{"title":"Western","description":"","products":[{"product_id":"elling-william-gollings-1878-1932-at-the-general-store","title":"Elling William Gollings (1878-1932), At the General Store","description":"Elling William Gollings (1878-1932)\u003cbr\u003eAt the General Store\u003cbr\u003ec. 1904\u003cbr\u003eWatercolor on paper\u003cbr\u003eSigned lower right, \"Gollings\"\u003cbr\u003eFramed size: 22 1\/2 x 17 1\/2\"","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":28213021185,"sku":"","price":5500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/mis_1.jpg?v=1478190992"},{"product_id":"t-fairlee-cowboy","title":"T. Fairlee, Cowboy","description":"T. 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Wolfe-CA', dated and inscribed 'W©' lower left, inscribed 'Headin for Cover!' and 'From the Sketch Book of Byron Wolfe' and with a cartouche on the mat, with a label from Smith Kramer, Inc.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSight size: 10 1\/4 x 14 3\/4\"\u003c\/p\u003e\n\u003cp\u003eFramed size: 18 1\/4 x 22 1\/4\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: The John A. and Margaret Hill Collection of American Western Art. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e Cheekwood Botanical Garden \u0026amp; Museum of Art, TN\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":37217076237,"sku":"","price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Headin_for_Cover.jpg?v=1494432999"},{"product_id":"byron-wolfe-delay-at-raton-pass","title":"Byron Wolfe (1904-1973), Delay at Raton Pass","description":"\u003cp\u003eByron Wolfe (1904-1973)\u003c\/p\u003e\n\u003cp\u003eDelay at Raton Pass\u003c\/p\u003e\n\u003cp\u003e1967\u003c\/p\u003e\n\u003cp\u003eWatercolor with gouache highlights on paper\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSigned 'Byron B. Wolfe-CA', dated and inscribed 'W©' lower left, titled and inscribed 'From the Sketch Book of Byron B. Wolfe' and with a cartouche on the mat, with label from Smith Kramer, Inc\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSight size: 10 1\/4 x 14 3\/4\"\u003c\/p\u003e\n\u003cp\u003eFramed size: 17 1\/4 x 21 1\/4\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eProvenance: The John A. and Margaret Hill Collection of American Western Art. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e Cheekwood Botanical Garden \u0026amp; Museum of Art, TN \u003c\/span\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":37217312717,"sku":"","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/Delay_at_Raton_Pass.jpg?v=1494433264"},{"product_id":"stanley-llewellyn-wood-1866-1928-the-shadow-of-green-no-trust-here","title":"Stanley Llewellyn Wood (1866-1928), The Shadow of Green. No Trust Here","description":"Stanley Llewellyn Wood (1866-1928)\u003cbr\u003eThe Shadow of Green. No Trust Here\u003cbr\u003e1895\u003cbr\u003ePencil on paper Signed lower left: Stanley L Wood\/95 \u003cbr\u003eImage size: 9x5”\u003cbr\u003eFrame size: 16 3\/4 x 22 1\/2”\u003cbr\u003e\u003cbr\u003eStanley Llewellyn Wood (1866 - 1928), a Victorian English illustrator, made a name for himself through his prolific paintings featuring scenes from the American West and images of horses in action that were widely published in boys' adventure stories.\u003cbr\u003e\u003cbr\u003eWhile residing in England, the artist joined the London publishing firm of Chatto \u0026amp; Windus as an in-house illustrator. His work was exhibited at local galleries, while seven of his mostly military themed works eventually hung at the Royal Academy.\u003cbr\u003e\u003cbr\u003eIn 1888, the Illustrated London News sent Wood to South Dakota where he became inspired by life in the American West. His works reflected his new environment, and he depicted scenes with a Cowboy and Indian flavor. These images were eventually published in Harper's, which spread them to the public. \u003cbr\u003e\u003cbr\u003eBookdealer Jefferson Chenoweth Dykes, better known as Jeff Dykes, wrote in Fifty Great Western Illustrators that \"no better horse artist ever lived than Stanley L. Wood - there was more action in a Stanley Wood illustration than in the story itself.\u003cbr\u003e\u003cbr\u003eWood's illustrations were published in countless books. For example, Bertram Mitford's The Gun Runner (1893), The Luck of Gerald Ridgeley (1894), The Curse of Clement Wayneflete (1894), Renshaw Fanning's Quest (1894), The King's Assegai (1894), A Veldt Official (1895) and The Expiation of Wynne Palisser (1896).