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A Buffalo Bill Center of the West Virtual Exhibit
Curated by: mary ann thompson


1.69.705
flag | fringe | fabric | gol...
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Exhibit notes: Wyoming

Museum record: 1.69.705 | L: 36 in, width: 60 in | New Wyoming state flag made out of silk type fabric with gold fringe, n.d. | 1.69.705.jpg | 1.69.705v2.jpg | 1.69.705.JPG | flag | fringe | fabric | gold | silk type

Buffalo Bill - Th...
Whitney, Gertrude Vanderbilt...
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Exhibit notes: Whitney's sculpture of Cody, nothing could be more representative of the museum.

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

The Golden Gate, ...
Moran, Thomas | Painting | o...
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Exhibit notes: Thomas Moran, one of greatest artists of the west.

Museum record: 4.75 | 1893 | H: 36.25 in, width: 50.25 in, Frame height: 46.5 in, Frame width: 60.5 in, frame depth: 4 in | The Golden Gate, Yellowstone National Park | Museum purchase | Moran's name became synonymous with Yellowstone. He accompanied the official governmental expedition into the region in 1871. His sketches of the wonders helped to convince Congress to establish Yellowstone as the first national park. The artist returned to the Park in 1892 and painted a view of the pass named Golden Gate. | LRC: TMoran./1893 | Book: Exhibition catalog; America! Storie di pittura dal Nuovo Mondo; linead'ombralibri, Treviso, Italy; 2007; page 64-65 | 4.75.jpg | 4.75.jpg | 4.75.JPG | 4.75.jpg | 4.75.jpg | 4.75.web.jpg | transportation | Figure | Landscape | Group | Animal | Painting | oil on canvas | Thomas Moran (1837-1926) Golden Gate, Yellowstone National Park 1893, oil on canvas Museum purchase Thomas "Yellowstone" Moran was the artist's nickname because of his close ties to Yellowstone National Park. He joined an official government expedition to the region in 1871. The artist returned to the Park in 1892 and painted a view of the pass named Golden Gate. 4.75 | Born in England, Thomas Moran created thousands of oil paintings, watercolors, drawings, and prints of the American West. The artist accompanied Ferdinand V. Hayden’s 1871 survey of the Yellowstone region and catapulted to fame the following year when Congress purchased his monumental painting The Grand Cañon of the Yellowstone, 1872. Twenty years later Moran returned to Yellowstone to paint the dramatic landscapes that had made him famous. This view of the passage known as the Golden Gate highlights a new trestle, built to accommodate the growing number of tourists drawn to America’s first national park. | Moran, Thomas

Yellowstone Falls
Bierstadt, Albert | Painting...
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Exhibit notes: All collections need to have at least one Albert Bierstadt.

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

Coming Through th...
Remington, Frederic | Sculpt...
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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

Radisson and Gros...
Remington, Frederic | Painti...
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14.86 | 1905 | H: 17.125 in, width: 30.125 in, Frame height: 22.5 in, Frame width: 35 in | Radisson and Groseilliers | Gift of Mrs. Karl Frank | In 1903 Remington signed an exclusive contract with Collier's magazine to produce works in color on various historic themes related to the American frontier. As part of that work, he initiated a series of eleven paintings for Collier's in 1905 which was titled The Great Explorers. Radisson and Groseilliers is the only painting which remains from the original set. | LRC: FREDERIC REMINGTON [Back:] piece of wood attached to bottom of stretcher: 4 Raddison & Grossilliers - 1609 | Book: Shining Big Sea Water: The Story of Lake Superior, by Norman K. Risjord, Minnesota Historical Society Press, St. Paul, 2008, page 37 | 14.86.jpg | 14.86.jpg | 14.86.jpg | 14.86.JPG | 14.86.web.jpg | Indian | Other | Figure | explorers | Painting | oil on canvas | Remington, Frederic

Pony Express
Jackson, Harry | Sculpture |...
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16.73 | 1967 | H: 17.75 in, L: 22 in, width: 13 in, base depth: 1.625 in, Base Length: 15.125 in, Base Width: 6.625 in | Pony Express | Gift of The Coe Foundation | The patina of a bronze sculpture is the surface film on the metal that comes from chemical changes, either naturally occurring or resulting from an application of acid designed to protect the surface and produce a colored effect. Since the Renaissance, bronze sculptures have usually been "patinaed," brushed with an acid. Different acids produce different colors, such as the greens, browns, and blackes typically associated with bronze sculptures. In addition to patinaed versions, Jackson likes to create painted editions of many of his works. For his painted sculptures, tempera paints are applied to the surface either to evoke realistic object colors or to convey an expressionist approach. To learn more, see Harry Jackson's publication Lost Wax Bronze Casting. This book traces the method of producing a bronze with Pony Express chosen to illustrate the process. | Top of base, front: FOR THE COES OF CODY/DEAR and LOYAL FRIENDS/c. Harry Jackson 1967, Back of base: 19 | 16.73.JPG | Man | Pony Express | horse | Sculpture | bronze | patina | Jackson, Harry

