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Spirit of the West

25 is not enough! But, for me, these objects best capture that ever-elusive "Spirit of the West" that will likely be obliterated when the super-volcano under Yellowstone erupts. I think that the reincarnated Buffalo Bill Center of the West would be off to a pretty good start if I could escape with these in time.

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


Buffalo Bill - Th...
Whitney, Gertrude Vanderbilt...
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Exhibit notes: The Scout! I find the early history of the Buffalo Bill Memorial Association fascinating on many levels. This was the first piece commissioned by the BBMA following Buffalo Bill's death and Gertrude Vanderbilt Whitney completed it even though the funds she received did not cover her cost fully. So many people have personally gone above and beyond for this Buffalo Bill Center of the West and for me, The Scout captures that spirit. And I figure, this piece got us started the last time, it could do it again!

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

1.69.2726
Abbott Downing and Company, ...
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Exhibit notes: Deadwood Stagecoach! These are the kind of "props" that Buffalo Bill used in the Wild West show. For me, it's a great indicator of the quality of the production. And the size of it makes me think about the logistics that would've gone into transporting, people, animals, "props", tents, etc. around the world during that time. Quite a feat!

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

1.69.776
coat | buttons | Buckskin | ...
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Exhibit notes: Buffalo Bill had some pretty serious personal style. No one should forget that. This was obviously worn a lot and that's pretty cool too!

Museum record: 1.69.776 | ca. 1890 | overall length: 30 in, sleeve length: 24 in | Gift of Robert F. Garland | The buttons on this jacket are marked “Paris” and have the initials “WBC” on them | Buckskin coat with fringe on shoulders and down arms, one row down center back, beaded eagle epaulets on shoulders signifying rank of colonel, nine plain brass buttons down front, double split tail, floral beadwork throughout, 2 pockets on each side. | 1.69.776.JPG | 1.69.776.jpg | eagle | floral | coat | buttons | Buckskin | Beads | fringe | brass

Her Majesty Queen...
Calhoun Printing Company, Ha...
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Exhibit notes: Even though this is a relatively new acquisition, it's a great example of what a big deal Buffalo Bill was in his day. And this poster is in amazing condition.

Museum record: 1.69.6354 | 1888 | H: 118 in, width: 337 in, Image height: 109.5 in, Image width: 324.5 in | Her Majesty Queen Victoria at Buffalo Bill's Wild West London, May 11th 1887 | Mary Jester Allen Acquistion fund purchase | Top right: HER MAJESTY QUEEN VICTORIA/AT BUFFALO BILL'S/ WILD WEST / LONDON MAY 11TH / 1887 lower left: GRAND STAND / AT LONDON SEATING / 20,000 PEOPLE lower right: CALHOUN PRINTING / HARTFORD, CT | marked left side A, right side B. A - 118 x 171.25", B - 118 x 165.75" | 1.69.6354p1.jpg | 1.69.6354p2.jpg | 1.69.6354p3.jpg | 1.69.6354.jpg | 1.69.6354p4.jpg | Buffalo Bill's Wild West | Queen Victoria | Buffalo Bill | Cody, William F. | poster | woodblock on paper | linen | Calhoun Printing Company, Hartford, CT.

1.69.110
robe | sable | mink | snow l...
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Exhibit notes: Buffalo Bill had friends in high places. I remember seeing this "sleigh robe" the first time I visited the Center with my family. It also makes me think about the high-class hunting parties he would lead in the winter. I feel like they must have been the modern equivalent of "glamping" but that's probably not historically accurate!

Museum record: 1.69.110 | ca. 1872 | L: 93 in, width: 85 in | Given to Buffalo Bill Museum by Sam Reber, grandson of Gen. Miles, from the estate of Gen. Miles. | Carriage or sleigh robe, sable, mink, snow leopard and other furs done in geometric patchwork. Originally given to Buffalo Bill by Czar Alexander II (Russia), father of Prince Alexis. Buffalo Bill later gave robe to General Miles. In Buffalo Bill's personal account, he was given a coat made of many types of Siberian fur. P.69.1105 shows Buffalo Bill, a young boy, and probably Frank Powell standing on carriage robe on the front steps of a house, possibly Powell's in Wisconsin, c. 1893. | 1.69.110.jpg | 1.69.110.JPG | patchwork | geometric | robe | sable | mink | snow leopard | furs

1.69.128
Ritchie, Alick P.F. | Weiner...
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Exhibit notes: I bought a souvenir poster of this image on my first visit and it's a personal favorite. It's a clever illustration and a great likeness.

