Indian Pueblo of Laguna, New Mexico, 1905, oil on canvas, 20-5/16 x 30-1/2 in. Framed by Gill & Lagodich for the Denver Art Museum, Petrie Institute of Western Art; 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.

Salvator Rosa Sketching the Banditti, 1860, oil on canvas, 40 x 66-7/8 in. Framed by Gill & Lagodich for the Chrysler Museum of Art. c. 1860s American frame; William Schaus label; gilded applied composition ornament & sand on wood. Molding width: 8-1/8” “In the cave at the center of this rocky valley, armored highway bandits hide out with their stolen treasures, as well as their captive, the Italian Old Master painter Salvator Rosa (1615–1673). According to legend, Rosa later used sketches of these fierce brigands and their wild mountain domain as the basis for his paintings. By making this tale the subject of a large exhibition picture, Thomas Moran publicly declared his ambition to follow in Rosa’s footsteps as a painter of sublime landscape scenery.”—museum label text

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” Frame commissioned by the Petrie Institute of Western American Art, Denver Art Museum, The Roath Collection, 2013.109

Sunset, Green River Butte, 1915, oil on canvas, 10-1/4 x 12-1/4 in. Frmed by Gill & Lagodich for the Denver Art Museum, Petrie Institute of Western Art. c. 1910 American Arts and Crafts painting frame; Foster Bros. Boston makers; gilded hand carved wood, molding width: 3-1/8 in. The Roath Collection, 2013.110

Valley of the Catawissa in Autumn, ca. 1862, oil on canvas, 39-5/8" x 63-3/4". Custom-made replica of a 19th-century American Hudson River School painting frame; Neoclassical Revival style; gilded cast ornament on wood with sand panel. Molding width: 7” Frame commissioned by the Crystal Bridges Museum of American Art. “Thomas Moran painted this colorful panoramic view of trees and rolling hills after visiting the small town of Catawissa, Pennsylvania, on assignment to create illustrations for a Harper’s Monthly article about the Catawissa Railroad. Notably, in the painting, Moran rendered the valley devoid of human presence or the railroad, which should be visible in the hills. Despite the importance of the railroad as a vital element of northern Pennsylvania transportation, Moran’s artistic vision eliminated the modern technology.” —museum label text

Grand Canyon Lodge, n.d., oil on canvas, 4-5/8" x 8-1/4". Period Frame, 19th century Flemish/Dutch style reverse profile, ebonized wood frame; molding width: 3-5/8" Framed for the Petrie Institute of Western Art, Denver Art Museum; The Roath Collection 2013.108