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David Yarrow Scottish, b. 1966

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Open a larger version of the following image in a popup: David Yarrow, Stop that Train, 2024
Open a larger version of the following image in a popup: David Yarrow, Stop that Train, 2024

David Yarrow Scottish, b. 1966

Stop that Train, 2024
Archival Pigment Print
Available in two sizes:
Standard - 52 x 87 inches
Large - 67.5 x 117 inches
Edition of 12 plus 3 artist's proofs
Signed, editioned and dated on bottom

Further images

  • (View a larger image of thumbnail 1 ) David Yarrow, Worth Avenue (Color), 2025
  • (View a larger image of thumbnail 2 ) David Yarrow, Worth Avenue (Color), 2025
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Stop that Train Bryson City, North Carolina - 2024 Train robbers hold a firm place in the mythological lore of the American West. Attacks on trains were a common occurrence...
Read more
Stop that Train
Bryson City, North Carolina - 2024
Train robbers hold a firm place in the
mythological lore of the American
West. Attacks on trains were a common
occurrence when the rule of law was
either difficult to implement or simply
non-existent. Thin governance was an
accepted danger on the Final Frontier.
What is perhaps surprising is that
history has looked fondly on the bandits,
as if their means of living was laudable
and even romantic. Our affection for
the underdog knows no bounds and
Hollywood played to this emotion by
often characterising the bandits as
lovable and misunderstood rogues. The
narrative was often that the bad guys
were the train owners for having the
wealth in the first place; maybe they had
disposable moral fibre as well. It was a
dog-eat-dog world.
No more was this better articulated
than in the classic 1969 Western buddy
film Butch Cassidy and the Sundance
Kid starring Paul Newman and Robert
Redford. The film - which was loosely
based on fact - cemented both actors
at the top of the Hollywood A-list,
not just because of their acting, but
because the public found affection for
their characters and their affable, wise
cracking roles. It was as if they played the
good guys.
We have filmed with steam trains on
many occasions, but almost always in
Colorado, where the canyons do not
lend themselves to telling a story at
90 degrees to the engine, and we tend
to work head on. But in the Smokey
Mountains of North Carolina, we found
a spot where we could incorporate
some carriages into the narrative and,
furthermore, in the early morning, we
could have a uniform backdrop to play
against.
This photograph was a great team
effort and we want to thank the Smokey
Mountain Railroad for their partnership
in the project.
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Provenance

Artist Studio; Casterline|Goodman Gallery, Aspen
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