C. M. Russell Museum Complex is an art museum located in the city of Great Falls, Montana, in the United States. The main function of the museum is to showcase the work of Great Falls's "cowboy" artist, Charles Marion Russell, who was named the museum. The museum also features pictorial letters by Russell, work materials used by him, and other items that help visitors understand Russell's life and work habits. In addition, the museum displays original art of the 19th, 20th, and 21st centuries that depicts Old Western Americans and the flora, fauna and landscape of the American West. In 2009, the Wall Street Journal called the institution "one of the major Western art museums in America." Located on the museum property is Russell's log cabin studio, as well as his two-story wooden house. The cabin house and cabin studio was designated as a National Historic Landmark in 1965, and was added to the National Register of Historic Places in 1966. In 1976, the boundaries of the list were changed to an account to move houses.
Beginning in 1969, this museum hosted the auction of C. Russell Western Original Art - a 19th, 20th, and 21st century art auctions from Western America which resulted in the museum's advantage. Auctions have received media attention in Australia, Canada, France, Germany, Japan, New Zealand, the UK, and the United States. In 2010, the two co-hosts parted ways, and C. M. Russell Museum inaugurated a new auction, "The Russell."
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Emma Josephine Trigg (usually known only by her middle and back names) is the daughter of Albert Trigg, owner of Brunswick Saloon in Great Falls. He became an art teacher at Great Falls Public Schools, and in 1911 became a children's librarian at the Great Falls Public Library. Trigg then briefly married W. T. Ridgley, a local printer who published Russell's books as well as an autobiography of a local civilian leader illustrated by Russell. The Brunswick Saloon is one of Russell's favorite bars, and Albert Trigg allows Russell to use one of his back rooms as an art studio. In 1900, Russell built a two-story house near Trigg's house, and in 1903 built a wooden cabin studio on a vacant lot between the two houses. Russell became acquainted with "Miss Josephine" (as he called it) when Trigg was a teenager, and they remained friends for the rest of Russell's life. Trigg often accompanies Russell and his wife on vacations, and he provides calligraphy for his many letters, postcards, and illustrated items (such as setting a place at a dinner party).
Charles M. Russell is a professional artist during the last 30 years of his life. He created about 4,000 to 4,500 pieces of art. His wife, Nancy Russell, retains several works, including a large number of models and prints from which bronze statues have been cast, as well as almost all of Charlie Russell's papers. When he died in 1940, the letters were given to his adopted son, Jack. But most of Russell's artworks have been sold during his lifetime. Sid Willis, owner of the Mint Saloon in Great Falls (one of Russell's favorite bars), allows Russell to drink there in exchange for painting, and at the time of his death Russell has assembled a collection of 90 oil paintings, watercolors, drawings, models, and efemera. In 1948, Willis collected his collection for sale. A "Charles Russell Memorial Committee" did not manage to raise the purchase price to maintain a "Mint Collection" in Montana. The Texas newspaper publisher, Amon G. Carter, bought the collection for $ 200,000 in 1952 and founded the Amon Carter Museum to accommodate it. C. R. Smith, chief executive officer of American Airlines, bought 46 bronzes (consisting of about half the artwork in real Nancy Russell) in 1940, while oil company executive Charles S. Jones bought the rest. The Amon Carter Museum eventually bought Smith bronze as well, and in 2000 had about 60 bronze Russell. Dr. Philip G. Cole, an executive of the New York City tire company, has collected 46 Russell and 27 bronze paintings, and this was forwarded to Thomas Gilcrease's oil collection in 1944. Wall Street financiers Malcolm S. Mackay collected 60 other paintings, watercolors, ink, bronze, letters, Christmas cards, and photos. It was loaned to the North Hotel in Billings in 1942, and in 1952 was purchased by the Montana Historical Society Museum for $ 59,000 (though the collection had been sold for more than $ 3 million). The collection of 16 works, hosted by the Cleveland, Ohio, bankers and philanthropist George Gund, is permanently loaned to the American Indian Museum and Western Art of Eiteljorg.
Josephine Trigg, however, has a collection of 153 oil paintings, watercolors, picture letters, bookmarks, models, and postcards, many of which do not portray Old West pictures. Trigg's will set up Trigg-C.M. The Russell Foundation and donate these items to the city provided the city builds a museum to accommodate the collection within two years. Leonard Regan, an executive of the Montana Power Company, led a fundraiser that raised $ 75,000, and in 1953 the Trigg-Russell Memorial Gallery (as a museum was originally known) opened on September 26, 1953. The building cost $ 58,175 to build it.
