{"title":"Artists of the West 2026","description":"","products":[{"product_id":"audubon-john-woodhouse-american-1812-1862-red-texan-wolf-1845","title":"John Woodhouse Audubon (American, 1812-1862). Red Texan Wolf, Plate 82.","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eAUDUBON, John Woodhouse (American, 1812-1862).\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eRed Texan Wolf, \u003c\/em\u003ePlate 82. \u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOil on canvas.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCirca 1845 for plate LXXXII in the Viviparous Quadrupeds of North America \u003cmeta charset=\"utf-8\"\u003e(New York: J.J. Audubon, 1845-1849).\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e25\" x 30\" canvas, 30\" x 35\" framed.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eProvenance: Chase Bank of Texas, Houston, Texas.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAudubon's most important original oil painting relating to his time in Texas that has ever come on the market.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIllustrated: Sarah E. Boehme. John James Audubon in the West: The Last Expedition Mammals of North America. New York: Harry Abrams, 2000, p. 66.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA unique oil painting of the Red Texan Wolf was painted by John James Audubon's son John Woodhouse Audubon for the Viviparous Quadrupeds of North America. Father and son visited Galveston and Houston in the Republic of Texas in 1837. They again visited Texas from 1845 to 1846, where Sam Houston hosted them. During both trips, John Woodhouse Audubon studied Texan Animals, and this magnificent oil painting is the result. This is Audubon's most important original oil painting relating to his time in Texas that has ever come on the market.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis engaging composition was the basis for plate LXXXII, \"Red Texan Wolf\" (example illustrated below.) The corresponding text for this plate provides a lot of detail related to the habits of this southwestern mammal. First, Audubon explains the nuances of the composition. Writing, \"We have represented a fine specimen of this Wolf, on a sand-bar, snuffing at the bone of a buffalo, which, alas! is the only fragment of \"animal matter\" he has in prospect for breakfast.\" The location on sandbar indicates the a location near a body of water.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFurther, the text for this plate includes an extract from the journal kept by J. W. Audubon while in Texas. It gives us a glimpse of an adventure with a hungry wolf, relayed by Texan Ranger named Powell [possibly Capt. J. S. Powell]:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Like all travellers, the ranger rides over the wide prairie in long silences of either deep thought or listless musings, I have never been able to decide which; hut when, riding by the side of Walker or Hays [presumably this is referring to Capt. John Coffee \"Jack\" Hays, arguably the most famous Texas Ranger], who would like to say that a vacant mind was ever in the broad brow or behind the sparkling eye either of him with the gray, or of him with the brown 1 but at times when watching closely I have thought I could trace in the varying expression, castle after castle mounting higher and higher, till a creek \"to water at,\" or a deer which had been sound asleep and to windward of us, started some 30 or 40 yards off our path to wake up the dreamers of our party. No one is certain that his queries will be welcome to the backwoodsman on a march through a strange country, any more than would be those of a passenger, put to the captain of a vessel as he leans over the weather-rail looking what the wind will be, or thinking of the disagreeable bustle he will have, when he gets into port, compared to his lazy luxury on shipboard: but as I rode by the side of Powell we started no deer, nor came to a \"water hole,\" but a Red Wolf jumped up some two or three hundred yards from us, and took to the lazy gallop so common to this species; \"Run you ,\" cried Powell, and he sent a yell after him that would have done credit to red or white man for its shrill and startling effect, the Wolf's tail dropped lower than usual, and now it would have taken a racer to have overtaken him in a mile; a laugh from Powell, and another yell, which as the sound reached the Wolf made him jump again, and Powell turned to me with a chuckle, and said, \"I had the nicest trick played me by one of those rascals you ever heard of.\" The simple, how was it, or let's have it, was all that he wanted, and he began at the beginning. I was out on a survey about 15 miles west of Austin, in a range that we didn't care about shooting in any more than we could help, for the Camanches were all over the country; and having killed a deer in the morning, I took the ribs off one side and wrapping them in a piece of the skin, tied it to my saddle and carried it all day, so as to have a supper at night without hunting for it; it was a dark, dismal day, and I was cold and hungry when I got to where I was to camp to wait for the rest of the party to come up next day; I made my fire, untied my precious parcel, for it was now dark, with two sticks put up my ribs to roast, and walked off to rub down and secure my horse, while they were cooking; but in the midst of my arrangements I heard a stick crack, and as that in an Indian country means something, I turned and saw, to my amazement, for I thought no animal would go near the fire, a large Red Wolf actually stealing \"my ribs\" as they roasted; instinct made me draw a pistol and let drive at him; the smoke came in my face and I saw nothing but that my whole supper was gone. So not in the most philosophical manner 1 lay down, supperless, on my blanket; at daylight I was up to look out for breakfast, and to my surprise, my half-cooked ribs lay within twenty feet of the fire, and the Wolf about twenty yards off, dead; my ball having been as well aimed as if in broad daylight.\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBen Love, Chairman of Texas Commerce Bank, purchased this painting 40 years ago. Mr. Love eventually sold his bank in December of 1986 to Chemical Bank, which became part of JP Morgan Chase. If the bank had stayed independent, this incredible masterpiece of Texana never would have been sold. Now, 40 years later, it is available.