{"title":"Western","description":"","products":[{"product_id":"alfred-sully-1820-1879-bison-bull","title":"Alfred Sully (1820-1879) Bison Bull","description":"Alfred Sully (1820-1879)\u003cbr\u003eBison Bull\u003cbr\u003eOil on canvas affixed to board\u003cbr\u003eca. 1850\u003cbr\u003eDimensions: 14 1\/4 x 19 1\/4 in.\u003cbr\u003eFrame size: 20 1\/2 x 25 1\/2 in.","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":32068568743997,"sku":"","price":32000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/SullyBisonOilPainting.jpg?v=1598910439"},{"product_id":"nicolino-calyo-1799-1884-american-landscape-with-indians","title":"Nicolino Calyo (1799 - 1884),  American Landscape with Indians","description":"\u003cp\u003eNicolino Calyo (1799 - 1884) \u003cbr\u003eAmerican Landscape with Indians \u003cbr\u003eSigned Nicolino Calyo and dated 1853. (lower left) \u003cbr\u003eOil on canvas \u003cbr\u003eCanvas size: 32 x 43 in. \u003cbr\u003eFrame size: 40 1\/2 x 52 in. \u003c\/p\u003e\n\u003cp\u003eNicolino Calyo's career reflects a restless spirit of enterprise and adventure. Descended in the line of the Viscontes di Calyo of Calabria, the artist was the son of a Neapolitan army officer. (See the brief biographical sketch by Kathleen Foster, prefacing catalogue entry no. 257 in Philadelphia Museum of Art, Philadelphia: Three Centuries of American Art, exhib. cat., [1976], pp. 299-301.) Calyo received formal training in art at the Naples Academy. His career took shape amidst the backdrop of the political turbulence of early nineteenth century Italy, Spain, and France. He fled Naples after choosing the losing side of struggles of 1820-21, and, by 1829 was part of an Italian exile community in Malta. This was the keynote of a peripatetic life that saw the artist travel through Europe, to America, to Europe again, and back to America. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eParadoxically, Calyo's stock-in-trade was close observation of people and places, meticulously rendered in the precise topographical tradition of his fellow countrymen, Antonio Canale (called Canaletto) and Francesco Guardi. In search of artistic opportunity and in pursuit of a living, Calyo left Malta, and, by 1834, was on the opposite side of the great Atlantic Ocean, in Baltimore, Maryland. He advertised his skills in the April 16, 1835, edition of the Baltimore American, offering \"remarkable views executed from drawings taken on the spot by himself, . . . in which no pains or any resource of his art has been neglected, to render them accurate in every particular\" (as quoted in The Art Gallery and The Gallery of the School of Architecture, University of Maryland, College Park, 350 Years of Art \u0026amp; Architecture in Maryland [1984], p. 35). Favoring gouache on paper as his medium, Calyo rendered faithful visual images of familiar locales executed with a degree of skill and polish that was second nature for European academically-trained artists. Indeed, it was the search for this graceful fluency that made American artists eager to travel to Europe and that led American patrons to seek out the works of ambitious newcomers. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCalyo, wielding his palette and brush, offers a picturesque combination of nature, and untouched civilization for the visual delight of the viewer. \u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":40814949498941,"sku":null,"price":225000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AmericanLandscapewithIndians.jpg?v=1698095646"},{"product_id":"george-frederick-bensell-1837-1879-closing-in","title":"George Frederick Bensell (1837-1879), Closing In","description":"\u003cp\u003eGeorge Frederick Bensell (1837-1879) \u003cbr\u003eClosing In \u003cbr\u003eOil on board \u003cbr\u003eCirca 1855 \u003cbr\u003eBoard: 29 3\/4 x 36 in. board; Frame: 35 x 41 1\/2 in. \u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eProvenance: Edward Eberstadt \u0026amp; Sons, New York; Mr. William B. Ruger. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eThe American West was a captivating subject for artists of the nineteenth-century. The American War of Independence had inspired a national need for an identity divorced from that of Britain and American artists found this in the majestic landscape and people of the American West. Their paintings answered such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Moreover, they responded to the call of their fellow countrymen who greatly desired images of their newly founded nation. In an 1816 address delivered at the opening ceremonies of the American Academy of the Fine Arts, the governor of New York state, De Witt Clinton, exalted both the American wilderness and the American cultural landscape as appropriate subjects for native arts, questioning: \"And can there be a country in the world better calculated than ours to exercise and to exalt the imagination - to call into activity the creative powers of the mind, and to afford just views of the beautiful, the wonderful, and the sublime?