This sketch, based on a copy Miller made of the original Stewart sketch (CR# 150A) is entirely typical of Miller’s late watercolors and perfectly encapsulates his stylistic evolution.
All of the original features of the Stewart sketch and the copy (CR# 150) are present. We see the two trappers (replacing Stewart and Antoine in the original) located in almost exactly the same place, relative to the sheet, and in the same poses. A rock outcropping frames the right and mountains to the left in each version. And in the distance, we see the outlines of the enemy in pursuit.
In the Walters version, however, everything is embellished and brought to a higher level of completion. Instead of a single pine tree sketched in black, we see a cluster of spiky pines, their green needles cloaking spiky branches. The trunks of the trees are clearly articulated and highlighted with white to show their rough bark. The contours of the mountains at the left are softened and covered with foliage, and there is a variety of plant life visible in the foreground, along with a small pool of water at the lower right. Miller also activates the surface with heavier, longer fringe on the trapper’s clothing, thicker manes and tails, and longer hair blowing behind the fast moving riders.
In keeping with the style of the watercolors, Miller’s accompanying text also embellishes on the original. Not only does his text identify the enemy as Blackfeet, but Miller now identifies one of the trappers as Black Harris.
Lisa Strong