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCondition report: In overall very fine condition. Examined under UV light: Minor aged varnish and light scattered inpainting in the sky region, particularly the top corners. The wolf appears untouched. Canvas relined but appears to retain its original stretcher.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42126793277484,"sku":"","price":550000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/RedTExanWolf.jpg?v=1700585539"},{"product_id":"george-catlin-1794-1872-north-american-indian-10-buffalo-hunt-white-wolves-attacking-a-buffalo-bull","title":"George Catlin (1794-1872), North American Indian 10 Buffalo Hunt White Wolves Attacking a Buffalo Bull","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBuffalo Hunt White Wolves Attacking a Buffalo Bull\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. This portfoliowas groundbreaking in its scope, capturing the diversity of Indigenous lifethrough portraits, ceremonial depictions, and scenes of daily activity. Eachlithograph is both a work of art and an ethnographic document, reflectingCatlin’s deep respect for the communities he encountered. At the time, Catlinviewed his work as a critical mission, believing it was his duty to preservethe history of Native American cultures that were rapidly being displaced bythe westward expansion of the United States.\u003c\/p\u003e\n\u003cp\u003eThe lithographs were created using cutting-edge printing techniques of theera, ensuring vibrant colors and fine details. The original edition was acommercial and artistic triumph, securing Catlin’s reputation as one of theforemost chroniclers of the American West. The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969497890860,"sku":null,"price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_10_Buffalo_20Hunt_20White_20Wolves_20Attacking_20a_20Buffalo_20Bull_646745db-0b4b-48f5-ad42-4d9431274c3c.jpg?v=1733434463"},{"product_id":"george-catlin-1794-1872-north-american-indian-11-buffalo-hunt-approaching-in-a-ravine","title":"George Catlin (1794-1872), North American Indian 11 Buffalo Hunt, Approaching in a Ravine","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBuffalo Hunt, Approaching in a Ravine\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. This portfoliowas groundbreaking in its scope, capturing the diversity of Indigenous lifethrough portraits, ceremonial depictions, and scenes of daily activity. Eachlithograph is both a work of art and an ethnographic document, reflectingCatlin’s deep respect for the communities he encountered. At the time, Catlinviewed his work as a critical mission, believing it was his duty to preservethe history of Native American cultures that were rapidly being displaced bythe westward expansion of the United States.\u003c\/p\u003e\n\u003cp\u003eThe lithographs were created using cutting-edge printing techniques of theera, ensuring vibrant colors and fine details. The original edition was acommercial and artistic triumph, securing Catlin’s reputation as one of theforemost chroniclers of the American West. The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969497956396,"sku":null,"price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_11_Buffalo_20Hunt_2C_20Approaching_20in_20a_20Ravine_6272692f-c99d-46dc-a4be-fc7e703da0cc.jpg?v=1733434466"},{"product_id":"george-catlin-1794-1872-north-american-indian-12-buffalo-hunt-chasing-back","title":"George Catlin (1794-1872), North American Indian 12 Buffalo Hunt Chasing Back","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBuffalo Hunt Chasing Back\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. This portfoliowas groundbreaking in its scope, capturing the diversity of Indigenous lifethrough portraits, ceremonial depictions, and scenes of daily activity. Eachlithograph is both a work of art and an ethnographic document, reflectingCatlin’s deep respect for the communities he encountered. At the time, Catlinviewed his work as a critical mission, believing it was his duty to preservethe history of Native American cultures that were rapidly being displaced bythe westward expansion of the United States.\u003c\/p\u003e\n\u003cp\u003eThe lithographs were created using cutting-edge printing techniques of theera, ensuring vibrant colors and fine details. The original edition was acommercial and artistic triumph, securing Catlin’s reputation as one of theforemost chroniclers of the American West. The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969498087468,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_12_BUffalo_20Hunt_20Chasing_20Back_6234cc1b-3873-4915-bb0b-3f1c602a7d21.jpg?v=1733434468"},{"product_id":"george-catlin-1794-1872-north-american-indian-14-snow-shoe-dance","title":"George Catlin (1794-1872), North American Indian 14 Snow Shoe Dance","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSnow Shoe Dance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. This portfoliowas groundbreaking in its scope, capturing the diversity of Indigenous lifethrough portraits, ceremonial depictions, and scenes of daily activity. Eachlithograph is both a work of art and an ethnographic document, reflectingCatlin’s deep respect for the communities he encountered. At the time, Catlinviewed his work as a critical mission, believing it was his duty to preservethe history of Native American cultures that were rapidly being displaced bythe westward expansion of the United States.\u003c\/p\u003e\n\u003cp\u003eThe lithographs were created using cutting-edge printing techniques of theera, ensuring vibrant colors and fine details. The original edition was acommercial and artistic triumph, securing Catlin’s reputation as one of theforemost chroniclers of the American West. The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969499168812,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_14_Snow_20Shoe_20Dance_bdc9313b-5de9-48cb-bb6c-f6c68ec9b1b4.jpg?v=1733434474"},{"product_id":"george-catlin-1794-1872-north-american-indian-16-wounded-buffalo-bull","title":"George Catlin (1794-1872), North American Indian 16 Wounded Buffalo Bull","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWounded Buffalo Bull\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. This portfoliowas groundbreaking in its scope, capturing the diversity of Indigenous lifethrough portraits, ceremonial depictions, and scenes of daily activity. Eachlithograph is both a work of art and an ethnographic document, reflectingCatlin’s deep respect for the communities he encountered. At the time, Catlinviewed his work as a critical mission, believing it was his duty to preservethe history of Native American cultures that were rapidly being displaced bythe westward expansion of the United States.