Museum record: 1.69.128 | 1905 | sight height: 28.5 in, sight width: 19.5 in, Frame height: 31.5 in, Frame width: 22 in | Printed at top: BUFFALO BILL'S, Printed left center: ALICK P.F. RITCHIE, Printed at bottom: COL. W.F. CODY, Printed lower right corner: IMP & LI/WEINERS/Ch Wall/AGENT __OR LA FRANCE/14, RUE LAFAYETTE/PARIS, Ink stamped over printed paper stamp upper right, ink stamp: BUFFALO BILL'S WILD WEST/1905/CODY & BAILEY. | Four color lithograph poster of Buffalo Bill's head and shoulders drawn with a teepee for the crown of his hat, a rope outlining his hat brim, a feather headdress for hair, cartridge belts for eyebrows, stirrups for eyes, snowshoes for moustache, buffalo head for goatee, etc. | 1.69.128.jpg | 1.69.128.jpg | 1.69.128.jpg | 1.69.128.JPG | Buffalo Bill | poster | four color | lithograph | Ritchie, Alick P.F. | Weiners, Paris, France

Hickok and Cody
Ross, Thom | Painting | acry...
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Exhibit notes: I love the work of Thom Ross and I love that as a painter today, he's still finding inspiration in the characters of the old west.

Museum record: 12.98.2 | 1998 | H: 48 in, width: 60 in, Frame height: 50.25 in, Frame width: 62 in | Hickok and Cody | Gift of Mr. and Mrs. W. D. Weiss | Left: Wild Bill (James Butler Hickok, 1837-1876) Wild Bill, a gunfighter, lawman, and scout, was usually mild-mannered and courteous; when aroused he was deadly, supposedly never missing a target with his ever-present pair of Colt 1851 Navy revolvers. Right: Buffalo Bill (William Frederick Cody, 1846-1917) Before Buffalo Bill began his international career as a showman in 1882, he trapped, mined, scouted, rode Pony Express, soldiered, hunted buffalo, guided and drove a stage. | label on verso: ALLISON/BEEMAN FINE ARTS SERVICES, INC./ 55 S. Atlantic, Suite 407/ Seattle, WA 98134/ phone 206-682-8580/ fax 202-621-7577 [right side of the label joined together:] AB [round white label llc in red:] 61 | ulc: Ross | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.jpg | 12.98.2.web.jpg | Hickok, James Butler "Wild Bill" | Cody, W.F. | Painting | acrylic on canvas | Ross, Thom

Yellowstone Falls
Bierstadt, Albert | Painting...
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Exhibit notes: Well, this place won't exist anymore and it's pretty beautiful. I think Bierstadt's depiction captures the feel of Yellowstone Falls perfectly.

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

Morning Glory Pool
Poulsen, M. C. | Painting | ...
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Exhibit notes: This will be gone too and while I'm sure that photos will remain, there's a certain quality in this painting that seems more like the REAL Yellowstone.

Museum record: 12.94 | 1987 | H: 26 in, width: 30 in, Frame height: 35.5 in, Frame width: 39.5 in | Morning Glory Pool | Gift of Anonymous Donor | Morning Glory Pool is a thermal feature found in the Upper Geyser Basin in Yellowstone National Park. A long-time favorite of park visitors, the pool was named in the 1880s for its deep blue coloration and remarkable likeness to the Morning Glory flower. Poulsen painted Morning Glory Pool on location during a trip to Yellowstone with his family. | LRC, before siganture: C with a circle around it | LRC: M.C. Poulsen 87 | 12.94.jpg | 12.94.jpg | 12.94.web.jpg | Morning Glory Pool | Painting | oil on canvas | M.C. Poulsen (b. 1953) Morning Glory Pool 1987, oil on canvas Gift of Anonymous Donor, 12.94 | Poulsen, M. C.