\" George Frederick Bensell's painting, Closing In, shows a direct response to such desires. Born in Philadelphia, he trained with John Lambdin and quickly became a skilled painter of historical subjects, genre and portraits. He exhibited annually at the Pennsylvania Academy of the Fine Arts between 1856 and 1868 and was a founder and active member of the Philadelphia Sketch Club. In this exceptional painting, Bensell captures the essence of frontier life as the hunter draws his gun fearful of a confrontation with the Native Americans he has glimpsed through the trees. Frontier life was a popular genre for American painters and such subject matter was commonly depicted by the famous publishing firm of Currier and Ives. Indeed Arthur Fitzwilliam Tait's American Frontier Life, was produced as a lithograph from 1862 to 1863, by Currier and Ives, and shares a similar theme to that of Bensell's Closing In. Like Tait, Bensell's Indians are of the Eastern frontier and the scene is most probably a product of his imagination. The considerable skill displayed in both his painting technique and compositional arrangement make Closing in an exceptional example of George Frederick Bensell's work. His paintings are highly regarded but difficult to acquire due to the artist's untimely death at the age of 42, cutting short his accomplished career.\u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585882656829,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/GeorgeFrederickBensell-ClosingIn.jpg?v=1757614955"},{"product_id":"henry-arthur-elkins-american-1847-1884-indian-encampment-estes-park-colorado","title":"Henry Arthur Elkins (American, 1847-1884), Indian Encampment. Estes Park, Colorado","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eHenry Arthur Elkins (American, 1847-1884) \u003cbr\u003eIndian Encampment. Estes Park, Colorado \u003cbr\u003eOil on canvas \u003cbr\u003eSigned and dated lr: HA Elkins\/ 1867  \u003cbr\u003eCanvas size: 30 x 45 in. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame: 35 x 41 1\/2 in. \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\"\u003e\u003cspan\u003eProvenance: Vose Galleries, Boston \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape.\u003c\/p\u003e\n\u003cp\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins.\u003c\/p\u003e\n\u003cp\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel.\u003c\/p\u003e\n\u003cp\u003eIn this view of Estes Park, Colorado, Elkins skillfully captures the majesty of the landscape. From the first inhabitants, the Ute, Shoshone and Comanche, to the early explorers in the mid-nineteenth century, hunters and ranchers, Estes Park has been regarded as the eastern gateway to the Rocky Mountains. The enormous scale of the mountains is emphasized by the diminutive scale of the native American encampment, seen to the left of the canvas. The subtly modulated pastel tones of the sky are reflected in the background landscape forming a harmonious and well-balanced composition, as well as adding an overwhelming sense of depth to the work.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585952878653,"sku":null,"price":27000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/HenryArthurElkins-IndianEncampment.jpg?v=1757620418"},{"product_id":"henry-arthur-elkins-american-1847-1884-mountain-landscape","title":"Henry Arthur Elkins (American, 1847-1884), Mountain Landscape","description":"\u003cp style=\"margin-bottom: 0in;\" class=\"MsoNormal\"\u003eHenry Arthur Elkins (American, 1847-1884) \u003cbr\u003eMountain Landscape\u003cbr\u003eOil on canvas \u003cbr\u003eSigned l.l.: \"HA. Elkins 79\" \u003cbr\u003eCanvas size: 12 x 20 1\/4 in. \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in;\" class=\"MsoNormal\"\u003eFrame: 17 1\/2 x 25 1\/2 in. \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0in;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003eFrom the moment of her discovery, America's history has been dominated by the push westward, mainly in the pursuit of economic prosperity. From the first explorers to later immigrants, all have headed west in search of riches and as a result much of American history and art is dominated by the exploration of her land and, in consequence, her indigenous people. In the search for prosperity America also found her very identity in the topography and magnificent of her landscape.\u003c\/p\u003e\n\u003cp\u003eFascination with the landscape of the West continued throughout the nineteenth and into the early twentieth century. After the establishment of independence, artists began to respond to the need for a distinctive form of American painting and answer such critics as the Reverend Sydney Smith, who in his 1820 article for the Edinburgh Review, asked: \"In the four quarters of the globe, who reads an American book? Or goes to an American play? Or looks at an American picture or statue?