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The Center of the West reborn

It's a difficult question--what 25 objects would I risk my life to save and use as the foundation of a "new" Buffalo Bill Center of the West. I believe they should represent the West itself, but the story of the West means different things to different people and cultures. If this is truly to remain the "Center" of the West, we'll have to try to represent the breadth of that story. Here is my attempt.

A Buffalo Bill Center of the West Virtual Exhibit
Curated by: NancyM

Untitled (High pr...
Remington, Frederic | Painti...
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Exhibit notes: While this untitled Remington may seem non-descript, it represents an unpeopled West to me.

Museum record: 84.67 | date unknown | H: 27 in, width: 40.125 in, Frame height: 34.5 in, Frame width: 47.5 in | Untitled (High prairie, sagebrush and mountains) | Gift of The Coe Foundation | Remington made landscape sketches to serve as the background for his figure paintings. He would fill in the figures in his studio. He sometimes sat in a rocking chair to paint. | 84.67.jpg | 84.67.JPG | Landscape | Painting | oil on canvas | Remington, Frederic

An "Oak Opening",...
Catlin, George | Painting | ...
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Exhibit notes: Although Catlin painted this post-contact, his title of "Indians playing on horseback" suggest a carefree, pre-conflict time.

Museum record: 29.86 | ca. 1855-1870 | Sheet height: 17.875 in, Sheet width: 24.5 in, Frame height: 23 in, Frame width: 29.25 in | An "Oak Opening", Mouth of the Platte, with a party of Indians playing on horseback | Gift of Paul Mellon | Catlin wanted to keep his frontier paintings together as a collection so that the history of the Indian would be complete. | Top center: 315, LL: A (over 338), Secondary label: AMNH 338; Catlin, 315, title (in pencil), 315 | Needs photography. Oil on paperboard on Bristol Board | 29.86.JPG | Landscape | Indian | Painting | Oil on paperboard | George Catlin (1796-1872) An "Oak Opening", Mouth of the Platte, with a party of Indians playing on horseback ca.1855-1870, oil on paperboard Gift of Paul Mellon Catlin traveled throughout the West to paint Native Americans and their environments in the 1830s. He believed that Native American cultures were not going to survive, and made it a personal mission to document their traditions in his paintings. He created scenes late in life from sketches and recollections. 29.86 | Catlin, George

So-soreh | Northern Plains |...
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Exhibit notes: A Native record of an Eastern Shoshone Sundance.

Museum record: NA.702.31 | 1900 | L: 55.125 in, width: 60.75 in | Written on back in blue: PAINTED/BY/KADZIE CODY-SHOSHONI INDIAN/NOVENBEN, 1906/PRESENTED TO F.A. HEPBURN./BY HIS WYPA | Communication and Media of Exchange: Writing and Records. Cow(?) hide, tanned; painted all over one side with horsemen hunting buffalo; the center has a sun dance pole and men dancing around it with others singing; also depicted is a tipi and a rider with a bonnet with a long trailer; colors are black, yellow, blue, green and red. ---Personal property of Mary Jester Allen Helen Cody Allen. | NA.702.31.JPG | na.702.31.jpg | NA.702.31.jpg | sun dance pole | rider with a bonnet with a long trailer | men dancing around it with others singing | tipi | horsemen hunting buffalo | painted hide | hide | cow | pigment | tanned | So-soreh | Northern Plains | Codsiogo | Eastern Shoshone | Cody, Cadzi

Northern Cheyenne | Montana ...
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Exhibit notes: I've included this just because...Wow!