\u003cbr\u003e\u003cbr\u003eHis illustrations of the Anglo-Boer War appeared in the British illustrated weekly periodical Black \u0026amp;. White and Black \u0026amp; White Budget. During WWI, he worked for the War Illustrated, a British war magazine published in London.","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":2392561254413,"sku":"","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/The_Shadow_of_Green.jpg?v=1513625427"},{"product_id":"unknown-artist-the-fairmount-gold-and-silver-mining-company","title":"Unknown Artist, The Fairmount Gold and Silver Mining Company","description":"\u003cp\u003eUnknown Artist \u003c\/p\u003e\n\u003cp\u003eThe Fairmount Gold and Silver Mining Company\u003c\/p\u003e\n\u003cp\u003eColorado, 1874\u003c\/p\u003e\n\u003cp\u003eWatercolor on paper\u003c\/p\u003e\n\u003cp\u003eSheet size: 13 x 10 1\/2\"\u003c\/p\u003e\n\u003cp\u003eFrame size: 20 1\/2 x 22 3\/4\"\u003c\/p\u003e\n\u003cp\u003eThis gorgeous watercolor of the Fairmount Gold \u0026amp; Silver Mine in Idaho Springs, Colorado, marks a valuable period in history when the West was populated with settlers intoxicated by the beauty of the land and the promise of finding riches buried within. Though the identity of the artist is unknown, the delicately rendered hills dotted with trees, and the small structures of the mines resting on the hillside speak volumes of the painter’s passion for the landscape. In 1874, when this painting was created, Idaho Springs was the hotbed of the Gold Rush. The town rivaled Denver in size and productivity, especially when silver was discovered in the late 1870s.\u003c\/p\u003e\n\u003cp\u003eThough gold wasn’t largely sought by Americans until much later, the Spaniards of the sixteenth and seventeenth centuries were drawn to the American West by rumors of land rich in gold. In the mid-nineteenth century, this quest reemerged. The gold rush drew many settlers to the vast and unpopulated West. As rapidly as the West was annexed to the United States, gold-hungry prospectors and wagon trains of families were prepared to make the long, arduous journey from East to West with hopes of bettering their lives.\u003c\/p\u003e\n\u003cp\u003eWhile many gold hunters voyaged to California during the gold rush, many of these men were already settlers of the West. When news of gold broke out in Colorado, advertised as \"only\" six or seven hundred miles west of the Mississippi Valley, Easterners ventured out in droves, particularly settlers from the Mississippi Valley region who were hit hard by an economic depression in 1857. However, at this time only prospectors in Pike's Peak had unearthed a few ounces of gold. Speculators seized upon these discoveries, and planned Denver in anticipation of the rush that would soon follow. It didn't matter to the speculators if (at first) the vast lodes of gold expected in Colorado failed to appear, because they profited off the miners who flooded the region regardless if they struck gold.\u003c\/p\u003e\n\u003cp\u003eFifty thousand hopeful miners arrived in early spring, too early for grass to feed their animals. Many starved or turned back, though the few who stayed eventually struck the mineral belt of the Rockies, yielding more gold than they could have imagined. As a result, Denver and the surrounding mining towns prospered through the rest of the nineteenth century. Soon after the gold rush, silver was discovered in an abandoned gold mine in Colorado. The silver rush commenced in 1877, and the promise of Colorado's riches was renewed for many late-comers to the mining industry as well as those who had profited from gold mining.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":13963782389821,"sku":"","price":7800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/The_Fairmount_Gold_and_Silver_Mining_Company.jpg?v=1551110400"},{"product_id":"c-g-churchill-chief-bushyhead-house-fort-gibson-indian-territory","title":"C.G. Churchill, Chief Bushyhead House. Fort Gibson, Indian Territory","description":"C.G. Churchill, \u003cbr\u003eChief Bushyhead House. Fort Gibson, Indian Territory \u003cbr\u003eSigned lower left: CG Churchill 1900 \u003cbr\u003eWatercolor and pencil on paper \u003cbr\u003ePaper size: 7 x 9 7\/8","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39342335361085,"sku":"","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/CGChurchill-ChiefBushyheadHouseFortGibsonIndianTerritory.jpg?v=1624043827"},{"product_id":"c-g-churchill-chief-bushyhead-house-fort-gibson-indian-territory-1","title":"C.G. Churchill, Fort Mojave. Indian School, Ariz.","description":"C.G. Churchill, \u003cbr\u003eFort Mojave. Indian School, Ariz.