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large white nubbly full cloth hardcover 2º (folio ~ 13"x10") with brown cover illustration (cowboy on horse). large "coffee table" book , international or priority shipping will cost extra. dustwrapper in protective plastic book jacket cover. fine cond. binding square & tight. covers clean. front bottom corner rubbed a little, cloth a little rough. edges clean. a few brown spots inside rear cover at top, otherwise contents free of markings. dustwrapper in fine cond. large crease on rear panel, bottom front & top rear corners rubbed through, not torn or price clipped. nice clean copy. no library markings, store stamps, stickers, bookplates, no names, inking, underlining, remainder markings etc~. first edition. first printing (Pu October 29, 1971 & nap). illlustrated endpapers. glossy full color frontis. & title pg. 335p.+ a note on the authors. glossy pages throughout. 300 glossy plates including 134 in full glossy color, many full page. listing of artists & works. bibliography. american history. art history. art books. american indian history. ~ Resplendent with color, beautifully designed and produced, this book brings together for the first time the greatest treasures of America's greatest epository of the art of the Old West. Here are the best and most representative paintings, drawings, water~colors, sculptures, and lithographs from the unsurpassed collection of the Thomas Gilcrist Institute of American History and Art in Tulsa~chosen by the Institute's Director, Paul A. Rossi, and its Curator of Art, David C. Hunt. Among the book's almost 300 plates, 134 of them in full, color, every great name in American Western art is richly represented~there are twenty~two paintings and bronzes by Remington, twenty by Russell, eleven paintings by Miller, nine by Moran, twenty~four paintings, studies, and sketches by Catlin, twenty~three by Leigh, four Schreyvogels, and seven Bodmers together with scores of remarkable works by lesser~known artists. What makes this volume unique? First, its sheer abundance of magnificent Western art selected both to exemplify the highest achievement in the genre and to portray the colorful and dramatic life of the American West. Second, the virtual unavailability until now of so many of the treasures it reproduces: to anyone who has not made the pilgrimage to Tulsa, most of these works will be a revelation, since the majority of them have never before been in a book, and many have not, until now, been published in any form whatsoever. Third, the superb running narrative, which closely relates the art to the life and history of the frontier. Here, then, are George Catlin's heroic canvases of Indians on the hunt and in battle, as well as brilliantly immediate pages from his never before directly reproduced sketchbook: of a 2,000~mile journey from St. Louis to Fort Union; the dash and jangle of Frederic Remington's troopers and Pony Express riders; the rough chuck~wagon realism of Charles Russell's cowboys, cattlemen, and wagon trains; Olaf Seltzer's classic Western characters, from mule skinners to traders and stage drivers; the marvelous wild animals of W. R. Leigh (among them oil studies published for the first time): the grandeur of western mountains and the grassy sweep of the great plains seen in majestic landscape paintings; striking depictions of riverboat men, mountain men, hide hunters, bronc riders, traders, settlers, roustabouts, gamblers, gold~rushers; the great herds of buffalo, the beaver and the grizzly. From scenes of gunfight and stampede to peaceful Front Street palaver, America's lost frontier~wild, hopeful, harsh, and beautiful~was caught alive by an extraordinary succession of vital artists. Their masterpieces are now brought together in what is unquestionably the most lavish, beautiful, and important single volume ever published of the art of the Old West.
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