James Earle Fraser (1876 – 1953) is one of America’s premier sculptors and artists in all of its history. His works have endured far beyond his 1953 death and continue to inspire to this very day.

He has, however, been the subject of controversy in recent times due to changing cultural norms about race and ethnicity. Some of his artwork has been criticized or removed for espousing beliefs that have now become taboo.

Fraser deserves recognition, though, because his artistry is undeniable. So, here is a short biography of James Earle Fraser – the American Master.

Early life (1876 – 1902)

James Earle Fraser was born in Winona, Minnesota on November 4, 1876. His father, Thomas, was a railroad engineer, and his mother, Caroline, traced her heritage all the way back to the Pilgrims that landed at Plymouth Rock.

As a child, Fraser was exposed both to the culture and plight of America’s Native Americans. He spent a great deal of time in South Dakota and got to know several members of the Sioux Tribe in the then-territory. Thanks to his experiences, Fraser grew quite interested in sculpture and craft.

In a pivotal bit of serendipity, the young Fraser discovered that a stone quarry lay nearby the family home. The quarry provided him with ample blanks with which to practice his budding art.

However, as is the case with most artists, Fraser needed formal training to enter the ranks of the professionals. So, at the tender age of 15, he began attending classes at the illustrious Art Institute of Chicago. Later, he attended the prestigious École des Beaux Arts and Académie Julian, two world-class art institutes in Paris, in order to finish out his education.

Working years (1902 – 1953)

Many biographies include a section for the subject’s later years and death. However, Fraser defies such a section because he never had a discrete stopping point in his 50-year career. In other words, he was an active sculptor for the rest of his life.

He returned to the United States in the waning years of the 19th century after completing his studies in France. Interestingly, he served as an assistant to Augustus Saint-Gardens – another American master sculptor and engraver – before he opened his studio in New York City in 1902. This studio would serve as his home base for the remainder of his career.

During his early professional years, Fraser received commissions and created sculptures for many prominent Americans. He fashioned works to honor people like Alexander Hamilton, Thomas Jefferson, Benjamin Franklin, Abraham Lincoln, and Thomas Edison.

He also made strides in his personal life, too. After he began teaching at the Art Students League in 1906, he encountered a particular student – Laura Gardin – who became a talented and notable sculptor in her own right. However, she had a more impactful overall effect on James than her sculpture would suggest – she also became his wife, and they remained married until his death.

Though Fraser’s acclaim grew throughout his first decade of work, he launched himself into immortality in the 1910s. Two of his works became his signature pieces, and both remain celebrated contributions to the American cultural landscape to the present day.

The first of these works is the one that, frankly, caught our attention. James Earle Fraser created the design for the famous Indian Head or Buffalo nickel in 1913.

Fraser received the commission due to the retirement of the Liberty Head nickel. It remained the design on the coin for the next 25 years, and its successor – the Thomas Jefferson nickel – remains the design on nickels.

Two years later, Fraser submitted a new version of a sculpture he first created in 1894. “The End of the Trail” debuted at the Panama-Pacific International Exposition, where it won the gold medal. 

The sculpture itself depicts a Native American mounted on a horse. He is slumped and weary, and wearing only a piece of a blanket. He carries a spear under his arm, with its tip hanging low to the ground.

However, his magnum opus generated some disagreement in the ensuing years due to his depiction. Fraser, for his part, clearly stated that he meant the sculpture to be an indictment of the American government’s treatment of Native Americans – a statement borne out by his early experiences in South Dakota.

Some observers felt dejected by the sculpture, though, because of its sadness and sense of defeat. Many did not appreciate the suggestion that Native Americans were a beaten and subjugated people.

Nevertheless, the 1915 plaster version resides in the National Cowboy & Western Heritage Museum in Oklahoma. Due to decades of wear and tear, it underwent a critical restoration in 1971.

The next 35 years saw Fraser make meaningful contributions to the statuary in many American cities, including Washington, D.C. He created the two primary figures that greeted those approaching the US Supreme Court – The Authority of Law and The Contemplation of Justice.

He also designed some of the statues found at the National Archives, the US Treasury, and the northern end of the Arlington Memorial Bridge – behind the Lincoln Memorial. In addition, he created the designs for the World War I Victory Medal (known simply as the Victory Medal prior to WWII) and the Navy Cross – the latter of which remains the second-highest commendation for the Navy and the Marines. 

Fraser passed away at his home in Westport, Connecticut in 1953. He is buried in Westport’s Willowbrook Cemetery. His wife, Laura, was buried beside him after her death in 1966.

The Buffalo Nickel and the Gold Buffalo

As mentioned, one of Fraser’s lasting works was his design for the nickel. The coin, which circulated between 1913 and 1938, is commonly known for both the image on its obverse (Indian Head) and on its reverse (Buffalo).

The obverse of the coin featured a Native American facing to the right. He has his hair braided in a traditional manner, and is tied with a ribbon hanging below his shoulder. There are also two feathers woven into the back of his hair.

Fraser indicated that the design image was a composite of several different Native Americans that he either knew or admired. In particular, he drew inspiration from Chief Iron Tail, a prominent Oglala Lakota chief.

The reverse of the coin portrays a simple, left-facing image of the American buffalo. Fraser indicated that he began the coin’s design with this image, rather than the Native American on the obverse, as a means of portraying “something totally American.”

Fraser’s notable and unforgettable image left an impression on the American public. Thus, it came as no surprise that the familiar Indian head and buffalo were selected as the images for the second bullion coin the US Mint produced.

The Gold Buffalo debuted in 2006 as a counterpart to the Gold Eagle, which first appeared in 1986. Incidentally, the design for the Gold Eagle commemorated a design by Fraser’s onetime mentor, Augustus Saint-Gaudens.

The Gold Buffalo also differs from its predecessor in another significant way: its composition. The Gold Eagle has been minted in 22-karat gold – 91.67% purity – since its inception. However, and perhaps due to influence from bullion coins in countries like Canada and Australia, the Gold Buffalo is a 24-karat goldpiece and is certified to be .9999 fine.

From his humble beginnings in Minnesota, James Earle Fraser grew to create the design for one of the most memorable coins in American history and, as it turns out, the very purest gold coin produced by the United States. However, you have likely seen his other works before, too – particularly if you’ve ever traveled to our nation’s capital.