\u003cbr\u003eSigned lower right: CG Churchill 1904\u003cbr\u003eWatercolor and pencil on paper \u003cbr\u003ePaper size: 6 1\/4 x 10 inches","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":39342346469437,"sku":"","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/products\/CGChurchill-FortMojaveIndianSchoolAriz.jpg?v=1624044270"},{"product_id":"rudolf-cronau-german-1855-1939-ogalalla-dakota-indian-1881","title":"Rudolf Cronau (German, 1855-1939), Ogalalla Dakota Indian, 1881","description":"\u003cp\u003eRudolf Cronau (1855-1939) \u003cbr\u003eOgalalla Dakota Indian, 1881 \u003cbr\u003ec. 1881 Pencil on paper \u003cbr\u003eSigned lower left: R Cronau \u0026amp; inscribed LL,Standing Rock \u0026amp; dated 1881 \u003cbr\u003eInscribed on verso 11 7\/8 x 9 1\/4 inches (paper) 8 ¾ x 7 5\/8 (image), 20 ¾ x 19 3\/4\" (framed)\u003cbr\u003eProvenance: Margaret Cronau Wunderlich (daughter of artist) \u003c\/p\u003e\n\u003cp\u003eIllustrated: Rudolf Cronau (1855-1939 in “Wilden Westen”: Views of the American West\u003c\/p\u003e\n\u003cp\u003eIllustrated page 7 (full page)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRudolf Daniel Ludwig Cronau was born in Solingen, Prussia (Germany) in 1855. He was a Düsseldorf-schooled artist who made several trips to America as a newspaper correspondent. Additionally, he was a prolific writer of magazine articles and books relating to his western travels, American history, and German contributions to America. Initially, Rudolf Cronau was sent to America in 1881 by the German newspaper Die Gartenlaube to write a series of articles and create drawings of American life from the East coast to the West coast. After working on the East coast, he traveled down the Mississippi River, up the Missouri River through Kansas and Nebraska, to Wyoming and other western states, and then Louisiana and Florida. \u003c\/p\u003e\n\u003cp\u003eThe next year, in 1882, Cronau made the trip to the West Coast by Union Pacific Railroad. During his travel on the Missouri River, Cronau stayed for six months in 1881 at Fort Randall and on the Standing Rock Reservation among the Sioux Indians. This visit created a long standing friendship between Sitting Bull and Cronau, and the artist painted the first life portrait of Sitting Bull. Fort Randall (1856-1892) was located south of the Missouri River below the present Fort Randall Dam in South Dakota near the Nebraska border. The Fort was built to protect settlers and explorers along the Missouri River in southern South Dakota and northern Nebraska as they traveled across the plains from the upper Missouri River and the Platte River to the south. The post also protected the Teton Sioux and Ponca reservations from illegal settlement by miners and homesteaders. \u003c\/p\u003e\n\u003cp\u003eMost of Rudolf Cronau’s work is in pencil, some in pen, and there are a few watercolors. \u003c\/p\u003e\n\u003cp\u003eWorks by Cronau are in the permanent collections of the Amon Carter Museum of American Art (Fort Worth, Texas), Thomas Gilcrease Museum (Tulsa, Oklahoma), Brooklyn Museum (New York), and Tucson Museum of Art (Arizona.) The Oglala are one of the seven subtribes of the Lakota people who, along with the Dakota, make up the Očhéthi Šakówiŋ. \u003c\/p\u003e\n\u003cp\u003eA majority of the Oglala live on the Pine Ridge Indian Reservation in South Dakota.The reservation is the eighth-largest reservation in the country, covering 11,000 square miles (approximately 2.2 million acres) in southwestern South Dakota. The reservation borders the Nebraska state line to the south, Rosebud Indian Reservation to the east and Badlands National Park to the north.\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":42319238463549,"sku":null,"price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/Cronau-StandingRock1881withframe.jpg?v=1746467844"},{"product_id":"alfred-jacob-miller-1810-1874-indians-in-pursuit","title":"Alfred Jacob Miller (1810-1874), Indians in Pursuit","description":"\u003cp\u003eAlfred Jacob Miller (1810-1874) \u003cbr\u003eIndians in Pursuit \u003cbr\u003eWatercolor on paper \u003cbr\u003eSight size:  8 1\/2 x 11 1\/2 inches \u003cbr\u003eFramed size:  16 x 19 inches \u003cbr\u003eSigned lower right \u003cbr\u003ec. 1838 \u003c\/p\u003e\n\u003cp\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\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\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 fortyfive 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\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\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\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, The Hunter-Naturalist: Romance of Sporting; or, Wild Scenes and Wild Hunters and The Hunter-Naturalist: Wild Scenes and Song-Birds. \u003c\/p\u003e\n\u003cp\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. There are large collections of his work at the Joslyn Art Museum in Omaha, the Walters Art Gallery in Baltimore, and the Gilcrease Museum in Tulsa. He died in Baltimore on June 26, 1874.