\u003c\/p\u003e\n\u003cp\u003eThe lithographs were created using cutting-edge printing techniques of theera, ensuring vibrant colors and fine details. The original edition was acommercial and artistic triumph, securing Catlin’s reputation as one of theforemost chroniclers of the American West. 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Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. 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Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. 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The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969500315692,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_Joc_20o_20Sot_f0b9115a-92d7-4a78-b06a-79ea72c91dd9.jpg?v=1733434533"},{"product_id":"george-catlin-1794-1872-north-american-indian-mah-to-toh-pa","title":"George Catlin (1794-1872), North American Indian Mah to toh pa","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMah to toh pa\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. 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The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969500348460,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_Mah_20to_20toh_20pa_4a9f4b48-1601-4032-8e3c-da4c45d1a62b.jpg?v=1733434536"},{"product_id":"george-catlin-1794-1872-north-american-indian-o-jib-be-ways","title":"George Catlin (1794-1872), North American Indian O Jib Be Ways","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eO Jib Be Ways\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. This portfoliowas groundbreaking in its scope, capturing the diversity of Indigenous lifethrough portraits, ceremonial depictions, and scenes of daily activity. Eachlithograph is both a work of art and an ethnographic document, reflectingCatlin’s deep respect for the communities he encountered. At the time, Catlinviewed his work as a critical mission, believing it was his duty to preservethe history of Native American cultures that were rapidly being displaced bythe westward expansion of the United States.\u003c\/p\u003e\n\u003cp\u003eThe lithographs were created using cutting-edge printing techniques of theera, ensuring vibrant colors and fine details. The original edition was acommercial and artistic triumph, securing Catlin’s reputation as one of theforemost chroniclers of the American West. The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969500381228,"sku":null,"price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_O_20Jib_20Be_20Ways_f7c62cba-d740-4841-a127-3325c7011fc0.jpg?v=1733434539"},{"product_id":"george-catlin-1794-1872-north-american-indian-the-scalp-dance","title":"George Catlin (1794-1872), North American Indian The Scalp Dance","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Scalp Dance\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. 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The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969500413996,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_The_20Scalp_20Dance_f575a66e-c3eb-4e63-8f92-f9d3256ae033.jpg?v=1733434541"},{"product_id":"george-catlin-1794-1872-north-american-indian-war-dance","title":"George Catlin (1794-1872), North American Indian War Dance","description":"\u003cp\u003e\u003cstrong\u003eGeorge Catlin (1794-1872)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNorth American Indian War Dance\u003c\/p\u003e\n\u003cp\u003eFrom: North American Indian Portfolio\u003cbr\u003eLondon: 1844-48\u003cbr\u003eHand-colored lithograph\u003cbr\u003e11 1\/8 x 7 inches, 27 1\/2 x 21 1\/2 inches framed\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGeorge Catlin (American, 1796–1872):\u003cbr\u003eThe First Artist of the American West\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis hand-colored lithograph is an extraordinary individual plate from GeorgeCatlin’s North American Indian Portfolio, widely regarded as one of the mostsignificant artistic and historical works documenting Indigenous cultures andthe American frontier. Published in 1844, this portfolio was the culminationof Catlin’s years of travel, during which he immersed himself in the lives andcustoms of nearly 50 Native American tribes between the Great Plains and theRocky Mountains. Each lithograph, rendered with meticulous detail and vividcolor, is a window into the daily lives, ceremonies, and environments of thesecommunities at a time of profound cultural and territorial change in NorthAmerica.\u003c\/p\u003e\n\u003cp\u003eCatlin’s upbringing in Wilkes-Barre, Pennsylvania—a crossroads between thecultivated East and the untamed frontier—fueled his lifelong fascination withNative American life. His mother, Polly Sutton, survived captivity during the1778 Battle of Wyoming, a harrowing episode of the Revolutionary War in whichsettlers were attacked by British forces and their Native allies. Her stories,along with the constant flow of trappers, hunters, and settlers passingthrough the region, deeply influenced Catlin’s understanding of the Americanwilderness and the people who called it home.\u003c\/p\u003e\n\u003cp\u003eThough Catlin initially followed a traditional path, studying law atLitchfield Law School and practicing briefly in Philadelphia, his artisticpassion and desire to explore the West soon overpowered his legal career.Self-taught as an artist, Catlin found success as a miniaturist portraitist inPhiladelphia before embarking on a transformative journey westward in 1830.During this expedition, he met famed explorer William Clark (of Lewis andClark) in St. Louis, who provided Catlin with invaluable knowledge about theuncharted lands and their inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe North American Indian Portfolio: A Cultural Landmark\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCatlin’s North American Indian Portfolio was first published in 1844,featuring hand-colored lithographs based on his field sketches. 