The William S. and Ann Atherton Art of the American West Gallery contains outstanding examples of paintings
and sculpture from the more than 2,000 art pieces (or items) in the museum collection. Beginning with the 18'
tall marble Canyon Princess by Gerald Balciar at its entrance and continuing with Albert Bierstadt's
Emigrants Crossing the Plains, and William R. Leigh's The Leader’s Downfall, representing
the more monumental presentations, this 15,000 square foot gallery is packed with art that delights the eye
and overwhelms the senses.
The cornerstone of the museum's historical collection of western art lies with a significant group of paintings
and sculpture by Charles Marion Russell and Frederic Remington. Russell's art includes Red Man's
Wireless, Smoke Talk, When Mules Wear Diamonds, and a host of other works. Remington is
represented by several bronzes including Bronco Buster, Coming Through the Rye, and his only
one-of-one, The Buffalo Signal, as well as by such paintings as In From the Night Herd and
Hunter’s Camp in the Big Horns. Almost 100 works by these masters of the western art form adorn the
walls of this gallery.
Historical western art continues in the gallery with scores of other artistic presentations that range from
Charles Shreyvogel, Henry F. Farny, and Olaf C. Seltzer to Solon Borglum, Frank Tenney Johnson, and Phillip
R. Goodwin. Additionally, the brilliant coloration and New Mexico subject matter of the Taos Society of Artists
is represented with outstanding paintings from its original members including Walter Ufer, Ernest Blumenshein,
Bert Phillips, Oscar Berninghaus, Joseph H. Sharp, E. Irving Couse, Nicolai Fechin, whose studio is reproduced,
and others. The totality of the art in this gallery, produced between the early 19th century and continuing
through the fourth or fifth decades of the 20th century, traces the development of the western genre in American
art with some of the best examples on permanent exhibition.
The Art of the American West Gallery also contains the finest collection of contemporary western art in the
nation. Since 1973, the museum has purchased the best art piece at each of its annual Prix de West Invitational
Exhibition and Sale events. Using this as a nucleus, it has added significantly to this outstanding beginning.
Prominent among the artists included in this group are Wilson Hurley, Howard Terpning, Bettina Steinke,
Tom Lovell, Clark Hulings, Gerald Balciar, Kent Ullberg and a long list of others. As younger artists appear
and the Prix de West purchase list grows longer, the collection grows larger. Over time, this contemporary
art collection will become to a future generation what the giants of a century ago are to art collectors
The National Cowboy Museum has one of the best western art collections in the nation. Consisting of more than
2,000 paintings and sculptures, this outstanding collection includes western art produced from the early nineteenth
century to the present. The range and excellence of this fine presentation provides a feast for the eyes.
Standing as a sentinel at the entrance to the art galleries is the magnificent marble statue, Canyon
Princess. Presented to the museum in 1995 by sculptor Gerald Balciar, this eighteen-foot-tall likeness of a
mountain lion descending a steep incline, dominates the entrance to the art galleries as if acting as its guardian.
Moving past the Canyon Princess and into the art gallery, the visitor is immediately confronted
by one of the major art pieces in the permanent collection, Emigrants Crossing the Plains, by
Albert Bierstadt. Completed in 1867, it captures one of the more romantic notions of the time, that of a people
moving westward into an idealized frontier. The entire canvas is bathed in the golden glow of a sunset that
beckons the settlers westward to the land of promise. It made, and still makes, a powerful statement to America’s
In close proximity to the Bierstadt piece are a number of paintings with Native American subject matter. Among the
artists represented are William de la Montagne Cary, Carl Wimar, Karl Bodmer, and Charles Schrevogel. But, perhaps
the most arresting piece in this area is The Leader’s Downfall by William R. Leigh. Done in
1946, this painting makes masterful use of reflected light on the animals, tremendous color in the shadows, and
a deft depiction of the rising dust. It demonstrates Leigh’s mastery and understanding of the lessons of French
Impressionism and reflects how wonderful the combination of these techniques and American western themes can be.
The cornerstone of the museum’s historical art collection lies with a significant group of paintings and sculptures
by Charles M. Russell and Frederic Remington. Their work captured the country’s imagination and did much to develop
the modern idea of the 19th century American West as understood by the present public.
