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Inspired by the West?

Thinking about this question, I collected some works that represent why I'm inspired by the West. These artists captured people, places, and moments that reflect an aspect of the West--maybe two or three. A search for horses, cowboys, frontier, pioneers, mountains, rivers, lakes, Yellowtone, geysers, and a host of other search terms brought me to this particular collection, my inspiration for the day, January 16, 2018.

A Buffalo Bill Center of the West Virtual Exhibit
Curated by: Marg2309


The Virginian
Ross, Thom | Painting | acry...
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11.02 | 2001 | Image height: 36.5 in, Image width: 30.5 in, Frame height: 37.625 in, Frame width: 31.625 in, frame depth: 2 in | The Virginian | Gift of the artist | The Buffalo Bill Historical Center commissioned artist Thom Ross to produce nine paintings for the 100th Anniversary Edition of Owen Wister's The Virginian: A Horseman of the Plains, first published in 1902. The Virginian is featured on the dust jacket of the trade edition and is the one painting now owned by the Buffalo Bill Historical Center. The painting's title refers to the story's protagonist, a Wyoming ranch foreman known only as the Virginian. Masked and sitting in solitude, he evokes the drama, mystery and myth of the West described in Wister's storyline. He is the American western hero, who inevitably and simultaneously, is cowhand, foreman, and dealer of frontier justice in a harsh, unforgiving land. | upper right corner: Ross (signed) | upper right corner: Ross (signed) | 11.02.jpg | 11.02.jpg | Cowboy | horse | Painting | acrylic on canvas | Thom Ross (b. 1952) The Virginian 2001, acrylic on canvas Gift of the Artist, 11.02 The Buffalo Bill Historical Center commissioned artist Thom Ross to produce nine paintings for the 100th Anniversary Edition of Owen Wister's The Virginian: A Horseman of the Plains, first published in 1902. The Virginian is featured on the dust jacket of the trade edition and is the one painting now owned by the Buffalo Bill Historical Center. The painting's title refers to the story's protagonist, a Wyoming ranch foreman known only as the Virginian. Masked and sitting in solitude, he evokes the drama, mystery and myth of the West described in Wister's storyline. He is the American western hero, who inevitably and simultaneously, is cowhand, foreman, and dealer of frontier justice in a harsh, unforgiving land. | Ross, Thom

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

While the Horses ...
Koerner, W.H.D. | Painting |...
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20.77 | 1929 | H: 36.75 in, width: 31 in, Frame height: 42.125 in, Frame width: 36 in | While the Horses Stood To Their Fetlocks In The Tumbling Stream, He Turned To Her, A Smiling Question In His Eyes | Gift of William D. Weiss | Koerner provided this painting as an illustration for "Cinderella by Request" by Ben Ames Williams. This story appeared in the April 13, 1929 issue of the Saturday Evening Post. | LRC: W.H.D./Koerner/1929 | Exhibit catalog: Art of the Rocky Mountain West; U.S. Ambassador's Residence, Dublin, Ireland; U.S. Department of State, Art in Embassies Program; Vienna, 2000 | 20.77.jpg | 20.77.JPG | Group | Figure | Landscape | Painting | oil on canvas | While the Horses Stood to Their Fetlocks in the Tumbling Stream, He Turned to Her, A Smiling Question in His Eyes 1929, oil on canvas Gift of William D. Weiss, 20.77 Koerner illustrated "Cinderella by Request" by Ben Ames Williams in The Saturday Evening Post, April 13, 1929. | W.H.D. Koerner (1878-1938) While the Horses Stood to Their Fetlocks in the Tumbling Stream, He Turned to Her, A Smiling Question in His Eyes 1929, oil on canvas Gift of William D. Weiss Koerner illustrated "Cinderella by Request" by Ben Ames Williams in The Saturday Evening Post, April 13, 1929. Though the artist worked for a number of publications during his career, between 1911 and 1935 he created over 1300 illustrations for Post covers, stories, and articles. 20.77 | Koerner, W.H.D.

