Old Western Art
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The Texas cattle industry developed in a big way after the Civil War. Virtually millions of unbranded longhorns ran free in south Texas. Much of this was due to ranches having been abandoned during the War. Demand for beef was on the rise in the East, and a rail line was being extended West, across South Kansas. All that remained was for Texas cattlemen to round up wild cattle, brand them and drive them across 1000 miles of wilderness to the railhead. This was an incredibly difficult and risky undertaking. However, there was very good money to be made and Texas was desperate for cash after the War. A steer that cost $4.00 to round up brought ten times that much at the railhead in Kansas.
Many dangers accompanied these trail drives north. There were rivers to cross, lightening and hailstorms, stampedes, poisonous snakes, Indian incursions and worse. During the first decade after the War the drovers were particularly threatened by roving bands of renegades. These outlaws sought to murder the cowboys and steal the cattle. Naturally, the men had to be alert to this danger and our "Texian" drover has spotted just such an approaching threat.
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A Southwest trapper surveys his vast, often dry terrain.
Taos Trapper print: Taos was small hamlet in what is now northern New Mexico. It served as the hub of Anglo-American trapping and trading in the Southwest, during the early nineteenth century.
This location offered several advantages to American entrepreneurs. Geographically, it was a convenient point of departure to explore the valleys and rivers of the surrounding territory. (An area that now covers southern Colorado, southern Utah, southeast Nevada, southern California, Arizona and New Mexico.)
Then, Taos provided trappers with a fixed settlement where they could sell their pelts and procure supplies. Here, they could spend the off season among the comforts of a "civilized" environment. This paradise was preferable to the rendezvous system used in the central and northern Rocky Mountains.
Invariably, these activities led to intermarriage with the local, Hispanic women. Den's print shows our trapper with his Indian wife. This practice was not unheard of, in the Southwest, but was more common with northern trappers. Southwest trappers not only married far more often, but usually married Hispanic women. These marriages often required conversion to Catholicism. More often than not, these conversions were motivated by economics rather than by religious inclinations. Marriage resulted in special status and trading privileges. They also, at times, led to land acquisition and greater involvement in the community. Many trappers completed this picture by becoming Mexican citizens.
By contrast, a northern trapper's wife accompanied him during the trapping season, and then they wintered together with her tribe. These tribal societies were, of course, nomadic in nature. The southwest trapper's wife remained home, maintaining home and community, while her man worked the rivers for beaver.
Another contrast with the trappers of what is now, northern Colorado, Wyoming, Montana, Idaho, etc., was the well codified legal system of Mexican society. The northern trappers lived as they pleased, a sort of survival of the fittest. Mexican culture was more civilized and this stability, ironically, led to the even stronger impact of the Americans in their territory. While this legal system led to long term stability, in the short term we are presented with yet another irony. The American trappers chose Taos as a base of operations precisely because of it's distance (75 miles) from Santa Fe's Mexican officials and their stiff tariffs. Furs could be shipped to St.Louis from Taos, and supplies smuggled in with relative ease.
Another advantage to the trappers and traders, in the Southwest, was diverse entrepreneurial opportunities. Many pursued other ventures besides trapping. Those who acquired land often took up farming or ranching. Others tried mining, worked as artisans, dabbled in politics, horse trading, and distilling whiskey for trade.
Not all was advantageous. By far, the most challenging factor endured by Southwest trappers was the environment. Water was relatively scarce, beaver furs were fewer and of lower quality, and their was no navigable waterway to St. Louis markets. These factors led to the Southwest becoming a haven for small scale enterprises and independent trappers. The circumstances simply were not profitable for the large scale investment typical of the central and northern Rocky Mountain fur trade.
