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Ten ‘Must See’ South Dakota Paintings

Color, imagery, and composition are important in art, but South Dakota artist Harvey Dunn believed that paintings should make people think.”In making a picture, you should excite interest, not educate,” he once said.

Some of America’s great art hangs in public buildings and museums in South Dakota. Here are 10 that every South Dakotan should see. Some are immensely popular images that hang as prints in thousands of living rooms. Others are lesser known. All were painted by top artists, though some are now nearly forgotten. One of our Top Ten fills an entire gallery; another is the size of a magazine page.

We chose the Top Ten in part by crass standards like popularity and commercial value, but we gave special emphasis to Harvey Dunn’s criteria: they excite interest. Visit our museums in your travels and judge these treasures for yourself.

Cyclorama, by Bernard P. Thomas

The Dahl Arts Center, Rapid City


Rapid City’s greatest tragedy gave rise to its most impressive work of art. After the devastating Rapid City flood of 1972, prominent banker Art Dahl wanted to re-energize his community. He promised to pay for a new art center on the site of a condemned city auditorium, but only if it included a mural by Bernard Thomas, one of Dahl’s favorite artists. The subject: American economic history.

Thomas was a Wyoming native who studied art in Los Angeles and Paris. He became famous for his paintings of Western life, and was known for immersing himself in his work.”I slept on the ground alongside the outfit’s top hands,” he once said.”I heard their stories of wilder days, and I’m the one who believes the artist who has lived it is the one who can put the right feel in his work. Nothing gripes me more than a Western illustration done by an Eastern illustrator who doesn’t know straight up about the West.”

He tackled the Cyclorama with similar gusto. Thomas labored 455 days on the mural, which stands 10 feet high and 180 feet around. It became the centerpiece of the Dahl Arts Center when it opened in 1974.

Town residents got to watch Thomas’ masterpiece unfold.”Many people in Rapid City had never seen an artist work,” says Darla Drew Lerdal, former assistant director of The Dahl.”People would bring their children and grandchildren and Thomas would let them watch for hours at a time.” As a result, many Rapid Citians became models and were painted into the Cyclorama. Thomas included Dahl’s grandparents as European immigrants and painted himself as a World War II soldier.

Special lighting and a 10-minute narration add to the experience of seeing one of three cycloramas left in the United States.

Woman With a Shawl, by Frank Ashford

Dacotah Prairie Museum, Aberdeen

For centuries people have wondered who is the mysterious woman depicted in Leonardo Da Vinci’s Mona Lisa. Aberdonians have their own artistic mystery. Frank Ashford’s 1920s painting of a beautiful, unknown woman still has people guessing her identity.

Ashford was born in Iowa in 1878 but grew up at Stratford, east of Aberdeen. He attended art school in Chicago, Philadelphia and New York before establishing himself in Paris in 1907. When World War I broke out, he returned to New York. During his career he set up studios from coast to coast, but eventually settled in Aberdeen.”He went where he had a big commission, established a studio and just painted prolifically,” says Lora Schaunaman, curator of exhibits at the Dacotah Prairie Museum in Aberdeen.”And then he would move on. He had a gypsy soul.”

In South Dakota Ashford painted governors, Supreme Court justices and a portrait of Calvin and Grace Coolidge at the State Game Lodge in Custer. Aberdeen residents remember Ashford visiting a downtown restaurant and painting whoever struck his fancy.”We think that’s what Woman With a Shawl is,” Schaunaman says.”It’s a young woman who has never been identified. She’s beautiful and kind of mysterious.”

Family members found the painting in the attic of the Ashford home in Stratford in 1994. It was deteriorating, and had a hole punched through the canvas. They gave it to the Dacotah Prairie Museum, and staff members sent it to the Upper Midwest Conservation Association for restoration. Today the mysterious woman with the shawl greets museum visitors just as the Mona Lisa does at the Louvre, 4,400 miles away.