Tumbleweeds
Aspevig, Clyde | Painting | ...
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Exhibit notes: I've only lived in Cody for about 5 years, but when I think about what makes it different, Clyde seems to know exactly how to paint it. The colors and the feel in this painting are too pretty to be forgotten.

Museum record: 16.99 | 1999 | H: 40 in, width: 60.25 in, Frame height: 45.25 in, Frame width: 65.25 in | Tumbleweeds | Gift of the Mary A.H. Rumsey Foundation | The sagebrush and wide-open horizons of Wyoming and Montana serve as inspiration for Aspevig. Tumbleweeds features a typical sagebrush steppe envrionment and Heart Mountain, a prominent landmark near Cody, Wyoming. | verso, UL, stretcher, in script: Fredrix/ 60/ CLYDE ASPEVIG/ P.O. BOX 347/ CLYDE PARK, MT 59018 | LLC: C. ASPEVIG | 16.99.jpg | 16.99.web.jpg | 16.99.jpg | Landscape | Painting | oil on canvas | Aspevig, Clyde

Island Lake, Wind...
Bierstadt, Albert | Painting...
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Exhibit notes: Much of the landscape in this part of the country had a sort of mystical, magical, grand quality and Bierstadt totally gets that with Island Lake.

Museum record: 5.79 | 1861 | H: 26.5 in, width: 40.5 in, Frame height: 39.125 in, Frame width: 53.125 in, frame depth: 5 in | Island Lake, Wind River Range, Wyoming | Museum Purchase. The Board of Trustees dedicates this painting to Mr. Wiley T. Buchanan III in recognition of his faithful service as Chairman of the Whitney Gallery of Western Art Advisory Board of the Buffalo Bill Historical Center, 2005-2009. | In 1859, Bierstadt accompanied an expedition led by Colonel Frederick Lander to the Wind River Mountains. Making oil studies and taking stereographic photographs, Bierstadt brought back to New York his first western imagery. Island Lake features the recessive planes, meticulous brushwork, and highly polished surface texture characteristic of Bierstadt's work at this time. | LRC, ABierstadt/1861 | 5.79.jpg | 5.79.jpg | 5.79.JPG | 5.79.jpg | 5.79.web.jpg | 5.79.jpg | 5.79.jpg | Landscape | Painting | oil on canvas | Albert Bierstadt (1830-1902) Island Lake, Wind River Range, Wyoming 1861, oil on canvas Museum Purchase The Board of Trustees dedicates this painting to Mr. Wiley T. Buchanan III in recognition of his faithful service as Chairman of the Whitney Gallery of Western Art Advisory Board of the Buffalo Bill Historical Center, 2005-2009. In 1859, Bierstadt accompanied an expedition led by Colonel Frederick Lander to the Wind River Mountains. Making oil studies and taking stereographic photographs, Bierstadt brought back his first western imagery to New York. Island Lake features the recessive planes, meticulous brushwork, and highly polished surface texture characteristic of the artist's work at this time. 5.79 | Born and trained in Germany, Albert Bierstadt was one of the first and most successful artists to seize the American West as his artistic frontier. In 1859 he accompanied an expedition led by Colonel Frederick Lander to the Nebraska Territory and the Wind River Mountains in present-day Wyoming. Making oil studies and taking stereographic photographs, Bierstadt returned to his New York studio to create romantic views of the West composed of equal parts observation and imagination. Island Lake features the dramatic perspective, meticulous brushwork, and highly finished surface that were characteristic of Bierstadt's early career. | Bierstadt, Albert

In the Foothills ...
Rungius, Carl | Painting | o...
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Exhibit notes: I love Rungius' depictions of wildlife. I had never seen pronghorn before living out here and I'm not sure where else they are outside the eruption zone, but this is a nice colorful painting to remember them by.

