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“In the rarefied atmosphere of a mountain setting, a column of Native American riders breaks a trail in freshly fallen snow. The leader, in his colorful blanket-coat, and his followers seem insulated against the cold which the first rays of a bright morning sun, casting long shadows, offer to dispel. The crystalline effect one senses in the painting demonstrates the artist’s skill in capturing the reality of one precise moment.” Oil on Canvas “Along the Timberline” is from the “Legends Suite,” one of the final six prints numbered and signed by Olaf Wieghorst. |
| A band of Apaches
on horseback are out scouting in the dry desert country. The leader
with his bright red headband has his carbine ready for trouble.
1965 Oil on Canvas “Apache Renegade” is from the “Suite
of Fourteen,” on of fourteen prints released in this series
by American Masters and sold by the Wooden Bird. |
| “Rugged Central
Arizona scenery is the background for the four Apaches on their ponies.
Although the mountains dwarf the riders, the riders do not seem dominated
by them, but rather in harmony, a part of a somewhat harsh environment.
Wieghorst first became acquainted with Apache Indians when he worked
as a cowhand in 1922 in Arizona and New Mexico. In later years he took
sketching trips to the Apache Reservation in Northern Arizona. Wieghorst’s
only known serigraph is this subject.”
1958 Oil on Canvas “Apaches on the Trail” also called “Apache
Territory,” is a hand pulled serigraph by renowned serigrapher
Guy Maccoy. These serigraphs were hand pulled in ink on imported
arches paper and were limited to 300 prints signed in pencil by
Olaf Wieghorst. |
“Although momentarily
bathed in rays of bright sunlight, a rider reaches behind his saddle
for his yellow slicker knowing that a downpour is imminent. The cowboy
knows shelter will be scarce in the vast arena of untried landscape
stretching before him. The title of the picture contains little more
than a reference to the animal which has always fascinated the artist,
and which he often uses contrast with neutral colors, and to provide
a compositional focal point.” |
| A
Native American mounted on his Appaloosa pony and his companion surveys
a beautiful valley beneath a large mountain range. Oil on Canvas “Arizona Range” is from the “Suite of Fourteen,” one of fourteen prints released in this series by American Masters and sold by The Wooden Bird. |
| This
mounted cowboy swinging his lariat is riding hard to bring a straying
horned steer back to the herd. Olaf was a master at displaying the
horse in action as portrayed in this painting. Oil on Canvas 20” x 30” “Back to the Herd” was sold to the R.J. Reynolds Tobacco Company. There were 1000 prints produced. Many were given to valued employees. Some were offered to the public through the Marlboro Country Store. |
| “This
is a moolight scene of all the cattle bedded down for the night. I
remember how as a cowboy we would be so glad for the end of the day.” “This
painting is without a doubt the largest painting I have ever made.
I often paint scenes from my time as a cowboy in New Mexico. At the
end of the day we gathered around the wagon and told stories. Some
of those moments were sure enjoyable.” (Olaf Wieghorst) Oil on Canvas 36” x 48” “Bedded Down” is the second release of three prints from the “Legacy Collection II.” |
| “This
is one of the few large paintings I have done. The cowboys are running
a fine herd of beef down the hill to the ranch. I enjoy painting the
storms of the wide western skies. It pretty well depicts the grandeur
of the great American West.” (Olaf Wieghorst) Oil on Canvas 34” x 48” “ Beef Herd” is from the “Heritage Series,” one of five prints released in this series. |
| “Look
at the hooves in ‘Behind Schedule’. The horses dominate the picture,
the stagecoach is secondary. That’s what separates the men from the
boys in western art- the ability to capture horses. Oil on Canvas 34” x 48” “Behind Schedule” was an open edition print originally reproduced in the November, 1962 issue of Arizona Highways Magazine. Several of these early open edition Wieghorst prints were from paintings owned by Read Mullan. He had a Ford dearlership in Phoenix, Arizona and displayed his art collection there. |
| “This
painting was taken from my personal experience along the Mexican border
some 60 or 65 years agon when I was with the Fifth Cavalry along the
Rio Grande. We often, as we patrolled along the border, would spot
some Mexican camp across the river. Most of them belonged to the Pancho
Villa’s revolutionaries.” (Olaf Wieghorst) 1974 Oil on Canvas 24” x 30” “Big Bend Patrol” is from the “Gilcrease Collection,” one of three prints in this series numbered and signed by the artist prior to his death in 1988. |
| The
Black Canyon Trail, about forty miles north of Phoenix, Arizona is
the picturesque setting for this lone cowboy and his packhorse. Oil on Canvas 16” x 20” “Black Canyon Trail” is from the “Golden West Collection Series II,” one of three prints released in this series. |
| “Boys
in the Bunkhouse” was the name for a music album featuring the top
country / pop pickers in Los Angeles. Producer Snuff Garrett, a friend
of Olaf, and master studio guitarist Al Casey put this group together.