Museum record: NA.205.9 | ca. 1900 | overall length: 64 in | Dr. Robert Anderson Collection | Dress and Adornment - Status Symbols and Insignia of Office. Feather bonnet - commercially tanned leather skull cap with wrapped quillwork band having row of brass buttons along top. Large strips of ermine attached to side of band. Eagle feathers with blue yarn wrapped stems, white and orange feather puffs with horse hair tassles at tips. Red felt double trailer with yellow ribbon on edges and down center. Beaded medallion on center back of trailer with multi-color feather puffs and eagle feathers attached. Small feathers with stripped stems down each side of trailer. Trailer lined with black floral print cloth. | NA.205.9view1.JPG | NA.205.9 dtl .JPG | NA.205.9dtl1.JPG | NA.205.9dtl2.JPG | NA.205.9view1.JPG | NA.205.9view2.JPG | NA.205.9view2.JPG | Feather bonnet | porcupine quills | deer hide | White | felt | brass | puffs | ermine | feather | seed | orange | tanned | yarn | Horse Hair | ribbon | blue | glass beads | feathers | multi-color | buttons | golden eagle | cloth | Northern Cheyenne | Montana

The Lewis and Cla...
Burnham, Thomas Mickell | Pa...
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Exhibit notes: Lewis and Clark press into what was Native territory, a catalyst for future culture clash.

Museum record: 21.78 | ca. 1850 | H: 36.125 in, width: 48.5 in, Frame height: 45.25 in, Frame width: 57 in | The Lewis and Clark Expedition | Museum purchase | Meriwether Lewis and William Clark led the United States government's first official exploration of the western part of the North American continent. Their 1804-1806 exploring party did not include an artist, so visual images of the land and its features were not a significant part of their report. In the following years artists have commemorated and interpreted the expedition. Burnham depicted the leaders in a lush, idyllic landscape that portrays the West as a type of Garden of Eden. | LR: Burnham,/Painter/Troy | Magazine: Field & Stream, Times Mirror Magazines, Inc., November 1994, The Right Stuff by Jim Merritt, page 42-43. | 21.78.jpg | 21.78.JPG | 21.78.web.jpg | 21.78.jpg | Landscape | Figure | Animal | Lewis and Clark | Group | Painting | oil on canvas | Meriwether Lewis and William Clark led the United States government's first official exploration of the western part of the North American continent between 1804 and 1806. Their party did not include an artist, however, so visual images of the landscape did not feature significantly in their report. In the years that followed, artists like Thomas Mickell Burnham commemorated the expedition, here depicting its leaders in a lush, idyllic landscape that imagines the West as a glorious Garden of Eden. | Burnham, Thomas Mickell

Colts Patent Firearms Mfg. C...
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Exhibit notes: This Colt Model 1873 revolver is representative of the ubiquitous firearm that is essential to the western story.

Museum record: 1989.7.1 | Gift of Judd W. Thomas | Colt Model 1873 Revolver and holster, s.n. 148232. Needs to be physically numbered; number in object file. Currently numbered 1988.8.2217. | Model 1873 | 148232 | 1988.8.2217v1.jpg | 1988.8.2217v2.jpg | firearm | revolver | Colts Patent Firearms Mfg. Co., Hatrford, Conn.

The Homesteaders
Koerner, W.H.D. | Painting |...
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Exhibit notes: Koerner's "The Homesteaders" represents Euro-American penetration into the West.

Museum record: 24.77 | 1932 | H: 29.125 in, width: 40.75 in, Frame height: 36 in, Frame width: 47.875 in, frame depth: 2 in | The Homesteaders | This painting was the introductory illustration for Rose Wilder Lane's Let the Hurricane Roar, an account of the life of her mother, Laura Ingalls Wilder, published by the Saturday Evening Post, October 22, 1932. The painting portrays the Ingalls with baby Laura. The caption reads: "Carolyn took the baby and walked across the slough to the field where Charles was plowing." | LRC: W.H.D./Koerner (Koerner underlined)/1932 | Quarterly Journal: Points West: Journal of the Buffalo Bill Historical Center, Summer 2003, page 3 | 24.77.jpg | 24.77.JPG | Group | Figure | Landscape | Painting | oil on canvas | Koerner, W.H.D.

The Grand Cañon,...
Moran, Thomas | Print | chro...
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Exhibit notes: Along with photos by William Henry Jackson, Thomas Moran's paintings convinced the government to designate Yellowstone the first national park.