Museum record: 2.72 | n.d. | H: 30.25 in, width: 40.25 in, Frame height: 36.5 in, Frame width: 46.75 in, frame depth: 2.75 in | In the Foothills (Antelope) | Gift of Mr. and Mrs. Larry Sheerin | Rungius found Wyoming to be a great country for wildlife when he first visited the state in 1895. He began painting antelope and said "When I saw a bunch out of range I attracted their attention by rising a number of times and disappearing again. Antelope have a great bump of curiosity and anything unusual fascinated them." | LR: C Rungius | 2.72.JPG | 2.72.jpg | 2.72.jpg | 2.72.jpg | 2.72.web.jpg | Animal | Painting | oil on canvas | By the turn of the twentieth century, wilderness was no longer viewed as an obstacle to be overcome and was understood to be endangered. President Theodore Roosevelt established five national parks, and John Muir’s Sierra Club was formed in 1892. Artists not only depicted the disappearing wilderness and wildlife of the West but also became involved with conservation efforts. Roosevelt and Albert Bierstadt were founding members of the Boone and Crockett Club, a hunting group dedicated to protecting wildlife whose members also included Carl Rungius and Alexander Phimister Proctor. | Rungius, Carl

Night Herder or T...
Remington, Frederic | Painti...
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Exhibit notes: Well, it's hard to choose which Remingtons should be saved but I personally enjoy his night scenes. And it truly gets dark out here at night. Before that though, the color of everything changes and it's a challenge to paint it accurately.

Museum record: 47.67 | ca.1908 | H: 12.125 in, width: 18 in, Frame height: 16.875 in, Frame width: 23 in, frame depth: 1.875 in | Night Herder or The Night Rider | Gift of The Coe Foundation | During the final years of Remington's career, he sought to master the tonal subtleties and elusiveness of night lighting. This study exemplifies his efforts to render "the low tones in the dark." In March, 1908 a jubilant Remington recorded in his diary, "I have now discovered for the first time how to do the silver sheen of moonlight." | Book: exhibition catalog, La Mythologie De L' Ouest, Dans L'Art Americain 1830-1940, Laurent Salome, editor, Silvana Editoriale, Milan, 2007, page 83 | 47.67.jpg | 47.67.jpg | 47.67.JPG | 47.67.jpg | 47.67.web.jpg | Animal | Landscape | Figure | Group | Painting | oil on board | Frederic Remington (1861-1909) Night Herder ca.1908, oil on board Gift of The Coe Foundation During the final years of Remington's career, he sought to master the tonal subtleties and elusiveness of night lighting. In March 1908, Remington recorded in his diary, "I have now discovered for the first time how to do the silver sheen of moonlight." 47.67 | Remington, Frederic

(Impressionistic ...
Remington, Frederic | Painti...
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Exhibit notes: We have a lot of nice winter paintings here but I really got to like Remington's oil sketches when they were hanging right outside my office for a year or so. This would serve to remind me of the blue sky winters we have out here and Remington's color palette which is easily recognized after you get to know his work.

Museum record: 83.67 | H: 10.125 in, width: 14.125 in, Frame height: 12.75 in, Frame width: 16.5 in, frame depth: 2 in | (Impressionistic winter scene of frozen stream, bare trees and hills) | Gift of The Coe Foundation | 83.67.jpg | 83.67.JPG | Landscape | Painting | oil on board | Remington, Frederic

Buffaloes (bulls ...
Catlin, George | Painting | ...
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Exhibit notes: I like the graphic quality of this Catlin and it makes me think of what the West must have looked like when everyone was first getting settled out here.

