Hughlette Wheeler

James Hughlette Wheeler (April 24, 1901 – December 25, 1955) also known as "Tex" Wheeler was an American sculptor renowned for his lifelike depictions of cowboys, cattlemen, and horses. Known as the "Cowboy Sculptor," Wheeler's work captured the essence of the American West and the spirit of the equestrian world. Some of his most famous works include a life-sized statue of "Seabiscuit" and a life sized statue of the renowned jockey, George Woolf, and statues of renowned cowboy entertainer Will Rogers.

Hughlette Wheeler
Born	(1901-04-24)April 24, 1901 Christmas, Florida, United States
Died	December 25, 1955(1955-12-25) (aged 54) Christmas, Florida, United States
Occupation	Sculptor

Early Life and Education

Wheeler was born to James and Nora Ida Wheeler, a family with pioneer roots and cattle-ranching expertise in east Orange County, Florida, dating back to Civil War times. He had only one sibling, a sister three years his junior. Tragically, their mother died when Wheeler was only five years old, leaving the children to be raised like foster children by friends and family members. Their father, described as a poor provider, largely abandoned them until they were old enough to work around the home. Despite these challenging circumstances, Wheeler's artistic talent emerged at a very young age. His teen years were spent as a cowhand in the wilds of Orange and Osceola Counties in Central Florida. During this time, he created one of his first pieces - a cow's head whittled from a cowhorn using only a pocket knife. This small sculpture, about the size of a golf ball with a loop to hold a neck bandana, showcased Wheeler's early talent, with the expression in the small cow's eyes captivating viewers.

Early Artistic Development and Recognition

At age 24 he matriculated at the Cleveland Institute of Art for sculpture, having had no prior experience but showing natural aptitude. Wheeler's artistic potential was recognized by his father's first cousin from Cleveland, Ohio. This relative offered him room and board to attend the Cleveland Art School, with tuition paid by an old maid aunt. When asked to make a flower out of a piece of clay, Wheeler instead crafted a horse so impressive that his teacher had it cast in bronze.

His work won him the Herman Matzen Scholarship for a year's study in Paris at age 24. It was during this time in Paris that he acquired the nickname "Tex," a moniker that would stick with him for life, despite his Florida origins.

One of his early pieces, "The Hard Pull," depicted a cowboy throwing his weight on the off stirrup, helping his horse keep its feet while dragging a steer out of a bog. The tension and struggle were so vividly rendered that the unseen steer became almost visible to viewers.

The proportions and positions of Wheeler's first three models were indeed so natural that one teacher declared they had no "art" in them, considering them too lifelike. However, even this criticism, which paradoxically praised Wheeler's accuracy, faded away when Wheeler returned from a visit to the Messrs. Korner & Wood with a quotation of $625 apiece for his first works. This significant valuation of his early pieces demonstrated the immediate recognition of Wheeler's exceptional talent and the commercial appeal of his naturalistic style.

His first student works were purchased by Cleveland book store owners Korner & Wood.

Critical Acclaim and Comparisons to Western Art Legends

By January 1927, Wheeler's work was gaining significant attention. The Time magazine article of January 10, 1927, which reported on Wheeler's rapid rise to prominence, noted that "Fame impended" for the young artist from Florida. This early recognition set the stage for Wheeler's long and successful career as one of America's preeminent sculptors of Western and equestrian subjects.

Time magazine reported that for two months, Clevelanders had been admiring his small white plaster sculptures of horses and men, which experts declared were superior to anything of their kind ever before produced in the United States. The subsequent bronze castings of these works marked what was described as the joint debut and triumph of the country's leading cowboy sculptor.

Wheeler's emergence came at a pivotal time in Western art. Frederick Remington, known for his paintings and models of Western plains life, had passed away in 1909. Charles Marion Russell, a Montana-based cowboy artist celebrated for his authentic depictions of ranch life, had died in 1926. In this context, Wheeler was seen as a potential successor to these giants of Western art.

Will James, a respected cowboy artist and writer from Great Falls, Montana, gave Wheeler's work a resounding endorsement. After viewing Wheeler's casts in Cleveland, James stated, "Today's the first day I've ever seen a real cowboy ridin' a real cowpony." This praise from an artist who had "seen 'em all" in terms of cowboy sculptors carried significant weight.

Wheeler's work gained international recognition when his work was part of the sculpture event in the art competition at the 1932 Summer Olympics, though he did not win a medal.

Notable Works and Exhibitions

Wheeler's sculptures gained significant recognition and acclaim. His work was exhibited at several prestigious venues, including:

• Olympiad, Los Angeles County Museum of Art (LACMA), 1932
• Ilsley Gallery (Los Angeles), 1933
• Biltmore Salon (Los Angeles), 1939
• Golden Gate International Exposition (GGIE), 1940

His works can be found in notable collections including the Amon Carter Museum (Fort Worth), Will Rogers State Park (Santa Monica), Santa Anita Park (Seabiscuit statue and George Woolf statue), National Museum of Racing and Hall of Fame, Ridgewood Ranch, the permanent collection at the Fort Christmas Historical Park, and at Pebble Hill Plantation in the Elisabeth Ireland Gallery.