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The portfolio’s significanceextended beyond its initial publication, with later editions, including the1875 release, ensuring that Catlin’s vision reached audiences across theglobe.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43969500446764,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Catlin_North_20American_20Indian_War_20Dance_bcf6a8f4-0a34-4a1b-a57b-ca607d95d0bd.jpg?v=1733434544"},{"product_id":"karl-bodmer-1809-1893-bison-dance-of-the-mandan-indians-copy","title":"BODMER, Karl (1809-1893), Pehriska Ruhpa - Moennitarri Warrior in the Costume of the Dog Danse, Tab. 23.","description":"\u003cp\u003eBODMER, Karl (1809-1893)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePehriska Ruhpa - Moennitarri Warrior in the Costume of the Dog Danse, Tab. 23. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAquatint engraving with hand color\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFrom the \u003c\/span\u003e\u003cspan\u003eTravels in the Interior of North America.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJ. 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This was one of several watercolors that Miller produced depicting the stunning landscapes he witnessed during his pivotal trip, the only time in his life he ever went West.\u003c\/p\u003e\n\u003cp data-start=\"357\" data-end=\"1454\"\u003e“The tourist who journeys to Europe in search of a new sensation, but by this time find that his vocation is nearly gone. Italy and its wonders have been described so often that they begin to pale. Egypt, the River Nile, Cairo, and the pyramids have been ‘done’ to death. Greece and her antiquities are as familiar as household words. What will the enterprising traveller do under these untoward circumstances? Well, here is a new field for him. These mountain Lakes have been waiting for him for thousands of years, and could afford to wait thousands of years longer, for they are now as fresh and beautiful as if just from the hands of the Creator. In all probability, when we saw them not 20 white men had ever stood on their borders, A single Lake and Mont Blanc are the wonders of Europe, but here are mountains and lakes reaching from Tehuantepec to the Frozen Ocean in the North, or upwards of 50 degrees, nearly one seventh part of the globe, ample room and verge enough, one would think, for a legion of tourists.” — A.J. Miller, extracted from “The West of Alfred Jacob Miller” (1837).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45280324714540,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Miller_LakeintheWindRiverMountains.jpg?v=1771178216"},{"product_id":"miller-alfred-jacob-1857-1926-rocky-formations-near-the-nebraska-or-platte-river","title":"MILLER, Alfred Jacob (1857-1926) Rocky Formations near the Nebraska or Platte River","description":"\u003cp\u003eMILLER, Alfred Jacob (1857-1926)\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eRocky Formations near the Nebraska or Platte River\u003c\/em\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTitled\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e(upper right); inscribed (upper left)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eProperty from the Collection of Ambassador J. William Middendorf II, Rhode Island\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGouache, watercolor, pencil and ink on paper\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e7 ½ by 11 ⅞ in.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"209\" data-end=\"732\"\u003eThis scene, given its imprecise description as taking place near the Nebraska or Platte River, was likely created by memory years after his momentous journey west in 1837. Though Miller was known for taking direct inspiration from his travels, his depiction of the five Native Americans in this composition, galloping across the plain and dwarfed by the enormity of their surroundings, evidences the more Romantic lens through which he viewed the West, and particularly his view of native people’s connection with nature.\u003c\/p\u003e\n\u003cp data-start=\"734\" data-end=\"1309\"\u003eIndebted to the 18th-century English tradition of the picturesque landscape, Miller carefully arranges the composition around two mountainous landforms cast in contrasting light and shadow. Having had ample opportunity to observe Joseph Mallord William Turner’s work during the height of his popularity with midcentury American artists, Miller also took direct inspiration from the English landscape painter’s evocative depictions of the sublimity of nature’s spirit. Such influence is particularly evident in the present work with Miller’s atmospheric handling of the sky.\u003c\/p\u003e\n\u003cp data-start=\"1311\" data-end=\"1930\"\u003eMargaret C. Conrads writes in the exhibition catalogue for \u003cem data-start=\"1370\" data-end=\"1445\"\u003eRomancing the West: Alfred Jacob Miller in the Bank of America Collection\u003c\/em\u003e (2010–2011): “Emphasizing the solidity of the formations and juxtaposing them against an open sky and a high mountain backdrop, Miller endowed the scene inspired by the landscape near Laramie with his initial wonder at their endurance beyond anything in human history” (Exh. Cat., Kansas City, The Nelson-Atkins Museum of Art; Museum of Fine Arts, Houston and Philadelphia Museum of Art, \u003cem data-start=\"1834\" data-end=\"1909\"\u003eAlfred Jacob Miller: Romancing the West in the Bank of America Collection\u003c\/em\u003e, 2010–11, p. 124).