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Exhibition of works at UMFA

A Buffalo Bill Center of the West Virtual Exhibit
Curated by: limberpine


Yellowstone Falls
Bierstadt, Albert | Painting...
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Exhibit notes: Yellowstone Falls by Bierstadt. At UMFA exhibit

Museum record: 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

Radisson and Gros...
Remington, Frederic | Painti...
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Exhibit notes: Remington. At UMFA exhibit

Museum record: 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

Madonna of the Pr...
Koerner, W.H.D. | Painting |...
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Exhibit notes: Madonna of the Pairie at UMFA exhibit

Museum record: 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.

The Conquest of t...
Bacon, Irving R. | Painting ...
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Exhibit notes: Conquest of the Prairie by Bacon at UMFA exhibit

Museum record: 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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Exhibit notes: Yellowstone Park by Moran at UMFA exhibit

Museum record: 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

Hoo-Wan-Ne-Ka (Li...
Inman, Henry | Painting | oi...
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21.95.1 | 1832 | H: 30.625 in, width: 25.625 in, Frame height: 39 in, Frame width: 34 in, frame depth: 2.375 in | Hoo-Wan-Ne-Ka (Little Elk) | Gift of Allen & Company Incorporated | A Ho-Chunk (Winnebago) Chief who fought for the British during the War of 1812, Hoo-Wan-Ne-Ka or Little Elk, later made peace with the United States. He was a signer of the Prairie du Chien Treaty in 1825 and several other important treaties. | LRC: 28255 [verso, top of frame:] IV (or IX) (in chalk) Little Elk (in black paint:) 5 [top stretcher, in chalk:] Little Elk man (written in pencil) 28225 (on piece of white tape) #5/ 5B [bottom of frame:] 5 | 21.95.1.jpg | 21.95.1.JPG | 21.95.1.web.jpg | 21.95.1.jpg | Painting | oil on canvas | Between 1821 and 1828, Thomas L. McKenney, the Superintendent of Indian Affairs, commissioned portraits of hundreds of American Indian leaders on diplomatic missions to Washington, D.C. Painted first by Charles Bird King and later duplicated by Henry Inman, these portraits were intended to serve as a “National Indian Gallery.” Over 120 were reproduced in McKenney’s three-volume portfolio, History of the Indian Tribes of North America. | Inman, Henry

Greeting the Trap...
Miller, Alfred Jacob | Paint...
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8.70 | ca.1837 | sight height: 6.5 in, sight width: 9.5 in, Frame height: 13.75 in, Frame width: 16.625 in, frame depth: 1.625 in | Greeting the Trappers | Gift of The Coe Foundation | As Miller and the caravan approached their destination, the trappers greeted them with a salute from their firearms. The artist portrayed his patron, Captain William Drummond Stewart, greeting the colorful trappers while surrounded by an entourage from the caravan and by Indians who had come for the rendezvous. | LR: Greeting the Trappers / AJM. | Book, Ten volume history reference: Frontier America; Grolier Educational, New York; 2004; volume 3, page 38-39 | 8.70.jpg | 8.70.JPG | 8.70.web.jpg | 8.70.jpg | Indian | Group | Painting | watercolor on paper | Miller, Alfred Jacob

