When Lewis & Clark saw the West in the first years of the 1800s it still preserved the healthy biodiversity of Native-managed ecologies in place for 10,000 years. Within thirty years, everything had changed. Americans arrived in the West with religious traditions that taught animals were created solely for human use. And they introduced an economic system that made western animals commodities in a global market, an economy that snagged Native people in the trade and created the first American millionaires. By 1840 ancient western ecologies evolved around sea otters, fur seals, beavers and many other species were collapsing in both the interior and on the coasts. For some the period produced romantic figures like the mountain men. Witnessing such destruction, however, even some of their peers saw the casual loss of the ancient West very differently.

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Landscapes, wildlife, and Native people dominated the fascination with the early American West, but imagining that world is not easy. Fortunately, two talented and committed painters, one American and one European, left the future a rich and varied body of “Time Machine Visuals” of the Missouri River West in the 1830s. George Catlin was a Pennsylvanian whose life’s work was to be the historian of Native people. Catlin was a Romantic who believed preserving the West’s landscapes, animals, and Indian peoples was essential to the future. Karl Bodmer was the supremely talented painter on a Prussian prince’s 1833-4 journey up the Missouri, whose marvelous paintings have enabled modern Native people and Hollywood to re-discover the early West. Both men are celebrated now for their visual portrayals of a lost world.

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Despite an ancient Native inhabitation and recent European settlements and forays around the perimeter of the West, in the early 19th century much of the interior West was still a place of conjecture, rumor, and mystery. What was out there? What kind of never-known phenomena did the West hold? For the brand-new United States and its Indian Agents, winning the western tribes with trade was essential geopolitics. But as happened with John Colter’s “Hell,” the future Yellowstone Park, those traders often returned with accounts that were hard to believe. Like Colter and in the same years, a trader named Anthony Glass in the southern West convinced the Comanche and Wichita Indians to reveal to him an astounding western mystery that excited the Southwestern frontier for three decades. Hauled to civilization, it would stand as one of America’s most intriguing contributions to global science from the early West.

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