Disaster Dash

What collections would I gather if the Buffalo Bill Center of the West faced imminent danger from a catastrophe--like that ever-present caldera in Yellowstone? I wanted to be at once strategic, logical, thoughtful, and reasonable, not to mention simply saving the objects I particularly like. For example, it might be practical to grab those objects in my office here at the Center as they're--well--right there. I also wondered if a person should try to focus on small objects as they're easier to carry, but then there are those objects that are literally one-of-a-kind that a person should grab first--no matter how large they are. If we assume a truck is parked nearby, the size wouldn't matter. Otherwise, would one use the stagecoach and a wagon to carry objects out of the building?
Curated by Marguerite House

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This gallery has 25 objects

End of the Trail is so poignant--historically and personally. I've seen the monumental-sized version at the National Cowboy and Western Heritage Center in Oklahoma City. Simply put: It's so moving--and quite descriptive of the Center's plight should disaster become imminent.
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They Cheyenne-Deadwood stagecoach in the Buffalo Bill Museum. I could place objects inside and wheel it out of the gallery.
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Moran's "Golden Gate." Yellowstone painted to its finest. Just plain valuable.
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Another iconic Yellowstone work painted to its finest by Bierstadt. VERY valuable.
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Rosa Bonheur's painting of her friend William F. Cody. Another veritable, iconic treasure.
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Paxson's painting of Custer's Last Stand--the very definition of iconic. Very heavy with the frame, but maybe a crane could move through the Whitney Museum's back window to lift the painting to the waiting truck?
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I knew I should grab a Frederic Remington; this is my favorite.
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I also knew I should grab a Charlie Russell. "Waiting for a Chinook" is so familiar that it would be a shame to lose it. Yes, it comes with me.
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One of many of Joseph Henry Sharp's tipi paintings--this one happens to be in my office. I'll just put it in my tote bag.
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W.H.D. Koerner's painting of western romance blossoming is in my office--easy to grab, but also a downright neat painting.
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Bob Seabeck's painting that's hung in my office for years. Not much to add: I like it.
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We'd have to bring along the winter count just to add to it the catastrophe that has befallen us.
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Pristine 28-foot Wild West poster. Too important not to bring along.
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Carriage or sleigh robe with sable, mink, snow leopard, and other furs. Originally given to Buffalo Bill by Russian Czar Alexander II. Gotta love furs--and this piece has a history.
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Buffalo Bill's Medal of Honor: given, taken away, and given back--a given that this is on the "Disaster Dash" list.
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What's left of Buffalo Bill's favorite hunting rifle "Lucretia Borgia." This falls in the "one-of-a-kind" category.
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Buffalo Bill's saddle--hard to replace.
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Buffalo hide tipi in the lower level of the Plains Indian Museum. It's fairly close to an elevator, and maybe we could fold it up and head right out the loading dock. Not many of these in existence...has to go in the truck.
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The watermelon patch gun. I could probably carry it and put it in the stagecoach. Besides, who would believe us that we had a watermelon gun unless we showed them?
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Grizzly-claw necklace--enough said.
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Is it OK to bring an object for the Disaster Dash that's basically downright pretty? Arta Cody's wedding dress is just that!
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Bling, bling, bling: valuable, easy to carry, wonderful story. It's a keeper.
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To protect the Disaster Dash Collection, we might need firepower. This one is small, easy to carry.
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Thom Ross's depiction of the Alamo battle. Nearly all Thom's work has a story behind it which makes any of them important to save.
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Thom Ross's "Burial at Sea" depicting Buffalo Bill's horse. If a supervolcano were taunting us, I'm guessing we could relate.
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