\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43264633274429,"sku":null,"price":295000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AflredJacobMiller-IndiansinPursuitFRAMED.jpg?v=1781192331"},{"product_id":"alfred-jacob-miller-1810-1874-starving-trappers-near-independence-rock","title":"Alfred Jacob Miller (1810-1874), Starving Trappers Near Independence Rock","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eAlfred Jacob Miller (1810-1874) \u003cbr\u003eStarving Trappers Near Independence Rock\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eInk and wash on paper \u003cbr\u003ePaper size:  7 5\/8 x 12 3\/4 inches \u003cbr\u003eFramed size:  16 x 21 inches \u003cbr\u003eSigned \"Am\", lower left\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003ePencil title, upper right\u003cbr\u003ec. 1837 \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp\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\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\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 fortyfive 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\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\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\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, The Hunter-Naturalist: Romance of Sporting; or, Wild Scenes and Wild Hunters and The Hunter-Naturalist: Wild Scenes and Song-Birds. \u003c\/p\u003e\n\u003cp\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. There are large collections of his work at the Joslyn Art Museum in Omaha, the Walters Art Gallery in Baltimore, and the Gilcrease Museum in Tulsa. He died in Baltimore on June 26, 1874.\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43264639139901,"sku":null,"price":175000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AlfredJacobMiller-StarvingTrappersnearIndependenceRock.jpg?v=1781192914"},{"product_id":"alfred-jacob-miller-1810-1874-rocky-formations-near-the-nebraska-or-platte-river","title":"Alfred Jacob Miller (1810-1874), Rocky Formations Near the Nebraska or Platte River","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eAlfred Jacob Miller (1810-1874) \u003cbr\u003eRocky Formations Near the Nebraska or Platte River\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eGouache, watercolor, pencil and ink on paper \u003cbr\u003eSight size:  7 1\/2 x 11 7\/8 inches \u003cbr\u003eFramed size:  12 1\/2 x 16 3\/4 inches\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eTitled, upper right; inscribed, upper left\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eca. 1837\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp\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\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\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 fortyfive 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\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\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\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, The Hunter-Naturalist: Romance of Sporting; or, Wild Scenes and Wild Hunters and The Hunter-Naturalist: Wild Scenes and Song-Birds. \u003c\/p\u003e\n\u003cp\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. There are large collections of his work at the Joslyn Art Museum in Omaha, the Walters Art Gallery in Baltimore, and the Gilcrease Museum in Tulsa. He died in Baltimore on June 26, 1874.\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43264648052797,"sku":null,"price":185000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AlfredJacobMiller-RockyFormationsneartheNebraskaorPlatteRiver.jpg?v=1781193581"},{"product_id":"alfred-jacob-miller-1810-1874-lake-in-the-wind-river-mountains","title":"Alfred Jacob Miller (1810-1874), Lake in the Wind River Mountains","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eAlfred Jacob Miller (1810-1874) \u003cbr\u003eLake in the Wind River Mountains\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eGouache, watercolor, and pencil on paper \u003cbr\u003ePaper size:  9 1\/8 x 12 7\/8 inches \u003cbr\u003eFramed size:  18 1\/4 x 22 1\/4 inches\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eSigned \"Miller\", lower left\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eca. 1837\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp\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\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\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 fortyfive 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\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\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\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, The Hunter-Naturalist: Romance of Sporting; or, Wild Scenes and Wild Hunters and The Hunter-Naturalist: Wild Scenes and Song-Birds. \u003c\/p\u003e\n\u003cp\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. There are large collections of his work at the Joslyn Art Museum in Omaha, the Walters Art Gallery in Baltimore, and the Gilcrease Museum in Tulsa. He died in Baltimore on June 26, 1874.