William Robinson Leigh (American, 1866-1955). Rabbit Hunt, 1944. Oil on canvas. 16 x 26 inches (40.6...

Description

William Robinson Leigh (American, 1866-1955)
Rabbit Hunt, 1944
Oil on canvas
16 x 26 inches (40.6 x 66.0 cm)
Signed and dated lower right: W.R. Leigh / 1944

Property from the Estate of Norma L. Hunt, Dallas, Texas

PROVENANCE:
J. N. Bartfield Galleries, New York.

Born in 1866, William Robinson Leigh grew up in rural West Virginia, where he demonstrated a remarkable aptitude for art at a very early age. Born into a family that had lost its fortune during the Civil War, Leigh was able to attend the Maryland Institute in Baltimore at the age of fourteen, thanks to the generosity of his aunt and uncle. He excelled at the institute and left to study at the Royal Academy in Munich, where he was steeped in the techniques of academic painting. Upon returning to the United States, Leigh struggled to find his artistic voice, working in illustration and historical subjects.

While he had long dreamed of venturing into the American West to stoke his artistic imagination, the necessity of earning a living led to his decade-long work as an illustrator for the leading publications of the day, such as Collier's and Scribner's. Like his contemporary Frederic Remington, Leigh was frustrated by the constraints and lack of creativity in terms of subject matter and style that were necessary for the illustration market. His artistic breakthrough came when he entered into a mutually beneficial arrangement with the Santa Fe Railroad and traveled to the Southwest in 1906. There, he encountered a world vastly different from the Eastern cities or European art circles-a world of open plains, dramatic canyons, and Indigenous communities with deep cultural histories. Leigh agreed to paint images of the Grand Canyon and other Western subjects for use in the Railroad's advertising campaigns. During the next several years, he traveled extensively in the Southwest and throughout the West, including the Yellowstone territory of Wyoming and Montana. At each location, he spent as much time as possible painting outside, often under the shade of a large umbrella.

Leigh brought Old World techniques to New World subjects. Not only did he bring a classical precision and narrative sensibility to a uniquely American subject matter, the rugged landscapes, Indigenous cultures, and frontier life of the late 19th and early 20th centuries, but his work also bridged the romantic idealism of Western expansion with a visual realism that places him among the foremost artists of his era in this genre. His depictions of Western life, characterized by dramatic compositions, vibrant use of color, and acute attention to detail, convey the spirit of endurance and dignity Leigh saw in its people. His work helped shape popular and artistic perceptions of the West during a period of rapid cultural transformation.

Known for his extensive travels among Navajo and Hopi communities, he often sought to document their ways of life with sensitivity and respect. Rabbit Hunt, 1944, is remarkable for its dynamic composition and exemplifies Leigh's fascination with the disappearing traditions and landscapes of the American West. With a cinematic quality that engages the viewer in stories of adventure, hardship, and heroism, this masterful depiction of two Native American figures charge forward atop their steady steeds. They are frozen mid-stride, their horses captured in full motion with hooves off the ground, emphasizing the power and momentum of the chase. The raised arms of the hunters, each wielding a curved throwing stick, convey both focus and urgency. A rabbit darts across the pale sand in the distance, reinforcing the purpose of the pursuit. Leigh's ability to capture such fleeting intensity is what makes the painting sensational; viewers feel as though they are witnessing the very heartbeat of the chase. Leigh's use of color enhances the sense of drama. The desert ground is rendered in muted shades of lavender and dusty blue, suggesting the arid and unforgiving environment of the Southwest. Against this subdued backdrop, the riders' vibrant clothing stands out in fiery reds, golden yellows, and rich blues. Their adornments and movements bring vitality to the composition, symbolizing not only the energy of the hunt but also the resilience of the people who thrived in such landscapes. The bright sky, painted in an expansive blue, contrasts with the earthy tones and amplifies the feeling of vast openness, a hallmark of Leigh's western scenes.

The ethnographic dimension of the Rabbit Hunt is equally significant. The Native American rabbit hunt was an important practice that combined survival, community cooperation, and tradition. Rabbits provided a valuable food source for many tribes, especially in regions where larger game such as deer or buffalo were less abundant. Beyond food, rabbits also supplied hides for clothing, blankets, and tools, making them a vital resource in daily life. Rabbit hunts were often organized as communal events, especially in the Southwest. Hunters would form large circles or lines, driving the rabbits toward the center where they could be captured or dispatched with clubs, bows, or later firearms. This cooperative strategy ensured efficiency and emphasized the importance of unity within the tribe. For young hunters, rabbit hunts also served as training, allowing them to practice skills of tracking, stealth, and weapon use before participating in larger hunts. These hunts also carried cultural significance. In many traditions, the rabbit symbolized cleverness and resourcefulness, traits admired and told through stories and legends. The rabbit hunt was not only about sustenance but also about reinforcing values of cooperation, respect for nature, and the passing down of skills between generations. In this way, the Native American rabbit hunt was both practical and deeply woven into cultural identity.

Far more than a mere hunting scene, Rabbit Hunt, 1944 offers a vision of motion, survival, and cultural dignity. The pursuit of the rabbit becomes a metaphor for vitality, survival, and the interdependence of humans, animals, and the environment. It reflects both the lived practices of Indigenous peoples in the Southwest and the broader American imagination of the West during a transformative period in the nation's history.


More information about William Robinson Leigh. See also: Leigh, William Robinson, Leigh, William Artist.

Estimate: $120,000 - $180,000.

*Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and shall not be liable for any damage/scratches to frames, glass/acrylic coverings, original boxes, display accessories, or art that has slipped in frames. All lots are sold "AS IS" under the Terms & Conditions of Auction.