Museum History
In the first two years, the museum has 38,000 visitors. In 1957, his first non-Russell show, an original painting exhibition of Norman Rockwell, was opened. From 1955 to 1958, the museum saw about 10,500 visitors a year. The average annual decline of more than a third led to the museum expanding its scope. In 1960, the museum's board of directors agreed to expand the collection to include contemporary artists depicting Old West.
Also in 1960, the Great Falls branch of the Junior League (female feminine organization) paid for a study that analyzed the expansion of the museum. In 1962, the "Collection Collection" of the Amon Carter Museum was exhibited in the museum. The museum's promotion, growing collection, and exhibition "Mint Collection" dramatically increased visitors to over 23,000 people in 1963. With increasing visitors, the owner of the local construction and philanthropic company John L. McLaughlin agreed to give the museum $ 100,000 to build an expansion if , in turn, the museum collects $ 350,000 in suitable funds. With a rapidly moving fund-raising campaign, local companies from the Page-Werner Arch are retained for additional design. To boost the campaign, the Montana Stockgrowers Association, famous watercolor owner Russell 1887 "Waiting for Chinook" (also known as "Last of the 5,000"), agreed to let the museum showcase the artwork that has made Russell a national name. Construction at an additional $ 307,000 began in 1968 (with McLaughlin Construction doing work), and a new gallery opened in 1969.
The fundraising campaign highlighted the need to diversify the revenue sources of the Trigg-Russell Memorial Gallery. In 1968, the local television personality and civilian driver Norma Ashby proposed to hold an art auction of the Western world (both old and contemporary) around the world, to be named C.M. Russell Art Auction, to benefit the gallery. The auction will be held the same week with Russell's 19 March birthday. The Great Falls Ad Club, a non-profit organization of local business owners dedicated to promoting the local economy, agrees to participate in an auction with galleries. The first auction was held in March 1969 at the Rainbow Hotel in Great Falls.
In 1970, another new gallery space in Trigg-Russell opened. Charles A. Bovey, a wealthy Great Falls rancher, has long been interested in the state's history. Bovey has collected many historic artifacts, kept a large number of state history records, and even bought and preserved statewide historic buildings. He also bought and restored most of Virginia City, Montana, the former territorial capital that has become a ghost town. In 1969, Bovey and his wife financed the construction of a new kitchen beneath the existing museum. The new downstairs gallery opened in 1970.
In 1972, the Trigg-Russell Gallery was officially renamed C.M. Russell Museum. Collection expansion followed. The museum was first accredited by the American Alliance of Museums in 1974. In 1975, Richard J. Flood donated a collection of more than 1,000 Russell letters, writing, postcards, and other $ 600,000 (including some artwork) memorabilia to the museum. In 1979, the sculptor Montana, Robert Scriver's copper sculpture, Russell, was donated to the museum and placed in front of the main south entrance.
In 1980, the museum had bought some empty land next to the museum. In 1982, with an extensive collection, C.M. Russell Museum conducted a $ 3 million capital raising campaign to double the size of the facility from 23,000 square feet (2,100 m 2 ) to 46,000 square feet (4,300m 2 ). That same year, the city of Great Falls, which owns Russell's home studio and log cabins, hands over the management of both structures to the museum. In 1982, 53 years of Sculpting history Bob Scriver of Piegan Blackfeet received his first show at the museum. In 1985, with a successful fundraising campaign, C.M. A new addition to the Russell museum opened. In 1989, the museum has seven galleries displaying 7,500 pieces, including artwork, memorabilia, firearms, and photographs. The collection includes 80 Russell paintings, 120 Russell statues, 50 Russell pictures, and 27 Russell letters pictorial.
The museum took formal ownership of Russell's home and studio in 1991, and in 1994 undertook the renovation and preservation of $ 250,000 of wooden cottage structures. That same year, the museum, which has 23 permanent and temporary staff, was re accredited by the American Alliance of Museums. It is one of five museums from 68 accredited countries. The following year, the museum collected $ 1.1 million from locals to buy a large Russell oil painting from a large deer, "The Exalted Ruler," from local Elks Lodge no. 214. In 1968, the museum began managing another museum, the Bair Museum of Families in Martinsdale, Montana.
The museum embarked on a second, three-year, $ 5 million ("Future to the Future") capital campaign in 1997, which was intended to fund the development of other expansions. The museum completed the restoration of Russell's home exterior for $ 76,600 in the same year. 1999, the museum has 46 permanent and temporary staff. The museum built a new parking lot on the north side of the museum in the same year. The museum also sells a historic three-story Strain house at 825 4th Avenue North to local lawyer Channing Hartelius for about $ 295,000.