C. M. Russell art at the National Cowboy Museum includes Smoke Talk and Red Man’s Wireless,
both excellent examples of his Native American imagery. Red Man’s Wireless, done in 1916, marks the
beginning of a brighter palette along with the stronger use of light and personality that became the hallmark
of Russell’s masterpieces. Smoke Talk, done in 1924, continues this trend that lasted until the
artist’s death in 1926.
Russell’s other fascination, cowboys and western lifestyle, appear in a variety of his work in the Museum’s
collection. When Mules Wear Diamonds provides a vivid depiction of the rugged work of packing in the
mountains. The Whiskey Smugglers and Caught in the Circle are action packed scenes of lawlessness
and warfare. Finally, nostalgia for a time gone by shines through in When Wagon Trails Were Dim. Charlie’s
art tells tales, much like the yarns spun by the artist himself, of a time past in need of being remembered.
These three paintings offer an excellent example of the development of Russell’s style beginning with The
Whiskey Smugglers in 1913 and progressing through When Wagon Trails Were Dim in 1919 and
culminating in When Mules Wear Diamonds in 1921.
The other giant of western art whose work is strongly represented in the museum’s collection is Frederic
Remington. Among the Remington paintings at the National Cowboy Museum are many of his earlier more illustrative
works. These include the ink wash on paper, Mounted Pistol Practice, First US Cavalry, done
in 1893, the pastel Cheyenne Buck from 1901, and the watercolor Lin McLean from 1897. Among
the oils in the collection are the 1907, The Sign of the Buffalo Scout whose impressionistic handling
of the light shows the strong influence of European style on the artist. Also his nocturnal pieces In
From the Night Herd in 1908, and The Hunter’s Supper in 1909, continue that influence. The
Hunter’s Supper in particular illustrates how his sculptural experience helped focus his work to a small
group and tighten the relationships of form.
Remington’s sculpture is also well represented in the museum’s collection. Among the pieces shown are The
Bronco Buster, Coming Through The Rye, The Outlaw, and The Mountain Man. But
perhaps one of the most important sculptures shown is the only one-of-one piece that he produced, The
Buffalo Signal. This image of a Native American astride his horse waving a buffalo robe over his head
is one of Remington’s more unusual compositions. The extreme detail of this work represents an unusually
difficult and sophisticated casting problem.
William R. Leigh appears in the gallery with a cowboy scene entitled Branding JJ. Once again, unusual
color usage, reflected light, and skillful placement of textures fill this painting with atmosphere.
Henry F. Farny is also represented in the collection with more than a dozen of his works created between 1891
and 1903. Done in gouache, watercolor, or oil, these paintings reflect Farny’s fascination with Native American
subjects. They also amply illustrate his masterful handling of gouache with the blending colored paper for
mid-tones combined with rich opaque colors and the translucence of thinned gouache.
Another turn-of-the-century painter of note in the museum’s collection is Olaf C. Seltzer who did not begin
to paint until the age of forty-four. However, he completed more than 2,500 art pieces during his career. Two
of his pieces at the museum, are Crow Scouting Party done in 1935, and Trouble on the Circle
Diamond done in 1908. Both of these works express Seltzer’s glowing light and deft use of texture to give
a sense of increased brightness to his work.
In addition to artists works already mentioned are a variety of others. Among them are Frank Tenney
Johnson’s Rough Riding Rancheros, Nick Eggenhofer’s Gunfight at the O.K. Corral, Dean
Cromwell’s Cowboy Knitter, and Phillip Goodwin’s When Things Are Quiet. Beyond these
specific pieces are a score or more of other artists represented in the collection from the turn-of-the-century
No collection of western art would be complete without the inclusion of representative pieces from the Taos
Society of Artists. This group of painters and sculptors who settled in the Taos, New Mexico, area at the
turn-of-the-century and founded their society in 1912, have had a profound influence on western art.
Abandoning the dark academic tones of other eastern artists, the Taos artists embraced a strongly colored
palette emphasizing bright sunlight, colorful scenery, and the fascinating lifestyles of the Indian and
Hispanic peoples of the Taos region.
