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STW exhibit

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


Aborigines of Nor...
Print | engraving
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23.85.31 | March 24, 1797 | comp height: 9.25 in, comp width: 7.5 in, Sheet height: 10.625 in, Sheet width: 8.5 in | Aborigines of North America | LC: J. Chapman Sculp./Aborigines of North America./London published as the Act directs March 24th, 1797 by J. Wilkes | 23.85.31.jpg | Indian | Group | Print | engraving

A Young Oglala Si...
Bama, James | Painting | oil...
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26.97 | 1975 | H: 23.875 in, W: 18 in, Frame height: 32.25 in, Frame width: 26.25 in | A Young Oglala Sioux | Gift of Anonymous Donor | Bama paints contemporary young Indians such as Rick Williams "as being part of two worlds, part modern mainstream culture and part reservation Indian." Using a seamless technique to render an exquisitely realistic portrait, Bama presents his subject against a cracked and worn wall to reinforce the idea that Williams is a modern Indian living in a white man's world. | verso: "A YOUNG OGALALLA SIOUX"/ 23 7/8 X 18" [Label:] JAMES BAMA EXHIBITION/ University of Nebraska-Lincoln/ Sheldon Memorial Art Gallery/ May 10-June 15, 1980/ A Young Ogalalla Sioux/ Mrs. Robert Chastain/ 18/ 24/ Acrylic Gesso Panel/ (copyright mark) JAMES E. BAMA 1975/ REPRODUCTION RTS. RES. [label on frame:] COE KERR GALLERY, INC./ 49 EAST 82ND STREET/ NEW YORK/ N.Y. 10028/ ARTIST James Bama/ TITLE "Young Ogalalla Sioux"/ MEDIUM 23-7/8 x 18"/ Oil on panel | The backgrouind of the painting is a wall in Fromberg, Wyoming that the artist photographed (from a conversation with the artist 08 06 2010 - AMD). | LRC: Bama 1975 | 26.97.JPG | 26.97.jpg | 26.97.jpg | 26.97.jpg | 26.97.jpg | Indian | Rick Williams | Painting | oil on board | Bama, James

NA.506.90
Plateau | Great Basin | bask...
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NA.506.90 | early 20th century | basket height: 4.5 in, width: 4 in, maximum diameter: 15 in, lid height: 1.5 in, lid diameter: 14 in, lid width: 4.5 in | Simplot Collection, Gift of J.R. Simplot | Recreation and Ritual; Gift/Novelty. Basket/lidded: Coiled basket and lid with non-interlocking stitches and closed sparing. Knotted coil start on base and lid. Rim of basket and lid are self-coiled. Finger loop on lid is compound binded. Grass/root fiber in natural, light brown; dark brown and blue (very faded on outside). | NA.506.90dtl.JPG | NA.506.90.JPG | basket | grass | root | Plateau | Great Basin

BUFFALO BILL SHOO...
A. Hoen & Co., Baltimore | p...
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1.69.77 | 1893 | sight height: 20 in, sight width: 28.25 in, Frame height: 23.125 in, Frame width: 31.375 in | BUFFALO BILL SHOOTING ON HORSEBACK AT FULL SPEED | Gift of The Coe Foundation | Printed at top: BUFFALO BILL'S WILD WEST/AND CONGRESS OF ROUGH RIDERS OF THE WORLD, Printed at bottom: BUFFALO BILL SHOOTING ON HORSEBACK AT FULL SPEED, Printed lower right corner: A. Hoen & Co. Baltimore. U.S.A. 15 | Four color lithograph poster of Buffalo Bill shooting target balls from the back of a white horse while an Indian on a black horse throws them in the air. | 1.69.77.jpg | 1.69.77.jpg | 1.69.77.jpg | horse | target balls | Indian | White | black | Buffalo Bill | poster | four color | lithograph | A. Hoen & Co., Baltimore

Buffalo Chase
Catlin, George | Print | lit...
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21.74.5 | 1844 | Image height: 12 in, Image width: 17.75 in, Sheet height: 18.375 in, Sheet width: 23.5 in, mat height: 20 in, mat width: 24 in, Frame height: 21.75 in, Frame height: 25.75 in | Buffalo Chase | Gift of Mrs. Sidney T. Miller | LR: 5 [back, center:] F.P.G. (in a diamond) | 21.74.5.jpg | 21.74.5.jpg | Landscape | Indian | Animal | Print | lithograph, hand colored | Catlin, George