The "Trajectory to the Future" capital campaign closed in 2000 with a total of $ 6.5 million increase. The planned expansion adds 30,000 square feet (2,800m 2 ) to the total interior space of the museum, and with other renovations increases the 33,000 square foot (3,100 m 2 ) gallery space. The building itself costs $ 5 million, with the rest being used for other purposes. The new gallery space was used to house more Russell artworks, as well as the horse-drawn hearses used during Russel's 1926 cemetery. This also included a new exhibit hall, the New West Gallery, intended to feature contemporary artists. Other new galleries include a children's room, a photography gallery, and a gallery of "Good Medicine" dedicated to the depiction of Native Americans and their culture. The museum also opens a new gallery dedicated to the contemporary Russell O.C. Seltzer, a sculpture garden featuring 20 Sculptor Bob Scriver works, and the new Frederic G. Renner Library and Research Center to become a reference place for museums and archival material.
The new expansion was opened in 2001. According to the Great Falls Tribune, a local newspaper, "With the expansion, the museum reaches a sort of critical mass that gives guidance to the ranks of the great art of the Western world museum." One of the logistical changes the biggest expansion is to move the main entrance of the museum from south to north side. New galleries showcase the walls in warm earth colors, hundreds of works of art in storage on display. The expansion also allows the museum to show original Mint Saloon safes. The TDS bronze statue, two bison, Season Changes , is placed near the eastern entrance. The following year, Allen Foundation for Arts gave the museum a $ 10,000 grant to help build visitors. Also in 2002, an anonymous bidder bought Russell's "Waiting" watercolor for $ 240,000 and then donated it to the museum. In 2003, facing high costs to keep the museum open, C.M. Russell Museum closes the Bair Family Museum. In March 2003, the museum bought Russell's "Four Generations" oil painting. The work has been owned by the local rescue company Carl Weissman & amp; Sons, Inc., but in 1962 the company gave the museum a third interest in it. The company went bankrupt in 2002 and was ordered to sell the remaining interest in the painting. The purchase price for the $ 260,000 job is $ 173,342. Later that year, the clay figurines depicting the museum for years were installed in the sculpture garden.
In 2004, the museum changed the way it displayed his Russell work. Previously, the museum had exhibited the most famous and most famous parts more clearly, with smaller pieces surrounding it to improve their appearance. Now the museum begins to display pieces chronologically, to show how Russell evolved as an artist. Among his earliest works were two small oil paintings Russell did at age 13 and others were painted when he was 14. That same year, the Institute of Museums and Library Science (an agency of the US federal government), gave the museum $ 150,000 to increase the curatorial capacity. The museum made another $ 305,000 to match the fund. A month later, the Dufresne Foundation (local philanthropy foundation) gave the museum $ 100,000. The gallery restructuring continued in 2005. The museum moved the 200-section Browning Firearms collection to the front of the museum and installed the original Mint Saloon back bar in one of the galleries. The museum also opened a cafe in the museum, which proved very popular. Two steel sculptures by Billings artist Lyndon Pomeroy, "Cow in the Mountains" and "Wheat", were installed on the boulevard on the far side of the northern parking lot.
In 2007, Mitch's family donated over 50 Scriver Bronzes to the museum. The Mitches has a foundry in which Scriver has his works thrown in, and barter their services to him for artwork. The following year, the museum received a $ 375,000 grant from the National Endowment for the Arts (NEA) to support his new exhibition, "The Bison: The American Icon, Heart of Plains Indian Culture." The total cost of the exhibition is $ 1.5 million. Tom Phelps of NEA called the show "a nationally significant exhibition". The following year, the NEA gave the museum another $ 50,000 stimulus fund to cover a severe shortage in terms of visitors. In March 2011, John "Jack" McDowell Hoover contributed three works by Russell and one of Seltzer's works to the museum. Russell's three works are: "The Lone Wolf" (1900), a large oil painting depicting solitary wolves in the plains; "The Last Laugh" (1916), a wolf bronze standing on a human skull; and "When Longest Blade Was Right" (1922), the horse riding warriors threatened the court clown with a sword. The C.M. The Russell Museum was re-accredited in 2011 by the American Alliance of Museums for 10 years.
In 2011, the museum consists of 76,000 square feet (7,100m 2 ) galleries and other spaces, and has about 2,000 works of art, personal belongings, and artefacts associated with Russell.