Passing Time
Post, Howard | Painting | oi...
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15.95 | H: 11 in, width: 14 in, Frame height: 19.25 in, Frame width: 22.25 in | Passing Time | Gift of William B. Ruger | below signature: (copyright mark) [label on verso: HOWARD/POST (handwritten:) 'PASSING'/ TIME/ 11 X 14 OIL (IMAGE) | lrc: H E Post | 15.95.JPG | Cowboy | Painting | oil on canvas | Howard Post (b. 1948) Passing Time date unknown, oil on canvas Gift of William B. Ruger 15.95 | Post, Howard

Coils
Matthews, William | Painting...
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1.94 | 1993 | Image height: 38.625 in, Image width: 29.125 in, mat height: 45.063 in, mat width: 35.125 in, Frame height: 51 in, Frame width: 41 in | Coils | Gift of Richard Heckert and the artist | Charles M. Russell distinguished the cowboy's rope as a creative element in western art. In Russell's roping scenes the rope played a dynamic role as the visual element pulling the narrative together. In this painting, Matthews uses the rope as the line which refines the composition of the work. The elegant arc of the rope calls attention to the skillful cowboy's graceful movements. | URC: William Matthews | 1.94.jpg | 1.94.JPG | 1.94.JPG | Cowboy | roping | Painting | watercolor on paper | Matthews, William

Northfork Gold
Christie, Reid | Painting | ...
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13.09 | 2009 | H: 9 in, width: 12 in | Northfork Gold | Gift of the artist | Reverse: #1713 "Northfork Gold" All Rights Reserved (c) Christie 2009 | One (1) painting, oil on canvas, 9 x 12 inches, Title: Northfork Gold, Artist: Reid Christie | Christie | 13.09.jpg | Wyoming | Northfork | Shoshone River | Painting | oil on canvas | Christie, Reid

Guardian of the S...
Phillips, Bert | Painting | ...
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7.97.4 | date unknown | H: 13.75 in, width: 10.375 in, Frame height: 19.25 in, Frame width: 15.875 in | Guardian of the Sacred Lake | Bequest of Robert W. Walter | Bert Phillips met Joseph H. Sharp and Ernest Blumenshein while studying art in Paris. Sharp told tales of an intriquing lifestyle in New Mexico, where Phillips and Blumenschein later traveled in a wagon. When a wheel broke near Taos, Phillips settled there and became founder of the Taos art colony. | [reverse on paper backing] Guardian of the Sacred Lake/By Bert Phillips/Taos, New Mexico | LRC: PHILLIPS. | 7.97.4.JPG | lake | Indian | Painting | oil on wood panel | Phillips, Bert

Panning Gold, Wyo...
Leigh, William R. | Painting...
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1.59 | 1949 | H: 32.25 in, width: 40 in, Frame height: 34.875 in, Frame width: 42.75 in, frame depth: 3 in | Panning Gold, Wyoming | Gift of the artist | Leigh painted Panning Gold, Wyoming late in his life, although the study for the landscape was probably painted on one of his trips to Wyoming early in the century. Although his academic training in Munich often led him to paint his figures in a mannered style, this figure of a miner exhibits a complicated but naturalistic pose. | LL: W. R. Leigh, 1949. c. | Book: exhibition catalog, La Mythologie De L' Ouest, Dans L'Art Americain 1830-1940, Laurent Salome, editor, Silvana Editoriale, Milan, 2007, page 203 | 1.59.jpg | 1.59.jpg | 1.59.jpg | 1.59.JPG | 1.59.jpg | 1.59.web.jpg | Wyoming | miner | stream | gold | Painting | oil on canvas | Leigh, William R.

The Road Less Tra...
Blake, Buckeye | Painting | ...
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22.95.2 | 1993 | H: 20 in, width: 24 in, Frame height: 25.5 in, Frame width: 29.5 in | The Road Less Traveled | Gift of Jim and Suzy King | llc, preceeding signature: (copyright mark) | BUCKEYE BLAKE 93 | 22.95.2.jpg | 22.95.2.JPG | horse | forest | Cowboy | mountains | Painting | oil on canvas | Blake, Buckeye

Cody on the Ishaw...
Bacon, Irving R. | Painting ...
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20.64 | 1904 | H: 24.75 in, width: 16.25 in, Frame height: 30.5 in, Frame width: 22 in | Cody on the Ishawooa Trail | Bequest in memory of Houx and Newell families. | Bacon traveled with Buffalo Bill and painted him both from life and from scenes which were described to the artist. Having studied art in America and Munich, he combined styles to create landscapes in the grand manner. Ishawooa is located in the mountains above Buffalo Bill's Cody, Wyoming ranch, the TE. | LLC: Bacon./1904. | 20.64.jpg | 20.64.JPG | Animal | Figure | Landscape | Painting | watercolor on paper | Bacon, Irving R.