Coyote at Sunrise, by Charles Greener

Old Main, University of South Dakota, Vermillion

Longtime South Dakota Magazine readers might recognize Charles Greener’s Coyote at Sunrise from our November/December 1992 cover. Considered to be one of the Faulkton artist’s best paintings, and our favorite, the original oil hangs in the Asher Room at Old Main on the University of South Dakota campus in Vermillion.

Greener was born in Wisconsin in 1870, but later moved to Faulkton. He studied art in Massachusetts, Ohio, Illinois and North Dakota and represented South Dakota at the World’s Fair in Chicago in 1893. He lived and painted in Faulkton until his death in 1935.

He did portraits (his pictures of Govs. Frank Byrne and Charles Herreid hang in the state capitol) and murals in the Faulk County courthouse, but later focused on Dakota landscapes. He painted whenever the urge struck. Once, while painting woodwork at a local attorney’s home, he painted a landscape on the bathroom door. He planned to wipe it away, but the family urged him to leave it. Visitors at the old Turner home in Faulkton can still see it.

Hunting dogs appeared in many of his paintings, and hills between Faulkton and Orient were often seen in the background. Greener liked to take walks looking for inspiration. One morning he found the coyote, which he quickly sketched and later painted.

Faulkton resident Irene Cordts is the local Greener historian and at one time owned 50 of his paintings, including Coyote at Sunrise, which she donated to the university. She gave others to museums in Brookings, Sioux Falls, Spearfish, Deadwood, Aberdeen, Chamberlain, Faulkton and Mitchell.

As Greener’s art becomes more visible, people develop a deeper appreciation for his landscapes. As writer Dale Lewis, who owned two Greener paintings, said,”Greener sure has something special in his works. They don’t jump at you or hit you over the head, but kinda creep right into your heart.”

The Prairie is My Garden and Dakota Woman, by Harvey Dunn

South Dakota Art Museum, Brookings
Dakota Discovery Museum, Mitchell

Visitors think it’s their aunt or grandmother who is gathering wildflowers in The Prairie is My Garden, but no one knows the identities of the people in Harvey Dunn’s masterpiece.

ìWe have lots of claims from people who know who it is,” says Lynn Verschoor, director of the South Dakota Art Museum in Brookings, where The Prairie is My Garden hangs.”But he [Dunn] was an illustrator. He drew people all the time, with just generic faces.”

In fact, very little is known about Dunn’s most recognized Dakota landscape. Records are complete enough to show that Edgar Soreng, a member of South Dakota State College’s class of 1908 and a friend of Dunn’s, donated the work sometime between 1950 and 1970. The scene is likely a combination of Dunn’s memories growing up at Manchester in Kingsbury County and later summertime visits home, when he spent countless hours behind the wheel of his car sketching prairie vistas.

People also claim to recognize the mother and infant in Dakota Woman, but Dunn likely crafted it in the same way. The painting was on and off his easel for years before he finally finished it in 1941. Not long after, Leland Case, founder of the Middle Border Museum in Mitchell, visited Dunn at his studio in Tenafly, N.J. Knowing Case was collecting items for the museum, Dunn told him to pick one of more than 40 prairie paintings to bring to South Dakota. Case wrote that he was”electrified” by the offer and chose Dakota Woman. It was unveiled in April 1942 during”Harvey Dunn Day” on the Dakota Wesleyan University campus.

Dunn studied art in Chicago and became a successful illustrator in Delaware. He went overseas as an artist during World War I, and then resumed his illustrating career in New Jersey after the war. Though Dunn spent most of his life away from South Dakota, his home state inspired his most well known works, and we can thank Aubrey Sherwood for bringing many of them to Brookings.

After giving Dakota Woman to Case and the Middle Border Museum, Dunn promised to donate 40 more paintings if a proper facility could be built. When he arrived in Mitchell in the late 1940s, with a trunk full of paintings, he was disappointed to find no building.

