Reapers (Harvest), 1946, oil on canvas; c. 1920s-40s American Modernist painting frame, Newcomb Macklin, New York/Chicago makers; silver-leafed hand-carved wood with original opaque polychrome finish; molding width: 3-7/8”  Painting gift from Dr. George C. Peck and Catherine M. Peck.

Trail Riders, 1964, oil on board, 10" x 12"  Custom-made replica  of first-quarter 20th century American frame; ebonized wood with  gilded liner, molding width 2-1/4” Denver Art Museum: The Roath Collection.

New Mexico (Landscape), 1926, oil and egg tempera on masonite, 20" x 26", frame restored by Gill & Lagodich, aluminum-leafed hand-carved wood.

Running Bird, 1910, watercolor, 22" x 15" Custom-made replica of early 20th-century American painting frame, gilded hand-carved wood; attr. Milch Galleries, NY maker; molding width: 3-3/4”

Wide Lands Of The Navajo, 1945, oil on canvas board, 24" x 38" Period frame, c. 1930 American painting frame, lemon-gilded hand-carved wood, reverse ogee profile, hand-carved signature verso F. COLL .WIL. DEL. sight size: 28-1/8”x 39-1/4” Molding width: 4-1/4” The Roath Collection.

Evening on the Range, before 1925, oil on canvas, 26" x 39". Period frame restoration by Gill & Lagodich: Early 20th century painting frame, metal gilded, applied composition ornament on wood, wide reeded bolection with ogee at sight edge, molding width: 3-3/4”  Painting gift from Dr. George C. Peck and Catherine M. Peck.

Black Bears, ca. 1933, oil on canvas, 50" x 50". 20th-century American Arts and Crafts frame, gilded hand-carved wood, moding width 2-1/2", restored by Gill & Lagodich.

A Successful Hunt, watercolor on paper, 14-5/8" x 9-5/16". Period frame, c. 1916 American Arts and Crafts frame, gilded hand-carved wood, cassetta profile, paper label verso, E.& A. MILCH, INC. / AMERICAN PAINTINGS/ FINE FRAMES / 108 WEST 57TH STREET; molding width:  3-1/2”

Mesa Village, watercolor on paper, 15" x 8-3/8" Framed by Gill & Lagodich in period c. 1920 American Arts and Crafts painting frame, metal gilded hand-carved wood; molding width: 3-1/2”

Wyoming Indian Group, watercolor on paper, 10-11/16" x 15-11/16"; framed by Gill & Lagodich in a Period c. 1910 American Arts and Crafts cassetta style frame, Roman gilded over wood; original patina, original condition, molding width: 3-1/2

Long's Peak, Colorado, 1870, 5-3/4" x 13", original period frame restored by Gill & Lagodich, c. 1860s American painting frame, attr. Earle Galleries, Philadelphia maker, gilded applied composition ornament and embossed paper on wood, molding width 4-1/8"

"Range Riders," 1921, oil on canvas, 30-1/4" x 24-3/16"; early 20th-century American Arts and Crafts frame; hand-carved wood, Foster Bros. Boston makers, dark wood finish with gilded sight edge; Molding width: 4-1/2”   Gift from Dr. George C. Peck and Catherine M. Peck

The Rep, n.d., oil on canvas, 24" x 34" Period frame, c. 1920 American Arts and Crafts painting frame; Newcomb Macklin, Chicago/New York makers; Roman-gilded hand-carved wood, molding width: 4”

New Mexico Recollection No. 6, 1922, oil on board, 25-1/4” x 35-1/2”. Custom-made replica of c. 1930s-40s American painting frame, notch-carved vintage wormy chestnut with polychrome wash finish, patinated gesso painted flat and bullnose liner, molding width 5” Painting: William Sr. and Dorothy Harmsen Collection 2001.455

"The Rendevous," 1928, oil on canvas, 30" x 30"; c. 1910 American Arts and Crafts painting frame attributed to Yates, Bucks County maker; lemon gilded hand carved wood, reverse cushion profile, molding width: 3-3/4”

A Friendly Encounter, c. 1925, 44" x 49"; period frame restoration by Gill & Lagodich, Early 20th-century American Arts & Crafts frame; gilded hand-carved wood, Newcomb-Macklin, New York/ Chicago makers, molding width: 2-1/2” The Roath Collection.