Museum record: 27.86 | 1855-1870 | Sheet height: 18.625 in, Sheet width: 24.875 in, Frame height: 23 in, Frame width: 28.125 in, frame depth: 3.25 in | Buffaloes (bulls and cows) Grazing in the Prairie | Gift of Paul Mellon | In the early 1830s Catlin traveled throughout the West to paint Indians and their environment. This painting, like most of the Catlins in the gallery, was done late in his life from sketches and memories of his time on the frontier. | LL: A (over 292), Top center: 141, Secondary typed label: AMNH: 292; Catlin 141, title, Top center (in pencil): 141 | The invoice incorrectly states a total of 384 paintings. There were, in fact, 389 paintings purchased, 351 of which Mr. Mellon gave to the National Gallery of Art, Washington, in December 1965. 24 given to the Virginia Museum of Fine Arts, November 1985; 4 given to the Amon Carter Museum of Western Art, December 1986; and the remaining 10 to the Buffalo Bill Historical Center, December 1986. Oil on paperboard on Bristol Board | Travel Guide: South Dakota: Fodor's Compass American Guides; T.D. Griffith; Compass American Guides, New York; Third Edition; 2004; page 156, acknowledgement, page 287 | 27.86.jpg | 27.86.JPG | buffalo | bison | Animal | Painting | Oil on paperboard | George Catlin (1796-1872) Buffaloes (bulls and cows) Grazing in the Prairie ca. 1855-1870, oil on paperboard Gift of Paul Mellon 27.86 | Catlin, George

Timber Jack Joe a...
Bama, James | Painting | oil...
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Exhibit notes: You know that show Mountain Men? Well, a lot of those guys are living well within the eruption zone. This painting is a great reminder of mountain man culture. Like most of Bama's work, the amazing level of detail forces you to stick around longer to take it all in. I like when a work of art draws you in closer and makes you think about the artist and the technique and the accuracy of the depiction.

Museum record: 19.98.1 | 1979 | H: 30 in, width: 23.875 in, Frame height: 35.875 in, Frame width: 29.75 in | Timber Jack Joe and His Fox | Gift in honor of Peg Coe, with respect and admiration, from Dick and Helen Cashman | Born in a one room Wyoming dugout, Timber Jack Joe created his identity as a present-day embodiment of the historic mountain man. Bama's interest in preserving figures of the West captures his essence in this painting, beautifully detailing the buckskin clothes Timber Jack Joe shot, tanned and sewed himself. | verso, label on URC frame:] BAMA - 10 [URC, written on backing:] "MOUNTAIN MAN AND HIS FOX"/ 30" X 23 7/8" [stamped upside down, top center:] JOSEPH TORCH/ ARTIST MATERIALS/ & PICTURE FRAMING/ 29 WEST 15th STREET/ NEW YORK, N.Y. 10011/ 212 243-3534 [two indentical labels taped on backing, top:] NO. 4773/ FRAME [label:] COE KERR GALLERY/ 49 EAST 82nd STREET/ NEW YORK, N.Y. 10028 [written at top of label in pencil, upside down:] 10 3/4 17 3/4 [label at center:] COE KERR GALLERY, INC./ 49 EAST 82nd STREET/ NEW YORK, N.Y. 10028/ ARTIST JAMES BAMA/ TITLE MOUNTAIN MAN AND his FOX/ MEDIUM OIL 30 X 23 7/8 (label, left side:) JAMES BAMA EXHIBITION/ University of Nebraska-Lincoln/ Sheldon Memorial Art Gallery/ May 10-June 15, 1980/ Timber Jack Joe and His Fox/ Richard Cashman [stamped at center, upside down:] Anjac Gesso Panel [stamped beneath:] Anjac Products/ 3850 REVIEW AVENUE/ Long Island City, N.Y. 11101/ 24 x 30 [written LLC:] (copyright mark) JAMES E. BAMA 1979/ REPRODUCTION RTS. RES. [circular label on LLC of frame:] #6/ Bama/ Western (underlined)/ Painting | LLC: Bama '79 | 19.98.1.jpg | 19.98.1.jpg | Lynde, Joseph Ernest (Timber Jack Joe) | Mountain Man | Fox | Painting | oil on artist's board | James Bama (b. 1926) Timber Jack Joe and His Fox 1979, oil on artist’s board Gift in honor of Peg Coe, with respect and admiration, from Dick and Helen Cashman Bama paints contemporary people who choose to identify with the historic past. Joseph Ernest Lynde adopted the persona of a historic mountain man and became known as Timber Jack Joe. Bama captures the appearance and texture of the buckskin clothing that Timber Jack Joe made himself by hunting, tanning, and sewing the leather. 19.98.1 | Bama, James

Madonna of the Pr...
Koerner, W.H.D. | Painting |...
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Exhibit notes: I would save all of Koerner's work if I could but Madonna of the Prairie has to be one of our most iconic images and it's so pretty too!