Oscar Berninghaus, an original Society artist, is amply represented. Two of his paintings, Saddled and
Waiting and The Pack Train, were done in 1920. They both use the midday sun that wavers and
casts reflected light on the figures in the works. Their utilization of greens, blues, and pinks provide a
strong coloration to the paintings that is characteristic of all the Taos artists.
Ernest Blumenschein, another Society artist, painted Afternoon of a Sheepherder 1939. The work
expresses this artist’s strong innovative tendencies. The solid forms of the landscape and simplified
sheepherder reflect a similarity to the American regionalism style of art developed by the Art Students
League of New York. Blumenschein became an innovator in this style which came to prominence during the
depression era WPA program of public arts work.
E. Irving Couse was another of the original group. Of the several works of his in the museum’s gallery
are The Rug Maker and Sand Painter, both of which represent his subject matter best. Couse
used a strongly arranged setting for his work with the central Native American figure stiffly posed and
surrounded by artifacts. Despite this rather artificial setting, the use of simplified side lighting from
the firelight ties the composition together to provide an excellent atmosphere.
Bert Phillips, also in that first group, is represented by Taos Flute Player. This softly presented
piece, depicting a Pueblo Indian playing his flute, has an almost mystical feel utilizing white against a
muted background. Phillip’s overall composition in this work is an excellent example of his style of work.
Walter Ufer, who joined the Society in 1915, has two major pieces displayed in the museum’s collection. Both
of them utilize Native American subject matter. Sleep, which shows two Pueblo ladies seated at their
market stall with one holding a sleeping child, is a tightly configured piece utilizing strong colors that
almost hurt the eyes in their intensity. Jim and His Daughter uses that same intensity of color
with the composition a little more loosely configured, but the eyes of the figures look directly at the
viewer which elevates the status and dignity of the subjects while, at the same time, engaging the viewer’s
Also represented by several pieces is E. Martin Hennings who did not join the Society until the 1920s.
His Beneath the Cottonwoods, done in 1940, has a light-filled tapestry-like nature that is
characteristic of most of his work. This painting and most of his others feature Native Americans as the
primary subject matter with either cottonwoods or aspens serving as a backdrop. The masterful way that
Hennings manages to use the dappled effect of light showing through the leaves of the trees, marks this
work as his.
The 1920s also saw Nicolai Fechin join the colony. His works at the museum are clustered around a re-creation
of his Taos studio. Utilizing a palette knife, Fechin applied a heavy paint buildup to his canvases that
provided a rough, almost three-dimensional texture to his work. That rough texture, combined with masterful
use of color, provides a wonderfully lively character to all his creations.
In addition to all those Taos artists already mentioned, others like Oscar Borg and Victor Higgins are
included in the collection. The assemblage makes a significant statement on the importance of this group
to the genre of western art. Their influence is apparent when viewing the work of those who followed their
This brings us to the most important element of the National Cowboy and Western Heritage Museum’s art
collection. The institution holds the largest and best represented collection of contemporary western art
in the world. Beginning in 1973, with the establishment of the National Academy of Western Art at the museum,
an annual show and sale has been held. The museum reserves the right to buy a selection from that show for
addition to its collection. That purchase, called the Prix de West Prize, has formed the nucleus of the
contemporary western art collection. Over time, gifts, bequests, and purchases have expanded the collection
to include every major modern western artist of note.
Beginning with Clark Hulings’ 1973 Grand Canyon, Kaibab Trail and continuing to the present, each
year the Prix de West winner brings a pleasant surprise. Winners have included established artists work like
Tom Lovell’s Target Practice, whose sense of the narrative, combined with a deft painting technique,
provides uncommon insight into aspects of frontier life. Or a relative newcomer like Tucker Smith, whose
The Return of Summer in 1990, creates a mood by converting outdoor sketches into a marvelous feel
for wildlife in the western landscape.