In 1950, Sherwood, publisher of The De Smet News, went to Dunn’s New Jersey studio and saw the prairie paintings. Dunn agreed to exhibit them in De Smet that summer. South Dakota State College President Fred Leinbach, impressed by Dunn’s work, offered the school’s student union to house Dunn’s paintings. The artist donated 42 works.

Since then the university’s collection has grown to include 109 Dunns, but The Prairie is My Garden is by far the most popular. People drive thousands of miles to see it, but like all paintings it needs down time for conservation. To avoid disappointment, it’s best to call ahead.

People are equally eager to see Dakota Woman. Executive director Lori Holmberg says visitors are fascinated by Dunn’s painting.”They’re amazed by the depth and texture of the work,” she says.”Dunn’s work at that period tended to be almost impressionistic. It’s hard to grasp looking at prints, but people are surprised at how texturally rich the original is.”

Best Friends, by Terry Redlin

Redlin Art Center, Watertown


If you don’t have a Terry Redlin print hanging in your house, you probably know someone who does. The wildlife artist from Watertown has become one of America’s most collected painters. His art has received national accolades and 155 of his original oil paintings are housed in a grand art center in his hometown, where over 2 million people have visited since its opening in 1997.

After a motorcycle accident quashed dreams of being a forest ranger, Redlin turned to art. He was a hunter and fisherman, so he painted what he knew. That’s especially evident in Best Friends, one of Redlin’s most recognizable and popular works.”After a day of hunting he would go to the highest spot he could find,” says Julie Ranum, executive director of the Redlin Art Center in Watertown.”He referred to it as ëglassing’ the countryside to see where the birds were. Then he would know where to go the next day. It was part of his routine.”

The hunter in Best Friends is modeled after Redlin’s son, Charles. (Anytime a man wearing a red and black plaid jacket shows up in a Redlin painting, it’s Charles). The artist is fond of Labradors and retrievers, but has never owned one because of allergies, so the dogs often appear in his paintings, too.

Redlin painted Best Friends in 1989, while living in Minnesota. The original limited edition sold out quickly, so Redlin released an encore edition in 1995. Since then it has been one of the Redlin Art Center’s top sellers.”There’s a serenity about it, a peacefulness,” Ranum says.”It’s a classic Redlin. It has that expanse that Terry is able to capture.”

Origin of the Sioux, by Oscar Howe

Old Main, University of South Dakota, Vermillion

Origin of the Sioux is Oscar Howe’s most well known painting. It tells the legend of the first Dakota Indians. When the earth was flooded, an eagle carried an Indian maiden to a lofty peak. There she gave birth to twins, the beginning of the Sioux nation.

In Oscar Howe: Artist, published in 1974, Howe explained the elements of his painting. The rays of light silhouetting the maiden and eagle are chasing away evil spirits of darkness. The blue represents the sky and, in Sioux tradition, peace. Yellow symbolizes religion, and the symmetry is designed to reflect dignity.

Howe’s role as the primary leader of the American Indian Fine Arts Movement from the 1940s to the 1960s brought him international fame and a reputation as an innovator in Indian art.”Howe’s message to Indian artists was twofold,” says John Day, former director of USD’s art galleries and an expert on Howe.”Be yourself and express your own feelings. Then, be true to your Indian heritage.”

Howe was born on the Crow Creek Reservation and studied at the Santa Fe Indian School and the University of Oklahoma. He was a professor at USD from 1957 to 1980 and served as the university’s artist-in-residence. Today USD owns 60 Howe paintings, the largest collection in the world.

The Altar, by Bobby Penn

Many artists studied under Oscar Howe at the University of South Dakota, but a top protÈgÈ was Bobby Penn, who became one of his generation’s leading artists. Penn’s most enduring work, The Altar, hangs at the Akta Lakota Museum in Chamberlain.