When Law Dulls th...
Russell, Charles M. | Painti...
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28.78 | 1915 | sight height: 30 in, sight width: 48 in, Frame height: 37.75 in, Frame width: 55.625 in, frame depth: 3.25 in | When Law Dulls the Edge of Chance | Gift of William E. Weiss | The Royal Canadian Mounted Police held a special place in Russell's heart. Their colorful exploits and heroic deeds made them a likely subject for many of his paintings. He especially concentrated on them as subjects during the mid-teens. So effectively did he capture their adventurous life that the residents of High River, Alberta, Canada, purchased this painting, When Law Dulls the Edge of Chance, and gave it as a gift to the Prince of Wales in 1919. Canada’s North-West Mounted Police (later to become the Royal Canadian Mounted Police) made a favorable impression on Charles M. Russell when he met them in 1888, and their colorful adventures and heroic deeds made them the subject of four paintings by the artist. In this work, two Mounties have discovered a pair of horse thieves. One outlaw stands in a defiant pose, while the other raises his hands in surrender. Russell had sympathy for, and partially identified with, the outlaw, who still represented the independent spirit of the Old West. (KBM 8-31-2016) | LLC: C M Russell/(skull/1915/ c; On reverse: When Law Dulls the Edge of Chance -/No 1 (Stattuck stretcher) | Quarterly Journal: The American Review of Canadian Studies, Volume 33, Number 4, Winter 2003; One Myth, Two Wests: Special Issue on the West; The Association for Canadian Studies in the United States, Washington, D.C.; front cover | 28.78.JPG | 28.78.jpg | 28.78.web.jpg | 28.78.jpg | 28.78.jpg | Group | Animal | military | Landscape | Cowboy | Painting | oil on canvas | Charles M. Russell (1864 - 1926) When Law Dulls the Edge of Chance 1915, oil on canvas Gift of William E. Weiss, 28.78 The Royal Canadian Mounted Police held a special place in Russell's heart. Their colorful exploits and heroic deeds made them a likely subject for many of his paintings. He especially concentrated on them as subjects during the mid-teens. The residents of High River, Alberta, Canada, purchased this painting and gave it to the Prince of Wales in 1919. | Charles M. Russell (1864-1926) When Law Dulls the Edge of Chance 1915, oil on canvas Gift of William E. Weiss, 28.78 The Royal Canadian Mounted Police held a special place in Russell's heart. Their colorful exploits and heroic deeds made them a likely subject for many of his paintings. The residents of High River, Alberta, Canada, purchased this painting and gave it to the Prince of Wales in 1919. | Charles M. Russell (1864-1926) When Law Dulls the Edge of Chance 1915, oil on canvas Gift of William E. Weiss Canada's North-West Mounted Police made an impression on Russell when he met them in 1888. They were known for colorful adventures and heroic deeds. When the Prince of Wales admired this painting in 1919, the residents of Alberta, Canada purchased the painting and gave it to him as a gift. 28.78 | Canada’s North-West Mounted Police (later to become the Royal Canadian Mounted Police) made a favorable impression on Charles M. Russell when he met them in 1888, and their colorful adventures and heroic deeds made them the subject of four paintings by the artist. In this work, two Mounties have discovered a pair of horse thieves. One outlaw stands in a defiant pose, while the other raises his hands in surrender. Russell had sympathy for, and partially identified with, the outlaw, who still represented the independent spirit of the Old West. | Canada’s North-West Mounted Police (later to become the Royal Canadian Mounted Police) made a favorable impression on Charles M. Russell when he met them in 1888, and their colorful adventures and heroic deeds made them the subject of four paintings by the artist. In this work, two Mounties have discovered a pair of horse thieves. One outlaw stands in a defiant pose, while the other raises his hands in surrender. Russell had sympathy for, and partially identified with, the outlaw, who still represented the independent spirit of the Old West. | Russell, Charles M.

Mammoth Hot Springs
Moran, Thomas | Print | chro...
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18.71.1 | 1875 | Image height: 9.75 in, Image width: 14 in, mat height: 20 in, mat width: 24 in, Frame height: 21.75 in, Frame width: 25.5 in, frame depth: .875 in, Sheet height: 18 in, Sheet width: 21.75 in | Mammoth Hot Springs | Gift of Clara S. Peck | LL: TM (monogram), LL: Prang's American Chromo, LC: Copyright, 1875, By L. Prang & Co., LR: Hot Springs of Gardiners River, Yellowstone | 18.71.1.JPG | 18.71.1.jpg | Figure | Landscape | Group | Print | chromolithograph | Thomas Moran (1837-1926) Louis Prang, publisher Mammoth Hot Springs 1875, chromolithograph Gift of Clara S. Peck, 18.71.1 | Moran, Thomas

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.