Museum record: 18.71.8 | 1875 | Image height: 9.75 in, Image width: 14 in, mat height: 24 in, mat width: 20 in, Frame height: 21.75 in, Frame width: 25.5 in, Sheet height: 18 in, Sheet width: 21.75 in | The Grand Cañon, Yellowstone | Gift of Clars S. Peck | Prang produced a series of Moran's works in a portfolio entitled The Yellowstone National Park, and the Mountain Regions of Portions of Idaho, Nevada, Colorado and Utah, with a text by F.V. Hayden. These chromolithographs brought color views of Yellowstone to a large audience. | LL: The Grand Cañon, Yellowstone, LC: Copyright, 1875, by L. Prang and Co., LR: Prang's American Chromo. TYM (monogram) | 18.71.8.jpg | 18.71.8.jpg | 18.71.8.JPG | Group | Figure | Landscape | Print | chromolithograph | Moran, Thomas

Custer & 20,000 I...
Scholder, Fritz | Painting |...
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Exhibit notes: Scholder's "Custer & 20,000 Indians" always gives me chills, and reinforces my personal disgust of all things Custer.

Museum record: 7.08 | 1969 | Frame height: 34.25 in, Frame width: 44 in, width: 40 in, H: 29.75 in | Custer & 20,000 Indians | Gift of Janis and Wiley T. Buchannan III | In the past, artistic representations of the story of the Battle of the Little Bighorn have focused on the noble valor of George Armstrong Custer and his men. Contemporary reevaluations look at the event in new ways. Scholder, an artist of native descent, has adapted his figure of Custer from the first newspaper illustration that reported the battle in 1876, but he has taken a modern, satirical approach. | oil on canvas, "Custer & 20,000 Indians," Fritz Scholder, 1969 | l.180.2002.1.jpg | Indians | Custers Last Stand | George Armstrong Custer | Painting | oil on canvas | Fritz Scholder (1937-2005) Custer & 20,000 Indians 1969, oil on canvas Gift of Janis and Wiley T. Buchannan III Historic representations of the Battle of the Little Bighorn often focused on the noble valor of George Armstrong Custer and his men. Contemporary society evaluates this event in new ways. This painting is based on an 1876 newspaper illustration reporting the story, but Scholder added a modern, satirical twist. The artist exaggerated, and thus questioned, the accounts. 7.08 | Scholder, Fritz

The Conquest of t...
Bacon, Irving R. | Painting ...
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Exhibit notes: Bacon's "Conquest of the Prairie" has never been a favorite of mine, but it does compress many aspects of so-called "conquest" of the West into one image.

Museum record: 14.64 | 1908 | H: 47.25 in, width: 118.5 in, Frame height: 59.625 in, Frame width: 130.75 in | The Conquest of the Prairie | Bequest in memory of the Houx and Newell families | This painting portrays William F. "Buffalo Bill" Cody as the guide bringing modern life to the West. In the distance gleams the future--an industrialized city. Cody purchased this painting from the artist and displayed it in the Irma Hotel where it hung until it was donated to the Buffalo Bill Historical Center. | LLC: Copyrighted 1908/Irving R. Bacon | LRC: Irving R. Bacon/Munich 1908 | 14.64.jpg | 14.64 URC detail of frame.jpg | 14.64.JPG | 14.64.jpg | 14.64.jpg | 14.64.web.jpg | Landscape | Indian | Cowboy | Group | Animal | Cody, William F. | transportation | Painting | oil on canvas | Irving R. Bacon portrays William F. "Buffalo Bill" Cody as a guide bringing modern life to the West. A group of mounted warriors, whose way of life will soon be displaced, observes Cody’s approach, while an industrial city gleams on the horizon. Cody purchased this painting from the artist and displayed it in his Irma Hotel in Cody, Wyoming, where it hung until it was donated to the Buffalo Bill Center of the West. | Bacon, Irving R.

Coming Through th...
Remington, Frederic | Sculpt...
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Exhibit notes: Remington's "Coming Through the Rye," an homage to the idea of the raucous cowboy, celebrating payday. An timeless symbol of the West.