NA.203.10
Blackfeet | Northern Plains ...
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NA.203.10 | ca. 1915 | cap diameter: 7 in | The Catherine Bradford Collection, Gift of The Coe Foundation | Dress and Adornment - Personal Adornments and Ritual Regalia. Horn headdress - felt skull cap covered with ermine strips with red wool tradecloth at top. Split buffalo horns on top with cloth trailer with wrapped horse hair tassles on the end. Beaded strip in geometric design (overlay) along front of skull cap with red & yellow ribbons on each side. | NA.203.10view1.JPG | NA.203.10view1.JPG | NA.203.10view2.JPG | NA.203.10view2.JPG | NA.203.10.jpg | geometric | overlay | Buffalo Horn Bonnet | commercial | Red | seed | felt | Ribbons | wool | buffalo | horns | yellow | horse | Tradecloth | ermine | Beads | hair | bald eagle | feathers | Blackfeet | Northern Plains

Building the Fire
Miller, Alfred Jacob | Paint...
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30.64 | ca. 1837 | H: 6.063 in, width: 4.625 in, Frame height: 12.875 in, Frame width: 11.5 in | Building the Fire | Gift of The Coe Foundation | none | 30.64.JPG | 30.64.jpg | Group | Indian | Landscape | Painting | watercolor on paper | (above) Alfred Jacob Miller (1810-1874) Building the Fire ca. 1837, watercolor on paper Gift of The Coe Foundation, 30.64 (below) Alfred Jacob Miller (1810-1874) Sioux Indian's Lodge ca. 1837, Pen and ink and watercolor on paper Bequest of Joseph M. Roebling, 14.80 | Miller, Alfred Jacob

Crow Chief
Catlin, George | Painting | ...
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7.80 | ca. 1850 | H: 15.875 in, width: 21.625 in, Frame height: 20.125 in, Frame width: 26 in, frame depth: 1.875 in | Crow Chief | Bequest of Joseph M. Roebling | George Catlin believed that of all the Indians he met during his 1832 journey up the Missouri River, the Crow were the most beautifully adorned. They were also known for their extraordinary feats of horsemanship. Catlin painted this Crow chief in a traditional equestrian pose to ennoble him. | Stamped on back of frame: Prizes Value over 6000 and Glore Investment Company | Acoustiguide. | Book: Forging an American Identity: The Art of William Ranney, With A Catalog Of His Works; by Linda Bantel and Peter H. Hassrick; Buffalo Bill Historical Center, Cody Wyoming, 2006, page xxix | 7.80.jpg | 7.80.jpg | 7.80.jpg | 7.80.web.jpg | 7.80.JPG | 7.80.jpg | Landscape | horse | Crow Indian | Painting | oil on paper mounted on board | George Catlin (1796-1872) Crow Chief ca.1850, oil on paper mounted on board Bequest of Joseph M. Roebling, 7.80 George Catlin believed that of all the Indians he met during his 1832 journey up the Missouri River, the Crow were the most beautifully adorned. They were also known for their extraordinary feats of horsemanship. Catlin painted this Crow chief in a traditional equestrian pose to ennoble him. | Catlin, George

2000.9.1
Colt Patent Firearms Manufac...
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2000.9.1 | overall length: 11 in | Gift of Dr. Peter and Lynne Simpson | front of trigger; 213255 / 213255. bottom of butt strap: 213 / 255 / FCS. left side receiver: SPET. 19 1871. / Y272 JAN.19.75. | Single Action Army 1873, Second Generation | 213255 | 2000.9.1.jpg | 2000.9.1v2.jpg | 2000.9.1v1.jpg | firearm | revolver | Colt Patent Firearms Manufacturing Co., Hartford, Connecticut

Fort Hall, Idaho
Jackson, William H. | Painti...
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5.59 | sight height: 9.5 in, sight width: 14.25 in, Frame height: 16.875 in, Frame width: 20.875 in | Fort Hall, Idaho | Both W. H. Jackson (photographer) and Thomas Moran (artist) accompanied the 1871 Hayden expedition to survey the Yellowstone region. Jackson was to become one of the pioneering photographers of the West. After a distinguished career as a photographer, Jackson took up painting. This view of Fort Hall is one of a number of works he produced from sketches preserved in the diaries he kept of his travels in the West. | LR: W H Jackson, LL: c. | Provenance: 1960 BBM catalog and MJA collection inventory refer to this as "Fort Laramie and Encampment". One of eight original illustrations from the book "Westward America", according to MJA collection inventory. (10/20/88 EAB) | 5.59.jpg | 5.59.JPG | 5.59.jpg | Fortress | Other | Painting | watercolor on paper | Jackson, William H.