Indian Summer
Wipfler, Kathy | Painting | ...
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2.08.2 | 2004 | H: 23.5 in, width: 29.5 in, Frame height: 32.5 in, Frame width: 38.75 in, frame depth: 2.5 in | Indian Summer | Bequest of Nancy-Carroll Draper | (Note from Kathy Wipfler, 8/13/08) “Indian Summer” was also painted in the Hoback Canyon. Late in the summer, with the water low, the washed rock makes a nice contrast to the dark water. I made 2 trips from the road down the steep bank to the water. One trip with my painting gear, and the other with the 24” x 30” panel. This particular bend in the river is a favorite painting haunt for me. Not so easy to get to, but worth the effort! | 2.08.2.JPG | Landscape | Painting | oil on board | Kathy Wipfler (b. 1955) Indian Summer 2004, oil on board Bequest of Nancy-Carroll Draper 2.08.2 | Wipfler, Kathy

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 Battle of Gre...
Mardon, Allan | Painting | w...
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6.01 | 1931 - | H: 76 in, width: 136 in | The Battle of Greasy Grass | Museum Purchase with funds from the William E. Weiss Memorial Fund, Mr. and Mrs. Gordon H. Barrows, and the Franklin A. West Memorial Fund | The events of the two-day "Battle of Greasy Grass" near Hardin, Montana unfold in Mardon's artistic reconstruction of historic facts. The artist's unique style is marked by an expressive utilization of stylized figures rendered in rich, intense colors. Mardon studied historical accounts prior to composing the work, and describes the painting as "an artistic, not a literal, representation of the events and movements of troops and is not to scale." His style is influenced by both Indian hide paintings and ledger art. | UL: CEMETARY RIDGE; UC: KEOGH 500/NYE-CARTRIGHT RIDGE; UR: THE BATTLE OF GREASY GRASS/THE LITTLE BIG HORN/SUNDAY/JUNE/2th5 1876/SHARPSHOOTER'S RIDGE/RENO HILL/440/700; center: 5:20/5:20/CUSTER HILL/CALHOUN HILL L/4:30/DEEP RAVINE/DEEP COULEE/MEDICINE TAIL COULEE/WEIR POINT 5:35; CR:WATER CARRIER'S RAVINE/H/D/K; LL: GREASY GRASS/BRULE/SANS ARC/MINNECONJOU/CHEYENNE/OGLALLA/BLACKFEET/HUNKPAPA; LR: Allan Mardon '96 | BBHC Cody Enterprise column: “Your Museum Matters” – July 1, 2009 From our collection: Contemporary artist Allan Mardon brings vibrant color and stylized figures to “The Battle of Greasy Grass” (aka Little Bighorn). Influenced by Native American accounts of the battle, Indian hide paintings, and ledger art, Mardon says the work is “an artistic, not a literal, representation of the events and movements of troops.” The painting recounts the battle from multiple perspectives and times, with Sitting Bull, for example, appearing in four different locations to show his movements through the course of the two-day battle. In the redesigned Whitney Gallery of Western Art, Mardon’s work is accompanied by an interactive touch screen computer that lets visitors explore details of the painting and the history of its subject. The painting’s placement in the gallery juxtaposes it with the historic Edgar Paxson painting Custer’s Last Stand, painted almost one hundred years earlier. Credit: Allan Mardon (b. 1931). The Battle of Greasy Grass, 1996. Buffalo Bill Historical Center, Cody, Wyoming. Museum Purchase with funds from William E. Weiss Memorial Fund, Mr. and Mrs. Gordon H. Barrows, and the Franklin A. West Memorial Fund. 6.01 | 6.01.jpg | 6.01.jpg | 6.01c.jpg | 6.01l.jpg | 6.01r.jpg | 6.01.jpg | 6.01.web.jpg | Painting | wooden frame with painted tin figures | oil on linen | Mardon, Allan