Maps C. M. Russell Museum Complex
Attendance and revenue
The museum has about 19,000 visitors per year in 1953 and 1954. From 1955 to 1958, the museum witnessed about 10,500 visitors a year. Visitors increased to more than 23,000 people annually in 1963.
In 2003, the museum said that 76 percent of its visitors were non-Montanan.
In 2006, the museum's executive director said that organizational income was generated, in a more or less the same part, by annual auction events, membership payments and donations, museum receipts, museum stores, and art sales. The auction "The Russell" has sales of $ 1.35 million in 2011.
The Russell: The Sale to Benefit the C.M. Russell Museum
In 1969, Great Falls Ad Club (local private business association) and local television personality Norma Ashby organized the first Cm. Russell Art Auction. A portion of the proceeds from the original 19th and 20th Century art auctions favored the CM. Russell Museum. Over time, it evolved into a series of Western art auctions, gallery exhibitions, public exhibitions, and better known as Western Art Week. Western Art Week is now the largest genuine Western art and literature exhibition in the United States. Between 1969 and 2003, the auction grossed $ 16 million and gave $ 3,771,088 to the museum.
In 2009, the Ad Ad museum and Club split up, with the museum organizing a new auction called "The Russell: The Sale to Benefit the C.M. Russell Museum." Ad Club continues the original Cm. Russell Art Auction in 2010, but closed the auction. "The Russell" held its first auction in 2010, and had a net result of $ 605,473. The second auction was held in March 2011.
Government and staff
The Trigg-C.M. The Russell Foundation, which owns and operates museums, homes, and log cabin studios, is governed by officers and boards of directors. Currently, five officers are seats, first deputy chairman, second deputy chairman, treasurer, and secretary. There are 43 board members. (This is an increase of 27 directors and officials owned by the organization before the board's massive expansion in 2008. Board members are limited to two successive three-year periods, but may be re-elected to the council after a year has passed from the board.
The museum experienced a spate of staff changes in the 1990s and early 2000s. In February 1999, the museum's executive director, Lorne Render, resigned to take a position at a museum in Kansas after eight years of work. Dan Ewen board member resigned from the council and served as a temporary executive director from May to August 1999. But when Ewen returned to his private business, the museum hired art consultants Denver, Colorado, Thomas Maytham as executive director. Maytham served from August to December 1999. The museum curator Elizabeth Dear served as acting executive director from December 1999 to November 2000.
A new executive director, Michael Warner, was appointed in 2000 and given a one-year contract, but Warner resigned in October 2001 after he and the council agreed that nobody was happy with the employment relationship. Board member Barbara Moe agreed to serve as "acting manager" from November 2001 until a new executive director was hired.
In April 2002, the council fired the museum's old curator, Elizabeth Dear. The Great Falls Tribune, a local newspaper, reports that board members have disrupted their funding, research, and grant work. Dear And this museum was out of court for an undisclosed matter in June 2003.
The museum rented Inez Wolins as its new executive director on June 10, 2002. For the next two years almost all museum staff resigned. Wolins himself was dismissed in March 2004. Although the reason for Wolin's dismissal was not made public, the local press had reported earlier that Wolins had been forced to resign from his previous post after officials at the Samuel P. Harn Art Museum found he had no doctorate claimed.
Two months later, C.M. The Russell Museum promotes art curator Anne Morand to the position of executive director. Morand has been with the museum for only four months. Morand resigned and returned to his previous position in November 2008. Chief Financial Officer Susan Johnson was appointed as interim director. After an eight-month search, the museum hired Darrell G. Beauchamp (former director of Pearce Collections at Navarro College and former executive director of the Briscoe Western Art Museum) as his new executive director. Morand went in February 2010 to become the Curator of National Cowboy & amp; Western Heritage Museum, and was replaced in December 2010 by Sarah L. Burt, former curator at the Joslyn Art Museum.
Beauchamp resigned as executive director of the museum effective November 1, 2011, for undisclosed reasons. Due to the poor economy and significant museum fund downgrades (leading to staff cuts and museum clock reductions opened), the museum board decided not to open a search for new executive directors until the economic conditions improved. Michael D. Duchemin was hired by the museum as his new executive director, effective May 1, 2013. He had previously been head of the Arizona Historical Society's Central Arizona Division and curatorial department at the Autry Museum of American West, and the director the latest executive for the American Museum of China at El Pueblo de Los ÃÆ' ngeles Historical Monument.
