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Raban, Percy, 5/3...
Russell, Charles M. | illust...
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69.60 | URC: May 3d 1907 | H: 6.25 in, width: 9.686 in, Frame height: 16 in, Frame width: 19.5 in | Raban, Percy, 5/3/1907 | Gift of William E. Weiss | In 1907 Russell traveled to New York City to present his first one-man show i the art capital. His letter to newspaperman Percy Raban indicates Russell's preference for Great Falls, Montana, over the big city. While in New York, Russell saw William F. "Buffalo Bill" Cody's Wild West exhibition at Madison Square Garden. OR Russell wrote about seeing Buffalo Bill's Wild West to his friend Percy Raban, a newspaperman. | May 3d 1907 Friend Percy I am still on dear old brodway among the cliff dwelers every body lives high here but they aint got me skined much Im camped above timber line myself I was down at Madison Square gardon the other day an met Cody he's lost most of his hair in the London fog but his back locks are still long. the show was good real cow boys an Indians this reminds me of central ave but laving all jokes aside Il take our Streets bumps an all NY with cabs under ground an sky sayling car liner is all right for them that like her. but I know a town with two mil of track an a fiew tracks thats swift anough for me give me the camp where I savy the people sketch caption: Heys a Live one | Restrictions: May not be sold or traded under any circumstances. No signature on front | 69.60.jpg | 69.60.JPG | 69.60.jpg | 69.60.jpg | transportation | Figure | Animal | illustrated letter | watercolor on paper | pen and ink | Russell, Charles M.

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

Study for Dying T...
Paxson, Edgar Samuel | Drawi...
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27.71.11 | ca. 1897 | sight height: 9 in, sight width: 7.5 in | Study for Dying Trumpeter | These two studies show Paxson working out the pose for the bugler in his 1899 oil painting Custer's Last Stand. The upper sketch is closer to the final version in which the bugler continues to sound his call as Custer's men fall. In the lower study of this grouping, Paxson drew a wounded soldier with a bugle lying beside him. | LR: Paxson;LR: for Custer/By Paxson | Framed with 27.71.12 | 27.71.11.JPG | 27.71.11.jpg | Figure | Drawing | pencil on paper | Paxson, Edgar Samuel

The Broncho Buste...
Remington, Frederic | Sculpt...
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7.60 | 1909 | H: 31.5 in, L: 20 in, width: 19 in, base depth: 1.625 in, Base Width: 13.75 in, Base Length: 18.375 in, weight: 0 lbs | The Broncho Buster (large) | Gertrude Vanderbilt Whitney Trust Fund | Remington's sculpture representing a human struggle to control nature has become a classic symbol of the American West. The artist identified the subject as a cowboy "breaking a wild horse" in his copyright application for the first version of this sculpture. His twenty-three inch high bronze was so successful that the artist reworked the concept and modeled this larger version at the end of his life. | Right top of Base: Copyright BY/ Frederic Remington, Rear left side of Base: ROMAN BRONZE WORKS / N- Y-, Underneath Base N- 10 (inscribed) 644 | Has been called "recast" in the past. Existing crate: 38 1/4 x 24 1/2, 176# | 7.60.JPG | horse | Cowboy | Sculpture | bronze | Remington, Frederic

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

Friend Peter
Jackson, Harry | illustrated...
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1.80 | 11-25-79 | Image height: 8.5 in, Image width: 5.625 in, Sheet height: 12 in, Sheet width: 8.5 in, Frame height: 17.25 in, Frame width: 13.25 in | Friend Peter | Gift of Harry Jackson | LRC: Harry, 11,25,79 | 1.80.JPG | Hassrick, Peter | Sacagawea | illustrated letter | watercolor on paper | pen and ink | Jackson, Harry

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

Berliner
Butterfield, Deborah | Sculp...
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17.98 | 1989 | H: 34.5 in, width: 16 in, L: 48 in | Berliner | Gift of Mr. and Mrs. W.D. Weiss | Nearly everyone who sees Deborah Butterfield’s bronze sculpture, Berliner, could swear the abstract horse is comprised of wood. Actually, it is . . . sort of. A foundry makes molds of individual wooden sticks and casts them in bronze for Butterfield who bends, cuts, and welds the bronze sticks into an armature or skeleton for a horse sculpture. She adds more sticks to fill out the form, applies a patina to the surface, heats the bronze, and adds several coats of pigment and chemicals—all to make the finished bronze look like real wood. See for yourself in the Whitney Gallery of Western Art. CAPTION: Deborah Butterfield (b. 1949). Berliner, 1989. Bronze. Gift of Mr. and Mrs. W.D. Weiss. 17.98 | 17.98.jpg | 17.98.web.jpg | 17.98 v1.jpg | 17.98 v2.jpg | horse | Sculpture | bronze | Deborah Butterfield (b. 1949) Berliner 1989, bronze Walla Walla Foundry Gift of Mr. and Mrs. W.D. Weiss 17.98 Butterfield has created sculptures of horses for more than twenty years. The artist’s inspiration comes from her own horses as well as found materials such as wood or discarded car parts. To make Berliner, she first constructed a model from pieces of wood and then had the model cast into bronze. | Butterfield, Deborah