\u003c\/p\u003e\n\u003cp data-start=\"1932\" data-end=\"1944\"\u003eProvenance\u003c\/p\u003e\n\u003cul data-start=\"1945\" data-end=\"2463\"\u003e\n\u003cli data-start=\"1945\" data-end=\"2030\"\u003e\n\u003cp data-start=\"1947\" data-end=\"2030\"\u003eEugenia Miller Whyte or Louisa Whyte Norton (acquired by descent from the artist)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2031\" data-end=\"2097\"\u003e\n\u003cp data-start=\"2033\" data-end=\"2097\"\u003eThe Old Print Shop, New York (acquired from the above in 1947)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2098\" data-end=\"2174\"\u003e\n\u003cp data-start=\"2100\" data-end=\"2174\"\u003eThe Boatman’s National Bank, St. Louis (acquired from the above in 1947)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2175\" data-end=\"2255\"\u003e\n\u003cp data-start=\"2177\" data-end=\"2255\"\u003eNationsBank, Charlotte (acquired from the above by corporate merger in 1996)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2256\" data-end=\"2340\"\u003e\n\u003cp data-start=\"2258\" data-end=\"2340\"\u003eBank of America, Charlotte (acquired from the above by corporate merger in 1998)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2341\" data-end=\"2411\"\u003e\n\u003cp data-start=\"2343\" data-end=\"2411\"\u003eSotheby’s, New York, 22 May 2013, lot 101 (consigned by the above)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2412\" data-end=\"2463\"\u003e\n\u003cp data-start=\"2414\" data-end=\"2463\"\u003eAcquired at the above sale by the present owner\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp data-start=\"2465\" data-end=\"2476\"\u003eExhibited\u003c\/p\u003e\n\u003cul data-start=\"2477\" data-end=\"2772\"\u003e\n\u003cli data-start=\"2477\" data-end=\"2533\"\u003e\n\u003cp data-start=\"2479\" data-end=\"2533\"\u003eSt. Louis, The Boatman’s National Bank, 1964, no. 48\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2534\" data-end=\"2772\"\u003e\n\u003cp data-start=\"2536\" data-end=\"2772\"\u003eKansas City, The Nelson-Atkins Museum of Art; Museum of Fine Arts, Houston and Philadelphia Museum of Art, \u003cem data-start=\"2643\" data-end=\"2718\"\u003eAlfred Jacob Miller: Romancing the West in the Bank of America Collection\u003c\/em\u003e, 2010–11, no. 25, pp. 124–125, illustrated in color\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45280352403500,"sku":null,"price":185000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Miller_RockyFormationsneartheNebraskaorPlatteRiver.jpg?v=1771178290"},{"product_id":"miller-alfred-jacob-1857-1926-schim-a-co-che-high-lance-crow","title":"MILLER, Alfred Jacob (1857-1926) Schim-a-co che High-Lance Crow. C. 1860","description":"\u003cp\u003eMILLER, Alfred Jacob (1857-1926)\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eSchim-a-co che High-Lance Crow\u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOil on paper, mounted to board.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCirca 1860.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOval: 11 ¾” x 10 ¼”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCaptioned at lower-center in paint: “Schim-a-co che\/ High-Lance\/ Crow” with the final line expanded in ink to “A [Crow] Indian”. Numbered “108” in graphite at lower-left. A signed conservator’s photograph mounted to a letter mounted to the back of the board records the now-obscured inscription (in the same hand as the painted title) verso: “Schim-a-co-che\/ High Lance\/ Crow”.\u003c\/p\u003e\n\u003cp\u003eA very little peripheral darkening, with a small chip at the upper edge. Remarkably well-preserved, with impasto in the clouds at right and to the figure’s jewelry.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eThe collection of the artist\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eby descent from the above to\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eMr. L. Vernon Miller,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ethe artist’s grand-nephew\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eby inheritance from the above to\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eMrs. L. Vernon Miller (Katherine, ca. 1965)\u003c\/li\u003e\n\u003cli\u003eGraham Gallery, New York, NY, no. 28818\u003c\/li\u003e\n\u003cli\u003eGerald Peters (The Peters Corporation), Santa Fe, NM\n\u003cul\u003e\n\u003cli\u003e\n\u003cem\u003econserved\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e20 September 1978 by Gustav A. Berger\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003eby acquisition from the above to\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eThe John F. Eulich Collection of American Western Art, Dallas, TX (1980)\u003c\/li\u003e\n\u003cli\u003e\n\u003cem\u003esold (by the above?) at Sotheby’s New York 3 December 1998, lot 177, into a\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ePrivate collection\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003eAlfred Jacob Miller (1810–1874) was a Baltimore-born Paris-trained painter celebrated for his depictions of the people and landscape of the American interior. Although later life would see him settle in Baltimore as a portrait-painter, Miller in his late twenties set out for New Orleans and accompanied the queer Scottish aristocrat Sir William Drummond Stewart to the Rockies. There he the chance to draw the wild men of the fur trade as well as western Native Americans in the late 1830’s — just as they were being pushed to the margins by white settlement.\u003c\/p\u003e\n\u003cp\u003eIn July 1858, the railroad magnate William Thompson Walters commissioned 200 portraits from Miller (at $12 each), and a picture of the subject, also numbered 108, is at the Walters Art Museum in Baltimore. Miller commonly made multiple iterations of a single subject, and three — all watercolor and gouache on paper — are recorded of Shim-a-co-che (the usual orthography) in addition to the present work:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Walters\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/art.thewalters.org\/object\/37.1940.39\/\"\u003e37.1940.39\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(Tyler 299A)\u003c\/li\u003e\n\u003cli\u003eThe Gilcrease Museum\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/collections.gilcrease.org\/object\/021024\"\u003e02.1024\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(Tyler 299)\u003c\/li\u003e\n\u003cli\u003eThe Library and Archives of Canada\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/central.bac-lac.gc.ca\/.redirect?app=fonandcol\u0026amp;id=2833868\u0026amp;lang=eng\u0026amp;ecopy=c000404k\"\u003e2833868\/1946-111 PIC\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e(Tyler 299B)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eThe present picture (Tyler 299C, mistakenly called “Oil on board”) differs in medium: oil on paper. Whereas watercolors and gouache could be easily used in the field, or else in rough circumstances, oil paint was traditionally made by the artist in their studio (the storage and sale of oil paint in metal tubes was patented in 1841, but traditionalists such as Miller were resistant). Thus an oil painting represents the culmination of a longer process for which the above pictures might be understood to be preparatory. Indeed, Miller’s having kept the picture throughout his life suggests that it was a work of  which he was particularly proud. Comparison of the four versions shows just how much more refined the oil composition is.