mrs. W. D. Weiss | Left: Wild Bill (James Butler Hickok, 1837-1876) Wild Bill, a gunfighter, lawman, and scout, was usually mild-mannered and courteous; when aroused he was deadly, supposedly never missing a target with his ever-present pair of Colt 1851 Navy revolvers. Right: Buffalo Bill (William Frederick Cody, 1846-1917) Before Buffalo Bill began his international career as a showman in 1882, he trapped, mined, scouted, rode Pony Express, soldiered, hunted buffalo, guided and drove a stage. | label on verso: ALLISON/BEEMAN FINE ARTS SERVICES, INC./ 55 S. Atlantic, Suite 407/ Seattle, WA 98134/ phone 206-682-8580/ fax 202-621-7577 [right side of the label joined together:] AB [round white label llc in red:] 61 | ulc: Ross | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.web.jpg | Hickok, James Butler "Wild Bill" | Cody, W.F. | Painting | acrylic on canvas | Ross, Thom

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

Untitled
Jackson, Harry | Painting | ...
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5.99 | 1948 | H: 21.063 in, width: 25.938 in, Frame height: 25.5 in, Frame width: 29.5 in | Untitled | Gift of Anonymous Donor | Jackson's early success as an artist came in the post World War II period when he settled in New York and painted in an abstract style. He embraced the modernist vocabulary in art. This painting shows the influence of Cubism in the way that Jackson breaks up forms and uses space in a non-linear way. Although he received recognition as an Abstract Expressionist artist, Jackson later chose to leave New York for Wyoming and to return to portraying the human figure. | label on verso of frame: Barrison Art Galleries/ Fine Arts/ 1713 Chestnut Street/ Philadelphia, 3 Pa. [stamped on stretcher:] 25 THE/ LITTLE GALLERY/ EAST NEWARK, NJ [pencil inscripition on stretcher:] Harry A Shapiro/ Chatham CT E AJ/ 49 (superscript) th Locust AL4 5702 (illegible pencil inscription) Harry/ A Shapiro 5177 [center, left stretcher bar, partially obliterated by canvas) LITTLE GALLERY/ EAST NEWARK, NJ [written, right stretcher bar:] 5087 | 5.99.jpg | chair | plate | abstract | Painting | oil with sand | oil | canvas | Jackson, Harry

Waiting for a Chi...
Russell, Charles M. | Painti...
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88.60 | ca. 1903 | H: 20.5 in, width: 29 in, Frame height: 33.5 in, Frame width: 41.5 in, frame depth: 2 in | Waiting for a Chinook | Gift of Charles Ulrick and Josephine Bay Foundation, Inc. | Severe storms in the winter of 1886 - 1887 brought ruin to Montana's cattle industry. When owners of a herd of 5,000 cattle requested a report on their herd, cowboy Charles Russell simply drew a starving cow about to drop before ravenous wolves and titled it Waiting for a Chinook, (a warm west wind). His drawing conveyed the impending disaster more eloquently than any written report. Later he painted this larger version and added the additional title by which the work had become known, The Last of 5000. | LLC: C M Russell(skull);LL: Waiting For A Chinook/The Last of 5000 | Film: Theodore Roosevelt: An American Lion; Greystone Communications, North Hollywood, CA; two (2) film tape set; 2003| | 88.60.jpg | 88.60.JPG | 88.60.jpg | 88.60.web.jpg | 88.60.jpg | 88.60.jpg | 88.60.jpg | Landscape | Animal | wolf | Group | Painting | watercolor on paper | Russell, Charles M.

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

In Sunlight Basin
Coleman, Michael | Painting ...
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11.00 | 2000 | Frame height: 49.25 in, Frame width: 59.25 in, frame depth: 4.5 in, H: 40 in, width: 50 in | In Sunlight Basin | Gift of Anne Young and Jim Nielson | "I inhale the natural world and love it most when it's moody, stormy, wet, snowy and dusky-colored," said Michael Coleman in the 2000 Patrons Ball catalogue. In Coleman's painting, a majestic bull elk and his harem stand in the dramatic scenery of Sunlight Basin, northwest of Cody, Wyoming, in the Absaroka Mountains. | reverse L frame: MC 121798-1 ZZk RD-BL / 40X50 AM434 WH NO LINER. adhesive tage reverse L frame: MEYER GALLERY / 305 Main St., P.O. Box 1756 / Park City, UT 84060 / 800-649-8180 or 435-649-8160 | 11.00.jpg | 11.00.web.jpg | 11.00.jpg | alpine landscape | elk | Painting | oil on board | Coleman, Michael

Crow Winter Camp ...
Red Star, Kevin | Painting |...
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15.99.4 | 1999 | H: 22.625 in, width: 30.25 in, Frame height: 34 in, Frame width: 41.5 in | Crow Winter Camp in Teepees | William E. Weiss Memorial Fund Purchase | The cool, clear silence toward the end of a perfect winter day is evoked in Red Star's painting Crow Winter Camp in Teepees. The artist explained his intentions for the work, "I wanted it to be a tranquil, serene setting. I was thinking about dusk--seeing the light reflecting from the setting sun." | LLC: 'CROW WINTER CAMP IN TEEPEES' [LRC, embossed in paper:] 40 AQUARIUS [label, verso, ulc:] BUFFALO BILL/ ART SHOW & SALE/ #75/ Kevin Red Star | LRC: Kevin Red Star | 15.99.4.jpg | 15.99.4.jpg | 15.99.4.web.jpg | winter | dusk | tipis | Crow | Painting | oil on paper | Red Star, Kevin

A Contemporary Si...
Bama, James | Painting | oil...
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19.78 | 1978 | H: 23.375 in, W: 35.375 in, Frame height: 34.5 in, Frame width: 46.625 in | A Contemporary Sioux Indian | William E. Weiss Contemporary Art Fund Purchase | In western art the Indian is often portrayed as a character from the past. Using a realist style, Bama portrayed a contemporary Indian who maintains a relationship with the past but has to find his place in the white man's world. The message on the wall behind the subject echoes the artist's theme of the nonacceptance of Indians in mainstream American society. | LL: Bama 78 | 19.78.jpg | 19.78.jpg | 19.78.JPG | Indian | Painting | oil on panel | Bama, James