Title is The Hat X Camp General Roundup The Big Dry. 12" by 25" framed. Provenance: Jack Coffrin Collection. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Title is Henry Tunis on his Favorite Mount. 14 3/4" by 16 3/4" framed. Provenance: Lockwood's Midwestern Galleries. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Title is The Old Cow Camp. 15 1/4" by 20" framed. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Title is Pompey's Pillar. 15" by 16 3/4" framed. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Title is Horse Roundup in the Lame Deer Hills. 13 5/8" by 23 3/4" framed. Provenance: Jack Coffrin Collection. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Title is Throwing Rangers to the Roundup. 14 5/8" by 25" framed. Provenance: Connie & Harry Lockwood Fine Art. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Title is Working on a Little Bench in the Hills. 16 1/2" by 19 1/2" framed. Provenance: Lockwood's Midwestern Galleries. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Title is Putting on a Hackamore. Silver Gelatin Photo from the Bow Gun Series. 8 1/2" by 9 1/2" framed. Provenance: The Collection of Thomas Minkler. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Chief Two Moons Lodge Lame deer Agency Montana. 9 1/2" by 11 1/2". Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Chief of the Sioux who surrendered to George Miles at Fort Keogh. Miles City Montana Territory. 4 1/4" by 6 1/2". Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
7" by 11" in matte. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated. Today, he is considered one of the West's most famous frontier photographers.
Laton Anton Huffman Montana, (1854-1931) Jerk Line Twelve on the Old Freight Road photogravure Framed, along bottom '#383 Jerk-line twelve on the old freight road, Neg print copyright by L. A. Huffman Milestown 1883'
Title: “Jerk-line Twelve On The Old Freight Road”. Not Original. Frame Is In Good Condition. The Frame Measures Approximately 12in X 14.25in; Image Measures Approximately 7.5in X 10.5in. Nr12711 Eds
LA Huffman Native American Photo Plate Set Collection of five ceramic oval platters from the Westernware series featuring reproductions of photographs by renowned frontier photographer L.A. Huffman (1854–1931). Executed in sepia and color tones against white glazed ceramic.
Laton Anton Huffman Montana, 1854-1931 Jerkline 12 on the Old Freight Road 1883 photogravure Framed, along bottom '#383 Jerk-line twelve on the old freight road, Neg print copyright by L. A. Huffman Milestown 1883'. On the verso from Coffrin's Old West Gallery, INC certificate this gravure was made in the 1910-1920 period.
THE OLD L.U. BAR COW CAMP, BUILT 1884, circa 1900-1910, gelatin silver print, signed lower right in image in ink, artist’s stamp on the verso, sheet 8 ¾ x 18 ½”. Provenance: from the collection of Susan and G. Ray Hawkins.
Laton Anton Huffman Montana, 1854-1931 (2) Works and Book; Sioux Urchins and Montana Man Hunters, The Frontier Years photogravure and book Both gravures framed. From the Gallery of Western Photography, Columbia, MO. The Frontier Years by Mark H Brown and W. R. Felton. Numbers 76 and 93 in the book.
Laton Anton Huffman Montana, 1854-1931 Buffalo Grazing in the Big Open, North Montana, 1880 photogravure Framed. From the Gallery of Western Photography, Columbia, MO. No 21 in the book The Frontier Years by Mark H Brown and W. R. Felton. Notes from LAH 'wild buffalo quietly grazing on the prairies of Northern Montana. This photograph was taken in the country between the Yellowstone and Missouri Rivers.'
Laton Anton Huffman Montana, 1854-1931 Jerkline Twelve on the Old Freight Road photogravure Framed, along bottom '#383 Jerk-line twelve on the old freight road, Neg print copyright by L. A. Huffman Milestown 1883'. From the Gallery of western Photography, Columbia, MO. No 83 in the book The Frontier Years by Mark H Brown and W. R. Felton; notes from LAH 'This is a characteristic jerk line team of twelve horses on the old toll road [ on the north bank of the Yellowstone] between Billings and Miles City.