\u003cbr\u003e\u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43264789020733,"sku":null,"price":125000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/AlfredJacobMiller-LakeintheWindRiverMountains.jpg?v=1781204184"},{"product_id":"thomas-moran-american-1837-1926-wissahickon-river-falls","title":"Thomas Moran (American, 1837-1926), Wissahickon River Falls","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eThomas Moran (American, 1837-1926)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e\"Wissahickon River Falls\"\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eWatercolor on paper laid on board\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003esigned lower right, framing label and note on reverse of frame, conservation notes on backing, framed.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003ePaper size: 25 1\/4 x 18 1\/8 in.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eFrame size: 32 1\/2 x 26 1\/4 x 3 in.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eOriginal carved gold-leaf frame.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eThomas Moran (1837–1926) was one of America’s most celebrated landscape painters, renowned for his dramatic depictions of the American West that helped shape public perceptions of places such as Yellowstone and the Grand Canyon. Born in Bolton, England, Moran immigrated with his family to Philadelphia in 1844 and grew up in the city’s Kensington neighborhood. As a teenager, he apprenticed with the wood-engraving firm Scattergood \u0026amp; Telfer, but soon turned his attention to painting, studying under local artists and developing a lifelong admiration for the work of the British painter J. M. W. Turner.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eBefore achieving national fame through his western landscapes, Moran found inspiration much closer to home in the wooded valleys and streams of southeastern Pennsylvania. During the 1850s and 1860s, he spent considerable time sketching and painting along the Wissahickon Creek, a picturesque tributary of the Schuylkill River northwest of Philadelphia. The rugged gorge, dense forests, and winding waterway became some of his earliest and most important subjects. \"Wissahickon River Falls\" demonstrates his ability to capture the region’s rich seasonal colors and atmospheric effects. Moran himself described the inspiration for one of these paintings as being “incited by a most glorious Autumn.”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eThe Wissahickon Valley was a significant artistic training ground for Moran. The area’s natural beauty attracted many nineteenth-century artists, writers, and naturalists, and Moran returned to it repeatedly throughout his early career. He included views of the Wissahickon in a portfolio of lithographs produced in Philadelphia during the 1860s. The experience of observing and recording the creek’s landscapes helped refine the techniques of color, light, and atmosphere that would later distinguish his monumental western paintings.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003eMoran’s career reached its height after his participation in western expeditions during the 1870s. His paintings of Yellowstone were instrumental in building public support for the preservation of the region and creation of our National Park System.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eHis paintings and lithographs of the Grand Canyon became icons of American art. Yet despite his association with the West, his artistic roots remained firmly connected to Pennsylvania and the landscapes around Philadelphia. The Wissahickon, where he developed his vision as a young artist, played a crucial role in shaping the painter who would become known as one of America’s greatest interpreters of nature.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0in;\"\u003e \u003c\/p\u003e","brand":"Arader Galleries","offers":[{"title":"Default Title","offer_id":43288432738365,"sku":null,"price":135000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1208\/8894\/files\/WissahickonRiverFallsFramed.jpg?v=1782155479"}],"url":"https:\/\/aradergalleries.com\/collections\/western-watercolors\/artist_thomas-moran.oembed","provider":"Arader Galleries","version":"1.0","type":"link"}