The list of contemporary art ranges from Gerald Balciar’s white marble sculpture of playful river otters
entitled River Companions that won in 1985, to Jim Wilcox’s magnificent landscape oil, Three
Last Minutes of Glory, that won in 1987. They include significant portraiture work like Bettina
Steinke’s Father and Daughter at the Crow Fair in 1978, to Ken Riley’s modern abstract,
Sundog, that won in 1995. Watercolor is represented by Church Facade, Plaza del Oriente
done by Lowell Ellsworth Smith in 1983, and egg tempera by Morris Rippel in Bluebirds done in
1979. Almost every style and technique is represented in this collection.
Subject area ranges from Native American such as Moving Day on the Flathead done in 1981, by Howard
Terpning, to Arizona Cowboys by James Reynolds in 1992, to landscapes like Wilson Hurley’s 1984
Los Alamos Country. Included in the group are a host of other artists, including Tom Ryan, Harley
Brown, R. Brownell McGrew, Robert K. Abbett, James Bama, William Acheff, Robert Lougheed, Bob Kuhn, Robert
Bateman, George Carlson, Wayne Wolfe, and many others who have either won the Prix de West or whose work
is represented in the collection.
Taken as a whole, the western art collection at the National Cowboy and Western Heritage Museum is truly
representative. It ranges in date from the early 19th century to the present and represents every major
contributor to the genre during that time range. It includes both painting and sculpture as well as
examples of a variety of techniques and styles. Its greatest strength lies in its contemporary collection
which grows significantly each year. As time goes on, this magnificent art collection can only become
bigger and better for the hundreds of thousands who come each year to view it.
The following materials are available for review in the Dickenson Research Center.
Early American Nineteenth Century Artists
ND237.B585A4 1991 Anderson, Nancy K. and Wright, Helena. Albert Bierstadt: Art and Enterprise. New York: Hudson Hills Press, .
QL31.A9A42 Audubon, John James and McDermott, John Francis. Audubon in the West. Norman: University of Oklahoma Press, .
ND2010.B58A4 1984 Bodmer, Karl and Hunt, David C. Karl Bodmer's America. Lincoln: University of Nebraska Press, .
N40.1.B554C3 Carr, Gerald L. Bierstadt's West. Santa Fe: Gerald Peters Gallery, .
ND237.C35H36 Catlin, George and Hassrick, Royal B. George Catlin Book of American Indians. New York: Watson-Guptill Publications, .
QL31.A9C54 1991 Cleary, Margot Kean. John James Audubon. New York: Crescent Books, .
N6537.L423D8 DuBois, June. W. R. Leigh: The Definitive Illustrated Biography. 1st ed. Kansas City: Lowell Press, Inc., .
N6525.E9 1973 Ewers, John Canfield. Artists of the Old West. Enl. ed. Garden City: Doubleday & Company, Inc., .
ND237.C35E85 Ewers, John Canfield. George Catlin, Painter of Indians of the West. Washington: Smithsonian Institution, .
ND237.C35H3 1948 Haberly, Loyd. Pursuit of the Horizon: A Life of George Catlin Painter & Recorder of the American Indian. New York: Macmillan Company, .
N8214.5.U6H28 Harmsen, Dorothy. American Western Art: A Collection of One Hundred Twenty-five Western Paintings and Sculpture with Biographies of the Artists. Denver: Harmsen Publishing Co., .
ND237.C35H38 Haverstock, Mary Sayre and Catlin, George. Indian Gallery; the Story of George Catlin. 1st ed. New York: Four Winds Press, .
ND237.B585H42 1973 Hendricks, Gordon. Albert Bierstadt: Painter of the American West. New York: H. N. Abrams, .
N6525.K68 1976 Kovinick, Phil. Woman Artist in the American West 1860-1960. 1st ed. Fullerton: Muckenthaler Cultural Center, .
ND237.C35M3 1959 McCracken, Harold. George Catlin and the Old Frontier. New York: Dial Press, .
NC139.M6A3 1967 Moran, Thomas. Home-thoughts, from Afar: Letters of Thomas Moran to Mary Nimmo Moran. East Hampton: East Hampton, .
N6512.5.T34N44 1980 Nelson, Mary Carroll. Masters of Western Art. New York: Watson-Guptill, .