The Broken O
Blake, Buckeye | Painting | ...
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4.89 | 1989 | H: 12 in, width: 15.315 in, Frame height: 24 in, Frame width: 26.5 in | The Broken O | William E. Weiss Purchase Award - 1989 Buffalo Bill Art Show | Contemporary western art often celebrates the continuity of western traditions. The cowboy became the dominant hero in the art of Frederic Remington and Charles Russell, and this subject finds reinterpretation in the work of recent artists. By using a cropped, casual composition, Blake depicted a present-day cowboy as a down-to-earth workingman. | lr: c Buckeye Blake 89 | 4.89.JPG | Cowboy | branding | Animal | horse | Painting | gouache on paper | Blake, Buckeye

Peering Under the...
Blake, Buckeye | Painting | ...
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2.07.1 | 2006 | Peering Under the Big Top | Virginia Boal Hayden Acquisition Fund | LRC | 2.07.1.jpg | Painting | oil on canvas | Buckeye Blake (b. 1946) Peering Under the Big Top 2006, oil on canvas Virginia Boal Hayden Acquisition Fund 2.07.1 | Blake, Buckeye

Horse Multiple IV
Barnes, Susan | Painting | o...
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3.99 | 1998 | H: 28 in, width: 33 in, Frame height: 29.5 in, Frame width: 34.5 in | Horse Multiple IV | Gift of Miriam and Joe Sample | verso, label, URC: Live Auction/ Cat. # (leave Blank) 41/ Artist SUSAN BARNES/ Title HORSE MULTIPLE IV/ Date 1998/ Medium OIL . silver gelatin print/ Size 28 x 37/ Attach to the back of auction entry [LRC, written in pencil:] copyright mark | 3.99.jpg | 3.99.jpg | horse | Painting | oil on silver gelatin print | Barnes, Susan

Saddlestring Cavvy
Graham, Bruce | Painting | o...
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11.07 | 2007 | H: 24 in, width: 36 in, Frame height: 32.625 in, Frame width: 44.5 in | Saddlestring Cavvy | William E. Weiss Purchase Award - 2007 Buffalo Bill Art Show | 11.07.jpg | horses | Painting | oil on canvas | Bruce Graham (b. 1961) Saddlestring Cavvy 2007, oil on canvas William E. Weiss Purchase Award - 2007 Buffalo Bill Art Show, 11.07 Bruce Graham is intrigued by color and light, and he strives to capture these elements in his paintings. For example, sunlight is the main focus in this painting of a string of horses. | Graham, Bruce

Geysers in Yellow...
Bierstadt, Albert | Painting...
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4.77 | ca. 1881 | H: 26.25 in, width: 36.5 in, Frame height: 32.5 in, Frame width: 42.5 in | Geysers in Yellowstone | Gift of Townsend B. Martin | Bierstadt loaned this painting and four others to the White House and tried to convince Congress to purchase them for the President's residence. Although Bierstadt was not successful in selling his paintings to the government, his work inspired President Chester A. Arthur to travel to Yellowstone National Park in 1883 to see the natural wonders. | LLC ABierstadt | 4.77.JPG | 4.77.jpg | 4.77.jpg | 4.77.web.jpg | 4.77.jpg | Landscape | Painting | oil on canvas | Bierstadt, Albert

Splendid Geyser, ...
Stuart, J.E.(James Everett) ...
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33.73 | 1885 | H: 18 in, width: 30.25 in, Frame height: 21 in, Frame width: 33 in, frame depth: 2.75 in | Splendid Geyser, Yellowstone National Park | Stuart spent several seasons sketching in Yellowstone. While painting the Park's wonders, he also noted more mundane aspects in his diaries. On July 17, 1885 he wrote: "Made a color sketch of Old Faithful in forenoon. Also a color sketch of Splendid in afternoon. Had beans and bacon for supper. The mosquitos tormented us most dreadfully." | LLC: 826/J.E. Stuart/July 17, 1885. Original Sketch, LRC: Splendid-July-17-85,J.E. Stuart | Exhibit catalog: Drawn to Yellowstone, Artists in America's First National Park, by Peter H. Hassrick, University of Washington Press, Seattle, 2002, exhibit at the Autry Museum of Western Heritage, Los Angeles, page 109 | 33.73.JPG | Figure | transportation | Animal | Landscape | Group | Painting | oil on canvas | James Everett Stuart (1852-1941) Splendid Geyser, Yellowstone National Park 1885, oil on canvas Museum Purchase Stuart, a California artist, traveled to Yellowstone in 1885 to paint its magnificent features. He was able to sell his paintings to his fellow travelers who wanted reminders of their experiences. Often, the tourists became subjects in the artwork. Note the tiny figures standing near the geyser in this painting. 33.73 | Stuart, J.E.(James Everett)