Museum record: 5.66 | 1907 | H: 27.5 in, Base Length: 28 in, Base Width: 19 in, overall length: 27.25 in, overall width: 31 in, overall height: 29 in | Coming Through the Rye | Gift of Barbara S. Leggett | Remington studied the movement of horses, using the photographs of Eadweard Muybridge, and incorporated his knowledge into this representation of cowboys coming to town for a raucous celebration. This sculpture challenged Remington because he wanted to raise as many of the horses' hooves off the ground as possible, while adequately supporting the sculpture. | Lower Right of Base: Copyrighted by Frederic Remington Lower Left of Base: Roman Bronze Works N.Y. Front Center Base - Gold Plaque: Presented to/Edmund Converse/by the directors of the/Liberty National Bank/New York 1907 [lower left of base in back;] 7 | 5.66.jpg | 5.66.JPG | 5.66.jpg | 5.66.web.jpg | Group | Animal | Cowboy | Sculpture | bronze | Frederic Remington (1861-1909) Coming Through the Rye modeled 1902, cast 1907, bronze cast number 7 Roman Bronze works, N.Y. Gift of Barbara S. Leggett 5.66 Remington creates energy, motion, and excitement in this sculpture. The rowdy cowboys barrel through town. The horses seem to defy gravity and run in midair. Remington pushes the limits of sculpture, lifting as many of the horses’ hooves off the ground as possible, while still supporting the weight. | Remington, Frederic

Colt Patent Firearms Manufac...
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Exhibit notes: Personalities like Wild Bill Hickok, who owned this pistol, become a part of the myth and lore of the West.

Museum record: 1.69.6284.1 | 1868 | Barrel length: 7.5 in, overall length: 13 in, H: 5 in | Gift of Florence Jenkins and the Donald Becker Family | Colt Navy revolver, .36 caliber, sn 204672, belonged to Wild Bill Hickok, sold to help pay for his burial expenses, and purchased for 25 cents, provenance in the Becker donor file. | Model 1851 Navy | .36 caliber | 204672 | l.11.85.1.jpg | firearm | engraved | gold | ivory | Colt Patent Firearms Manufacturing Co., Hartford, CT

I Am Coming
Courier Litho Co., Buffalo, ...
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Exhibit notes: Buffalo Bill's Wild West takes the West to the world.

Museum record: 1.69.4922 | 1900 | H: 27.625 in, width: 40.875 in, Sheet height: 29 x 42.375 in, mat height: 36 in, mat width: 48 in, Frame height: 39.5 in, Frame width: 51.5 in | I Am Coming | Museum Purchase | beneath image of Cody: COL. W.F. CODY [bottom of poster, centered: I AM COMING [lower right:] PRINTED IN THE UNITED STATES OF AMERICA/ 2862/ COPYRIGHT 1900 BY THE COURIER CO./ (stylized script) COURIER/ CO.LITH. DPT./ BUFFALO N.Y. [LLC, pencil:] No 23 [on back, LRC:] 185094A12667/ Buffalo Bill No 23 | Four-color poster with a buffalo in the center with an oval insert of a bust of Buffalo Bill and running buffaloes in the background. Poster is mounted on a piece of stiffened fabric. | 1.69.4922.jpg | 1.69.4922.JPG | Cody, W.F. | buffalo | poster | lithograph on paper | fabric | Courier Litho Co., Buffalo, NY
disc | brass
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Exhibit notes: A target coin shot by Annie Oakley.

Museum record: | Aug. 9, 1909 | Diameter: 1.75 in | Gift of Elsa L. Schaffner | Each disc stamped one side: SHOT WITH/A/U.M.C. CARTRIDGE, Each disc stamped on other side: SHOT WITH/A/REMINGTON RIFLE, .1 is signed in ink: Annie/Oakley/Aug. 9, 1909 | Brass disc used for target shooting, a small hole is drilled through top edge, a bullet hole is through the disk. Elsa L. Schaffner watched Annie Oakley shooting targets, at Fred Stone's residence, Amityville, Long Island, New York, on Aug. 9, 1909 when she was a child, picked the above up as souveniers and also saved a newspaper clipping titled `Tells How Annie Oakley Shot Ashes From Kaiser's Cigarette' from the Amityville paper.Brass discs used for target shooting, each has a small hole drilled through top edge. | | disc | brass

Gray Wolf
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Exhibit notes: Wolves, reintroduced to Yellowstone in 1995 and essential to the ecosystem, continue to evoke controversy.