C.M. The head of the Russell Museum curator Sarah L. Burt died after a long battle with cancer on April 7, 2015.
Russell's home and studio
In 1896, Charlie Russell and his new wife, Nancy, lived in a hut behind a house in Cascade, Montana. In 1897, the couple moved into a four-room rental house on Seventh Avenue North in Great Falls. In December 1899, Russell's father Charles Silas Russell gave the couple $ 500. Mary Mead Russell's farm, Russell's mother who died in 1895, was finally tried shortly afterwards, and in the spring of 1900, Russells began building a new house at the corner of 13th Street and 4th Avenue North. A friend and neighbor, George Calvert, was the possible architect and built a house for them. The two-story building has two siding boards, a saddle roof, and a wooden shingle roof. It had little exterior ornaments. The house is facing south, with gable roofs facing east and west and other projects slightly from the southwest corner of the house. The front door led into a small front hall, and the living room ran across the south side of the house. Also on the first floor there is a dining room, bathroom, kitchen, and a small maid's room in the kitchen. Some of the furniture on the first floor (like two chairs, china cabinets, bookshelves) built into the house. The steep staircase leads to three small bedrooms (under the roof) and a small bathroom on the second floor. The interior is covered in dark wood. A small exterior porch ran around the southeast corner of the house. Architectural style is in the genre of Arts and Crafts. The Russells occupied the house in the summer of 1900.
That same year, Charlie Russell expressed interest in building a log cabin studio to work. There was a lack of good logs in Great Falls at the time, but the phone service had arrived in 1890. Russell bought a large number of Western red cedar telephone poles, and built a one-room cabin from these materials. He also built a stone fireplace and a chimney on the east side of the building. The log cabin is 24 feet (7.3 m) north-south by 30 feet (9.1 m) east-west, and has a porch that runs across the south side, on top of which Russell threw many deer horns. A skylight is built into a pointy roof, and another door cuts through the northeast corner of the structure. A small storage warehouse is installed in the cabin near this door. At a point between 1903 and 1926, Charlie Russell had a roof raised by two logs to accommodate a large canvas. The inside is equipped with hand-made benches and handy benches; carpeted with buffalo and bear skin; and contains hundreds of pieces of Indian equipment and cowboys. Russell also built two bird houses outside the eastern wall.
The Trigg family house is located west of the log cabin studio, and the stables (probably shared by Russells and Triggs) exist between the two structures. Trigg's house and his palace were demolished in 1953 to build C.M. Russell Museum. The Russells also seem to build gray stone walls 2 to 3 feet (0.61-0.91 m) high in front of two properties and a set of concrete steps into the house. In the center of the wall is a concrete-shaped emblem containing Russell's characteristic (cow skull and initials). It still existed in 1976, but has since been removed.
The National Park Service noted in 1976 that the house was little changed from when it was built and remained in good physical shape. Most of the lighting fixtures, interior hardware (door handles, faucets, hinges, etc.), and doors were original in 1976. However, in 1973, the museum moved the house 50 feet (15 m) east and 50 feet (15 m) ) in the north from its original location. The museum has a wooden skeleton house, built around 1930, which was torn down to make room for Russell's home. The original back porch of the house has been removed, the house is placed on a shallow concrete footing, a pillar supported to support the fireplace and the exterior chimney, and an original warehouse in the dyed backyard.
Studio log cabins, too, have seen some changes. Nancy Russell signed an agreement with the city in 1928 to hand over the management of the log cabin studio and its yard to Great Falls. Between 1928 and 1930, the city (with the explicit permission of Russell Russell) built an L-shaped addition to the west and north of the studio to act as a gallery for Russell's artwork. In 1930, the studio was opened by him to the public as a memorial to Charlie Russell. Apart from these changes, wooden cabin interiors (in 1976) were little changed from when Russell himself used them.
Nancy Russell will bequeath both structures (but not contents) to the city of Great Falls, and the city park commission operated until 1991 (when they were submitted to the museum). Sometime before 1976, the city gave permission to the Federation of Montana Garden Clubs to furnish home interiors with period furnishings and provide guides to help people interpret the house.