The Medicine Robe
Dixon, Maynard | Painting | ...
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2.73 | 1915 | H: 40 in, width: 30 in, Frame height: 45.75 in, Frame width: 35.75 in | The Medicine Robe | Gift of Mr. and Mrs. Godwin Pelissero | Experimenting with an impressionistic painting style and drawing upon his experiences working in the desert light of the West, California-born Dixon created this powerful image of a Northern Plains Indian. | LL: MAYNARD-DIXON-/(monogram) 1915 | Magazine: American Art: Smithsonian American Art Magazine, Fall 2004, Volume 18, Number 3, Between Modernity and "the Real Thing". Maynard Dixon's Mural for the Bureau of Indian Affairs by Erika Doss, page 8 | 2.73.jpg | 2.73.JPG | 2.73.jpg | 2.73.jpg | 2.73.web.jpg | 2.73.jpg | Figure | Indian | Painting | oil on canvas | Maynard Dixon (1875-1946) The Medicine Robe 1915, oil on canvas Gift of Mr. and Mrs. Godwin Pelissero Dixon aimed to capture the strong spirit of the Indian in The Medicine Robe. This figure is based on a Northern Plains Indian, but the landscape appears to be from the southwest. Dixon, like many artists, created one symbolic figure to represent all Indians regardless of their tribe. 2.73 | Dixon, Maynard

Prospecting for C...
Remington, Frederic | Painti...
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85.60 | 1889 | H: 29.25 in, width: 50.25 in, Frame height: 39 in, Frame width: 59.875 in, frame depth: 3.75 in | Prospecting for Cattle Range | Gift of Cornelius Vanderbilt Whitney | Especially in his early career as a painter, Remington took a number of opportunities to paint portraits of westerners at work. In 1889, Remington accepted a commission from Milton E. Milner to show him and an associate, Judge Kennon, out searching for new cattle range in Montana Territory. The commission provided a welcome opportunity for Remington to provide some pictorial insights into the cattle business, to paint horses and cowboys at work and to produce a double portrait all in the same picture. | LR: Frederic Remington/'89 | 85.60.jpg | 85.60.web.jpg | 85.60.jpg | 85.60.jpg | 85.60.JPG | 85.60.jpg | Cowboy | Milner, Milton E.,Kennon, Judge | Group | Animal | Landscape | Other | Portrait | Figure | Painting | oil on canvas | Frederic Remington (1861-1909) Prospecting for Cattle Range 1889, oil on canvas Gift of Cornelius Vanderbilt Whitney Remington rarely painted portraits, but this painting was an exception. He accepted a commission from Milton E. Milner to paint Montana cattle ranchers. The commission provided a welcome opportunity for Remington to portray the cattle business, to show horses and cowboys at work, and to produce a double portrait all in one picture. 85.60 | Early in his career, Frederic Remington took advantage of a number of opportunities to paint portraits of Westerners at work. In 1889, the artist accepted a commission from Milton E. Milner to depict him and an associate, Judge Kennon, out searching for new cattle range in Montana Territory. The commission provided a welcome opportunity for Remington to provide a pictorial insight into the cattle business, to paint horses and cowboys at work, and to produce a double portrait all in the same picture. | Remington, Frederic

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.

A Bronc to Breakf...
Russell, Charles M. | Print ...
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17.80.124 | 1908 | H: 8.375 in, width: 14.875 in | A Bronc to Breakfast | LLC: CM Russell/1908 (skull), Printed LLC: c./B&B, LC: A Bronc to Breakfast, LRC: Reproduced from the original oil painting by Charles M. Russell | 17.80.124.jpg | Cowboy | Group | transportation | Animal | Landscape | Print | color | Russell, Charles M.

