Previous "Out of Print" - Now Available
Rare Illustrations by Beeler, Moyers & Hampton

                         

Horse Tales By Ben K. Green
Cover Design: Joe Beeler
Illustrations: Joe Beeler, William Moyers & John Hampton

In “Horse Tales," famous horse doctor and humorist Ben K. "Doc" Green shares his growing-up years, telling antic and often amazing tales of horses, cattle, mules, and even people, set in the times “before air conditioning and soft children.” This classic collection, twenty years out of print, is still guaranteed to make your sides ache with laughter. Highlighted with sketches by William Moyers, John Hampton, and Joe Beeler, three distinguished members of the Cowboy Artists of America, this book is a delight to readers who love horses or simply love a good story.

This second edition published in 2008 combines, in one volume, three sets of tales previously published separately in Green's 1974 Limited Collector's Edition that was called: Ben Green Tales.

The three books included in "Horse Tales" are: "When I Was Just A Colt", "Up Fool's Hill Ahorseback", and "Beauty." Like most of Ben K. Green's books, these are groups of short stories that can be enjoyed a little at a time and don't need to be read in any particular order. The original volumes have been out of print for many years and are virtually impossible to find. They all have the flavor of real old-time cowboy wit and humor. Horse Tales is a must-have book for anyone who has enjoyed Ben K. Green's other stories.

"When I Was Just a Colt" relates revealing episodes from when the author was a small boy. The first is how he helped in the round up of his family's cattle. Among the others is how he bought his first horse from an itinerant preacher. Illustrations are by William Moyers.

Up Fool's Hill Ahorseback" relates several tales from his teenage years. Among them are a mule drive with his friend Trouble, and the sale of two palomino horses to a blonde and her husband. Illustrations are by John Hampton.

"Beauty" is a collection of stories about Ben K. Green's favorite horse. It relates how they grew up together and reads as a tribute to a dearly beloved friend. Illustrations are by Joe Beeler.

Horse Tales by Ben K. "Doc" Green $15.00

Horse Tales by Ben K. Green
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About Ben K. Green

Ben King "Doc" Green, (1912-1974) was a writer from Texas.

A unique figure in the literature of the West and storyteller, Green  captured both public and critical acclaim, and was known for his caustic wit which could be as piercing as a bullet. As a dedicated veterarian and scientist he authored several landmark publications in equine studies.

A horse trader and rustic raconteur, he was born in Hopkins County, Texas, near Cumby where his parents, David Hugh and Bird King Green, had lived several generations. At twelve years of age, Ben left home "ahorseback" and sought out wagon yards, mule barns and livery stables, a more useful education in his mind. Within a few years, Green and his family moved to Weatherford, Texas, where he attended high school, but his days as a "wild, young cowboy" buying, selling and trading stock fueled his imagination more than formal learning. As an adult he practiced veterinary medicine, though apparently without a degree.

In 1960, Green contributed several of his horse trading stories to the Tally Book, publication for the Fort Worth International Quarter Horse Jockey Club, and he determined that writing about his experiences would be his goal. Green "talked his books," as he said, telling his stories into a tape recorder and to his secretary who edited his work. "Doc," the cowboy and horse trader, wrote exactly like he talked, and his spellbinding tales which had fascinated acquaintances and strangers alike launched the writer, Ben K. Green.

While attending a meeting of the Western History Association held in El Paso, Texas, Green met a New York editor who had seen his recent story, "Gray Mules," published in the Southwest Review (Summer, 1965). From that association came Horse Tradin' (1967), the first of four books by Ben K. Green published by Alfred A. Knopf. The twenty-fifth printing in 1990 of Horse Tradin' by Knopf hailed this edition of Green's stories as a classic of Western Americana, and it is his best-known book today.

As the popularity of his stories spread nationwide, Ben thoroughly enjoyed his fan mail and the lecture circuit. Old yarn-spinner Ben K. Green, a colorful man in character and language, published eleven books from 1963 to 1974. His contemporary, writer A. C. Greene, praised Ben's stories, saying, "I think he represented the last real voice of old-time Texas in literature."

NOTE: In March 2008, school teacher, Ross Capurro from Idaho, found out the copyright was available for this book and wanted to make it available for everyone to enjoy so he had it reprinted. We are appreciative of the opportunity to partner with Ross in helping him bring this collection of classic Western Tales by "Doc" Green back to the market.

About: Joe Beeler: (1931 - 2006)

A pioneer in the field of contemporary Western art, and a founding member of the Cowboy Artists of America, Beeler has combined a lifetime of experience on the range with formal art training at Tulsa university and the Art Center School of Design in California to become one the nation’s preeminent artists working in western genre today.

