Our Murals

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 This mural vividly depicts the historic Land Run of September 16, 1893, which opened the Cherokee Outlet—also known as the Cherokee Strip—to settlement. On that day, thousands of hopeful settlers surged southward from the Kansas border, racing to claim quarter-section farms or city lots in what would soon become northwest Oklahoma. The city of Alva was born that very day.
Painted on site in 1998 by artist Roger Cooke, “The Run” captures the energy, chaos, and hope of that pivotal moment in history. 

 This three-part mural portrays the devastating fire that destroyed the main building of the Northwestern Territorial Normal School on March 1, 1935. Known as the “Castle on the Hill,” the iconic structure was designed by renowned architect John Foucart of Guthrie, Oklahoma. Its majestic presence symbolized the early spirit of higher education in the region, and its loss is still deeply felt even decades later.

Painted in 2000 by Kansas artist Stan Herd, this mural captures both the tragedy and lasting legacy of the Castle on the Hill.

 This mural honors Charles Morton “Corky” Share, son of pioneer merchants Lizzie and Charles Share. A World War I veteran and active member of the Presbyterian Church, Corky carried on his family’s legacy of hard work, thrift, and community-minded generosity.

Near the end of his life, he established the Charles Morton Share Trust—a lasting gift to the people of Alva. Over the years, grants from the trust have supported numerous projects, including the public library, hospital, professional building (where this mural is located), NWOSU’s wellness facility, and the Bill Johnson Correctional Center, among many others.

Painted in 2004 by artist Don Gray, this mural celebrates the life and lasting impact of one of Alva’s most generous benefactors.

 This mural portrays a frontier doctor making a winter house call to a sod home—capturing the resilience and dedication of early medical professionals serving rural communities. It stands as a tribute to the healthcare workers of Woods County, Oklahoma, past and present.

Painted in 1999 by artist Roger Cooke at his studio in Oregon, the mural was later transported to Alva and permanently installed.

 The Goldbug, Alva High School’s beloved and unique mascot, may puzzle outsiders—but for generations of students and alumni, it proudly represents school spirit, tradition, and community pride.

This mural is dedicated to the teachers and staff—past, present, and future—who have shaped the lives of Alva’s students across all schools.

Donated by the Alva High School Class of 1960 at their 40th reunion on July 1, 2000, the mural was painted by artist Greg McClure along with Grant Bowen, a talented high school art student.

 This striking graphic of running horses was originally painted on Alva’s large west water tower in 2000. The dynamic image celebrates the spirit and freedom of the West—an iconic symbol for the community.

After the original paint began to flake, the mural was carefully repainted to preserve its powerful presence on the Alva skyline.

 The Ranger is the iconic logo of Northwestern Oklahoma State University. Representing strength, pride, and school spirit, the Ranger symbolizes the university’s athletic teams and the broader NWOSU community.

In 2000, two versions of this mural were painted on the water tower at the south edge of Alva—one facing the highway for travelers to see, and the other overlooking Ranger Stadium to inspire fans and athletes alike.

 This mural captures the spirit of early harvest season in Woods County, Oklahoma, featuring scenes of steam-powered threshing and traditional farming practices from a bygone era.

One of the mural’s most unique features is its partially sketched appearance—intentionally left that way by artist Roger Cooke. While many passersby assume it’s unfinished, the contrast between the detailed color and the sketch was a deliberate design choice, highlighting both the artistry and the evolving nature of history.

Painted in 2001, “Threshing Time” is a tribute to the hardworking pioneers who helped cultivate this land.

  This mural honors the legacy of the 224 one-room schoolhouses that once dotted the landscape of Woods County, Oklahoma. These small rural schools played a vital role in shaping the early educational foundation of the region.

McKeever School, originally located six miles west of Alva, is one such example. It has been lovingly restored and now resides on the campus of Northwestern Oklahoma State University as a tribute to the county’s educational heritage.

Painted by Roger Cooke in 2003, this mural stands as a reminder of the value placed on learning and community in rural Oklahoma.

  This mural honors one of Alva’s oldest family-owned businesses—Starr Lumber Company—and its founder, Wilson Worth Starr. A cornerstone of the community, Starr Lumber has served Alva and the surrounding area for generations, built on a legacy of hard work, quality service, and family values.

Painted by Roger Cooke in 2003, the mural stands as a tribute to the enduring impact of local entrepreneurship and the Starr family’s contributions to Alva’s growth.

 This mural commemorates Alva’s historic Atchison, Topeka and Santa Fe railway station, built in 1908. For decades, the depot served as the town’s bustling transportation hub until passenger service ended in 1983. Though the building has since been torn down, its legacy lives on in the memory of the community.

Today, Alva remains along the main line of the Burlington Northern Santa Fe Railway, with several trains passing through each hour—though few now stop.

Painted in 2003 by Robbie Pierce and Jack Koonce, the mural captures a vital chapter of Alva’s history shaped by the railroad.

 This mural celebrates the excitement and legacy of the Alva Speedway, a beloved stock car racing venue that roared to life in the 1950s. The track drew crowds from across the region and welcomed legendary drivers such as A.J. Foyt, Billy Mears, and Bobby Swegart.

Painted in 2004 by renowned automotive artist Kenny Youngblood, the mural captures the speed, spirit, and nostalgia of Alva’s racing heyday.