The Seabiscuit and George Woolf Statues: Wheeler's Enduring Legacy at Santa Anita Park

Perhaps Wheeler's most famous and enduring work is his statue of the legendary racehorse Seabiscuit. This piece perfectly encapsulates Wheeler's artistic philosophy and meticulous approach to his subjects. Wheeler cast two statues of Seabiscuit in 1940-41 while the horseracing legend was still alive. Legend had it that Wheeler would not work with a horse he didn't like, going through painstaking observation and detail to capture his subject's personality. Seabiscuit, once considered an unmanageable nag, was described by Wheeler as a "highly satisfactory model" during their time together. Wheeler made two castings of the Seabiscuit statue:

1. The first and best-known resides in the walking ring at Santa Anita Park. Unveiled in February 1941, the revealing was attended by thousands, including Seabiscuit himself. This statue remains a staple of the track's layout to this day.
2. The second statue initially resided with Seabiscuit at Ridgewood Ranch until Charles Howard's death in 1950 led the surviving family to sell the property. It was then relocated to Binglin Stables in Moorpark, California, owned by musician Bing Crosby and Lindsay Howard, Charles Howard's son.

By the mid-1990s, the elements had taken their toll on the second statue. Kittredge Collins, the great-grandson of Charles Howard, recognized the need to preserve its integrity and donated it to the National Museum of Racing and Hall of Fame in Saratoga Springs, New York. The statue was unveiled there in June 1996.

In 2007, Chris and Anita Lowe, England-based benefactors of the Seabiscuit Heritage Foundation, funded a project to create a replica of the piece. This duplicate was toured around the country before being permanently placed at Ridgewood Ranch, bringing a version of the monument back to its original resting place along with its subject, who is buried on the property.

Following the success of the Seabiscuit statue, Wheeler created another significant work for Santa Anita Park: the bronze statue of jockey George Woolf. Sculpted in 1948, this statue stands as a testament to one of Seabiscuit's primary riders and a legendary jockey in his own right.

The George Woolf statue was erected in 1949, with an inscription on its black marble base indicating it was "Sponsored by the California Turf Writers" and "Erected by the Public." This detail highlights the collaborative nature of the project and the public's appreciation for both Woolf and Wheeler's artistry.

The presence of both the Seabiscuit and George Woolf statues at Santa Anita Park creates a lasting tribute to the golden age of horse racing, preserved through Wheeler's skilled hands. These works continue to be admired by racing enthusiasts and art lovers alike, serving as enduring reminders of Wheeler's significant contributions to both the sport of horse racing and the art world.

The Eight of Alhambra and Artist Alley

A significant chapter in Wheeler's artistic life unfolded in Alhambra, California, where he became part of a remarkable but lesser-known art colony. This colony was centered on Champion Place, a short, tree-lined street that ended in a cul-de-sac, just off Main Street where Alhambra becomes San Gabriel. This unassuming location, nicknamed "Artist Alley" or "Little Bohemia," was home to some of the most prominent names in American art during the 1920s and 1930s.

Wheeler was part of a group dubbed "The Eight of Alhambra," which included Norman Rockwell, Frank Tenney Johnson, Jack Wilkinson Smith, Eli Harvey, Victor Clyde Forsyth, Sam Hyde Harris, and Marjorie Reed. Unlike the more cohesive "The Eight" associated with the Ashcan School, Alhambra's Eight came from diverse backgrounds and worked in various art styles.

Wheeler's time in Alhambra allowed him to work alongside and learn from other distinguished artists. Frank Tenney Johnson, in particular, played a significant role in this artistic community. Johnson, considered the Western master and heir to the cowboy throne after Charles Marion Russell and Frederick Remington, had moved to Champion Place in 1926.

It's also reported that movie stars like Tom Mix, Gloria Swanson, and Will Rogers, who was a friend of several of the artists, visited the colony.

Later Years and Legacy

In 1943, Wheeler was struck by severe rheumatoid arthritis, which significantly impacted his work and health. He struggled with constant severe pain and turned to alcohol for relief. Despite these challenges, he continued to create.

Wheeler passed away on December 12, 1954, in Fort Christmas (now simply called Christmas), Florida, following a fatal heart attack brought on by his ongoing health issues. He is buried there, where his mother was born and buried, along with many of his family members dating back to the Civil War Era. His tombstone reads "James Hughlette Wheeler, Cowboy Sculptor."

Wheeler's work is considered rare and highly valued. His legacy lives on through his sculptures, which continue to capture the spirit of the American West and the beauty of equestrian life.

Willard Porter, writing in The Western Horseman magazine 15 years after Wheeler's death, summed up his impact: "Hughlette Wheeler, the cowboy-sculptor from the Sunshine State, was a genius."