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Jayne's Birthday

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


Above the Sea of ...
Wyeth, N.C. | Painting | oil...
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3.77 | 1904-1905 | H: 38.25 in, width: 26 in, Frame height: 46.25 in, Frame width: 34 in | Above the Sea of Round, Shiny Backs the Thin Loops Swirled and Shot into Volumes of Dust | Gift of John M. Schiff | Wyeth described the excitement of saddling the horses: "In the corral the horses surged from one side to the other, crowding and crushing within the small rope circle. Above the sea of round, shiny backs, the thin loops swirled and shot into volumes of dust, the men wound in and out of the restless mass. Their keen eyes always following the chosen mounts." | LRC: N. C. Wyeth/R G Colorado/1904 | Catalog rasionne: N.C. Wyeth: Catlaog Raisonne of Paintings, Volume one, Christine B. Podmaniczky, Scala Publishers Limited, London 2008, pages 134-135 | 3.77.jpg | 3.77.JPG | Group | Landscape | Cowboy | Animal | Painting | oil on canvas | Wyeth, N.C.

Annie Oakley and ...
Ross, Thom | Sculpture | met...
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6.10 | 2009 | overall height: 75.25 in, depth: .75 in, width: 20.5 in, Base Width: 28.75 in, overall height: 37.5 in, depth: .75 in, width: 14.25 in, H: 24.5 in, Diameter: 13 in | Annie Oakley and Her Dog Dave | Gift of Virgil Shutze | Written on back of 6.10A in black: "Annie / Oakley". Signed on back of Annie: Thom Ross | a - Annie Oakley; b- Dave. | 6.10v3.jpg | 6.10v4.jpg | 6.10.jpg | 6.10v2.jpg | Annie Oakley | Moses, Phoebe Ann | Dave | Sculpture | metal | paint | thread | felt | plywood | Ross, Thom

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

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

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

Cutting Out
Wyeth, N.C. | Painting | oil...
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45.83 | 1904-1905 | H: 38 in, width: 25.875 in, Frame height: 46.25 in, Frame width: 34.125 in, frame depth: 3.5 in | Cutting Out | Gift of John M. Schiff | Wyeth wrote "Cutting out is a hard, wearisome task. There were some six thousand cattle in the herd that had been rounded up that morning, and it was the work of the men to weave through that mass and drive out certain brands..." | LRC: N.C. Wyeth/Colo.-1904- | quote was taken from article by N.C. Wyeth published in Scribner''s Magazine, vol. XXXIX, no. 3, March 1906, pages 285-290. | Catalog rasionne: N.C. Wyeth: Catlaog Raisonne of Paintings, Volume one, Christine B. Podmaniczky, Scala Publishers Limited, London 2008, pages 136-137 | 45.83.jpg | 45.83.jpg | 45.83.jpg | 45.83.JPG | Animal | Group | Cowboy | Painting | oil on canvas | N.C. Wyeth (1882-1945) Cutting Out (Colorado) 1904-1905, oil on canvas Gift of John M. Schiff In 1904, Wyeth made his first trip West. He worked for three weeks on a cattle roundup in Colorado. After Wyeth returned to Delaware, he completed a series of paintings about his experience. The artist portrayed lively scenes, sparking imaginations about what Western life was like in the early twentieth century. 45.83 | Wyeth, N.C.

General Custer in...
Biss, Earl | Painting | oil ...
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18.00 | 1996 | canvas height: 39.875 in, canvas width: 30 in, Frame height: 46.375 in, Frame width: 36.375 in | General Custer in Blue and Green | Gift of Mr. and Mrs. Charles B. Israel of Aspen, Colorado | Crow (Absaroke) Indian artist Earl Biss used the style of Abstract Expressionism to convey emotional turmoil in his work about a subject that continues to inspire controversy. This painting of Custer was based on a photograph taken by Matthew Brady on May 23, 1865. As a former student of Fritz Scholder at the Institute of American Indian Arts in Santa Fe, Biss began with the same expressionist style, eventually bringing his own creative interpretation to his painted subjects. Biss also had a personal connection to the subject of Custer from his great-grandfather. His lineage is from the Crow Chief White Man Runs Him who was commissioned to track the Lakota by General George Custer. | UR: Biss; reverse, canvas UR: "General Custer in Blue and Green"/Biss (copyright symbol) 1996/oil on canvas/Aspen Studio. | UR: Biss | 18.00.jpg | 18.00.web.jpg | 18.00.jpg | General Custer | Painting | oil on canvas | Biss, Earl

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

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.