Museum record: DRA.305.182 | Gift of Lila D. Putnam. Collected, prepared and mounted by Jack D. Putnam (1925-2009) | Gray Wolf | Canis lupus | Mammalia | 305.182.JPG

South Dakota | Her Many Hors...
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Exhibit notes: Native American Church objects, a sign of cultural endurance and adaptation in the face of repressive governmental policy toward Native culture.

Museum record: NA.502.215.3 | July 1999 | L: 38.25 in, width: 2.375 in | Gift of the Pilot Foundation | Staff made of 4 parts that screw together. Dark wooden bottom is shaped into an arrow point, with charlotte seed beads of blue, orange and yellow in a gourd stitch around stem end. One part of stem is wooden and beaded in charlottes of a light blue ground with blues, orange and yellow all in a gourd stich. Another part of stem is entirely beaded of charlottes in a gourd stitch. There is orange, yellow and blues on a light blue ground. The top of white horse-hair is banded in charlottes of blues, orange and yellow on a light blue ground in a gourd stitch. | NA.502.215.3.JPG | NA.502.215.3 &.4 &.5.jpg | staff | Native American Church | wood | Horse Hair | glass beads | South Dakota | Her Many Horses, Emil | Sioux

South Dakota | Sioux | shirt...
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Exhibit notes: An awe-inspiring example of the Plains Indian melding of function and artistry, once worn by Red Cloud for a photograph.

Museum record: NA.202.598 | 1870s | L: 42.5 in, width: 58 in | Adolf Spohr Collection, Gift of Larry Sheerin | Dress and Adornment: Daily and/or Festive Adornment. Man's (Red Cloud) -- Deerskin, fringe. Upper portion painted blue, lower portion yellow with yellow, orange and brown lines in between. Triangular tabs on front and back of neck decorated with red and blue wool and beading in white, red, blue, green, turquoise and yellow. Lazy stitch beaded strips over shoulders and on each sleeve. Panels with turquoise diamond designs on dark blue ground also with white, green, yellow, red and pink on strips. Upper portion and sleeves also have small beaded squares in red and pink or turquoise and yellow. Human hair bundles run over shoulders and on sleeves, most dark but some light horse hair bundles. Bundles wrapped with undyed porcupine quills and attached to blue beads. Tabs at bottom on each side decorated with triangular piece of red and blue wool with white, blue and green beaded border. | Book: juvenile, Discovering the Arts, Native American Culture, by Katherine Gleason, Rourke Publishing LLC, Vero Beach, 2006, (received Sept. 2005) | NA.202.598Dk.JPG | NA.202.598view1.JPG | NA.202.598view2.JPG | NA.202.598.jpg | strips | Diamond | triangular | squares | shirt | human hair | Horse Hair | deer hide | Glass seed beads | pigment | porcupine quills | wool | South Dakota | Sioux

A Contemporary Si...
Bama, James | Painting | oil...
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Exhibit notes: Native culture is an integral part of the American West today.

Museum record: 19.78 | 1978 | H: 23.375 in, W: 35.375 in, Frame height: 34.5 in, Frame width: 46.625 in | A Contemporary Sioux Indian | William E. Weiss Contemporary Art Fund Purchase | In western art the Indian is often portrayed as a character from the past. Using a realist style, Bama portrayed a contemporary Indian who maintains a relationship with the past but has to find his place in the white man's world. The message on the wall behind the subject echoes the artist's theme of the nonacceptance of Indians in mainstream American society. | LL: Bama 78 | 19.78.jpg | 19.78.jpg | 19.78.JPG | Indian | Painting | oil on panel | Bama, James

I-80 Energy Romance
Stinson, Don | Painting | oi...
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Exhibit notes: Not a work of art I would want to hang in my home, but indicative of the importance of energy development in the West.