Custer's Last Stand
Paxson, Edgar Samuel | Paint...
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Exhibit notes: Most accurate portrayal of LBH

Museum record: 19.69 | 1899 | H: 70.5 in, width: 106 in, Frame height: 98 x 73.75 in, Frame width: 132.75 x 108.75 in, frame depth: 2 in | Custer's Last Stand | Museum purchase | Paxson researched the Battle of the Little Bighorn and spent several years completing the painting. He then circulated it as a traveling exhibition. As part of the explanatory material on the painting, he prepared an outline key which identified the major figures (see diagram at right). | LRC: copyright by/E.S. Paxson Butte/M./99 [verso, LL:] E.S. Paxson/Butte Mont. U.S.A./copyright applied for - | Source: Paxson Heirs | Magazine: Western Art & Architecture: From Cowboy to Contemporary; Perspective: Edgar S. Paxson: Painter, myth maker aspired to historical accuracy, Charles Finn, Winter/Spring 2008, page 72-73 | 19.69.JPG | 19.69.web.jpg | 19.69.jpg | 19.69.jpg | 19.69.jpg | 19.69.jpg | Group | Figure | Indian | military | Animal | Painting | oil on canvas | Paxson, Edgar Samuel

End of the Trail
Fraser, James Earle | Sculpt...
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112.67 | ca. 1918-1923 | H: 33.75 in, L: 26 in, Base Width: 6.5 in, Base Length: 20.75 in, width: 8 in | End of the Trail | Clara Peck Purchase Fund | The End of the Trail has appealed to public sentiment since its conception following Chicago's 1893 World's Columbian Exposition. Inspired by the exposition's fusing of the nostalgic with the progressive, Fraser made a windblown and destitute symbol which represented the public's belief in the sad, yet inevitable extinction of the Indian. In 1915 the artist exhibited a monumental version of this subject at the thematically - appropriate site of the Panama - Pacific International Exposition in San Francisco, and its popularity led him to make smaller casts such as this one. | Rear Right Side of Base: For my friend/Warren Delano/E Fraser, Rear Left Side of Base: c (circled) Fraser 1918, Left Side of Base: Roman Bronze Works N-Y- [underside of base:] RB 12 | 112.67.jpg | 112.67.JPG | Figure | Indian | Animal | Sculpture | bronze | Fraser, James Earle

A Bronc to Breakf...
Russell, Charles M. | Print ...
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17.80.124 | 1908 | H: 8.375 in, width: 14.875 in | A Bronc to Breakfast | LLC: CM Russell/1908 (skull), Printed LLC: c./B&B, LC: A Bronc to Breakfast, LRC: Reproduced from the original oil painting by Charles M. Russell | 17.80.124.jpg | Cowboy | Group | transportation | Animal | Landscape | Print | color | Russell, Charles M.

Waiting for a Chi...
Russell, Charles M. | Painti...
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Exhibit notes: Blizzard of 1886, only as Charlie Russell could depict.

Museum record: 88.60 | ca. 1903 | H: 20.5 in, width: 29 in, Frame height: 33.5 in, Frame width: 41.5 in, frame depth: 2 in | Waiting for a Chinook | Gift of Charles Ulrick and Josephine Bay Foundation, Inc. | Severe storms in the winter of 1886 - 1887 brought ruin to Montana's cattle industry. When owners of a herd of 5,000 cattle requested a report on their herd, cowboy Charles Russell simply drew a starving cow about to drop before ravenous wolves and titled it Waiting for a Chinook, (a warm west wind). His drawing conveyed the impending disaster more eloquently than any written report. Later he painted this larger version and added the additional title by which the work had become known, The Last of 5000. | LLC: C M Russell(skull);LL: Waiting For A Chinook/The Last of 5000 | Film: Theodore Roosevelt: An American Lion; Greystone Communications, North Hollywood, CA; two (2) film tape set; 2003| | 88.60.jpg | 88.60.JPG | 88.60.jpg | 88.60.web.jpg | 88.60.jpg | 88.60.jpg | 88.60.jpg | Landscape | Animal | wolf | Group | Painting | watercolor on paper | Russell, Charles M.

A PRAIRIE PICNIC
A. Hoen & Co., Baltimore | p...
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Exhibit notes: Iconic poster of the iconic Buffalo Bill

Museum record: 1.69.84 | 1893 | H: 20.75 in, width: 29 in | A PRAIRIE PICNIC | Printed at top: BUFFALO BILL'S WILD WEST/AND CONGRESS OF ROUGH RIDERS OF THE WORLD, Printed bottom: A PRAIRIE PIC-NIC, Printed lower right: A. HOEN & CO. BALTIMORE, U.S.A. 34 | Four color lithograph poster of Buffalo Bill and cavalry fighting Indians. Condition: Margin trimmed by hand. Origin: Purchased from The Old Print Shoppe, 150 Lexington Ave. at 30th St., New York, NY, by above source, The Coe Foundation for the Buffalo Bill Museum | 1.69.84.JPG | 1.69.84.jpg | Indians | Buffalo Bill | cavalry | poster | lithograph | four color | A. Hoen & Co., Baltimore

1.69.1840
Unknown | chair | moose | ho...
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Exhibit notes: Just for fun.

