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The intimate, human memories regarding Charles M. Russell, his genius and eccentricities, which Frank Linderman set down shortly after the death of his good friend, constitute a miscellany of personal insights for which any of Russell's biographers ought to have given his eyeteeth. But in none of the increasingly frequent Russell commentaries, apparently, has use ever been made of these prime source materials. When Russell and Linderman met, it was to be expected a close friendship would result. Their interests, experiences, and natural inclinations were of the same cloth. They loved untrammeled people in virgin country; they had high regard for the old-time Indian and his mores; they held the encroachments upon the old West of civilization's less laudable aspects in mutual disdain; and, finally, Linderman with words and Russell with paint and clay were professional artists concerned in the re-creation of a beloved time fast slipping away. These recollections of their shared campfires, trails, conversations, and fun constitute the finest portrait extant of Charley Russell, the human being, pulsing with personality, quip, and many of his well-known tall tales.
"Nancy worked on this biography until her death in 1940 without ever quite finishing it. Tom Petrie and Brian Dippie have collaborated on brining what she did finish into print, with side-bars, photographs, and artwork to amplify her text. [This book] will delight all those who love Charles M. Russell and his enduring vision of "the West that has passed.""--inside cover.
This first comprehensive biography of Charles M. Russell examines the colorful life and times of Montana’s famed Cowboy Artist. Born to an affluent St. Louis family in 1864, young Russell read thrilling tales of the West and filled sketchbooks with imagined frontier scenes. At sixteen he left home and headed west to become a cowboy. In Montana Territory he consorted with cowpunchers, Indians, preachers, saloon keepers, and prostitutes, while celebrating the waning American frontier’s glory days in some 4,000 paintings, watercolors, drawings, and sculptures. Before his death in 1926, Russell saw the world change dramatically, and the West he loved passed into legend. By then he was revered as one of the country’s ranking Western artist with works displayed in the finest galleries, his romantic vision of the Old West forever shaping our own. Taliaferro reveals the man behind the myth in his multifaceted complexity: extraordinarily gifted, self-effacing, charming, mischievous, and playful, a friend to rough frontier denizens and Hollywood stars alike. The author also explores Russell’s controversial partnership with his fiery young wife, Nancy, whose ambition and business savvy helped establish Russell as one of America’s most popular artists.
"Russell writes easily, and in the vernacular. He tells of Indians and Indian fighters, buffalo hunts, bad men, wolves, wild horses, tough hotels, drinking customs, and hard-riding cowboys. . . . [He] lived long enough in the West to acquire a vast amount of information and lore, and he has left enough from his brush to prove his place as a sound interpreter of a stirring period and a fascinating country".-New York Times. "Russell was the greatest painter who ever painted a range man, a range cow, a range horse, or a Plains Indian. He savvied the cow, the grass, the blizzard, the drought, the wolf, the young puncher in love with his own shadow, the old waddie remembering rides and thirsts of far away and long ago. He was a wonderful storyteller. . . . His subjects were warm with life, whether awake or asleep, at a particular instant, under particular conditions. Trails Plowed Under, prodigally illustrated, is a collection of yarns and ancedotes saturated with humor and humanity".-J. Frank Dobie, Guide to Life and Literature of the Southwest. Brian W. Dippie is a professor of history at the University of Victoria, British Columbia, and the author of Catlin and His Contemporaries: The Politics of Patronage (Nebraska 1990).
E. C. Abbott was a cowboy in the great days of the 1870's and 1880's. He came up the trail to Montana from Texas with the long-horned herds which were to stock the northern ranges; he punched cows in Montana when there wasn't a fence in the territory; and he married a daughter of Granville Stuart, the famous early-day stockman and Montana pioneer. For more than fifty years he was known to cowmen from Texas to Alberta as "Teddy Blue." This is his story, as told to Helena Huntington Smith, who says that the book is "all Teddy Blue. My part was to keep out of the way and not mess it up by being literary.... Because the cowboy flourished in the middle of the Victorian age, which is certainly a funny paradox, no realistic picture of him was ever drawn in his own day. Here is a self-portrait by a cowboy which is full and honest." And Teddy Blue himself says, "Other old-timers have told all about stampedes and swimming rivers and what a terrible time we had, but they never put in any of the fun, and fun was at least half of it." So here it is—the cowboy classic, with the "terrible" times and the "fun" which have entertained readers everywhere. First published in 1939, We Pointed Them North has been brought back into print by the University of Oklahoma Press in completely new format, with drawings by Nick Eggenhofer, and with the full, original text.
From boudoirs to brothels, historian Michael Rutter takes you into the intimate world of the Wild West's women of the night. Eighteen richly researched biographies reveal the tricks and torments of the trade, with fascinating sidebars on venereal diseases (and dire "cures"), children of prostitutes, a floating brothel, and hog ranches.
A collection of essays by various authors that explore the work, influence, and legacy of American cowboy artist and writer Charles M. Russell.