NA.505.81
Northern Plains | hand drum ...
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NA.505.81 | 1880-1880 | Diameter: 15.5 in, width: 3.125 in | In memory of Frank O. Horton and Henriette S. Horton | Ritual and Recreation, Musical Instruments. Round hand held drum made of hide and wood. Front has a yellow circle in the center. The outside is painted green. The hide is attached inside with rawhide strips. The back has four sets of rawhide strips that meet in a woven pattern in the middle where the drum is held for playing. | na.505.81v1.jpg | na.505.81v2.jpg | NA.505.81.JPG | hand drum | hide | pigment | wood | rawhide | Northern Plains

Hoo-Wan-Ne-Ka (Li...
Inman, Henry | Painting | oi...
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21.95.1 | 1832 | H: 30.625 in, width: 25.625 in, Frame height: 39 in, Frame width: 34 in, frame depth: 2.375 in | Hoo-Wan-Ne-Ka (Little Elk) | Gift of Allen & Company Incorporated | A Ho-Chunk (Winnebago) Chief who fought for the British during the War of 1812, Hoo-Wan-Ne-Ka or Little Elk, later made peace with the United States. He was a signer of the Prairie du Chien Treaty in 1825 and several other important treaties. | LRC: 28255 [verso, top of frame:] IV (or IX) (in chalk) Little Elk (in black paint:) 5 [top stretcher, in chalk:] Little Elk man (written in pencil) 28225 (on piece of white tape) #5/ 5B [bottom of frame:] 5 | 21.95.1.jpg | 21.95.1.JPG | 21.95.1.web.jpg | 21.95.1.jpg | Painting | oil on canvas | Between 1821 and 1828, Thomas L. McKenney, the Superintendent of Indian Affairs, commissioned portraits of hundreds of American Indian leaders on diplomatic missions to Washington, D.C. Painted first by Charles Bird King and later duplicated by Henry Inman, these portraits were intended to serve as a “National Indian Gallery.” Over 120 were reproduced in McKenney’s three-volume portfolio, History of the Indian Tribes of North America. | Inman, Henry

1.69.6017
Miller | lithograph | paper
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1.69.6017 | 1880s | Framed photo lithograph of William F. Cody, early 1880's. This is not a lithograph but a carbon print, which has the appearance of a charcoal drawing. | 1.69.6017.jpg | Cody, William F. | lithograph | paper | Miller

Madonna of the Pr...
Koerner, W.H.D. | Painting |...
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25.77 | 1921 | H: 37 in, width: 28.75 in, Frame height: 43.5 in, Frame width: 35.5 in, frame depth: 3.5 in | Madonna of the Prairie | Museum purchase | In the novel The Covered Wagon, Molly Wingate traveled the Oregon Trail with a wagon train of settlers. Encountering prairie fires and Indian arrows, the beautiful maiden eventually reached Oregon, where, in the conventions of popular fiction, she found true love. In this illustration for the novel's book jacket, Koerner used the covered wagon to form a halo around the pioneer's head. | LR: WHD/Koerner/1921 | see ARGUS record SEP.V194.40.1922, The Saturday Evening Post, April 1, 1922. Madonna of the Prairie was used as the cover illustration. | Book: exhibition catalog, La Mythologie De L' Ouest, Dans L'Art Americain 1830-1940, Laurent Salome, editor, Silvana Editoriale, Milan, 2007, page 89 | 25.77.jpg | 25.77.JPG | 25.77.jpg | 25.77.web.jpg | 25.77.jpg | 25.77.jpg | covered wagon | woman | Painting | oil on canvas | Koerner, W.H.D.