\u003cimg\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Picture1_1bbd26f7-0e77-4dbf-9428-dabfe41ba2dc.png?v=1771619060\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe work was perhaps from what has come to be known the “L. Vernon Miller Family Album,” an assemblage kept by his grand-nephew L. Vernon Miller of Baltimore. As with many of these, the work passed to Miller’s widow and was then dispersed.\u003c\/p\u003e\n\u003cp\u003eTyler, Ron, ed.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAlfred Jacob Miller: Artist of the Oregon Trail.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eFort Worth, TX: Amon Carter Museum, 1982: 299C (p. 299).\u003cbr\u003eRick Stewart. \u003cem\u003eThe American West: Legendary Artists of the Frontier\u003c\/em\u003e. Dallas, 1986: pp. 18-19, illustrated.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45280356958252,"sku":null,"price":475000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/medium_6384-377472-9_2.jpg?v=1770918210"},{"product_id":"bodmer-karl-1809-1893-travellers-meeting-with-minatarre-indians","title":"BODMER, Karl (1809-1893). Travellers meeting with Minatarre Indians, Vig. 26.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBODMER, Karl (1809-1893).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe Travellers meeting with Minatarre Indians, Vig. 26.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAquatint engraving with original hand color.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrom \"Travels in the Interior of North America\".\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJ. Holscher, Coblenz; Bertrand, Paris; Ackermann \u0026amp; Co., London: 1832-1843.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e13 1\/4\" x 16 1\/4\" visible, 24 3\/4\" x 28 1\/4\" framed.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eKarl Bodmer was a little-known Swiss painter when he was chosen by Prince Maximilian of Prussia to accompany his voyage to America. With the rest of Maximilian's company, the two traveled among the Plains Indians from 1832 to 1834, a time when the Plains and the Rockies were still virtually unknown. They arrived in the West before acculturation had begun to change the lives of the Indians, and Bodmer, who was a protege of the great naturalist von Humboldt, brought a trained ethnologist's eye to the task. The Bodmer\/Maximilian collaboration produced a record of their expedition that is incontestably the finest early graphic study of the Plains tribes. These prints rank with the finest Western art in any medium, and they are the most complete record of the Plains Indians before the epidemics of the mid-19th century had decimated their numbers, and before the white man's expansion had taken their lands.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThere is no mention in Maximilian's journal of a formal meeting with the Hidatsa at Fort Clark such as the one presented in Vignette XXVI. It was at Fort Clark and the nearby Mandan villages on 18 June 1833 that he and Bodmer first saw the Hidatsa, who had come to greet their steamboat. However, the HIdatsa made a much greater impression on the travelers the following day (\"the most attractive sight which we had yet met with upon this voyage\"), when the Yellow Stone stopped at the Hidatsa villages located on the Knife River several miles above Fort Clark. More than one hundred men, women, and children thronged around the ship, and the clothing, ornaments and horse gear of these handsome people dazzled the prince, who wrote, \"Here my painter would have found the richest opportunity for his art. Unfortunately there was no time for drawing; but later that winter we did find some opportunity for this.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45280367378476,"sku":null,"price":4800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Bodmer-TheTravellersMeetingwithMinatarreIndians_e8272e0a-68ec-441d-9818-206d5f984d5d.jpg?v=1771178924"},{"product_id":"bodmer-karl-1809-1893-mehkskeme-sukahs-blackfoot-chief-tatsicki-stomick-piekann-chief-tab-45","title":"BODMER, Karl (1809-1893). Mehkskeme Sukahs \/ Blackfoot Chief Tatsicki-Stomick \/ Piekann Chief, Tab 45.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBODMER, Karl (1809-1893).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMehkskeme Sukahs \/ Blackfoot Chief Tatsicki-Stomick \/ Piekann Chief, Tab 45.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAquatint engraving with original hand color.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrom \"Travels in the Interior of North America\".\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJ. Holscher, Coblenz; Bertrand, Paris; Ackermann \u0026amp; Co., London: 1832-1843.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e14 1\/4\" x 18 1\/4\" visible, 24 3\/4\" x 28\" framed.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eKarl Bodmer was a little-known Swiss painter when he was chosen by Prince Maximilian of Prussia to accompany his voyage to America. With the rest of Maximilian's company, the two traveled among the Plains Indians from 1832 to 1834, a time when the Plains and the Rockies were still virtually unknown. They arrived in the West before acculturation had begun to change the lives of the Indians, and Bodmer, who was a protege of the great naturalist von Humboldt, brought a trained ethnologist's eye to the task. The Bodmer\/Maximilian collaboration produced a record of their expedition that is incontestably the finest early graphic study of the Plains tribes. These prints rank with the finest Western art in any medium, and they are the most complete record of the Plains Indians before the epidemics of the mid-19th century had decimated their numbers, and before the white man's expansion had taken their lands.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45280446087212,"sku":null,"price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Bodmer-Mehkskeme-Sukahs_Tatsicki-Stomick.jpg?v=1771179034"},{"product_id":"audubon-john-james-1785-1851-audubon-john-woodhouse-1812-1862-american-bison-or-buffalo-pl-lvi","title":"AUDUBON, John James (1785-1851) \u0026 AUDUBON, John Woodhouse (1812-1862). American Bison or Buffalo, Pl. LVI.