Akta Lakota Museum, Chamberlain

The Altar is oil on masonite, completed in 1989, and depicts many of Penn’s recurring themes: the buffalo skull, the shield with a wrapped crow and the moon. Scholar John Day calls the painting”an iconic statement that is one of the most well-developed of Bobby Penn’s pieces. The reason this is so good is it marries his traditional, his spiritual and his personal emblems together. It’s a very personal painting that deals with his sense of Indian spirituality.”

Penn’s mother was a member of the Rosebud Sioux Tribe, and he received his early education on Nebraska’s Winnebago Reservation and at St. Francis Mission on the Rosebud Reservation. He attended Howe’s summer art institute at USD in the 1960s and later enrolled in the university’s art program. He studied intensely with Howe during his four years there and earned a degree in fine arts. He later ran the summer institute and was a full-time professional artist in Vermillion from 1988 until his death in 1999.

Howe’s influence can occasionally be seen in Penn’s work, but his paintings are entirely his own. His mentor was successful in passing along his ideas of self-expression, individuality and truth to Indian heritage.”Their quality was so high they commanded national and international attention,” Day says of Penn and Howe.”Penn was clearly one of the best artists of his generation.”

A President’s Wife (study), by Norman Rockwell

Center for Western Studies, Sioux Falls


Norman Rockwell was meticulous when he painted A President’s Wife in 1939. First came sketches of his subjects and photographs from all angles. He used those images to create a study, a small painting measuring 13 1/2 by 24 inches. From that Rockwell’s completed one of his largest paintings ñ 3 by 5 feet.

Experts think that enormous painting was destroyed when Rockwell’s studio burned in 1943. But the valuable study is at the Center for Western Studies in Sioux Falls. It shows President James Madison’s wife, Dolley, waiting for news about her husband during the War of 1812. It illustrated a fictional story written by Howard Fast in the August 1939 issue of Ladies’ Home Journal.

Rockwell gave the study to a friend in 1945, two years after the studio fire. He painted prolifically over the next 30 years and eventually forgot about A President’s Wife. When the study’s owner wrote to Rockwell for information in 1972, the artist replied,”I just can’t recall any of the details, who posed for it or what it was for.”

A Wisconsin man, Donald Evans, bought it in 1977 and donated it to the Center for Western Studies in 1995. Rockwell studies are rare, and recent developments in the art world have assigned it greater importance.”Within the last 10 years, Rockwell’s stock as a serious artist has risen considerably,” says Tim Hoheisel, director of outreach and communication at the Center for Western Studies.”Consequently the significance of A President’s Wife has also drastically increased. It’s a treasure in the Center’s collection.”

Here I AmÖSpeechless, by Henry Payer, Jr.

The Heritage Center, Red Cloud Indian School, Pine Ridge

The annual Red Cloud Indian Art Show gives young Native artists a chance to gain exposure in the art world. In 2008, judges were so impressed with Henry Payer, Jr.’s Here I AmÖSpeechless they awarded it second place in the painting division, the Brother Simon S.J. Publicity Award (meaning it was used on promotional materials for the next show) and then bought it for the Heritage Center’s permanent collection.

ìIt shows what a young Native artist in today’s world sees,” says Peter Strong, director of The Heritage Center at the Red Cloud Indian School in Pine Ridge.”It breaks out of that traditional perception of native art as being very primitive, and that it has to have a man on a horse with his hair flowing in the breeze. There’s a much more contemporary feel to it.”

Payer, Jr., 25, is a member of the Winnebago Tribe of Nebraska and a graduate of the Institute of American Indian Arts in Santa Fe, N.M.

Strong says the painting’s skulls, bold colors and graphic design give it a contemporary feel. Payer also excels at mixed imagery.”By blending images that reflect traditional symbolism, ecological issues, and contemporary American art, Henry is telling a very personal and honest story about what Native people are today,” Strong says.

Editor’s Note: This story is revised from the January/February 2009 issue of South Dakota Magazine. To order a copy, or to subscribe, call 800-456-5117.