Laton Anton Huffman Montana, 1854-1931 The Roundup Breaking Camp, 1904 photogravure Framed. Bottom of the image is marked: 176 The Round-up Breaking Camp, Negative, Print and Copyright by LA Huffman Miles C Mont 04. From The Gallery of Western Photography, Columbia, MO. No 97 in the book Before Barbed Wire by Mark H Brown and W. R. Felton; notes from LAH this was at "the head of Squaw Creek between Tongue River and Powder River. A Cowboy is trying to hold a rearing horse that after the image broke free and fell on the buggy tongue breaking it. Frank Murphy and Ed Phillips fixed it with a rawhide." The book accompanies this lot.
Laton Anton Huffman Montana, (1854-1931) Buffalo Grazing, Larger Herd photogravure framed, signature lower right. From the Gallery of Western Photography, Columbia, MO. No 23 image in the book The Frontier Years by Mark H Brown and W. R. Felton; notes this photo would likely have been taken in the smaller valleys or in the high plateaus between Yellowstone and the Missouri Rivers
AFTER LATON ANTON HUFFMAN (1854-1931). Two vintage "collotype" prints reproduced by Jack Coffrin of Coffrin's Old West Gallery (1965-1980). 1.) "Buffalo Running." 10 1/8" x 19 1/2." Overall good condition; crease at upper right margin. 2.) "Evening at the Roundup." 8" x 14." Good condition.
Featured in this lot is this albumen print called "The Round-Up breaking camp" originally photographed in 1904 by Laton Alton Huffman born in 1854 died in 1931. The photograph features a wonderful scene of cowboys at cow camp getting horses broke for the days work with a chuck wagon and stove tent by the waters edge. The bottom of the albumen print is marked as follows: 176 The Round-up Breaking Camp, Negative, Print and Copyright by LA Huffman Miles C Mont 04 - (and shows a barely recognizable symbol in the bottom left hand corner. The condition of this L.A. Huffman Miles City, Montana is well preserved with no obvious signs of damage to the negative print and only shows slight wear tot he wood frame but otherwise is in well preserved condition. The measurements of this framed negative print is 9 3/4" x 12" The visible artwork measures 8 1/2" x 10 5/8". The collective weight 1lb 4oz.
Featured in this lot is this photogravure called " The Custer Battlefield" by American photographer Laton Anton Huffman born in 1854 and died in 1931. The photogravure image shows the battlefield of Custer Last stand and shows a plethora of horse bones in a dead pile on the higher plains. The photogravure is marked in the bottom left hand corner as follows: L.A. Huffman - 1913. The condition of this L.A. Huffman photogravure is well preserved with no obvious signs of damage to the photogravure and shows a well preserved overall condition. The measurements of this photogravure is 14" x 11" and the photogravure proper measures 6 3/4" x 7 1/8". The collective weight of this photogravure is U4oz. Provenance: From the John Kleinschmidt collection which was on loan to the C.M. Russell Museum from 1987 to 1993 and included in the "The Cowboy West: 100 Years of Photography 1992-1993 exhibit.
(1) 'The OW Ranch on Hanging Woman Creek'. Ca. 1890. Gelatin silver print, 15.1 x 19.3 cm. Titled in manuscript along bottom, w. Huffman's blindst. in lower left corner. Mounted on thick paper and tipped-in under passe-partout. (2) Sheep at Big Dry Creek, Montana. Ca. 1885-1890. Collodion emulsion print on paper, 11.6 x 19.9 cm. 'Copyright by Huffman, Miles.Mont.' and '304' in the negative, lower left corner. Mounted on thick paper and tipped-in under passepartout. (3) Sheep ranchers. Ca. 1890. Collodion emulsion print on paper, 10.9 x 15.6 cm. Handwritten notes on verso of all passe-partouts. All in very good condition. (total 3) *L.A. Huffman is renown for his photographs depicting 19th century life in the American West. Based in Eastern Montana, Huffman documented cowboys and ranching, Native Americans and buffalo hunting.
Ca. 1880. Collotype, 18 x 35.5 cm. Signed 'L.A. Huffman' in lower right corner; '107' in the negative in lower left corner. Mounted under passepartout. Handwritten notes verso passepartout. Excellent condition. *Huffman is famous for his photographs that document late 19th century life in eastern Montana. His subjects include cowboys and ranch life, Native Americans and buffalo hunts. His photos of buffaloes and bison hunting taken between 1880 and 1883 are some of the few that exist and are among the most historically significant images he produced. Due to overhunting, the majority of large buffalo herds had vanished by the 1890s, and the species was on the brink of extinction.