\" Exploration of America's interior had revealed a wondrous landscape marked by its variety of open plains and majestic mountains. The traditional European academies regarded history painting to be the highest art form, but in America topography was her history as exploration had guided the nation's course. It was here in the nation's landscape that her identity was to be found and was beautifully manifested in the paintings of Henry Arther Elkins.\u003c\/p\u003e\n\u003cp\u003eHenry Arthur Elkins was born in Vershire, Vermont and in 1856 moved to Chicago where he taught himself to paint and began to receive recognition for his paintings. After the Civil War he was one of the first artists to cross the plains to the Rocky Mountains and he quickly became known for his paintings of Colorado and California. Elkins career was sadly cut short by his early death in 1884 at Georgetown, Colonel. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585976930365,"sku":null,"price":9500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/HenryArthurElkins-MountainLandscape.jpg?v=1757620581"},{"product_id":"john-woodhouse-audubon-american-1812-1862-red-texan-wolf","title":"John Woodhouse Audubon (American, 1812-1862), Red Texan Wolf","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eJohn Woodhouse Audubon (American, 1812-1862) \u003cbr\u003eRed Texan Wolf \u003cbr\u003eOil on canvas \u003cbr\u003e\u003cspan\u003eCirca 1845 for plate LXXXII in the Viviparous Quadrupeds of North America (New York: J.J. Audubon, 1845-1849). \u003c\/span\u003e\u003cbr\u003eCanvas size: 25 x 30 in. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame: 30 x 35 in. \u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: Chase Bank of Texas, Houston, Texas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIllustrated: Sarah E. Boehme. John James Audubon in the West: The Last Expedition Mammals of North America. New York: Harry Abrams, 2000, p. 66.\u003cbr\u003e\u003cbr\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.\u003cbr\u003e\u003cbr\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.\u003cbr\u003e\u003cbr\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]:\u003cbr\u003e\u003cbr\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 Comanches 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.\"\u003cbr\u003e\u003cbr\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.\u003cbr\u003e\u003cbr\u003eCondition report: In overall very fine condition. Examined under UV light: Minor aged varnish and light scattered in painting 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\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585984892989,"sku":null,"price":550000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/JohnWAudubon-RedTexanWolf.jpg?v=1757621638"},{"product_id":"alfred-sully-american-1820-1879-untitled-deer","title":"Alfred Sully (American, 1820-1879), Untitled (Deer)","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eAlfred Sully (American, 1820-1879) \u003cbr\u003eUntitled (Deer) \u003cbr\u003eOil on canvas \u003cbr\u003eMid-19th century \u003cbr\u003eVisible size: 13 1\/2 x 19 in.  \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame size: 19 1\/2 x 24 3\/4 in. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp\u003eSully was a military officer during the American Civil War and during the Indian Wars on the frontier. He was also a noted painter. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42585993281597,"sku":null,"price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AlfredSully-Deer_4be1df13-17d0-4133-8239-d197691bbe52.jpg?v=1757623013"},{"product_id":"alfred-jacob-miller-1810-1874-schim-a-co-che-high-lance-crow","title":"Alfred Jacob Miller (1810-1874), Schim-a-co che High-Lance Crow","description":"\u003cp\u003eAlfred Jacob Miller (1810-1874) \u003cbr\u003eSchim-a-co che High-Lance Crow \u003cbr\u003eOil on paper, mounted to board \u003cbr\u003eCirca 1860 \u003cbr\u003eOval: 11 3\/4 x 10 1\/4 in. \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”. \u003cbr\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 class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e\u003cu\u003eProvenance \u003c\/u\u003e\u003c\/p\u003e\n\u003cul style=\"margin-top: 0in;\" type=\"disc\"\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe collection of the artist \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003eby descent from the above to\u003c\/i\u003e Mr. L. Vernon Miller, \u003ci\u003ethe artist’s grand-nephew \u003c\/i\u003e\n\u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003eby inheritance from the above to\u003c\/i\u003e Mrs. L. Vernon Miller (Katherine, ca. 1965) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eGraham Gallery, New York, NY, no. 28818 \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eGerald Peters (The Peters Corporation), Santa Fe, NM \u003c\/li\u003e\n\u003cul style=\"margin-top: 0in;\" type=\"circle\"\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in;\"\u003e\n\u003ci\u003econserved \u003c\/i\u003e20 September 1978 by Gustav A. Berger \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003eby