Museum record: 15.13 | 2013 | Frame height: 29 in, Frame width: 64.875 in, H: 28 in, width: 64 in | I-80 Energy Romance | Gift of The Alexander Bodini Foundation, in memory of Alexander Bodini | Don Stinson's paintings are panoramas of the American West of today. The magnificent landscapes are beautifully painted, especially the skies that reach into the distance. Stinson typically includes aspects of our built environment of the recent past - an abandoned gas station or drive-in* movie theater, for example. In the context of the western land, these human elements seem temporary and fleeting, as if being re-claimed by nature. While there are layers of meaning in the paintings, the images are immediately recognizable and familiar to anyone who has ever driven distances in the American West. 1-80 Energy Romance is relevant to Wyoming culture, especially in the ways it addresses the state's interest in and reliance upon energy. Stinson's paintings are in the collection of the Denver Art Museum and Phoenix Art Museum. He has been featured in major art exhibitions across the country. He is currently at the height of his career and is an excellent addition to the Buffalo Bill Center of the West. | 15.13.jpg | 15.13v1.jpg | Painting | oil on linen | Stinson, Don

Buffalo Bill - Th...
Whitney, Gertrude Vanderbilt...
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Exhibit notes: Buffalo Bill--The Scout, the very first object of the Center's collection. We must protect it from melting in the lava!

Museum record: 3.58 | 1924 | H: 149 in, width: 84 in, L: 138 in | Buffalo Bill - The Scout | Gift of the artist | Gertrude Vanderbilt Whitney (Not dated but completed in 1924), Roman Bronze Works N.Y. plinth: BUFFALO BILL / MDCCCXLVI - MCMXVII | Acoustiguide. Source: Gift of Gertrude Vanderbilt Whitney as part of 2 commissions from the trustees of the Buffalo Bill Memorial Association. Provenance: Gift (and partial purchase) from the artist. A rowel stolen off of the sculpture years ago was returned in 1994. The rowel is in VB.C7.S1. | BBHC Cody Enterprise column: “Your Museum Matters” – May 1, 2009 From our collection: In 1922, the Buffalo Bill Memorial Association commissioned a New York artist, Gertrude Vanderbilt Whitney, to create a monument to Buffalo Bill in Cody, Wyoming. Not only did she create a masterpiece, she also gave generously. In 1924, she donated Buffalo Bill – The Scout, and forty acres of adjacent land, to the association, and the statue was dedicated July 4, 1924. For 30 years, the Scout remained a solitary figure at the outskirts of town. Then, in 1954, Whitney’s son, Cornelius Vanderbilt Whitney, contributed a sizeable donation in his mother’s memory, creating the Whitney Gallery of Western Art which opened in 1959. When the Whitney Gallery reopens on June 21, 2009, visitors will now be able to see the Scout through the entire length of the gallery. Credit Line/caption: Gertrude Vanderbilt Whitney (1875 – 1942). Buffalo Bill – The Scout, 1924. Buffalo Bill Historical Center, Cody, Wyoming. Gift of the artist. 3.58 | 3.58.jpg | 3.58.jpg | 3.58v2.jpg | 3.58.2014pic.JPG | 3.58.JPG | 3.58.web.jpg | William F. Cody | military | horse | Sculpture | bronze | Whitney, Gertrude Vanderbilt

Abbott Downing and Company, ...
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Exhibit notes: My last five objects are my choices as the single most significant object in each museum. Buffalo Bill Museum: Deadwood-Cheyenne stagecoach