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Pettigrew’s Redemption

Might a sculptor vindicate Sioux Falls’ forgotten father?

Darwin Wolf (above) wanted to honor Sioux Falls city father Richard Pettigrew through sculpture, but his project soon became a way to vindicate the reviled businessman and politician.

Richard Pettigrew sat at his writing desk in the second-floor study of his home at Eighth and Duluth in Sioux Falls and penned a letter to the city’s leaders. The town he helped build was quickly becoming South Dakota’s urban giant, but Pettigrew urged them to leave a strip of land near the falls of the Big Sioux River undeveloped. He believed it should become a park.

But by then, Pettigrew, one of the fathers of Sioux Falls and South Dakota’s first full-term United States Senator, was a washed up politician known for unpopular stances, failed businesses and crazy ideas. City leaders ignored his advice. Soon a salvage yard, warehouse and railroad moved in. The buildings remained hollow shells long after the businesses themselves left, and since the early 1990s, the city has been transforming that land into a park as part of its multi-million-dollar Phillips to the Falls project.

Pettigrew’s concern for preserving the river environment contradicted ideas he had held as a young businessman. Years earlier, he led a group of investors in building a stockyard and meat packing plant along the Big Sioux River in south Sioux Falls. They had a plan for everything except removing waste, so they simply dumped it into the water. Townspeople obtained a court injunction closing the plant, and Pettigrew and his investors lost over $1 million.

So was Pettigrew a visionary or a scoundrel? A bona-fide town builder or self-serving politician? Was he a Republican, Populist, Democrat, Socialist or Communist? At times in his life he was all of the above.

One thing is certain: following his death in 1926 many in Sioux Falls chose to forget rather than memorialize the polarizing Pettigrew. Darwin Wolf hopes a sculpture will change the city’s attitude toward its long-forgotten pioneer. In 2003 Wolf began planning a larger-than-life Pettigrew bronze.”How many great cities in the country have sculptures of their pioneers somewhere in the community, and we don’t have a Pettigrew,” Wolf says.”It began more out of my love for Sioux Falls than Pettigrew. It just seemed like there was a hole in Sioux Falls.”

Few lifelong Sioux Falls residents would have shared Wolf’s opinion, but the sculptor is an outsider. Born in Doland, he grew up in Aberdeen and studied art at Northern State University. He worked at Stein Sign Display there for five years after graduation, doing sculpture on the side, but soon realized he needed a more stable job to support his growing family. In 1988 he moved to Sioux Falls and spent the next 15 years in sales and marketing.

In 2003 St. Therese Catholic Church commissioned him to sculpt”St. Therese and Admirers,” for the church’s rose garden. About the same time, he won a competition to do a bronze for Avera Health. The projects led him back into a full-time art career. East River South Dakotans may recognize his work. His bronze of Monsignor John McEneaney stands at McEneaney Field. St. Joseph and two children are at St. Joseph Indian School in Chamberlain.

Wolf researches each subject before he ever picks up a knife in order to sculpt an appropriate likeness. When South Dakota Magazine visited his home studio in 2010, a pile of Pettigrew photographs sat atop his table. Wolf used one to shape the eyes, another the nose, a third the forehead and so on. When finished, the bronze will depict Pettigrew as an elder statesman. Dressed in a full suit, his left hand is clenched tightly around his lapel, symbolic of his fight for agrarian interests in the Senate. His right hand clutches the letter he wrote about preserving land along the river.

But Wolf’s research on Pettigrew has gone beyond a pile of photos and a few biographical tidbits.”It really sucked me in,” he says.”The more I learned, the more I found that I liked and disliked. There’s always another story about him, and it’s tough to figure out what’s true and what’s not. He was such a tenacious fighter and did so many good things for Sioux Falls, the monument evolved into being a project for some redemption. His aggression and passion for Sioux Falls and South Dakota cost him dearly.”

