This is the most finely decorated hunting or powder horn known to have been created in Arkansas during the 19th century. Almost the entire surface of this spectacular example of American folk art is ornamented with highly detailed relief and intaglio carving. The horn begins with a rather simple, unadorned mouthpiece flaring out-ward toward delicate relief and incised carvings of the Great Seal of Arkansas and Edward Payson Washbourne’s (1831–60) famed genre scene “The Arkansas Traveler,” with bars from the Traveler tune tracing the base of the scene. Both vignettes are separated by a relief-carved belt and buckle. The bell of the horn is encircled with an exquisite ornamental guilloche band, decorated with two hatched bands of ropelike gadrooning. The presumed maker, Little Rock businessman James E. Gibson, has carved his name into a long reserve in the scrolling shape of a pennant or banner. Many Americans are familiar with the humorous, homespun tale of the Arkansas Traveler. The Traveler’s encounter with a taciturn squatter and his fiddle and family has been immortalized in music, song, drama, and a series of lithographs. Even in the 21st century, Arkansas continues to be represented by this iconic composition. The painted versions of the traveler’s tale, together with widely distributed Currier and Ives lithographic prints, gave Arkansas a rather negative image as a rural Southern backwater. The wide range of art that had been produced in Arkansas and still existed there was overlooked by many who accepted the Arkansas Traveler as an accurate depiction of the state. However, it is decorative and fine works like this hunting horn that transform the cultural image of Arkansas from a crude, backwoods pioneer state to one rich in artistic traditions.