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

Island Lake, Wind...
Bierstadt, Albert | Painting...
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5.79 | 1861 | H: 26.5 in, width: 40.5 in, Frame height: 39.125 in, Frame width: 53.125 in, frame depth: 5 in | Island Lake, Wind River Range, Wyoming | Museum Purchase. The Board of Trustees dedicates this painting to Mr. Wiley T. Buchanan III in recognition of his faithful service as Chairman of the Whitney Gallery of Western Art Advisory Board of the Buffalo Bill Historical Center, 2005-2009. | In 1859, Bierstadt accompanied an expedition led by Colonel Frederick Lander to the Wind River Mountains. Making oil studies and taking stereographic photographs, Bierstadt brought back to New York his first western imagery. Island Lake features the recessive planes, meticulous brushwork, and highly polished surface texture characteristic of Bierstadt's work at this time. | LRC, ABierstadt/1861 | 5.79.jpg | 5.79.jpg | 5.79.JPG | 5.79.jpg | 5.79.web.jpg | 5.79.jpg | 5.79.jpg | Landscape | Painting | oil on canvas | Albert Bierstadt (1830-1902) Island Lake, Wind River Range, Wyoming 1861, oil on canvas Museum Purchase The Board of Trustees dedicates this painting to Mr. Wiley T. Buchanan III in recognition of his faithful service as Chairman of the Whitney Gallery of Western Art Advisory Board of the Buffalo Bill Historical Center, 2005-2009. In 1859, Bierstadt accompanied an expedition led by Colonel Frederick Lander to the Wind River Mountains. Making oil studies and taking stereographic photographs, Bierstadt brought back his first western imagery to New York. Island Lake features the recessive planes, meticulous brushwork, and highly polished surface texture characteristic of the artist's work at this time. 5.79 | Born and trained in Germany, Albert Bierstadt was one of the first and most successful artists to seize the American West as his artistic frontier. In 1859 he accompanied an expedition led by Colonel Frederick Lander to the Nebraska Territory and the Wind River Mountains in present-day Wyoming. Making oil studies and taking stereographic photographs, Bierstadt returned to his New York studio to create romantic views of the West composed of equal parts observation and imagination. Island Lake features the dramatic perspective, meticulous brushwork, and highly finished surface that were characteristic of Bierstadt's early career. | Bierstadt, Albert

Canyon Frosting
Wilcox, Jim | Painting | oil...
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12.01 | 2001 | Frame height: 37.75 in, Frame width: 43.75 in, frame depth: 3.125 in, canvas height: 30.125 in, canvas width: 36 in | Canyon Frosting | William E. Weiss Purchase Award - 2001 Buffalo Bill Art Show | In his paintings, Wilcox uses the principal subjects of light, mood and design to express the landscapes around him. According to the artist, the contrast between the cool snow and the warm rock of the Grand Canyon of the Yellowstone "makes this view even more spectacular." | LR: JIM WILCOX [copyright symbol]; reverse frame UC: CRESTWOOD/STYLE #23-B/FINISH: UMBER (LIGHT); reverse canvas at UL stretcher: #2057 "CANYON FROSTING"; tag reverse ULC: BUFFALO BILL/ART SHOW & SALE/10/Wilcox, Jim 10/Canyon Frosting | LR: JIM WILCOX [copyright symbol] | 12.01.jpg | Lower Falls of the Yellowstone | Grand Canyon of the Yellowstone | Yellowstone National Park | snow | Painting | oil on canvas | Wilcox, Jim

View of Long's Pe...
Bierstadt, Albert | Painting...
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24.60 | 1876 | H: 13.875 in, width: 18.125 in, Frame height: 16.5 in, Frame width: 20.75 in | View of Long's Peak from Estes Park | Gift of William F. Davidson | By painting a night scene, Bierstadt emphasized the affects of snow on the distinctive shape of Long's Peak. This study resulted from Bierstadt's two-week sketching trip to Estes Park, Colorado. Between December 23, 1876 and January 9, 1877, the artist studied "the park, with all its marvelous natural beauties" and made "sketches of winter scenery and effects in the high mountains." | LR: ABierstadt | See Hassrick and Trenton, The Rocky Mountains, page 145 and footnote 133 on page 366, for documentation that the site is Long's Peak and for the dating during a known trip of Albert Bierstadt's to Estes Park. Oil on paper mounted on board and wooden strainer | 24.60.jpg | 24.60.JPG | 24.60.jpg | 24.60.jpg | 24.60.jpg | Indian | Long's Peak, Colorado | encampment | Painting | oil on paper mounted on board | Bierstadt, Albert