Like their northern counterparts, the Southwest trapper became familiar with the geography and blazed vital trails. Thus they opened the way for the following elements of the ever westward moving American civilization: i.e. mining, railroads, ranching, farming, towns and cities. However, unlike the northern trappers, who left no "footprint" of their passing, the Southwest trappers and traders established the first settlements of United States citizens in the Far West. Indeed, the American influence, economically, culturally, socially and politically, was such that this entire New Mexico province of Mexico was acquiesced by the United States in a "bloodless conquest" during the Mexican War of 1846.
The Taos trappers were men of great ambition, enterprise, energy, and determination. They set out into a vast wilderness in search of their fortune. They were also shrewd and flexible, able to blend and work with the Hispanic culture of the area. Together they formed the society that ultimately determined the borders of the Southwestern United States we know today.
The above comments were largely drawn from the Introduction by S. Matthew Despain, to Fur Trappers and Traders of the Far Southwest 1997, Utah State University Press
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1880s Texas Ranger
The Texas Rangers are of course, the stuff of legend. They evolved from Stephen Austins' "ranging companies" of the 1820's. Originally set up to protect the Texas frontier from Commanche raiding parties, the Rangers became a terror to any force that threatened the peace and order of Texas.
One of the more fascinating legends has to do with the Ranger badge. Apparently, the original idea was simply carved out of a Mexican coin.
This portrait of a late 19th Century Ranger exhibits the calm assurance of someone who knows he belongs to an organization with a lineage of extraordinary prowess and courage.
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Old West scout scans the scene.
On the American frontier most people were very independent. Some individuals were extremely so, considered idiosyncratic even by their contemporaries. These persons were often among the most capable. The type shown here, probably bored with farming and ranching, might pursue hunting and trapping. Curious he would explore, thus becoming familiar with the geography, climate and Indian inhabitants. These individuals became invaluable as pioneer guides and military scouts.
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One of the many hazards on a three month trail drive, with as many as 3000 or more cattle was a stampede. Something might frighten the skittish cattle and they would take off as one, running uncontrollably. Before they quiet they might be separated and spread over miles of prairie. Days of extra, time consuming work would be required to round them up. One of the way to keep the cattle calm at night was intriguing. The droves would keep to hour watches two at a time. The men would ride slowly in opposite directions, around the herd. As they did so, they would talk out loud, hum, and sing. The sound of the human voice seemed to have a calming effect on the cattle. The men might sing hymns, Civil War camp songs, dance hall ditties, etc. Some of the songs that would become part of America's historic cowboy lore were made up during these watches.
At daybreak, or before, the cowboys would rise, eat, secure a horse from the remuda, and begin their day. The riders of the "last watch" would also come in, eat, change horses, and begin the work of herding the cattle on.
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The old time, small town, western sheriffs thought of themselves more as keepers of the peace than maintainers of the letter of the law. They would be familiar with the troublemakes as well as the times and places where difficulties might begin. Oftehn they could head off trouble by a word here or there, and by being in the right place at the right time.
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Between the late 1860's and the early 1880's, Texas cattlemen drove millions of Texas longhorn cattle north, through a thousand miles of virtual wilderness, to trail-heads in Kansas.
The rail boss of a cattle drive was someone more mature and experienced than the usual cowboy. he could read, write, and cipher. He would be a natural leader, able to command other and mange the drive through various hazards. One of his responsibilities was to ride ahead of the drive. He would scout out the best route for grass and water, and locate the most like place for the noon lunch stop. Often he might right back to a prominent point above the herd. Then he would ride in circles to raise dust and attract the attention of the droves. By pointing in a given direction with his hat, the droves would know where to direct the herd. The average droves equipment would be stripped down to little more than his lairiat and possibly a pistol. The trail boss, on his scout would carry saddlebags, slicker, rifle, canteen, and often binoculars as well. Man an ambitious trail boss could work up to purchasing and including some of his own cattle in the drive. In this way he could gradually establish his own ranching operation.
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There is not much more beautiful than susnset in a western wilderness. The setting sun turns the sky golden, reflected in a high alpine lake. The twilight turns the forever snow blue and the trees, rocks and flowers slowly meld together.