Olaf created this painting for the cover of their album. In this painting
Olaf Wieghorst has portrayed a variety of magnificent horses, waiting
patiently on their riders who are in the bunkhouse. We have a Paint,
a Palamino, a Dapple-Gray, and Appaloosa, and a couple of Chestnuts. Oil on Canvas 16” x 20” “Boys in the Bunkhouse” was the next print released after the “Classic Series” but does not belong to any set. |
| “A
Plains Indian is scouting for the vanishing herd of buffalo sometime
in the early 1880’s. A friend of mine, a Paiute Indian, by the name
of Joe Galvin posed for this particular painting. I also used him in
several other of my works.” (Olaf Wieghorst) 1968 Oil on Canvas 20” x 24” “Buffalo Scout” is on of six print from the “Classic Series”. All six prints were made from paintings in the Malcolm S. “Bud” MacKay collection. |
| ”Caballero’ translates
from the Spanish as ‘gentleman rider.’ The Spanish were the first cattleman
of the New World. Many of the techniques used by cowboys today were
passed down from them. The adobe building in the background of this
tranquil night scene is Wieghorst’s first home and studio in El Cajon,
California.” 1965 Oil on Cavas 20” x 24” “Caballero” is an early open edition print by Olaf Wieghorst. This print was signed but was not numbered. |
| In
this moonlight night scene the wrangler sits on his horse keeping a
watchful eye on the now peaceful camp. Oil on Canvas 20” x 24” “ California Wrangler” is on of six prints from the “Classic Series.” All six prints were made from the paintings in the Malcolm S. MacKay collection. |
| In
this painting the cowboys have made a day camp in a dry creek bed,
beneath the shade of an old tree. Smoke is rising from their small
campfire. The horses rest and wait patiently as the cowboys cook their
noon day meal. Oil on Canvas 24” x 30” “Camp at Bitter Creek” was an open edition print origianally reproduced in the November, 1962 issue of Arizona Highways Magazine. Several of these early open edition Wieghorst prints wrer from paintings owned by Reed Mullan. |
| “In
a setting of mountain and rock formations under a billowing cloud-filled
sky, a herd of horses is driven along a canyoun trail, a dry creek
bed. The artist extends his pictorial space to include that of the
viewer as they seemingly approach from the center of the cnavas into
the viewer’s space. Oil on Canvas 16” x 21.75” “Canyon Trail” is from the “Suite of Six,” one of the six prints released by the Wooden Bird in 1983. |
| “Three
riders, each with a pack horse carrying their worldly goods, pass through
a gate in a mountain landscape setting. One of the riders reaches down
from his saddle to close it behind them. Changing outfits for the next
season was not uncommon, and the painting focuses on the transition
in one intriguing sense. The gesture of closing the gate may well be
compared to the closing of a chapter in a man’s life. Oil on Canvas 24” x 30” “Changing Outfits” is from the “Legends Suite,” one of the final prints released and signed by Olaf Wieghosrt. This was on of Olaf’s paintings used as a backdrop for the credits in the movie ‘El Dorado’, staring John Wayne, Robert Mitchum, and Olaf Wieghorst as the ‘Swede’. |
| “This
painting was done up near Castle Hot Springs, Arizona. I did a lot
of painting up there because I liked the landscape. And it depicts
the roundup outfit during the noonday stop.” (Olaf Wieghorst) Oil on Canvas 28” x 38” “Chuck Wagon Stop” is from the “Legacy Collection,” one of four prints released in this series. Each print in this series came with a complementary companion print numbered to match but not signed. The companion print for this painting was “Sunset.” |
| “The
painting “Cold Conference” depicts two cowboys from adjoining ranches
who have met and are trading information as to the whereabouts of the
stray cattle.” (Olaf Wieghorst) Oil on Canvas 16.5” x 19.75” Originally from the collection of Mrs. Olaf Wieghorst “Cold Conference” was an individually released print and not part of any set. |