So was Pettigrew a visionary or a scoundrel? A bona-fide town builder or self-serving politician? Was he a Republican, Populist, Democrat, Socialist or Communist? At times in his life he was all of the above.

Sioux Falls was beginning its second life when Pettigrew arrived with a surveying crew in 1869. Founded a decade earlier, settlers abandoned the town site during the Sioux Wars of the early 1860s. They returned after the U.S. Army established Fort Dakota (along today’s Phillips Avenue between Seventh and Eighth streets) to protect pioneers from Indian attacks. Pettigrew claimed 160 acres and returned permanently the following year, intent on making the village of Sioux Falls succeed.

Sometimes his ambition trumped compliance with the law. In 1870, already with an eye on politics, he told people living within Fort Dakota that they could claim land within its boundaries as soon as the land was surveyed. Pettigrew and Nyrum Phillips circulated a petition asking Congress to open the reservation, but too few people lived within Minnehaha County to sign it. So the two added names of men they thought would soon settle in the county, and sent it to Washington. Congress soon complied.

Shady actions clouded his first successful run for the territorial House of Representatives. Before the election, Pettigrew destroyed a number of ballots that had omitted his name and sent a new batch to some northern counties. As it happened, many of Pettigrew’s votes came from non-resident railroad workers laying track into the new town of Gary. Pettigrew was never charged and took his seat in the House, but the”Deuel County Fraud” accusations haunted him the rest of his life.

While in the legislature, he helped make Sioux Falls the seat of Minnehaha County and wrote a bill creating Lake and Moody counties. To his own benefit, Pettigrew ensured that Flandreau became the Moody County seat. He and his brother, Fred, owned large tracts of land there. He later served a term as Dakota Territory’s delegate to Congress in the early 1880s, where he helped secure funds to build the state penitentiary.

Pettigrew was also a strong proponent of division of Dakota Territory and statehood for the southern half, a cause that endeared him to people living south of the 46th parallel (roughly today’s North Dakota/South Dakota border). When South Dakota gained state-hood in 1889, the legislature elected the Republican Pettigrew the state’s first full-term U.S. Senator.

In that role, Pettigrew secured funding for some of Sioux Falls’ landmark buildings, including the federal courthouse and post office building (which he insisted be built from native Sioux quartzite) at 12th Street and Phillips Avenue. He also balanced business with his political life. He helped bring five railroad lines into Sioux Falls and formed a railroad and trolley company with his brother. His biggest dream was creating a transcontinental railroad running from Sioux Falls to Seattle.

Unfortunately, most of his business investments happened during the economically turbulent 1890s. The trolley went bankrupt and the rail line to the West Coast fell through. It marked the beginning of a drastic change in Pettigrew. He began to question capitalism and lost trust in the country’s business leaders, many of whom comprised the core of the Republican Party. Pettigrew saw a solution to the country’s economic woes in the free and unlimited coinage of silver, and in 1896 he bolted the Republican Party to become a Silver Republican and, eventually, a Populist.

The move put him at odds with President William McKinley. Pettigrew was a vocal opponent of the Spanish-American War, despite strong support across the country. He was also an outspoken anti-imperialist, opposing the United States’ annexation of the Philippines and the Hawaiian Islands. Pettigrew openly criticized the president and U.S. military leaders. He called the American flag a”rag,” a comment not well received in South Dakota. Pettigrew became such a thorn in McKinley’s side that Ohio Sen. Marc Hanna, McKinley’s presidential campaign manager in 1900, said he had two goals that year: to re-elect McKinley and defeat Pettigrew,”and I did not know which I wanted worst.” He got both. A well-organized fund-raising drive within the national Republican Party pumped nearly $500,000 into the South Dakota campaign, and Pettigrew lost his bid for re-election.