Interestingly, as early as 1966 - the status of the National Historic Landmark will be given to Russell's home - the city of Great Falls actually proposes to knock down buildings to build parking lots for the museum. City mayors, other municipal officials, and some private parties all advocate undermining the structure. The Montana Historical Society, US Senator Mike Mansfield, and Montana Federation of Garden Clubs strongly opposed this action. City officials have provided various reasons to destroy Russell's house: Russells's close friend has approved the act, all the original furniture is gone, Russells not actually occupy the house for a long time, the house is fire Hazard, Charlie Russell "hates" the house, and that house " pull out "of the altered studio and non-historic museum. At one point, the city even argued that the 1928 treaty with Nancy Russell required the city to maintain a park-like appearance around the cabin - a goal that could be achieved only by destroying homes (now the museum has taken up all the grassy space in many). Although Park Service officials repeatedly emphasize their view that houses should be maintained, extensive miscommunication has caused city officials at various times over the next few years to believe that the federal government approves dismantling or approving the removal of houses. The demolition of the house was left only by the threat of legal action from the Montana Federation of Garden Clubs, which noted that the 1928 treaty requires the city to maintain both structures built by Russells. Many of the city's requests for demolition came because plans to park around the museum called for the removal of houses. Despite threats by the National Park Service to revoke the National Historic Landmark status if the house was moved, the Garden Club brokered a deal with the city where the house was moved to its current location.
After moving home in 1973, Club Clubs began updating Russell's home. The city repainted the exterior of the building, and replaced the broken window during the trip home. The Garden Club repainted and tidied up the first floor interiors, and had renewed the house. In July 1976, Garden Clubs worked hard to fix the second floor as well.
According to the National Park Service, "Looking at previous photographs shows how the settings and historic characters of the site have been changed and lost." The museum thronged the studio, while the house movement severed the relationship that the house once owned to the studio (an important element for Charlie Russell). The city and museum also removed the original concrete and rock tracks showing where the house was originally established, and the Park Service was critical of the additional changes being implemented: "The entire complex is being redesigned and landscaped with new walkways and new vegetation, which may be increasingly disguising the changes that have been made. "
When the site was granted the status of the National Historic Site in 1976, the National Park Service was very specific about what the site did and did not contain. The National Historic Landmark limit covers only three lot centers on the north side of 4th Avenue North, and nothing more. These include two original Russells owned, as well as much to the east of which the house was moved in 1973. The C.M. The Russell Museum, parks, parks and other buildings, though present in some of these places, are not historical and are not included in the National Historic Landmark and Site.
Russell's house is open from May to September, and furnished with period furnishings (some of which are owned by Russells).
The log cabin studio is currently equipped with items from the first two decades of the 1900s, some of which belong to Russell.
See also
- List of National Historic Landmarks in Montana
- List of Historic Historic Sites in Cascade County, Montana
References
Bibliography
- Dippie, Brian W. "Paper Talk": Charlie Russell's American West. New York: Knopf, 1979.
- Ewen, Mary Beth. Fifty Years, Fifty Favorites From C.M. Russell Museum. Great Falls, Mont.: C.M. Russell Museum, 2003.
- Frankel, David. Masterpieces: The Best Paintings of the Beloved From the American Museum. New York: Simon & amp; Schuster, 1995.
- Gerem, Yves. Guide Marmac to Fort Worth and Arlington. Gretna, La.: Pelican Publishing Co., 2000.
- Goetzmann, William H.; Porter, Joseph C.; and Hunt, David C. The West as Romantic Horizon: Selections From InterNorth Art Foundation Collection Presented at Kennedy Gallery, September 14 to October 2, 1981. Omaha, Neb: Center for Western Studies, 1981.
- Grants, Marilyn. Guide to Historic Virginia City. Helena, Mont.: Montana Historical Society Press, 1998.
- Lambert, Kirby. "Last Montana's Last Opportunity." Montana: The Magazine of Western History. 54: 1 (Spring 2004).
- Morand, Anne; Smith, Kevin; Swan, Daniel C.; and Erwin, Sarah. Gilcrease Treasure. Norman, Okla.: University of Oklahoma Press, 2005.
- Rostad, Lee. Bair House: Sheep, Cadillac and Chippendale. Helena, Mont.: Sweetgrass Books, 2010.
- Scriver, Mary Strachan. Bronze Inside and Out: A Biographical Memoir of Bob Scriver. Calgary, Alb.: University of Calgary Press, 2007.
- Stauffer, Joan. Behind Everyone: The Story of Nancy Cooper Russell. Norman, Okla.: University of Oklahoma Press, 2008.
- Stewart, Rick. Charles M. Russell, Sculptor. New York: Abrams, 1994.
- Taliaferro, John. Charles M. Russell: The Cowboy Artist of American Life and Legend. Norman, Okla.: University of Oklahoma Press, 2003.
External links
- Official website
Source of the article : Wikipedia
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