ND237.C35R6 Roehm, Marjorie and Catlin, Francis Putnam. The Letters of George Catlin and His Family: Chronicle of the American West. Berkeley: University of California Press, .
ND237.W75 A4 1991 Stewart, Rick and Miller, Angela L. Carl Wimar: Chronicler of the Missouri River Frontier. Fort Worth: Amon Carter Museum of Western Art, .
Taos, Brandywine and Early Twentieth Century Artists
PS3519.A528Z56 Amaral, Anthony A. Will James, the Gilt Edged Cowboy. 1st ed. Los Angeles: Westernlore Press, .
ND249.B348A4 1985 Bateman, Robert and Derry, Ramsay. World of Robert Bateman. New York: Random House, .
PS3519.A5298Z564 1987 Bell, William Gardner and James, Will. Will James: The Life and Works of a Lone Cowboy. 1st ed. Flagstaff: Northland Press, .
ND212.5.T34B53 1983 Bickerstaff, Laura M. Pioneer Artists of Taos. Denver: Old West Publishing Company, .
NC139.B64S62 Borein, Edward and Spaulding, Edward S. Ed Borein's West. Santa Barbara: Schauer Printing, .
ND212.5.T34B76 Broder, Patricia Janis. Taos, A Painter's Dream. Boston: New York Graphic Society, .
ND237.D5B87 Burnside, Wesley M. and Dixon, Maynard. Maynard Dixon, Artist of the West. Provo, Utah: Brigham Young University Press, .
ND237.F25C5 Cincinnati Art Museum. Henry F. Farny, 1847-1916. Cincinnati, .
VC00025-2 Clancy, Gwendolyn. The Man They Call Will James. [videorecording] Reno: Nevada Historical Society, .
NC975.5.C65B76 Cornwell, Dean and Broder, Patricia Janis. Dean Cornwell: Dean of Illustrators. New York: Balance House: distributed by Watson-Guptill Publications, .
NE2012.R85A4 1989 Crouch, Donald E. and Rungius, Carl. Carl Rungius: The Complete Prints. Missoula: Mountain Press Publishing Company, .
N6537.B63D38 1974 Davidson, Harold G. and Borein, Edward. Edward Borein, Cowboy Artist: The Life and Works of John Edward Borein, 1872-1945. 1st ed. Garden City: Doubleday & Company, Inc, .
ND237.D5M5 1945 Dixon, Maynard and Millier, Arthur. Maynard Dixon: Painter of the West. Tucson, AZ: [s.n.], .
ND237.S4672F46 1983 Fenn, Forrest. The Beat of the Drum and the Whoop of the Dance: A Study of the Life and Work of Joseph Henry Sharp. Santa Fe: Fenn Pub. Co., .
N6537.G62 F64 Forrest, James T. Bill Gollings, Ranahan Artist. Big Horn: Bradford Brinton Memorial, .
N6537.G62F65 Forrest, James T. Bill Gollings, the Man and His Art. 1st ed. Flagstaff: Northland Press, .
ND237.D5A4 2000 Gibbs, Linda Jones and Rasiel, Deborah Brown. Escape to Reality: The Western World of Maynard Dixon. Provo, UT: Brigham Young University, .
F804.S25G53 1983 Gibson, Arrell Morgan. The Santa Fe and Taos Colonies: Age of the Muses, 1900-1942. Norman: University of Oklahoma Press, .
ND237.W94A4 1990 Harris, Gene E. and Wyeth, N. C. N. C. Wyeth's Wild West. Chadds Ford: Brandywine River Museum, .
ND237.H49A4 1991 Hennings, E. Martin and White, Robert R. E. Martin Hennings: Paintings & works on Paper from Europe & Taos. Santa Fe, NM: Gerald Peters Gallery, .
ND237.S4345H6 1969 Horan, James David. The Life and Art of Charles Schreyvogel: Painter-Historian of the Indian-Fighting Army of the American West. New York: Crown Publishers, Inc., .
ND237.C6A4 1994 Kelly, Franklin and Barry, Claire M. Thomas Cole's Paintings of Eden. Fort Worth: Amon Carter Museum of Western Art, .