  This mural depicts the Battle of Turkey Springs, an armed conflict between the U.S. 4th Cavalry and a group of Northern Cheyenne led by Dull Knife. The engagement took place on September 13–14, 1878, approximately 25 miles northwest of Alva.

In a rare turn, the Cavalry was forced to retreat in panic back to Fort Supply. The commanding officer was later court-martialed for his failure. The Cheyenne, determined to return to their homelands in Wyoming and South Dakota, continued their journey—facing additional skirmishes with U.S. forces along the way.

Painted in 2005 by artists Robbie Pierce and Jack Koonce, the mural brings to life a powerful moment in the history of Natives and the American West.

 This mural honors the original building of Northwestern Oklahoma State University, established in 1897 in Alva.  The structure was modeled after a Norman-French castle, designed by renowned architect John Foucart, and became affectionately known as the “Castle on the Hill.”

Completed in 1898, the majestic building stood as a symbol of higher education and community pride until it was tragically destroyed by fire in 1935.

Painted by local artists Warren Little, Rod Dunkin, and Jim Richey, this mural preserves the memory of Alva’s iconic landmark and its role in the city’s educational heritage.

 Capturing a moment from a classic quail hunt, this mural pays tribute to the rich wildlife and deep-rooted hunting traditions of Woods County, Oklahoma. For generations, hunting has been both a way of life and a cherished pastime in the region.

Painted in 2006 by local artists Calvin Graybill and Jim Richey, the mural honors the natural beauty and outdoor heritage that define this part of the state.

 This mural captures the spirit and excitement of November 16, 1907—the day Oklahoma became the 46th state. Depicted here is an artist’s interpretation of the celebration in Alva, with buildings and streets rendered as they would have appeared at the time. The band uniform is based on a real example from the Cherokee Strip Museum, and many of the faces—both in the band and the crowd—are modeled after real people, adding a personal touch to this historic scene.

In front of the mural stands a bronze statue of a trombone player leading the band, created by sculptor Georgia Gerber. The statue honors Fred Wenninger, one of the founding members of the Alva Mural Society and a driving force behind the town’s public art legacy.

 Built in 1904, the original Woods County Courthouse was a proud symbol of Alva’s early growth. Its lawn served as a lively gathering place for the community, hosting circus parades, political rallies, and festive Fourth of July celebrations.

Though elegant and well-loved, the courthouse eventually outlived its usefulness. In 1957, it was condemned by the fire marshal and torn down, making way for a more modern structure. The newer courthouse lawn still serves as a gathering place for the community to this day.

Painted in 2009 by artists Robbie Pierce and Don Prechtel, this mural preserves the memory of a beloved landmark and the vibrant public life that once surrounded it.

  This mural illustrates the historic route that supplied Camp Supply—now Fort Supply—established in 1868 during the U.S. military campaign against the Southern Plains tribes. All provisions, including food, ammunition, and equipment, were hauled by wagon and stagecoach from the railhead in Kiowa, Kansas.

The trail crossed northern Woods County, Oklahoma, fording the Cimarron River near present-day Freedom. It played a vital role in shaping the region’s early history and connecting remote outposts to the wider frontier.

Painted in 2010 by Roger Cooke, this mural honors the grit and endurance of those who traveled and depended on this critical lifeline of the American West.

 This mural honors Nathan Boone, the youngest son of legendary frontiersman Daniel Boone. A skilled explorer and military officer, Nathan played a significant role in the early exploration of the American West.

In the summer of 1843, Boone led a unit of U.S. Dragoons from Fort Smith, Arkansas, on a reconnaissance mission across the western prairies. On July 1st, 1843, his party visited the salt flats along the Cimarron River, just west of present-day Freedom, Oklahoma—a site that is now home to the Cargill solar salt production facility.

Painted in 2011 by artists Robbie Pierce and Don Prechtel, the mural commemorates Boone’s contribution to the early mapping and understanding of this region.

  This mural commemorates the Alva Prisoner of War Camp, which began receiving German POWs in July of 1943 during World War II. Prisoners arrived by train and were marched approximately 2.5 miles to the camp, located on the southern edge of Alva.

The camp housed thousands of German soldiers and played a unique role in both local history and the broader story of wartime America.

Painted in 2012 by artists Don Prechtel and Robbie Pierce, the mural honors this significant chapter in Alva’s past and the town’s connection to global events.

  This mural honors the 45th Infantry Division, Oklahoma’s renowned “Thunderbird Division,” which saw extensive combat in both World War II and the Korean War. Known for its bravery and resilience, the division earned a distinguished place in U.S. military history.

Alva was home to the 45th’s Signal Unit, making the town a proud part of the division’s legacy.

Painted in 2012 by artists Robbie Pierce and Don Prechtel, the mural pays tribute to the service and sacrifice of the soldiers who served in the 45th.

 This mural commemorates the visit of Robert Pershing Wadlow—the tallest man in recorded history—to Alva, Oklahoma in 1940. Standing at 8 feet 4 inches tall, Wadlow was touring as a representative of the Peters Shoe Company.

He arrived in a specially modified 1938 Ford sedan, driven by his father, to accommodate his extraordinary height. Tragically, just a few months after his visit to Alva, Wadlow passed away at the age of 22.

Painted in 2013 by Jim Richey and Hanson Long, the mural captures a remarkable moment when Alva welcomed one of history’s most extraordinary figures.