Museum record: 1.69.1840 | 1895 | seat width: 27 in, H: 33.055 in, base depth: 36 in | Mary Jester Allen Collection | Horn chair with elk horn frame and moose horn seat. Pieces bolted together. | 1.69.1840.jpg | 1.69.1840.JPG | chair | moose | horn | elk | bolted | Unknown

The Wild West Game
McLoughlin Bros., New York |...
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Exhibit notes: We always need toys and games.

Museum record: 1.69.6138 | 1896 | L: 19.5 in, width: 19.5 in | The Wild West Game | Virginia Boal Hayden Acquisition Fund purchase | top cover; THE WILD WEST GAME lower right corner; COPYRIGHTED 1896 / MC LOUGHLIN BROS. NEW YORK reverse; [directions for game] | 1.69.6138a.jpg | 1.69.6138b.jpg | rifle | stagecoach | weapons | sheild | buffalo | cavalry | horse | fort | hunter | Indian | Buffalo Bill | saber | wagon | game | cardboard | chromolithograph | The Wild West Game At the roll of a dice, players in the Wild West game moved their pieces toward opposite ends of the board. Each player had eight lead tokens, playing as Indians and Cavalry. The circles represented peaceful encounters, while the red squares were for battles. A special book auction to benefit the BBHC made the purchase of this rare 19th century game possible. Chromolithograph game board and cover Manufactured by McLoughlin Brothers, New York 1896 Virginia Boal Hayden Acquisition Fund purchase, 1.69.6138 | McLoughlin Bros., New York

NA.202.598
South Dakota | Sioux | shirt...
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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

NA.205.63
Northern Plains | War bonnet...
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NA.205.63 | ca. 1905 | L: 29 in, H: 21.5 in | Irving H. "Larry" Larom Collection | Dress and Adornment - Status Symbols and Insignia of Office. War bonnet - yellow felt hat; eagle feathers, white plumes and yellow cloth at bases, green dyed horse hair at tips; beaded brow band with triangle pattern in yellow, green and dark blue on light blue ground; two strips of red cloth and one ermine skin on each side. | NA.205.63.JPG | NA.205.63.JPG | NA.205.63.JPG | triangle | War bonnet | White | eagle | felt | cloth | plumes | Beads | feathers | ermine | yellow | horsehair | green dyed | Red | Northern Plains

NA.202.39
Northern Plains | Crow | dre...
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NA.202.39 | ca. 1885 | L: 21.75 in, width: 13.75 in | Irving H. "Larry" Larom Collection | Dress and Adornment: Daily And/Or Festive Adornment. Child's -- Blue wool tradecloth with red cloth neck yoke and band, red band at bottom of sleeves with strip of tan cloth. 3/4 of bodice (front and back) covered with imitation elk teeth. Sleeves completely covered with teeth. Rawhide ties at neck. | NA.202.39.JPG | NA.202.39.jpg | dress | wool | imitation | teeth | muslin | elk | rawhide | Northern Plains | Crow

1988.8.3823
U.S. Quartermaster Departmen...
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1988.8.3823 | 1861-1865 | H: 2.25 in, L: 32 in, width: 8 in | Gift of Olin Corporation, Winchester Arms Collection | Sewn black leather w/ brass button, rivets and ornaments; steel or iron pins & buckles; tin box lining. Information taken from various sources but primarily All He Could Carry: US Army Infantry Equipment (1839-1910) by Stephen J. Allie; Fort Leavenworth Historical Society Publication (RNW Note) | U.S. M1855 Cartridge Box | 1988.8.3823.jpg | 1988.8.3823v1.jpg | 1988.8.3823v2.jpg | bag | Other | leather | brass | U.S. Quartermaster Department

1.69.780
boots; straps | leather
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1.69.780 | ca. 1890 | overall height: 29 in, foot length: 10.5 in, foot width: 3.5 in | Gift of Robert F. Garland | (A/B) Pair of thigh high black leather boots with square toes and (C/D) straps and buckles at knees, moderate height heel. | 1.69.780.jpg | 1.69.780.jpg | boots; straps | leather

1988.8.980
G. Goodwin & Co., London, En...
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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

NA.702.31
So-soreh | Northern Plains |...
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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

NA.702.9
petroglyph | oval | stone | ...
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NA.702.9 | H: 16 in, width: 17.75 in | FUNCTION: Communication and Media of Exchange: Writing and Records. Explorers (replica) -- Oval shaped stone slab; etched with drawing of a boat with two stick figures standing in it. ---See label on back of petroglyph. | NA.702.9.JPG | boat with two stick figures standing int it | petroglyph | oval | stone | etched | slab

Shiras moose
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NH.305.35 | Shiras moose | Alces alces | Mammalia | nh.305.35.jpg | 305.35.JPG

elk
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NH.305.39 | elk | Cervus elephus | Mammalia | 305.39.JPG