Mato-Tope/Adorned...
Bodmer, Karl | Print | hand-...
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21.69.14 | ca. 1840-1843 | Sheet height: 24.875 in, Sheet width: 18.125 in | Mato-Tope/Adorned With the Insignia of His Warlike Deeds | Gift of Clara S. Peck | URC: Tab. 14.;lower center printed: London, published by Ackermann & Co. 96 Stand.;lower center embossed: C.Bodmer/Direct;also French Inscriptions. | 21.69.14.jpg | 21.69.14.JPG | Indian | Print | hand-colored aquatint on paper | Bodmer, Karl

Questionable Comp...
Remington, Frederic | Drawin...
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47.61 | 1889 | sight height: 19.75 in, sight width: 24.625 in, Frame height: 31 in, Frame width: 35.125 in | Questionable Companionship | Gertrude Vanderbilt Whitney Trust Fund | To obtain more information see Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings by Peter H. Hassrick and Melissa J. Webster, available in Museum Selections. | LLC: Frederic Remington -/`89' | (Whitney Purchase Fund) | 47.61.JPG | Animal | Indian | Landscape | Group | Figure | Drawing | pen and ink on paper | Remington, Frederic

NA.202.1184
Northern Plains | shirt | pi...
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NA.202.1184 | ca.1850 | shoulder to shoulder: 24 in, shirt length: 44 in, shirt length: 48 in | The Paul Dyck Plains Indian Buffalo Culture Collection, acquired through the generosity of the Dyck family and additional gifts of the Nielson Family and the Estate of Margaret S. Coe | leather, wrapped quill design, beaded border, painted, horsehair, wool, horse tracks, quill is broken in areas, good, 1382 | l.312.2006.1500-view1.jpg | l.312.2006.1500-view2.jpg | shirt | shirt | pigment | Beads | tanned hide | horsehair | quills | wool | Northern Plains

Splendid Geyser, ...
Stuart, J.E.(James Everett) ...
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33.73 | 1885 | H: 18 in, width: 30.25 in, Frame height: 21 in, Frame width: 33 in, frame depth: 2.75 in | Splendid Geyser, Yellowstone National Park | Stuart spent several seasons sketching in Yellowstone. While painting the Park's wonders, he also noted more mundane aspects in his diaries. On July 17, 1885 he wrote: "Made a color sketch of Old Faithful in forenoon. Also a color sketch of Splendid in afternoon. Had beans and bacon for supper. The mosquitos tormented us most dreadfully." | LLC: 826/J.E. Stuart/July 17, 1885. Original Sketch, LRC: Splendid-July-17-85,J.E. Stuart | Exhibit catalog: Drawn to Yellowstone, Artists in America's First National Park, by Peter H. Hassrick, University of Washington Press, Seattle, 2002, exhibit at the Autry Museum of Western Heritage, Los Angeles, page 109 | 33.73.JPG | Figure | transportation | Animal | Landscape | Group | Painting | oil on canvas | James Everett Stuart (1852-1941) Splendid Geyser, Yellowstone National Park 1885, oil on canvas Museum Purchase Stuart, a California artist, traveled to Yellowstone in 1885 to paint its magnificent features. He was able to sell his paintings to his fellow travelers who wanted reminders of their experiences. Often, the tourists became subjects in the artwork. Note the tiny figures standing near the geyser in this painting. 33.73 | Stuart, J.E.(James Everett)

Stampede
Jackson, Harry | Sculpture |...
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52.72 | 1959 | H: 15 in, Base Length: 56 in, Base Width: 13 in | Stampede | Gift of The Coe Foundation | LLF: Harry Jackson 1959, Stamped above artist's name: 1/4 | In preparing to paint The Stampede and The Range Burial, Jackson made sculptural studies and cast them in bronze. | 52.72.JPG | Animal | Group | Sculpture | bronze | Jackson, Harry

Untitled
Southern Cheyenne | Gallopin...
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48.59.95 | December 1894-January 1895 | H: 5.625 in, width: 8.625 in | Untitled | Gift of Mr. and Mrs. Joseph M. Katz | 48.59.95.jpg | 48.59.95.JPG | Drawing | pencil | ink | crayon on paper | Southern Cheyenne | Galloping, Littleman, Kiowa or Sweetwater

Untitled - Spotte...
Unknown | Drawing | crayon |...
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27.78.79 | page length: 8.75 in, page width: 5.625 in | Untitled - Spotted Horse on horse | Handwritten on top right: Spotted Horse/Fighting Panee (?) Indians | 27.78.79.JPG | Group | Animal | Indian | Drawing | crayon | pencil | ink on paper | Unknown

Waiting for a Chi...
Russell, Charles M. | Painti...
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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.