Ca. 1900. Collotype, 18.2 x 51.2 cm. Copyright 'L.A. Huffman' in the plate. A panoramic view of a cattle drive. Tipped-in under passe-partout. Excellent condition. *L.A. Huffman is renowned for his photographs that capture 19th-century life in the American West. Operating from Eastern Montana, Huffman chronicled cowboys, ranching, Native Americans, and buffalo hunts. His most comprehensive and complete work pertains to the cattle industry and its related activities.
Western American -- Montana HUFFMAN, L.A. (1854-1931), photographer. After the Chase, Smokey Butte, Montana. Miles City, MT, 1880. Signed in ink. 8 x 10 in. hand-colored colotype with hand-inked title and copyright of Huffman. Between 1880-1883, Huffman took a series of images of some of the last buffalo hunts in North American. By this time the great northern and southern herds were nearing extinction, and Huffman's striking views served as a call to arms for conservationists. This hand-colored scene, showing three bison and the horses of the hunters on the frozen prairie was a reminder of what had been and what would never again be. This lot is located in Cincinnati.
LAYTON A. HUFFMAN (1879-1931) Mrs. Bad Gun, Cheyenne Sqaw * Scorched Lightning (Assiniboine), member of the Sioux nation. Together, 2 photographs. Silver prints, the images measuring 5½x3⅞ inches (14x9.8 cm.), each with Huffman's credit, location Miles, Montana, and inventory number in the negative, and the partial title in pencil in an unknown hand on verso. Circa 1890s; printed circa 1910 WITH--Christian Barthelmess (1854-1906), Young Cheyenne in War Costume, view of young Medicine Bear and unidentified man seated in front of studio backdrop. Silver print, the image measuring 8x6 inches (20.3x15.2 cm.), with Huffman's credit and inventory number in the negative, and Barthelmess' credit in pencil in an unknown hand on verso. 1890; printed circa 1910 Provenance: Sotheby's New York, Sale 4175, lot 64, 1978; to the Present Owner
Title is Going to the Roundup. 8 1/4" by 4 3/4". Appears to have original frame tag titling it Old Powder River Days The Roundup on the Move. Tag is dated 1893. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated.
Title is Buffalo Grazing the Big Open, North Montana 1880. 10" by 20". Collotype. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated.
Original hand signed in pencil photo. 9 1/8" long, 22 1/2" wide. Title is Round Up at Work Sand Flats of Big Dry Montana, August 1900. Laton A. Huffman (1854 - 1931) was active/lived in Montana. Laton Huffman is known for National park photography, western settlement themes. Laton A. Huffman was born on October 31, 1854 on the family farm near Castalia, Iowa. Like Charles M. Russell (1864-1926), he didn't like school, but loved reading western adventure books. In the spring of 1878, he moved to Moorhead, Minnesota to apprentice with Frank Jay Haynes (1853-1921) who eventually received acclaim as the official photographer of Yellowstone National Park. Huffman was hired in 1879 as the official photographer of Fort Keogh, near Miles City to replace Stanley J. Morrow (1843-1921). Morrow was one of the first to extensively photograph the Custer Battlefield. By 1883, Huffman was a well known and respected regional photographer when he published his newest catalogue titled Huffman's Latest Yellowstone Park Views, Indian Portraits, Miscellaneous Mountain Views and the Only Choice Hunting Scenes Published. The catalog listed 160 subjects taken from more than 300 negatives that he had acquired. Some of the photographs made their way into Russell's personal collection. Huffman's photographs caught the eye of many famous painters including Frederic Remington, Charlie Russell, and Ed Borein. Remington's ability to portray the West from such a distance was achieved by his use of photographic images that were taken out West and used as references in some cases, and essentially copied in others, to complete his work back in New York. The illustrations that made Remington famous were painted for a series authored by Teddy Roosevelt in Century Magazine in 1888. Both Roosevelt and Remington visited with Huffman in Miles City when they passed through town. Remington's illustrations such as The Mid-Day Meal and Branding a Calf were based directly on Huffman photographs with no attribution to him. Even Charlie Russell relied on some of his friend's photographs to complete his paintings. One