Museum record: 1.69.2726 | 1867 | H: 108.25 in, L: 164 in, width: 82 in | Gift of Olive and Glenn E. Nielson | Painted on both sides of driver's seat: US MAIL [painted over doors:] DEADWOOD-CHEYENNE [stamped on ends of axels:] 204 [stamped on ends of hubs:] 42/S. GAGE [right front hub end stamped:] 60 | Stagecoach, light mail or hotel. Four wheel, 2 door, open driver's seat in front, deck seat on top, luggage rack in back; wood is painted deep yellow with black pin striping and lettering; metal straps, brackets and trim are painted with black enamel. Windows have roll down canvas curtains, doors have glass panels that slide down into bottom half of door. Iron steps on each side fold up in the middle. Two interior seats have red plush upholstery, same fabric covers interior walls and ceiling with a similar red carpet on the floor. According to records, manufacture was begun and completed in 1867. Originally used as a hotel coach in Littleton, New Hampshire. | 1.69.2726.jpg | stagecoach | wood | pigment | fabric | metal | glass | canvas | Abbott Downing and Company, Concord, NH

Yellowstone Falls
Bierstadt, Albert | Painting...
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Exhibit notes: Whitney Western Art Museum: Albert Biertstadt's "Yellowstone Falls"

Museum record: 2.63 | ca. 1881 | H: 44.25 in, width: 30.5 in, Frame height: 54 in, Frame width: 39.5 in, frame depth: 4.5 in | Yellowstone Falls | Gift of Mr. and Mrs. Lloyd Taggart | The author of one of the first guidebooks to Yellowstone National Park wrote that he "had the pleasure of sitting beside and conversing with the famous American artist, Bierstadt, as he was seated on a point in the Grand Canyon about 400 feet below the surface engaged in reproducing in oil, upon canvas, the Grand Canyon and Falls. It was indeed marvelous to see with what rapidity and accuracy these scenes were by him transferred to the canvas." | LLC: ABierstadt | Acoustiguide. | Magazine: Yellowstone Science; Volume 13, number 3, summer 2005; article: Yellowstone, Art, and the Emergence of Aesthetic Conservation by Peter H. Hassrick; U.S. Department of the Interior; page 9 | 2.63.jpg | 2.63.jpg | 2.63.JPG | 2.63.jpg | 2.63.web.jpg | Yellowstone Falls | Landscape | Painting | oil on canvas | Bierstadt, Albert

Plateau | Nez Perce | tipi |...
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Exhibit notes: Plains Indian Museum: Hide lodge, ca. 1850s (my personal favorite of absolutely every object in the collection)

Museum record: NA.302.126 | ca. 1850 | H: 195.75 in, L: 258 x 222 x 258 x 222 x 102 x 244 x 244 x 108 in, width: 1.5 x 1.5 x 1 x 1.75 x .375 x .375 x 1 in | Gift of Douglas L. Manship, Sr. | Buffalo hide tipi with 4 red, right hand prints around the doorway. Solid red circles in a wavy pattern around exterior. Buffalo tails on tipi with empty red circles around them. Red semi-cirle around each door opening. Approximately 10-12 buffalo hides. Eight leather strips of various strips (B-I). | na.302.126v1.jpg | na.302.126v13.jpg | na.302.126v14.jpg | na.302.126v16.jpg | na.302.126v17.jpg | na.302.126v3.jpg | na.302.126v6.jpg | na.302.126v9.jpg | na.302.126v10.jpg | na.302.126v11.jpg | na.302.126v12.jpg | na.302.126v15.jpg | na.302.126v18.jpg | na.302.126v2.jpg | na.302.126v4.jpg | na.302.126v5.jpg | na.302.126v7.jpg | na.302.126v8.jpg | NA.302.126.jpg | hands | balls | tipi | hide | buffalo | pigment | Plateau | Nez Perce

G. Goodwin & Co., London, En...
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Exhibit notes: Cody Firearms Museum: "ducksfoot" pistol. Okay, so not representative of firearms in general, but way cool!

Museum record: 1988.8.980 | ca.1800 | L: 8.75 in, Barrel length: 2.5 in, width: 4.125 in, H: 4.875 in | Gift of Olin Corporation, Winchester Arms Collection | [right side of frame:] G. GOODWIN & Co.; LONDON [tops of barrels and barrel frame numbered:] 5 6 7 8 [bottom of barrel frame:] (hallmarks) | .50 caliber | 1988.8.980.jpg | 1988.8.980.JPG | firearm | pepperbox | flintlock | G. Goodwin & Co., London, England