acquisition from the above to \u003c\/i\u003eThe John F. Eulich Collection of American Western Art, Dallas, TX (1980) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003e\n\u003ci\u003esold (by the above?) at Sotheby’s New York 3 December 1998, lot 177, into a \u003c\/i\u003ePrivate collection \u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\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 class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\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 style=\"margin-top: 0in;\" start=\"1\" type=\"1\"\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe Walters \u003cu\u003e\u003ca href=\"https:\/\/art.thewalters.org\/object\/37.1940.39\/\" target=\"_blank\"\u003e37.1940.39\u003c\/a\u003e\u003c\/u\u003e (Tyler 299A) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe Gilcrease Museum \u003cu\u003e\u003ca href=\"https:\/\/collections.gilcrease.org\/object\/021024\" target=\"_blank\"\u003e02.1024\u003c\/a\u003e\u003c\/u\u003e (Tyler 299) \u003c\/li\u003e\n\u003cli class=\"MsoNormal\" style=\"margin-bottom: 0in; mso-list: l0 level1 lfo1; tab-stops: list .5in;\"\u003eThe Library and Archives of Canada \u003cu\u003e\u003ca href=\"https:\/\/central.bac-lac.gc.ca\/.redirect?app=fonandcol\u0026amp;id=2833868\u0026amp;lang=eng\u0026amp;ecopy=c000404k\" target=\"_blank\"\u003e2833868\/1946-111 PIC\u003c\/a\u003e\u003c\/u\u003e (Tyler 299B) \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\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.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\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 class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eTyler, Ron, ed. \u003ci\u003eAlfred Jacob Miller: Artist of the Oregon Trail.\u003c\/i\u003e Fort Worth, TX: Amon Carter Museum, 1982: 299C (p. 299). \u003cbr\u003eRick Stewart. \u003ci\u003eThe American West: Legendary Artists of the Frontier\u003c\/i\u003e. Dallas, 1986: pp. 18-19, illustrated. \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42818887712829,"sku":null,"price":475000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/Miller.Schim-a-coche_1_1.jpg?v=1766007796"},{"product_id":"bert-geer-phillips-american-1868-1956-evening-light-on-the-pueblo","title":"Bert Geer Phillips (American, 1868-1956), Evening Light on the Pueblo","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eBert Geer Phillips (American, 1868-1956) \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eEvening Light on the Pueblo \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eOil on canvasboard \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eSigned Phillips (lower right) \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eCanvas size: 17 x 13 1\/2 in. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame size: 21 x 17 1\/8 in. \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42934721937469,"sku":null,"price":45000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/BertGeerPhillips-EveningLightonthePueblo.jpg?v=1769012567"},{"product_id":"olaf-wieghorst-american-danish-1899-1988-fur-cap","title":"Olaf Wieghorst (American\/Danish, 1899-1988), Fur Cap","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eOlaf Wieghorst (American\/Danish, 1899-1988)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFur Cap\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eWatercolor and gouache on board\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eSigned \u003ci\u003eO-Wieghorst\u003c\/i\u003e (lower left, with artist's cipher)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eSight size: 10 1\/2 x 10 1\/2 in.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame size: 24 1\/4 x 24 1\/4 in.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43096775524413,"sku":null,"price":8700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/OlafWieghorst-FurCap.jpg?v=1775770974"},{"product_id":"olaf-wieghorst-american-danish-1899-1988-scout","title":"Olaf Wieghorst (American\/Danish, 1899-1988), Scout","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eOlaf Wieghorst (American\/Danish, 1899-1988)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eScout\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eWatercolor and gouache on board\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eSigned \u003ci\u003eO-Wieghorst\u003c\/i\u003e (lower left, with artist's cipher)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eSight size: 13 x 10 3\/4 in.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame size: 26 1\/2 x 23 1\/2 in.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43096778965053,"sku":null,"price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/OlafWieghorst-Scout.jpg?v=1775771069"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/collections\/Western-paintings_thumbnail.jpg?v=1757624141","url":"https:\/\/aradergalleries.com\/collections\/western-paintings\/artist_olaf-wieghorst.oembed","provider":"Arader Galleries","version":"1.0","type":"link"}