When the western artist George Catlin journeyed to the Southern Plains in 1834 the animal that caught his attention there was the wild horse, which covered the country in immense herds. Little known to Catlin, or to Thomas Jefferson, who longed to know about horses in their natural state, horses were so successful in the western wilds because they were original natives of North America. Eventually a trade in wild horses dominated the southern West the way the fur trade did in the North. Native people initiated the trade, Hispanics in Texas perfected the art of capture, and from 1790 into the 1850s independent American traders captured, traded for, and drove wild horses east to supply the advancing American frontier. Little known in western history because until the 1920s it lacked a corporate player, the wild horse trade was an unexpected success and mustangers a working-class phenomenon of the West.

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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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