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Dominating the horizon is the Wind River range of the Rocky Mountains, in central Wyoming. This range contains over 50 peaks above 1300 ft. in elevation. The highest is 13870 ft. They also form the Continental Divide. The Popo Agie river runs north out of this range, ultimately joining the Wind River. This is an early Fall scene. During the winter months, the entire range, as well as the immediate valley would be covered under several feet of snow.
The last "Mountain Man" rendezvous of 1838 was held just several miles north of here. The lone trapper, in the scene, makes his way into the mountains for the fall hunt.
This painting received an honorable mention award at both the Riverton Art Guild National Show, and the Wind River Valley Artists' Guild National Show, 2007.
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This spectacular formation lies within the present day Jim Bridger Wilderness, part of Wind River Range. It is late Summer, and an early 19 century trapper makes his way towards a favorite location to pursue fall hunt for prime beaver pelts. Today, this area is popular technical climbing country.
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He stomped across the floor towards the door of the cabin. Instinctively he grabbed up his rifle and walked out into the … sunlight. The contrasts overwhelmed him. Outside, the world looked peaceful, quiet and perfect. The sun still high, the sky still blue, the snow glistening as it hung heavy on the pines, firs and spruces. But inside, the cabin painted a scene of smoky dark pain and turmoil.
The first of the "Winchester 73 series. These five paintings were originally rendered for western book covers. Each represents a specific situation in the story. Here, our character is holed up for the winter in the mountains
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"Breeds and Indians don't deserve nothin", Rutherford shouted waving his hat at the crowd. "He was riding a stolen horse... All of you who think he ought to hang, say "aye".
A loud roar rolled out of the crowd... Miss Creek began to yell, "Wait!" but the blast of Brannon's rifle interrupted her scream. The bullet sizzled through Rutherford's hat, causing it to fly through the air...
"Let the Indian speak! Brannon shouted. Never lowering his sights from Rutherford, he rode into the clearing...
Last Hanging at Paradise Meadow, Crossway Books
Part of the "Winchester 73" series. These five paintings were originally rendered for western book covers. Each represents a specific situation in the story. In the second picture of the series, our stalwart hero rescues an innocent victim from a lynch mob.
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A buzzing sound passed to his right ear and simultaneous distant explosion tumbled Stuart Brannon from the back of his horse…
Rolling on the ground, Brannon dove behind (a stack of timbers)… two more shots blasted from the rocks somewhere on the other side of the creek. They ripped into the heavy beams.
At that same moment Brannon rolled and raised up… and four quick shots into the distant rocks above which a puff of smoke still trailed. Seeing something like a blue shirt lurch backward, Brannon squeezed off 3 more rounds.
A yelp and a curse followed by the dust from a fleeing horseman looked to Brannon like a retreat. But he wasn’t about to count on it.
False Claims at the Little Stephen MineCrossway Books
Part of the "Winchester 73" series. These five paintings were originally rendered for western book covers. Each represents a specific situation in the story. Here, remains of many small mining efforts, from the mid nineteenth century, are still evident in the mountains around Silverton, Colorado. No doubt, as shown in the third scene of this series, a miner had to be prepared to defend his claim against thieves.
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Two quick rifle shots from Brannon’s Winchester sent six men diving back behind the rocks… “Littlefoot, you take the shotgun over to those rocks.” He pointed to the south side of the fire. “You stay hidden, but when I signal you, you squeeze the trigger on that shot gun.”
Son of an Arizona Legend, Crossway Books
Part of the "Winchester 73" series. These five paintings were originally rendered for western book covers. Each represents a specific situation in the story. The fourth illustration in the series shows our character making good use of his faithful rifle to defend his young charge. Should the enemy get close enough, the boy looks ready enough to assist with his shotgun.
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Part of the "Winchester 73" series. These five paintings were originally rendered for western book covers. Each represents a specific situation in the story. The final painting in series shows our man heading south of the border to seek justice.