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAUDUBON, John James (1785-1851) \u0026amp; AUDUBON, John Woodhouse (1812-1862)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eAmerican Bison or Buffalo, Pl. LVI.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003eFrom The Viviparous Quadrupeds of North America\u003cbr\u003eNew York: J.J. Audubon, [1845-1849].\u003cbr\u003eDrawn from nature by J.J. Audubon and J. W. Audubon, backgrounds after Victor Audubon, colored by hand by J. T. Bowen of Philadelphia\u003cbr\u003eLithograph with original hand-coloring\u003cbr\u003ePaper size: 22 × 28\"\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45289860366380,"sku":null,"price":24000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/audubon-buffalo_1.jpg?v=1771172943"},{"product_id":"audubon-john-james-1785-1851-audubon-john-woodhouse-1812-1862-american-bison-or-buffalo-pl-lvi-copy","title":"AUDUBON, John James (1785-1851) \u0026 AUDUBON, John Woodhouse (1812-1862). American Bison or Buffalo, Pl. LVII.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eAUDUBON, John James (1785-1851) \u0026amp; AUDUBON, John Woodhouse (1812-1862)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eAmerican Bison or Buffalo, Pl. LVII\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003eFrom The Viviparous Quadrupeds of North America\u003cbr\u003eNew York: J.J. Audubon, [1845-1849].\u003cbr\u003eDrawn from nature by J.J. Audubon and J. W. Audubon, backgrounds after Victor Audubon, colored by hand by\u003cbr\u003eJ. T. Bowen of Philadelphia\u003cbr\u003eLithograph with original hand-coloring\u003cbr\u003ePaper size: approx. 21 1\/4 x 27 3\/4\"\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45290132308012,"sku":null,"price":24000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/AudubonQuad_57_AmericanBison.jpg?v=1771180317"},{"product_id":"miller-alfred-jacob-1857-1926-indians-in-pursuit-c-1838","title":"MILLER, Alfred Jacob (1857-1926) Indians in Pursuit C. 1838","description":"\u003cp data-end=\"62\" data-start=\"0\"\u003eAlfred Jacob Miller (1810–1874)\u003cbr data-end=\"38\" data-start=\"35\"\u003eIndians in Pursuit\u003c\/p\u003e\n\u003cp data-end=\"62\" data-start=\"0\"\u003esigned (lower right)\u003cbr data-end=\"87\" data-start=\"84\"\u003ewatercolor on paper\u003cbr data-end=\"109\" data-start=\"106\"\u003ec. 1838\u003cbr data-end=\"119\" data-start=\"116\"\u003e8 1\/2” x 11 1\/2” sight; 16” x 19” framed\u003cbr data-end=\"162\" data-start=\"159\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-end=\"550\" data-start=\"174\"\u003eAlfred Jacob Miller, born in Baltimore on January 2, 1810, to George Washington Miller and Harriet Jacob, was one of the earliest trained artists to cross the Great Plains. Following study in Paris and Rome in 1833, the young Miller returned to Baltimore and established a studio. After his parents died, Miller left Baltimore and moved to New Orleans in the spring of 1837.\u003c\/p\u003e\n\u003cp data-end=\"953\" data-start=\"552\"\u003eThat is where he met Capt. William Drummond Stewart, the second son of Scottish nobility, veteran of the Napoleonic Wars, sportsman, and a seasoned traveler who had attended the annual rendezvous of fur trappers and traders in the Rocky Mountains on several occasions. Stewart planned to attend the 1837 rendezvous and, thinking that it might be his last, employed young Miller to document the trip.\u003c\/p\u003e\n\u003cp data-end=\"1817\" data-start=\"955\"\u003eMiller arrived in St. Louis in April 1837. There he visited with Gov. William Clark, the prominent explorer and superintendent of Indian Affairs, and spent time in Clark's museum in preparation for the trip. Stewart and Miller left Westport in May, along with forty five men and twenty carts loaded with trade goods to exchange for pelts at the rendezvous. They followed the Kansas and Little Blue Rivers to the Platte River, with Miller documenting every segment of the trip. They took the North Fork of the Platte past Chimney Rock, Scotts Bluff, and Fort Laramie, all of which Miller rendered in colorful watercolor. He also depicted Independence Rock, Devils Gate, Split Rock on the Sweetwater River, and the Continental Divide, arriving, finally, at Horse Creek in the Wind River Mountains, where trappers and Indians had gathered for the 1837 rendezvous.\u003c\/p\u003e\n\u003cp data-end=\"2268\" data-start=\"1819\"\u003eMiller remained at the rendezvous for about three weeks. Following another couple of weeks hunting in the mountains with Stewart, Miller returned to New Orleans to begin working on the paintings that Stewart had commissioned. Stewart, meanwhile, had learned that his older brother John had died, that he had inherited the family estates and titles, and that he must soon return to Murthly Castle, the family estate just outside of Perth, Scotland.\u003c\/p\u003e\n\u003cp data-end=\"2913\" data-start=\"2270\"\u003eMiller had made dozens of sketches. From them he first prepared a small album of eighty-seven wash and watercolor sketches for Stewart and then set to work on several large oil paintings that Stewart intended as decoration for Murthly. Stewart loaned eighteen of Miller's oils to the Apollo Gallery in New York for exhibition from May to July 1839 before shipping them to Scotland. Miller accepted Stewart's invitation to come to Murthly to continue his painting and remained there for approximately a year, painting both western and religious scenes. He returned to Baltimore in the spring of 1842 and spent the remainder of his life there.\u003c\/p\u003e\n\u003cp data-end=\"3424\" data-start=\"2915\"\u003eThe 1837 trip was the only western journey that Miller made, but he kept his field sketches and continued to fulfill commissions from them throughout his life. The most notable commission was that of William T. Walters, who ordered 200 watercolors from 1858 to 1860. Miller also sold several paintings to Charles Wilkins Weber that were chromo-lithographed for his books, \u003cem data-end=\"3365\" data-start=\"3287\"\u003eThe Hunter-Naturalist: Romance of Sporting; or, Wild Scenes and Wild Hunters\u003c\/em\u003e and \u003cem data-end=\"3421\" data-start=\"3370\"\u003eThe Hunter-Naturalist: Wild Scenes and Song-Birds\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp data-end=\"3592\" data-start=\"3426\"\u003eMiller saw the West through the lens of the romantic artist, depicting the many Indians at the rendezvous as noble savages and the Plains and mountains as a garden.