Pettigrew joined the Democratic Party and split time between Sioux Falls and New York City. In 1912, he supported the Progressives and their presidential candidate Theodore Roosevelt. After Roosevelt’s defeat, Pettigrew’s politics became even more radical. He flirted with Socialism and Communism and wrote two books ó a collection of his Senate speeches called The Course of Empire, and Imperial Washington, praised by Soviet leaders Vladimir Lenin and Leon Trotsky. He died at his home in Sioux Falls on Oct. 5, 1926, and was entombed at Woodlawn Cemetery.

Pettigrew lost favor with nearly every influential business and political leader in Sioux Falls. Negative stories persisted for decades. The only physical reminder of Pettigrew was his home and museum, which he willed to the city, and even that was nothing more than a hodgepodge of artifacts with no interpretation, remembers Wayne Fanebust, Pettigrew’s biographer.

Fanebust grew up in Sioux Falls during the 1940s and ’50s, when no one talked about Pettigrew.”Had there not been the Pettigrew home and museum, I would have known nothing about Pettigrew, and no one else would have known anything,” Fanebust says.”He wanted to be remembered, and until the professionals at the Siouxland Heritage Museums took control, it was a pretty sad affair. It was like an old curiosity shop. It really didn’t explain his life at all. He was lost to the community for a long time after his death.”

But Fanebust rediscovered Pettigrew in California. After graduating from Sioux Falls Washington High School in 1959, he moved to Los Angeles, studied history at UCLA and got a law degree. He was an attorney in San Diego for 13 years, but his interest in history and Dakota Territory never waned. His first book, a history of Minnehaha County called Where the Sioux River Bends, was published in 1985.

Fanebust paged through hundreds of old newspapers during his research and noticed Pettigrew’s name appeared often. He learned more about Pettigrew’s rise to prominence and decided to pursue a biography. His first step was visiting the Pettigrew House, where the senator’s personal papers were locked away.

ìWhen I went there to ask to see his papers, I could tell I had asked the wrong question,” he says.”They weren’t interested. She reluctantly let me in there, but I couldn’t take any notes. It seemed silly to me that it was kept under lock and key the way it was.”

Fortunately for Fanebust, Augustana College’s Center for Western Studies had put Pettigrew’s papers on microfilm in 1974. He spent four years researching and writing every evening from 10 p.m. to midnight. His book, Echoes of November, debuted in 1997.

Fanebust says his work was better received outside of South Dakota than locally. But Sioux Falls attorney Dennis McFarland and Second Circuit Court Judge Bill Srstka read it, and it inspired them to help rebuild Pettigrew’s reputation.

McFarland first encountered Pettigrew while researching Blood Run, a large Indian village outside of Sioux Falls along the South Dakota-Iowa border. The first white men known to visit the site were Pettigrew and his brother, both amateur archaeologists. McFarland became interested and read Fanebust’s book. Then he passed it to Srstka, an old high school classmate. Both have become amateur Pettigrew scholars, and believe his ideas and contributions to Sioux Falls are often overlooked. Srstka keeps a”Pettigrew file” in his sixth floor office at the Minnehaha County courthouse and uses it to craft presentations for local service clubs.

ìOf all the founding fathers of South Dakota, he towers above everyone in terms of his personality, what he did and who he was,” Srstka says.”Unfortunately, along the way he made an enemy with everyone.”

Pettigrew saw issues in black and white, and was unwilling to comprise or concede a point, McFarland says. Time, however, has proven Pettigrew right on many of his unpopular positions, including his opposition to the Spanish-American War and American expansion.”The anti-imperialists had it right,” Fanebust says.”It’s hypocritical for a country to believe in self-determination for its own people and yet interfere and meddle in the affairs of other countries for the purpose of conquering them. Pettigrew was right. I don’t think you’ll find anyone now who would take the imperialists’ side.”

Pettigrew also finds more support in the 21st century for comments against World War I that almost landed him in jail. In 1917, during an interview with a reporter from the Argus Leader, he said the war was simply a capitalist scheme to make the rich even richer, and he urged young men to avoid the draft. The Argus editors passed the comments to the U.S. Attorney, who charged Pettigrew with violating the Espionage Act, a measure that outlawed even the most faintly critical comments about the war.