ND237.S4375L3 Ladner, Mildred D. and Seltzer, O. C. O. C. Seltzer, Painter of the Old West. 1st ed. Norman: University of Oklahoma Press, .
ND237.W94M53 1998 Michaelis, David and Wyeth, N. C. N.C. Wyeth: A Biography. 1st ed. New York: Alfred A. Knopf, .
N6517.P5 Pitz, Henry Clarence. The Brandywine Tradition. Boston: Houghton Mifflin, .
ND237.P94P57 1975 Pitz, Henry Clarence. Howard Pyle--Writer, Illustrator, Founder of the Brandywine School. New York: Bramhall House, .
ND212.5.T34P67 1999 Porter, Dean A. and Campbell, Suzan. Taos Artists and Their Patrons, 1898-1950. Notre Dame: Snite Museum of Art, .
ND237.V66R44 Reed, Walt and Von Schmidt, Harold. Harold von Schmidt Draws and Paints the Old West. [1st ed.]. Flagstaff, AZ: Northland Press, .
99.C92R54 1985 Riebeth, Carolyn Reynolds and Sharp, Joseph Henry. J. H. Sharp Among the Crow Indians. El Segundo: Upton, .
ND237.B537S26 1985 Sanders, Gordon E. Oscar E. Berninghaus, Taos, New Mexico: Master Painter of American Indians and the Frontier West. 1st ed. Taos, NM: Taos Heritage Pub. Co., .
N6537.D86S35 1984 Schimmel, Julie and Dunton, W. Herbert. The Art and Life of W. Herbert Dunton, 1878-1936. 1st ed. Austin: University of Texas Press, .
ND237.S4338S37 Schoonover, Frank Earle and Schoonover, Cortlandt. Frank Schoonover, Illustrator of the North American Frontier. New York: Watson-Guptill Publications, .
F591.6.A7S3 1909 Schreyvogel, Charles. My Bunkie and Others: Pictures of Western Frontier Life. New York: Moffat, Yard, & Company, Publishers, .
NC975.5.V66C37 Von Schmidt, Harold and Carroll, John M. Von Schmidt, the Complete Illustrator. 1st ed. Fort Collins: Old Army Press, .
N6512.5.T34T36 1983 White, Robert R. Taos Society of Artists. 1st ed. Albuquerque: University of New Mexico Press, .
NC139.M6W5 Wilkins, Thurman. Thomas Moran, Artist of the Mountains. Norman: University of Oklahoma Press, .
ND237.W94A3 Wyeth, N. C and Wyeth, Betsy James. The Wyeths: The Letters of N. C. Wyeth, 1901-1945. Boston: Gambit, .
Remington and Russell
ND237.R4C53 1979 Chapin, Louis. Great Masterpieces by Frederic Remington. New York: Bounty Books, .
ND237.R36A4 1994 Dippie, Brian W. Remington & Russell. Austin: Texas University Press, .
NB237.R45A4 1996 Greenbaum, Michael D. Icons of the West: Frederic Remington's Sculpture. Ogdensburg: Frederic Remington Art Museum, .
N6537.R4A4 1996 Hassrick, Peter H. and Webster, Melissa J. Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors, and Drawings. Limited ed. Cody: Buffalo Bill Historical Center, .
N6537.R88H37 1999 Hassrick, Peter H. and Russell, Charles M. Charles M. Russell. Norman: University of Oklahoma Press, .
ND237.R36M3 McCracken, Harold. Frederic Remington, Artist of the Old West; with a Bibliographical Check List of Remington Pictures and Books. 1st ed. Philadelphia: J. B. Lippincott Company, .
N6537.R4N46 1995 Nemerov, Alexander. Frederic Remington and Turn of the Century America. New Haven: Yale University Press, .
N6537.R88 P48 1999 Peterson, Larry Len and Russell, Charles M. Charles M. Russell, Legacy: Printed and Published Works of Montana's Cowboy Artist. Helena, MT: Twodot Books, .
N6537.R4R3 1988a Raboff, Ernest Lloyd and Remington, Frederic. Frederic Remington. 1st Harper Trophy ed. New York: Harper & Row Publishing Co., .