Thermal Spigot, Y...
Matthews, William | Painting...
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7.98 | 1998 | H: 20 in, width: 39 in, Frame height: 32 in, Frame width: 50.5 in | Thermal Spigot, Yellowstone | Gift of the Jeannette and H. Peter Kriendler Charitable Trust | Known primarily for his images of the American cowboy, Matthews also uses his watercolor brushes to paint striking portrayals of the landscape. In Thermal Spigot he evokes the mystery of Yellowstone's geyser activity in the conjunction between darkening clouds and the erupting column of water. | LRC, beneath signature: (2 X marks surrounded by a circle | LRC: William Matthews | 7.98.jpg | 7.98.jpg | 7.98.web.jpg | Yellowstone National Park | Painting | watercolor on paper | William Matthews (b. 1949) Thermal Spigot, Yellowstone 1998, watercolor on paper Gift of the Jeannette and H. Peter Kriendler Charitable Trust, 7.98 | Matthews, William

The Castle Geyser...
Moran, Thomas | Print | chro...
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18.71.3 | 1874 | Image height: 9.75 in, Image width: 14 in, mat height: 24 in, mat width: 20 in, Frame height: 21.75 in, Frame width: 25.75 in, Sheet height: 18 in, Sheet width: 21.75 in, frame depth: .875 in | The Castle Geyser, Upper Geyser Basin, Yellowstone National Park | Gift of Clara S. Peck | Ferdinand Hayden wrote the text to accompany Moran's chromolightographs. "They [the springs] must be seen to be appreciated, for even the artist's pencil in this case falls short of nature." | LL: TM (monogram), LL: The Castle Geyser, Upper Geyser Basin,/Yellowstone National Park, TM (monogram), LC: Copyright 1874 By L. Prang & Co., LR: Prang's/American Chromo./Boston | 18.71.3.JPG | 18.71.3.jpg | 18.71.3.v1.jpg | 18.71.3.jpg | Landscape | Figure | Group | Print | chromolithograph | Moran, Thomas

Cove in Yellowsto...
Johnson, Frank Tenney | Pain...
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2.82 | 1938 | H: 30 in, width: 40 in, Frame height: 34.75 in, Frame width: 44.75 in, frame depth: 2 in | Cove in Yellowstone Park | Gift of Fred and Sara Machetanz | From 1931 to 1938, Johnson spent his summers at the Rimrock Ranch, approximately thirty miles east of Yellowstone National Park. From the ranch, Johnson would hike up the canyons along the rivers, pack into the mountains, and camp in Yellowstone to explore, sketch, and paint. Cove in Yellowstone Park, from one of his painting excursions, is probably unfinished. Using broad, loose brush strokes, Johnson worked quickly to render a glimpse of the park's beauty. | Unsigned by artist; Label on reverse signed by Mrs. F.T. Johnson 1938 | Exhibit catalog: Drawn to Yellowstone, Artists in America's First National Park, by Peter H. Hassrick, University of Washington Press, Seattle, 2002, exhibit at the Autry Museum of Western Heritage, Los Angeles, page 202 | 2.82.jpg | 2.82.JPG | 2.82.jpg | 2.82.web.jpg | Figure | Landscape | Animal | Painting | oil on canvas | Frank Tenney Johnson (1874-1939) Cove in Yellowstone Park 1938, oil on canvas Gift of Fred and Sara Machetanz, 2.82 | Johnson, Frank Tenney