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

When Law Dulls th...
Russell, Charles M. | Painti...
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28.78 | 1915 | sight height: 30 in, sight width: 48 in, Frame height: 37.75 in, Frame width: 55.625 in, frame depth: 3.25 in | When Law Dulls the Edge of Chance | Gift of William E. Weiss | The Royal Canadian Mounted Police held a special place in Russell's heart. Their colorful exploits and heroic deeds made them a likely subject for many of his paintings. He especially concentrated on them as subjects during the mid-teens. So effectively did he capture their adventurous life that the residents of High River, Alberta, Canada, purchased this painting, When Law Dulls the Edge of Chance, and gave it as a gift to the Prince of Wales in 1919. Canada’s North-West Mounted Police (later to become the Royal Canadian Mounted Police) made a favorable impression on Charles M. Russell when he met them in 1888, and their colorful adventures and heroic deeds made them the subject of four paintings by the artist. In this work, two Mounties have discovered a pair of horse thieves. One outlaw stands in a defiant pose, while the other raises his hands in surrender. Russell had sympathy for, and partially identified with, the outlaw, who still represented the independent spirit of the Old West. (KBM 8-31-2016) | LLC: C M Russell/(skull/1915/ c; On reverse: When Law Dulls the Edge of Chance -/No 1 (Stattuck stretcher) | Quarterly Journal: The American Review of Canadian Studies, Volume 33, Number 4, Winter 2003; One Myth, Two Wests: Special Issue on the West; The Association for Canadian Studies in the United States, Washington, D.C.; front cover | 28.78.JPG | 28.78.jpg | 28.78.web.jpg | 28.78.jpg | 28.78.jpg | Group | Animal | military | Landscape | Cowboy | Painting | oil on canvas | Charles M. Russell (1864 - 1926) When Law Dulls the Edge of Chance 1915, oil on canvas Gift of William E. Weiss, 28.78 The Royal Canadian Mounted Police held a special place in Russell's heart. Their colorful exploits and heroic deeds made them a likely subject for many of his paintings. He especially concentrated on them as subjects during the mid-teens. The residents of High River, Alberta, Canada, purchased this painting and gave it to the Prince of Wales in 1919. | Charles M. Russell (1864-1926) When Law Dulls the Edge of Chance 1915, oil on canvas Gift of William E. Weiss, 28.78 The Royal Canadian Mounted Police held a special place in Russell's heart. Their colorful exploits and heroic deeds made them a likely subject for many of his paintings. The residents of High River, Alberta, Canada, purchased this painting and gave it to the Prince of Wales in 1919. | Charles M. Russell (1864-1926) When Law Dulls the Edge of Chance 1915, oil on canvas Gift of William E. Weiss Canada's North-West Mounted Police made an impression on Russell when he met them in 1888. They were known for colorful adventures and heroic deeds. When the Prince of Wales admired this painting in 1919, the residents of Alberta, Canada purchased the painting and gave it to him as a gift. 28.78 | Canada’s North-West Mounted Police (later to become the Royal Canadian Mounted Police) made a favorable impression on Charles M. Russell when he met them in 1888, and their colorful adventures and heroic deeds made them the subject of four paintings by the artist. In this work, two Mounties have discovered a pair of horse thieves. One outlaw stands in a defiant pose, while the other raises his hands in surrender. Russell had sympathy for, and partially identified with, the outlaw, who still represented the independent spirit of the Old West. | Canada’s North-West Mounted Police (later to become the Royal Canadian Mounted Police) made a favorable impression on Charles M. Russell when he met them in 1888, and their colorful adventures and heroic deeds made them the subject of four paintings by the artist. In this work, two Mounties have discovered a pair of horse thieves. One outlaw stands in a defiant pose, while the other raises his hands in surrender. Russell had sympathy for, and partially identified with, the outlaw, who still represented the independent spirit of the Old West. | Russell, Charles M.