Indian Warrior
Proctor, Alexander Phimister...
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4.08.2 | 1896-1899 | width: 30.5 in, depth: 10.5 in, H: 38.625 in, L: 37.1875 in, Diameter: .25 in, L: 3.625 in, L: 1.1875 in, L: 17.75 in | Indian Warrior | Gift of A. Phimister Proctor Museum with special thanks to Sandy and Sally Church | Proctor portrayed his subject in a heroic pose, mounted on horseback as military leaders have traditionally been depicted. To research Indian subjects the artist traveled to the Blackfeet reservation in Montana. Although Weasel Head, a Blackfeet, served as the final model for this figure, the sculpture is not a specific portrait. Proctor created an idealized image of the Indian as a proud and noble warrior. | left top back of base: APHIMISTER PROCTOR/ 1898/ GOLD MEDAL/ PARIS EXPOSITION/ 1900 [right top of base:] COPY RT 1899 [lower right edge of base:] GORHAM Co. FOUNDERS/ (box)/ QRM [left rear of base:] PALLO | The spear on the sculpture is a reproduction .Weiss notified the BBHC by a letter dated June 15, 2005 that he sold the bronze to Mr. & Mrs. Phimister P. Church. | l.18.94.2.jpg | 4.08.2.jpg | horse | Indian | Sculpture | bronze | Alexander Phimister Proctor (1860 - 1950) Indian Warrior modeled 1898, copyright 1899, cast initially 1900-1902; bronze, cast by Gorham Co. Founders Loan from A. Phimister Proctor Museum, L.258.2005.1 Proctor portrayed his subject in a heroic pose, mounted on horseback as military leaders have traditionally been depicted. To research Indian subjects the artist traveled to the Blackfeet reservation in Montana. Although Weasel Head, a Blackfeet, served as the final model for this figure, the sculpture is not a specific portrait. Proctor created an idealized image of the Indian as a proud and noble warrior. | Alexander Phimister Proctor portrayed his subject in a heroic pose, mounted on horseback, as military leaders have traditionally been depicted. The artist traveled to the Blackfeet reservation in Montana to research his subjects, and although an Indian named Weasel Head served as the model for this figure, the sculpture is not intended as a specific portrait. Proctor created an idealized image of the American Indian as a proud and noble warrior, blending European artistic traditions with a wholly American subject. | Proctor, Alexander Phimister

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.

Bos Americanus, A...
Audubon, John James | Print ...
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156.69 | 1845 | sight height: 19 in, sight width: 21.125 in, Frame height: 33.25 in, Frame width: 39.5 in, frame depth: 1.75 in | Bos Americanus, American Bison or Buffalo | Audubon's publication on mammals was entitled The Viviparous Quadrupeds of North America, meaning four-legged animals that bear their young alive. Audubon and his co-author, John Bachman, provided dramatic prose for the description of the bison, "Whether we consider this noble animal as an object of the chase, or as an article of food for man, it is decidedly the most important of all our contemporary American quadrupeds . . . ." | Bottom center: Bos Americanus, GMEL/American Bison or Buffalo./1/7 Natural Size/Male, LLC: Drawn from Nature by J.J. Audubon, F.R.S.F.L.S., LRC: Lith (slightly raised underlined d) Printed & Col. (slightly raised underlined d) by J.T. Bowen, Philad(slightly raised underlined a) 1845, ULC: No 12, URC: Plate LVI | Magazine: Convergence: Autry National Center Magazine, Winter 2006, Wildlife Art and the American West by Amy Scott, page 26. | 156.69.jpg | 156.69.JPG | 156.69.jpg | 156.69.v1.jpg | 156.69.jpg | Animal | Print | hand colored | lithograph | John James Audubon, artist (1785-1851) J.T. Bowen, lithographer (ca. 1801-1856) Bos Americanus, American Bison or Buffalo 1845, hand colored lithograph on paper 156.69 When Audubon and his team traveled west to sketch the quadrupeds of North America, they observed the bison with intense admiration. Audubon depicted the large bison bull in profile, a typical pose to capture the characteristic anatomy of the animal. | Audubon, John James

"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.