N6537.R4A4 1979 Remington, Frederic and Kuenning, Howard F. Frederic Remington, the Soldier Artist. West Point, NY: U.S. Military Academy, Cadet Fine Arts Forum, .
ND237.R75A3 1993 Russell, Charles M. Charles M. Russell, Word Painter: Letters, 1887-1926. Fort Worth: Amon Carter Museum of Western Art, .
F596.R943 1927 Russell, Charles M. Trails Plowed Under. Garden City, NY: Doubleday, Page, .
N6537.R88S5 1996 Shirley, Gayle Corbett. Charlie's Trail: The Life and Art of C. M. Russell. Helena: Falcon Press, .
NB237.R84A4 1994 Stewart, Rick and Russell, Charles M. Charles M. Russell, Sculptor. New York: Harry N. Abrams, Inc. Publishers, .
N6537.R88T36 1996 Taliaferro, John. Charles M. Russell: The Life and Legend of America's Cowboy Artist. 1st ed. Boston: Little, Brown, and Company, .
NB237.R45W43 1966 Wear, Bruce. Bronze World of Frederic Remington. Tulsa: Gaylord, Ltd. Art Americana, .
ND237.R75W56 1995 Winter, Jeanette. Cowboy Charlie: The Story of Charles M. Russell. New York: Harcourt, Brace and Company, .
Contemporary Western Artists
VC00078 Brenneman, Mary and Schmid, Richard. Artists of America: Six Artists Show and Tell How They Prepare Their Art. [videorecording] Denver: Denver Rotary Club Foundation, .
ND237.C576A4 1977 Clymer, John and Reed, Walt. The Western Paintings of John Clymer. Toronto: Peacock Press/Bantam Books, .
ND237.C576W47 1991 The West of John Clymer. Oklahoma City: National Cowboy Hall of Fame, .
VC00084 Felt, Jonathan. Howard Terpning, the Storyteller: A Tribute to the Native People of the American Plains. [videorecording] Westport, CT: The Greenwich Workshop Inc., .
ND237.L78H44 1993 Hedgpeth, Don and Reed, Walt. The Art of Tom Lovell: An Invitation to History. Shelton: Greenwich Workshop, Inc., .
ND1329.S66H42 Hedgpeth, Don. Bettina: Portraying Life in Art. 1st ed. Flagstaff, AZ: Northland Press, .
N8214.5.U6H64 Howard, James K. Ten Years with the Cowboy Artists of America: A Complete History and Exhibition Record. 1st ed. Flagstaff, AZ: Northland Press, .
ND237.H88A4 1986 Hulings, Clark. Hulings: A Gallery of Paintings by Clark Hulings. 1st ed. White Burro Publishing, .
ND237.H944A4 1985 Hurley, Wilson. Wilson Hurley: A Retrospective Exhibition. 1st ed. Kansas City: Lowell Press, Inc., .
ND237.D79K3 1970 Karolevitz, Robert F. Where Your Heart Is: The Story of Harvey Dunn, Artist. Aberdeen: North Plains Press, .
ND237.R55M34 1993 McGarry, Susan Hallsten and Riley, Kenneth. West of Camelot: The Historical Paintings of Kenneth Riley. 1st ed. Indianapolis, IN: Eiteljorg Museum of American Indian and Western Art, .
ND1839.T4A4 1988 Meyer, Claudia and Teague, Donald. Donald Teague: A Life in Color. 1st ed., Bozeman, MT: Nygard Pub. Co., .
VC00010 Meyers, Kenneth A. A Bridge Across Time. [videorecording] Oklahoma City: National Cowboy Hall of Fame, .
VC00076 National Cowboy Hall of Fame and Western Heritage Center and Steinke, Bettina. 1990 National Academy of Western Artists Seminars. [videorecording] Oklahoma City: National Cowboy Hall of Fame, .
N8214.5.U6R49 1988 Reynolds, Catherine A. CA, Cowboy Artists of America. 1st ed. El Paso, TX: Desert Hawk Pub., .
N6525.S25 1985 Samuels, Peggy and Samuels, Harold. Contemporary Western Artists. New York: Bonanza Books, .