\u003c\/p\u003e\n\u003cp data-end=\"4713\" data-start=\"3594\"\u003eFor Miller, the depiction of Indians on horseback represented the natives in their most charismatic form. Miller writes “one cannot fail to be impressed with their admirable horsemanship, and that such subjects originally gave birth to the conception of the fabled Centaur” \u003cem data-end=\"3909\" data-start=\"3868\"\u003eThe West of Alfred Jacob Miller (1837).\u003c\/em\u003e It is unsurprising then that the image of a power Sioux warrior gliding through the plains on a majestic white horse, as is found in \u003cem data-end=\"4063\" data-start=\"4043\"\u003eIndians in Pursuit\u003c\/em\u003e, was a popular subject in Miller’s oeuvre. The present work bares resemblance to the Museum of Fine Arts Boston’s \u003cem data-end=\"4194\" data-start=\"4178\"\u003eOn the Warpath\u003c\/em\u003e (right), though more developed and with slight compositional amendments. While the forefront figure remains similar, the secondary figures have been spread further apart and reduced in size so as to not take away from the protagonist. Notably a framing tree has been introduced to the left margin to better ground the scene and inject suspense into the vignette. These adjustments appear nearly identically in \u003cem data-end=\"4627\" data-start=\"4605\"\u003eSioux Reconnoitreing\u003c\/em\u003e, commissioned for William T. Walters (1858–1860) and now in the Walters Art Museum.\u003c\/p\u003e\n\u003cp data-end=\"4713\" data-start=\"3594\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Picture6.png?v=1771622686\" alt=\"\"\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45313195507756,"sku":null,"price":325000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Miller_IndiansinPursuit.jpg?v=1771622766"},{"product_id":"miller-alfred-jacob-1857-1926-caravan-en-route","title":"MILLER, Alfred Jacob (1857-1926) Caravan - En Route. C. 1838","description":"\u003cp data-start=\"0\" data-end=\"171\"\u003eAlfred Jacob Miller (1810–1874)\u003cbr data-start=\"31\" data-end=\"34\"\u003eCaravan—En Route\u003cbr data-start=\"50\" data-end=\"53\"\u003esigned (lower left) with initials in monogram “AJM”\u003cbr data-start=\"104\" data-end=\"107\"\u003ewatercolor, gouache and pen on paper\u003cbr data-start=\"143\" data-end=\"146\"\u003e5 ¼” x 9 ½”\u003cbr data-start=\"157\" data-end=\"160\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-start=\"173\" data-end=\"601\"\u003eAlfred Jacob Miller’s Caravan—En Route was inspired by his 1837 expedition to the Rocky Mountains in the company of Sir William Drummond Stewart. The composition presents a measured procession of mounted travelers and pack animals traversing an expansive terrain. The figures, rendered with refined clarity, move laterally across a broad, luminous landscape, their quiet progress underscoring the vastness that surrounds them.\u003c\/p\u003e\n\u003cp data-start=\"603\" data-end=\"1199\"\u003eMiller’s restrained palette of subtle earth tones set against delicate gradations of sky creates a scene of serenity. Rather than dramatizing the frontier, the artist emphasizes rhythm, space, and balance, integrating the caravan harmoniously within its environment. A signature of Miller’s, the plains are segmented in depth by undulations of light and dark. The result is a work that is both documentary and evocative, capturing the contemplative dimension of westward travel while affirming Miller’s role as one of the earliest and most perceptive interpreters of the trans-Mississippi West.\u003c\/p\u003e\n\u003cp data-start=\"1201\" data-end=\"1841\"\u003eThe subject of the winding fur trade caravan was of particular interest to Miller, interpreted repeatedly in his works and almost invariably executed as a curving and trailing line set amongst the vast empty plains. In the foreground Miller frequently paints an arrangement of Native Americans looking out towards the caravan. In an accompanying note to a similar caravan scene held by the Walters Art Museum, Miller writes that “the Indian lingers to the last moment around the camp fire,–he neither enters into or sympathizes with our diligence, and seems to regret that stern necessity forces him to accept our company for his convoy.”\u003c\/p\u003e\n\u003cp data-start=\"1201\" data-end=\"1841\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Picture5_cf0699c4-b1a9-4519-b765-8a74a8180db9.png?v=1771619860\" alt=\"\" width=\"421\" height=\"656\"\u003e\u003c\/p\u003e\n\u003cp data-start=\"1843\" data-end=\"1855\"\u003eProvenance\u003c\/p\u003e\n\u003cul data-start=\"1856\" data-end=\"2237\"\u003e\n\u003cli data-start=\"1856\" data-end=\"1871\"\u003e\n\u003cp data-start=\"1858\" data-end=\"1871\"\u003eThe artist.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1872\" data-end=\"1937\"\u003e\n\u003cp data-start=\"1874\" data-end=\"1937\"\u003eLouisa Whyte Norton, Baltimore, Maryland, niece of the above.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"1938\" data-end=\"2010\"\u003e\n\u003cp data-start=\"1940\" data-end=\"2010\"\u003eEugenia Whyte Carton Dixon, Baltimore, Maryland, niece of the above.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2011\" data-end=\"2076\"\u003e\n\u003cp data-start=\"2013\" data-end=\"2076\"\u003ePrivate collection, Massachusetts, by descent from the above.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2077\" data-end=\"2115\"\u003e\n\u003cp data-start=\"2079\" data-end=\"2115\"\u003ePrivate collection, Ada, Michigan.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2116\" data-end=\"2161\"\u003e\n\u003cp data-start=\"2118\" data-end=\"2161\"\u003ePrivate collection, Santa Fe, New Mexico.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli data-start=\"2162\" data-end=\"2237\"\u003e\n\u003cp data-start=\"2164\" data-end=\"2237\"\u003eJackson Hole Art Auction, Jackson, Wyoming, 20 September 2008, lot 202.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":45313208909868,"sku":null,"price":250000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1156\/7956\/files\/Miller_CaravanEnRoute.png?v=1771622837"}],"url":"https:\/\/aradernyc.com\/collections\/artists-of-the-west-2026.oembed","provider":"Arader Galleries","version":"1.0","type":"link"}