Silver Tip Grizzl...
Rungius, Carl | Painting | o...
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16.93.4 | ca. 1923 | H: 60 in, width: 75.125 in | Silver Tip Grizzly Bear -- Rocky Mountains, Alberta | Gift of Jackson Hole Preserve, Inc. | Rungius' method of preparing this painting typified his approach in the 1920s. First he traveled to the lower Sawback Range to make landscape photographs and sketches. He also gathered images of grizzly bears, some from the Bronx Zoo. Then he made a preliminary sketch for the approval of the Zoological Society's art committee, and painted the final version. | lrc: C. Rungius | 16.93.4.jpg | 16.93.4.jpg | 16.93.4.JPG | 16.93.4.jpg | 16.93.4.web.jpg | 16.93.4.jpg | Alberta, Canada | Rocky Mountains | grizzly | bear | Painting | oil on canvas | Carl Rungius (1869-1959) Silver Top Grizzly Bear-- Rocky Mountains, Alberta ca. 1923, oil on canvas Gift of Jackson Hole Preserve, Inc., 16.93.4 | Rungius, Carl

They Stood There ...
Koerner, W.H.D. | Painting |...
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26.77 | 1928 | H: 29.125 in, width: 41 in, Frame height: 33.125 in, Frame width: 45.375 in | They Stood There Watching Him Move Off Across the Range, Leading His Pack Horse | Museum purchase | In order to illustrate the short story "Post Office at Dry Fork" by Hal G. Evarts in the November 3, 1928 issue of the Saturday Evening Post, Koerner used his studio props to represent the costume of cowboy Bud Crandall. The laconic cowboy with his small herd of cattle followed schoolteacher Miss Abby Howard from Wyoming town to Wyoming town. | LRC: W H D/Koerner/1928; On the back of the painting: Post Office at Dry Fork (Undecipherable) leading his pack horse, on which was travelling at the left of the Dry Fork | Book (softcover): W.H.D. Koerner: Der Maler des,,Wilden Westerns" aus Dithmarschen by Gerd Stolz, Husum, 2003, page 76 (bottom) | 26.77.jpg | 26.77.jpg | 26.77.web.jpg | 26.77.JPG | Cowboy | Group | Animal | Landscape | Painting | oil on canvas | Koerner, W.H.D.

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.

Timberline
Dunton, William Herbert | Pa...
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9.05 | 1932 | H: 30 in, width: 30 in, Frame height: 34.5 in, Frame width: 34.5 in, frame depth: 2.5 in | Timberline | Gift in Memory of Hal Tate from Naoma Tate and the Family of Hal Tate | One of W.H. "Buck" Dunton's last works, Timberline, reveals the influence of modernist stylistic developments of this wildlife artist. While retaining a realistic image, Dunton simplified the shapes of the bear and the landscape and united the forms with sinuous lines. | Grauer, Michael R., W. Herbert Dunton: A Retrospective. Canyon, TX: Panhandle-Plains Historical Museum, 1991. | l.100.2002.2.jpg | 9.05.jpg | 9.05.jpg | 9.05.web.jpg | l.100.2002.2.jpg | bear | Painting | oil on canvas | William Herbert Dunton (1878-1936) Timberline 1932, oil on canvas Gift in Memory of Hal Tate from Naoma Tate and the Family of Hal Tate Timberline, one of W.H. "Buck" Dunton's last works, reveals the influence of a modernist style on the artist. While retaining a realistic image, Dunton simplified the grizzly bear and the landscape. He focused on line, shape, and color to bring the painting together. Notice the repetition of curving lines and organic shapes throughout the painting. 9.05 | Dunton, William Herbert