(Title Page to) Pictorial St. Louis, the great metropolis of the Mississippi Valley, a topographical survey drawn in perspective A.D. 1875, by Camille N. Dry, designed & edited by Rich. J. Compton. St. Louis. Compton & Company, 1876. Western Engraving Co. St. Louis.
List No
4209B
Note
Lithographed title page with small view of Eads Bridge. Facing frontispiece is larger bird's-eye view of the bridge by C.N. Dry. "I consider this an excellent and faithful representation of the bridge. Apl. 30th, 1874. Jas. B. Eads."
Compton, Richard J., Dry, Ca
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Key to perspective.
1876
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Authors
Compton, Richard J., Dry, Camille N.
Full Title
Key to the perspective locating the plates. Entered ... 1874 by Compton & Company ... Washington, D.C.
List No
4209.001
Note
Index map to sheets of the view. Inset map: Map of the territory in the above perspective. Color lithograph. Oriented with north toward right.
Compton, Richard J., Dry, Ca
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St. Louis, 1832.
1876
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Authors
Compton, Richard J., Dry, Camille N., Pomarade, L. D.
Full Title
Saint Louis, 1832. From a painting by L.D. Pomarade. Entered ... 1876 by Compton & Company ... Washington, D.C.
List No
4209.002
Note
Lithographed view of the city from East Saint Louis showing riverfront building facades, boats, etc. Ferry with passengers and animals, dockworkers in foreground. With a certification by Pomarade, 1875.
Compton, Richard J., Dry, Ca
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Composite (Pictorial St. Lou
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1876
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Authors
Compton, Richard J., Dry, Camille N.
Full Title
(Pictorial St. Louis) Composite (By C.N. Dry, 1876)
Two facing lithographed views. Shows wagons, farms, houses, part of Tower Grove Park, Bamberger's Grove, etc. Covers area along Oak Hill Road and Russell Place between the Park and Gravois Road. Includes keys.
Two facing lithographed views. Shows wagons, trolleys, brickyard, lumber yard, quarry, churches, etc. Covers area generally bounded by the 15th, Warren, 25th and Franklin. Includes keys to buildings.
Two facing lithographed views. Shows wagons, farms, houses, Compton Hill Reservoir, home of Capt. James B. Eads, etc. Covers area generally bounded by Chouteau, Montrose, Pontiac and Grand. Includes keys.
Compton, Richard J., Dry, Ca
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Pl. 65-66 (Pictorial St. Lou
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1876
View
Authors
Compton, Richard J., Dry, Camille N.
Full Title
(Pictorial St. Louis) plate 65 Tower Grove Park, plate 66. (By C.N. Dry, 1876)
List No
4209.035
Note
Two facing lithographed views. Shows wagons, farms, houses, etc. Plate 66 covers area along Grand Ave. between Russell and Hartford. Includes key.
Two facing lithographed views. Shows wagons, fields, old and new county poor houses, County Insane Asylum, Social Evil Hospital and Shaw's Schools at Old Manchester Road, Kingshighway and Arsenal Road. Includes keys.
Two facing lithographed views. Shows wagons, trolleys, Old Picotte Cemetery, etc. Covers area generally bounded by the Nebraska, Gravois, Victor, Bough and Wyoming. Lacks key.
1896_"Indian_Buffalo_Hu
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Charles M. Russell, Remingto
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http://www.flickr.com/photos
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All Rights Reserved
Title
1896_"Indian_Buffalo_Hunt"
Description
Charles M. Russell, Remington and Bierstadt are my favorite artists, so imagine how surprised I was to stand in front of a Russell original.
I have visited the Cowboy Hall of Fame in Oklahoma City where Remington and Russell bronzes and paintings abound, but it was quite a treat for me to walk around a corner at the Maryhill Museum, near Goldendale, Washington and come face to face with a Russell painting.
One of my favorite books on my bookshelves is "Recollections of Charley Russell". Not only was Charles Marion Russell a gifted artist, but quite a story teller as well.
My first visit on my March 17-20th, 2010 road trip was the Maryhill Museum south of Goldendale, Washington.It was my first visit to the museum though I had known about it and driven by it for decades. I was t
c. 1893, Oil on canvas
America's "cowboy artist,"Charles M. (Charlie) Russell was as recognizable a Western icon as the cowboys and Indians he painted. Created in a time of new technologies and sprawling cities, Russell's paintings are nostalgic celebrations of the traditional values associated with the "Old West."
One of a series of five scenes of Crow Indian encampments, <i>Water for Camp</i> reflects Russell's interest in the more everyday, domestic aspects of Western life.