Lamar Valley--1988
Christie, Reid | Painting | ...
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12.98.1 | 1998 | H: 19.875 in, width: 22.625 in, Frame height: 26.75 in, Frame width: 22.625 in | Lamar Valley--1988 | Gift of Mr. and Mrs. W. D. Weiss | The summer of 1988 is remembered in Yellowstone National Park for the extensive forest fires, which engendered controversy over the Park Service's policies. Christie's painting captures a peaceful moment in Lamar Valley before the fires have spread. The casual observer, like the calmly grazing buffalo, may not recognize the significance of the billowing smoke clouds in the distance. | LLC: (copyright mark) [verso, ulc:] #1412 [label:] BUFFALO BILL/ ART SHOW & SALE/ REID CHRISTIE/ LAMAR VALLEY - 1988 [urc round white label in red:] 35 [center of verso:] "LAMAR VALLEY - 1988/ ALL RIGHTS RESERVED/ (copyright mark)/ CHRISTIE 1998 | LLC: CHRISTIE [verso:] CHRISTIE 1998 | 12.98.1.jpg | 12.98.1.jpg | 12.98.1.jpg | 12.98.1.web.jpg | Landscape | forest fire | Lamar Valley | Painting | oil on panel | Reid Christie (b. 1951) Living in Cody, Wyoming Lamar Valley - 1988 1998, oil on panel The summer of 1988 is remembered in Yellowstone National Park for the extensive forest fires, which engendered controversy over the Park Service's policies. Christie's painting captures a peaceful moment in Lamar Valley before the fires have spread. The casual observer, like the calmly grazing buffalo, may not recognize the significance of the billowing smoke clouds in the distance. | Reid Christie (b. 1951) Lamar Valley – 1988 1998, oil on panel Gift of Mr. and Mrs. W.D. Weiss 12.98.1 | Christie, Reid

Morning Fog on Cl...
Oberg, Ralph E. | Painting |...
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16.88 | 1988 | H: 24 in, width: 36 in, Frame height: 34.5 in, Frame width: 46.5 in | Morning Fog on Clarks Fork | William E. Weiss Purchase Award - 1988 Buffalo Bill Art Show | Inspired by a love for the wilderness, Oberg has depicted the Clark's Fork River with Pilot and Index Peaks of the Absaroka range. The two rugged mountains provide a beacon to travelers headed toward the Cooke City, Montana, region and the northeast entrance to Yellowstone National Park. | LR: oberg./c. 88, Written on back of canvas: MORNING FOG ON CLARKS FORK/ c. 1988 RALPH E. OBERG/ALL REPRODUCTION RIGHTS RESERVED | 16.88.jpg | 16.88.JPG | Landscape | Painting | oil on canvas | Oberg, Ralph E.

The Lower Falls o...
Leigh, William R. | Painting...
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11.88 | 1911 | H: 36 in, width: 24 in, Frame height: 44.25 in, Frame width: 32.25 in, frame depth: 2.875 in | The Lower Falls of the Yellowstone | William E. Weiss Memorial Fund Purchase | The authorization for building a road from the town of Cody, Wyoming to Yellowstone National Park in 1900 opened possibilities for a tourist industry in the gateway town. By 1909 the road was completed. Artist Leigh traveled into Yellowstone from the Cody area with members of the Richard and Frost families. | LR: W.R. LEIGH (underlined)/1911. | Portfolio: The Yellowstone Park Foundation, Artist's Point Project, Bozeman, 2004 | 11.88.jpg | 11.88.JPG | 11.88.jpg | 11.88.web.jpg | Landscape | Painting | oil on canvas | William R. Leigh (1866-1955) The Lower Falls of the Yellowstone ca. 1915, oil on canvas William E. Weiss Memorial Fund Purchase Leigh traveled into Yellowstone from the Cody area in 1910. Once inside the park, the canyon and falls consumed his attention. Leigh completed this painting years later in his studio. He amplified the vibrant colors of the canyon to create depth in the painting and lead the viewer’s eye back to the falls. 11.88 | William R. Leigh (1866-1955) The Lower Falls of the Yellowstone 1911, oil on canvas William E. Weiss Purchase Fund, 11.88 | Leigh, William R.

Yellowstone-Park
Hohlwein, Ludwig | poster | ...
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1.69.1836 | ca. 1910 | Image height: 47.625 in, Image width: 34 in, Frame height: 54.625 in, Frame width: 41 in | Yellowstone-Park | Gift of Clyde S. Erskine and Helen E. Erskine | Printed upper left corner: Ludwig/Hohlwein/Munich. Printed lower right corner: Printed by G. Schuh & Cie, Munich, Bavaria. | Four colored serigraph poster entitled Yellowstone-Park, c. 1910. CONDITION: Written in pencil: Treatment Spring 1985; See report file. | Exhibit catalog: Drawn to Yellowstone, Artists in America's First National Park, by Peter H. Hassrick, University of Washington Press, Seattle, 2002, exhibit at the Autry Museum of Western Heritage, Los Angeles, page 181 | 1.69.1836.jpg | 1.69.1836.jpg | 1.69.1836.JPG | poster | serigraph | four colored | Hohlwein, Ludwig