of the earliest examples is Russell's Searching For the Brand completed in Ralph De Camp's studio in Helena. The most noted is Russell's famous 1900 watercolor, Scattering the Riders, a morning scene where the cowboys are receiving their orders for the day. The piece in composition was similar to Huffman's Telling Off Men for the Circle. After the turn of the century, Russell relied less on Huffman's images, but even The Roundup was inspired by Huffman's roundup scenes as noted by Brian Dippie in Looking at Russell: "His 1913 oil, The Roundup, seems almost photographic, more reminiscent of Huffman's panoramic views of the roundups, for example, than Russell's usual roping pictures precisely because it provides an overview of the subject that de-emphasizes the individuals in it." It is worth comparing Russell's artistic expression with the early photographers such as Huffman. Russell, the romantic, presented an idealized West in full color filled with noble Indians and heroic cowboys living harmoniously under the "Big Sky." His best known works were completed nearly thirty years after arriving in Montana, and while more accurate than any other Western painter of the era, he often painted the imagined West. On the other hand, the early photographer's most important works were recorded within the first few years after they arrived out West. They were a pragmatic group making a living anyway they could from studio portraitsIndians, cowboys, prominent citizens, children, pets, soldiers, and whoever could payand outdoor scenesscenic wonders, railroads, mining, downtowns, famous buildings, wildlife, hunting and herds, to name a few. One of the most lucrative jobs was commissions from wealthy ranch owners and stockmen to have their ranches and roundup crews photographed. Photographers could be seen all over Montana riding their trusty steeds with camera and tripod in hand for miles out to remote sites for their work. They captured the real West in all its glory until civilization put an end to it. L. A. Huffman spoke for all western photographers and Charlie Russell when he eloquently and poignantly lamented: Kind fate had it that I should be Post photographer with the army during the Indian campaigns close following the annihilation of Custer's command. This Yellowstone-Big Horn country was then un-penned of wire, unspoiled by railway, dam, ditch. Eastman had not yet made the Kodak, but thanks be, there was the old wet plate, the collodian bottle and bath. I made photographs. With crude home made cameras from saddle and in log shack, I saved something. Round about us the army of buffalo huntersred men and whitewere waging the final war of extermination upon the last great herds of American bison upon this continent. Then came the cattlemen, the "trail boss" with his army of cowboys, and the great cattle roundups. Then the army of railroad builders. Thatthe railwaywas the final coming. One looked about and said, "This is the last West." It was not so. There was no more West after that. It was a dream and a forgetting, a chapter forever closed. In December 1931, Huffman and his wife Lizzie traveled to Billings, Montana to be with their daughter Ruth, for the holidays. Three days after Christmas, on a chilly morning, Huffman headed down to the Billings Commercial Club to read and visit with friends. As he headed up the steps from the street, he had a heart attack and died quietly minutes later. Like so many artists that died during the Depression years, Huffman was soon all but forgotten. He had an amazing life obscured at the end by hard times, but eventually his photographic legacy would be fully appreciated.
Title: Throwing Rangers to the Round-up, Big Dry, Montana Dimensions: 15 1/4 x 29 5/8 Framed Dimensions: 30 5/8 x 40 3/4 x 1 1/4 Signature: signed and dated lower left: Copywrighted 1907 By L.A. Huffman, Miles, Mont.
Title: Hot Noon Beside the Round-Up Camp Dimensions: 19 1/2 x 29 5/8 Framed Dimensions: 30 5/8 x 40 3/4 x 1 1/4 Signature: signed and dated lower left: Copywrighted 1907 by L.A. Huffman, Miles, Montana
Laton Alton Huffman (1854-1931) - Old Time Lambing Camp, Powder River Montana. Framed dimensions 14.75" x 19", unframed dimensions 7" x 12". Writing and Signature L.A Huffman Hand-colored by Huffman.
Laton Alton Huffman (1854-1931) - Buffalo Montana Prairie. Framed dimensions 12.5" x 18.5", unframed dimensions 7" x 14". Signed and Titled by Huffman.