Guarding The Pass, 1936, oil on canvas, 16" x 22" Period Frame, 19th-century Northern European painting frame, ebonized carved wood, ogee profile with 12-karat gilded slip. Denver Art Museum: The Roath Collection. 

The Trail Boss, 1920, oil on canvas, 30" x 20-1/2" Custom-made replica c. 1915-20 American Arts and Crafts painting frame; metal-gilded hand carved wood; gentle ogee reverse profile; molding width: 4-1/2”

Indian Pueblo, Laguna, New Mexico, 1905, oil on canvas, 20-5/16 x 30-1/2 in. Custom-made replica c. 1890s American gilded oak frame, gilded cast ornament on wood, molding width: 6-1/2 in. “Created from Moran’s memories and sketches, this painting encapsulates multiple layers of Southwest history. In the foreground, women of the Pueblo of Laguna bake pots with traditional techniques used for centuries by the people who lived in the region. Pueblo architecture occupies the middle ground of the painting and leads the eye to a Spanish Mission church on the right. Spanish colonists were the first to bring the tradition of retablos, small paintings that show devotion to holy figures associated with the Catholic Church, to the Americas.” —museum label.

Snowy Mountain Range (Path of Souls, Idaho), 1896, oil on canvas, 15” x 27”  Custom-made replica, c. 1880s American painting frame; gilded applied composition ornament with gilded oak panel; molding width: 5-1/4”

Grand Canyon Lodge, after 1896, oil on panel, 4-5/8" x 8-1/4".  Period Frame, 19th century Flemish/Dutch style painting frame, reverse profile, Molding width: 3-5/8"  The Roath Collection

Sunset, Green River Butte, 1915, oil on canvas, 10-1/4 x 12-1/4 in. c. 1910 American Arts and Crafts painting frame; Foster Bros. Boston makers; gilded hand carved wood, molding width: 3-1/8 in. Painting: The Roath Collection, 2013.110

Desert Clouds, after 1930, oil on canvas, 28" x 32" Custom-made American Primitivist frame, hand-carved mahogany, gilded liner; molding width: 5-1/2” Denver Art Museum: The Roath Collection, 2013.122

“In the Enemy's Country,” 1921, oil on canvas, 24 x 36 in. Period frame, c. 1910 American Arts & Crafts frame, Newcomb-Macklin makers, hand-carved wood, original Roman-gilded finish, molding width 5-3/4 in. “Russell tried to keep himself separate from modernization as it crept into Montana, and he lamented the loss of the heroic Old West. His primary interest in art was the celebration of what he called “The West That Has Passed.” The scene in this painting is imaginary, inspired by a nostalgic vision set well before Russell’s time. To make the image look and feel real, Russell relied on his personal experience and observations from his early years in Montana. He also made annual trips to Indian reservations in Montana to brush up on his techniques and refresh his imagery. Russell’s paintings often bear evidence of a story—hints about what might have happened before or what might follow. When this painting was first exhibited, it was described as a group of Kootenai Indians crossing into another tribe’s territory to hunt buffalo. Because they have entered a hostile area, the Kootenai must travel carefully to avoid conflict. The men walk beside their horses and place buffalo hides, fur side up, on the horses’ backs. When viewed from a distance, the group looks like a small band of buffalo, which kept them from being bothered.” —museum label. Painting Gift of the Magness Family in memory of Betsy Magness

New Mexico Still Life, 1919, oil on board, 21” x 25” Custom-made replica of an early 20th-century American Arts and Crafts painting frame; Philip N. Yates, attr. PA maker; pale 18-karat-gold leaf over red bole on hand-carved wood. Gentle reverse profile, molding width: 5-5/8”

A Wanderlust Memory, c. 1912, 36-3/4" x 36-3/4" Period frame, Roman-gilded hand-carved wood, restored by Gill & Lagodich,