Whether sitting at his easel or in the saddle, Joe Beeler has always enjoyed telling a good story and nowhere is that more apparent than through his art. A self confessed romantic, he strives to go beyond just technique and convey feeling and mood in both his painting and sculpture. While much of his subject matter is contemporary, Beeler particularly enjoys creating historical scenes. Much of his reference material comes from his personal collection of Indian artifacts, cowboy paraphernalia and an extensive library of western books.

A native of Joplin, Missouri with a hefty dose of Cherokee blood, Beeler’s keen interest in the West manifested itself through his childhood drawings, impressions he experienced while growing up in an area rich with colorful history and the enduring pioneer spirit. His professional career began in illustration at the University of Oklahoma Press. From there, he pursued a career as a full time artist.

After a stint in Korea with Uncle Sam, Beeler met and married Sharon McPherson in the summer of 1956. Back in Osage country after just a year out West, the Beelers settled in a small rural cabin where Joe struggled to paint for a living with time off daily to shoot something for supper. Tough times measure a man’s mettle. Beeler painted neighboring ranchers’ prize bulls and horses, and worked tirelessly on more meaningful pieces in the tradition of his hero, Charlie Russell. Recognition came slow, but it came, and in 1961 the Beelers left the Oklahoma hills for the red rocks of Sedona, Arizona. With new country and fresh inspiration, Beeler’s talent quickened to a gallop.

In 1965, he helped found the Cowboy Artists of America, an organization credited with much of the popularity of western art today. From that association of like-minded people flows a stream of fine art works that are eagerly anticipated and commercially successful.


About William Moyers (b. 1916)

A member and three-time president of the Cowboy Artists of America since 1968, and now a member Emeritus, William Moyers is a painter and sculptor of western subjects. At the age of fourteen, Moyers came to Colorado with his father, a lawyer, who placed him with a family of five boys on a ranch. He worked his way through high school and college as a cowboy and ranch hand, and began selling pictures of bucking horses for 25 cents each.

In 1939, Moyers graduated with a degree in fine arts from Adams State Teachers College in Alamosa and later studied at the Otis Art Institute in Los Angeles, California with E. Roscoe Shraeder, a pupil of illustrator Howard Pyle. To earn extra money, Moyers worked at Walt Disney Studios for a year on the movie “Fantasia.”

In 1943, he and Neva married. She served in the Navy and Moyers in the Army during World War II. They then lived in New York City where Moyers began to do illustration, winning an American Artist magazine competition for illustrating an Owen Wister novel. His career took off, and Neva handled the business side, although she stayed in the Navy until his success was obvious. The couple then moved to Atlanta, Georgia, where Moyers did over 200 illustration assignments. There, they had four children, two of whom are artists - John, also a member of the Cowboy Artists of America, and Charles, a sculptor.

Moyers’ work is in numerous major collections including the Gilcrease Institute in Tulsa, Oklahoma, the National Cowboy Hall of Fame in Oklahoma City, Oklahoma, the Albuquerque Museum in New Mexico and the Cowboy Artists of America at Kerrville, Texas. He has won many gold and silver medals and can be found in prestigious publications including “Cowboy in Art” by Harmsen and “Bronzes of the American West,” by Patricia Broder.

His work is highly realistic, combined with an emotional involvement with the subject, and follows the tradition of Charles Russell and Frederic Remington. “I paint what I do,” Moyers observes, “because I find the working cowboy, past and present, such a harmonious outgrowth of his whole environment. He accepts the action, weather, loneliness, and responsibilities as a normal existence. Too, there is a lot of nostalgia in it for me—a chance to recapture something of which I can no longer be a part.”

He and his wife Neva live in their home in Albuquerque, New Mexico, surrounded by the artifacts of their long life together.

About: John Hampton (1918 - 1999)

Painter and sculpture or the Old West, born in New York City in 1918 and living in Scottsdale, Arizona. “I loved old Tom Mix movies,” he remembers. “All boys are interest in cowboys, but most of ‘em outgrow it after they get practical minded…yet. I like to paint the romance of the West, not somebody getting a saddlesore or a hernia.”

After practicing roping with his mother’s clothesline in Brooklyn, Hampton won first prize in a rodeo sketching contest in 1935. He began illustrating Western pulp magazines while he was in high school and serves in Intelligence in World War II. On the proceeds of assisting Fred Harman in drawing the comic strip, “Red Ryder,” Hampton bought a small ranch near Silver City, New Mexico, and “became a one-cow cowboy,” in order to act out the life so he could draw it. The experience he gained was part of the credo of the Cowboy Artists of America helped form. He says that “it has to be a part of the recipe that to depict range life correctly, the artist had to know how to do some cowpunchin’. It’s as simple as that. And this half-breed cross between an artist and a cowboy produces a cowboy-artist.” After “we set the stage,” he observes, “young kids, today, are making a killing in Western art.”

In 1977, Hampton tried his first bronze and promptly won the gold medal at the cAA show. He now “likes doing bronzes” because he can “keep one for himself” and “the money is better than in paintings.”


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