Laton Alton Huffman (1854-1931) - Sunrise on the Old Indian Creek Trail. Framed dimensions 14.5" x 19.5", unframed dimensions 7" x 11.5". Frame has U.V protection.
Laton Alton Huffman (1854-1931) - The Round-Up at Work, Big Pumpkin Creek Montana. Framed dimensions 20" x 32.5", 10" x 24" unframed dimensions. Writing in L.A Huffman's hand and has Huffman signature.
PHOTOGRAPHY: Laton Alton Huffman, Vic Stevenson, etc., three early framed photographs, American, late 19th/ early 20th C., including: Laton Alton Huffman (American, 1854-1931), "Cutting Out a Steer", c. 1910, sepia-toned collotype, image of an African American cowboy at center, several small tears and creases, 3/4" tear at top edge, image size: 7" h. x 12" w.; silver gelatin print of buffalo on the open prairie, signed in pencil on mat "T/set Vic. Stevenson", appears to be laid down, ss: 10 1/4" h. x 13" w.; image of "Mission San Juan Capistrano", c. 1870's, ruins of Franciscan Mission that endured the 1812 earthquake, ss: 9 7/8" h. x 12 3/4" w., all pieces framed under glass, none examined out of frame, all with wear consistent with age.
This is an original circa 1882 L.A. Huffman oversized stereoview photograph No. 347 The Monarch of the Mountains showing an impressive Elk from the Francoise Perriot collection. Laton Alton Huffman (1854-1931) was one of the most notable Montana photographers who was known for his capturing the Frontier and Native American life. L.A. Huffman arrived in Miles City, Montana Territory in December of 1879. Being only 25 years old he came seeking the recently vacated position of post photographer at nearby Fort Keogh, a military post established after the Custer incident in 1876 providing a military presence in eastern Montana. This piece shows an oversized stereoview card on hard cabinet card stock. The card is marked, L. A. HUFFMAN, PUBLISHERS, MILES CITY, MONTANA. on either sides of the card and at the bottom, YELLOWSTONE PARK VIEWS, INDIAN PORTRAITS AND CHOICEST PICTURES IN GREAT VARIETY. APPLY FOR CATALOUGUE. In the image marked, 347-The Monarch of the Mountains. This image is in the Montana State Library collection as, The Slain Monarch of the Mountain, noted as circa 1882. The image shows a freshly killed Rocky Mountain Elk with massive trophy size an the pack horses in the background. Provenance: From the personal collection of Francoise Perriot (Françoise Perriot), noted historian author of the West and Native Americans. Perriots published works include such books as Les Indiens et La Nature (Indians and Nature) 2017, La Conquête du Far West (The Conquest of the Wild West) 2007, Les Indiens d'Amérique du Nord (North American Indians), Guide Bleu : Etats-Unis Ouest Americain (Blue Guide: United States West America). This piece and others come from her time collecting in Montana and the West, her book Les Indiens et la nature is one of the most notable in France documenting photographs of the west. Measures 7 by 4.
This is an original circa 1878-1881 L.A. Huffman oversized stereoview photograph No. 154 Old Govt Trail Badlands from the Francoise Perriot collection. Laton Alton Huffman (1854-1931) was one of the most notable Montana photographers who was known for his capturing the Frontier and Native American life. L.A. Huffman arrived in Miles City, Montana Territory in December of 1879. Being only 25 years old he came seeking the recently vacated position of post photographer at nearby Fort Keogh, a military post established after the Custer incident in 1876 providing a military presence in eastern Montana. This piece shows an oversized stereoview card on hard cabinet card stock. The card is marked, L. A. HUFFMAN, PUBLISHERS, MILES CITY, MONTANA. on either sides of the card and at the bottom, YELLOWSTONE PARK VIEWS, INDIAN PORTRAITS AND CHOICEST PICTURES IN GREAT VARIETY. APPLY FOR CATALOUGUE. In the image marked, 154-OLD GOVT TRAIL BADLANDS. This image is in the Montana State Library collection as, Old government trail, Badlands. Toll road Yellowstone Hill East, Kennedy built and operated 1878-1881. This shows the towering rocks of the Badlands with a horse drawn wagon riding up a canyon at the Old Government trail. These oversized large original photograph stereoviews by L.A. Huffman are uncommon. Provenance: From the personal collection of Francoise Perriot (Françoise Perriot), noted historian author of the West and Native Americans. Perriots published works include such books as Les Indiens et La Nature (Indians and Nature) 2017, La Conquête du Far West (The Conquest of the Wild West) 2007, Les Indiens d'Amérique du Nord (North American Indians), Guide Bleu : Etats-Unis Ouest Americain (Blue Guide: United States West America). This piece and others come from her time collecting in Montana and the West, her book Les Indiens et la nature is one of the most notable in France documenting photographs of the west. Measures 7 by 4.