Pettigrew faced a stiff penalty. Socialist leader Eugene Debs, indicted and convicted under the Espionage Act, served three years of a 10-year prison sentence. Pettigrew assembled a legal team headlined by good friend Clarence Darrow, but delays kept the case out of court, and eventually the charges were dropped.

Fanebust thinks the indictment helped usher in America’s modern civil liberties movement. Pettigrew was proud of his defiance. He framed the indictment and hung it next to the Declaration of Independence in his home, where it remains today.

Time has also helped disprove the most popular urban legend about Pettigrew ó that he dammed the Big Sioux River to build the Queen Bee Mill, another failed venture whose ruins still stand along the river. Pettigrew was instrumental in building the state-of-the-art, seven-story flourmill in 1881, but he and his partners soon realized there wouldn’t be enough waterpower or wheat to keep it running. He convinced wealthy New York financier George Seney to invest in the project. Legend says that to impress Seney, Pettigrew dammed the river, then released a rush of water as Seney toured the site. Fanebust is convinced it never happened.”There’s no evidence that Seney was even here,” he says.”If a man like George Seney had come to Sioux Falls, it would have been all over the local papers. He was one of the richest men in New York. When people like that came out, they attracted attention. That’s why I’m sure he was never here in the first place.”

When Fanebust began writing Pettigrew’s biography, he was surprised to discover nothing in Sioux Falls, except his home and museum, bore the senator’s name. Only recently has that begun to change. The neighborhood near Pettigrew’s home is now known as Pettigrew Heights and R.F. Pettigrew Elementary School opened on the city’s southwest side in 2009.

ìHe was a rough-and-tumble person in a rough-and-tumble era,” Srstka says.”All the good things he did ó bringing the railroad, building this and founding that ó there’s no color in that. There’s honor in it, but there’s no color. In history, unless you do something absolutely huge, we’ll remember more of the colorful things. Abraham Lincoln did a lot of tremendously bad things, but we don’t remember that because of his stature.”

Maybe Sioux Falls residents will remember Pettigrew for his role in building their city and state when Wolf’s sculpture is placed downtown. The project began as one artist’s idea, but others have become involved. The Minnehaha County Historical Society now leads the project and continues to seek donations. Contributions from private individuals and businesses have helped work continue. Wolf has also taken the Pettigrew sculpture to schools, service clubs and organizational meetings as part of the South Dakota Arts Council’s Artists in Schools and Communities program.

And if vindication is Wolf’s goal for the project, the final step might ensure it. The 10-foot bronze Pettigrew will be placed atop a five-foot granite pedestal at the corner of Fifth and Phillips, near the Phillips to the Falls archway, overlooking the very land he sought to keep undisturbed.”He was right about so many things ó women’s suffrage, the misguided zeal of imperialism, and the value of this plot of ground,” Wolf says.”It’s sort of a final ëI told you so.'”

Pettigrew wouldn’t want it any other way.

Pettigrew the Collector

Brothers Richard and Fred Pettigrew, in addition to being surveyors and town builders, were also amateur archaeologists. They excavated nearby Indian mounds, and Richard collected artifacts from around the world during his two terms as a U.S. Senator. His vast collection is displayed at the Pettigrew House and Museum in Sioux Falls. Inside you’ll find Indian artifacts, guns, a piece of the Great Pyramid and a bottle of water collected from the Jordan River. Pettigrew also collected canes; one was a gift from Queen Liliuokalani, the last reigning monarch of the Hawaiian Islands before the U.S. annexed them. To arrange a tour, call (605) 367-7097.

EDITOR’S NOTE ñ This story is revised from the Sept/Oct 2010 issue of South Dakota Magazine. To order this back issue or to subscribe, call 800-456-5117.