Laton Alton Huffman (1854-1931, USA), "Cheyenne Chief Two Moon at Ft. Keogh, 1879", original gravure, marked on right corner, framed, guarantee of authenticity mounted to back sight: 9.5 x 7.5 in., frame: 15.5 x 13.5 in. We happily provide seamless shipping services on everything we sell. Please email us at shipping@vogtauction.com or call 210-971-5750 for more information.
Laton Alton Huffman (1854-1931) A Native American camp by a body of water Black and white collotype on paper From the edition of unknown size and date Appears unsigned Sight: 22.5" H x 34.5" W Two Native American horse riders Black and white collotype on paper From the edition of unknown size and date Appears unsigned Sight: 19.5" H x 29.5" W A Native American horse rider in a landscape Black and white collotype on paper From the edition of unknown size and date Appears unsigned Sight: 22.5" H x 34.5" W 3 pieces Notes: These works previously hung in the Browning, MT office of Robert Scriver, a sculptor and scholar of Blackfoot Indian culture and history.
Two Native American Portraits: a) Wolf Voice, Gros Ventre man, by Laton Alton Huffman (1854-1931), originally made c. 1890's, this print appears to be a mid 20th Century reprint based on the stamp on the reverse. Print marked "Huffman Photo Miles Mont 'Wolf Voice' Gros Ventre" and "9-14" along bottom edge. 8" x 10", unframed. b) Spies on the Enemy, by FA Reinhart, Omaha. Vintage mid 20th century reprint, in thick old oak frame. 17" x 13", framed to 22" x 16"
Offered in this lot are three 1880 framed, colored L.A. Hoffman photograph prints. They are "Young Cheyenne Woman & Baby", "Cheyenne Boy", and "Buffalo Grazing". On the back of two of the prints are pieces of provenance, giving history of "The Huffman Pictures" and information on two of the particular subjects. Laton Alton Huffman 1854 1931 was an American photographer of Frontier and Native American life. Born in Winneshiek County, Iowa, he spent most of his life photographing the area around his Montana home. Having initially worked at Fort Keogh, he started to sell prints of his glass plate negatives. In 1976, he was inducted into the Hall of Great Westerners of the National Cowboy & Western Heritage Museum. The frames on these pieces have some minor damage, but the prints appear to be in good condition.
Laton Alton Huffman (1854-1931, Miles City, MT) Two works "Cheyenne Chief Two Moon - Fort Keogh - 1878," 1913 Black and White Photograph on paper under glass Sight: 9.75" H x 7.75" W Stamped lower right: L.A. Huffman, with the artist's stamp containing the copyright symbol and the printing date Horses and cattle in and near a stream Black and White Photograph on paper under glass Sight: 7.25" H x 9.75" W Stamped lower right: L.A. Huffman Provenance: Private Collection Palm Springs, CA
Included in this lot is a framed collotype of 'The Old LU Cow Camp' by L.A. Huffman, from 1884. Laton Alton Huffman (1854- 1931) was an American photographer of Frontier and Native American life. He is most known for his photographs of Cowboys and Native Americans. This collotype displays the old LU (LU Bar) Cow Camp based in northern Montana. Underneath the collotype is a plaque marked "The Old LU Bar Cow Camp L.A. Huffman Collotype 1884". The collotype is expertly placed into a wooden frame. The collotype is in excellent condition, showing no signs of damage. The frame measures 25" by 15 1/2".