Museum record: 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.

Buffalo Headdress
Red Star, Kevin | Print | Et...
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Exhibit notes: Kevin Red Star's work left a strong first impression on me and I'd have to grab at least one. This piece is playful and detailed and it's easily recognizable as his style.

Museum record: 9.82 | comp height: 12 in, comp width: 10 in, Frame height: 20.5 in, Frame width: 17.5 in | Buffalo Headdress | LRC: Kevin Red Star, LLC: A/P I/VII | 9.82.JPG | Indian | Print | Etching on paper | Red Star, Kevin

Buffalo Prayer
Fraser, James Earle | Sculpt...
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Exhibit notes: Buffalo Prayer is such a reverent and peaceful sculpture currently in one of our gardens. I would hope that it could be placed in a grove of aspen trees at the next Buffalo Bill Center of the West, too.

Museum record: 51.72 | modeled ca. 1917 | H: 107.5 in, Base Width: 36.5 in, Base Length: 37.5 in | Buffalo Prayer | Gift of William E. Weiss, Jr. | bottom left of base: Modern Art Foundry./.New York./.NY.;bottom rear of base:(design) | Source: (Purchased from Syracuse University, Syracuse, New York, with funds from William E. Weiss, Jr.). Moved outdoors-approximately 6-1-86. Modeled ca. 1917; copyrighted by Fraser on February 14, 1931; cast posthumously in 1968. Model in collection of Syracuse University. | 51.72.JPG | 51.72.jpg | 51.72.jpg | Indian | Sculpture | bronze | James Earle Fraser (1876-1953) Buffalo Prayer modeled ca. 1917, copyrighted 1931 cast posthumously 1968, bronze cast 1 of edition of 2 cast by Modern Art Foundry Gift of William E. Weiss, 51.72 | Fraser, James Earle

NA.202.205
Sioux | Northern Plains | sh...
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Exhibit notes: I don't know who owned this shirt but every time I walk past it, it has a sort of weight to it. To me it's very clear that the man who wore this was a real boss.

Museum record: NA.202.205 | ca. 1880 | bodice length: 33 in, sleeve length: 22 in | Dress and Adornment: Daily And/Or Festive Adornment. Tanned, deer hide, painted with green and yellow ochre. Lazy stitch beaded shoulder, sleeve, neck and back tabs in geometric design. Neck edge bound with red wool having serrated edge. Human hair tassles with thread wrapping at top. Fringe along sleeves, sides and bottom. | NA.202.205view1.JPG | NA.202.205view1.JPG | NA.202.205view2.JPG | NA.202.205view2.JPG | NA.202.205.jpg | geometric | shirt | wool | human | tanned | trade cloth | thread | seed | glass beads | hair | pigment | deer hide | Sioux | Northern Plains

NA.204.4
Southern Arapaho | Oklahoma ...
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Exhibit notes: This Ghost Dance dress is the female equivalent of the green shirt for me. A garment with a real sense of power to it.

Museum record: NA.204.4 | ca. 1890 | L: 54 in, width: 54 in | Chandler-Pohrt Collection, Gift of Mary J. and James R. Jundt | Dress and Adornment, Religious Attire. Ghost Dance dress made of hand-tanned elk hide, yoke style, painted with pigments (light blue, green blue and red). Fringe on arms, down sides and around bottom. Fringe on body of dress with plumes and ermine attached, hide hair left on leg ends. Painted designs include cross-shaped stars, crescents, circles, birds (ravens and magpies), corn and sage stems, blue and green bars on calf area of dress. | Journal: Western American Literature: Quarterly Journal of the Western Literature Association; Lessons from the Past: The Cliff Dwellers ans New Historicism; Michael Tavel Clark; Utah State University, Logan, page 426 | NA.204.40dtl2.JPG | NA.204.40dtl3.JPG | NA.204.4Dk2.JPG | NA.204.4view1.JPG | NA.204.4view2.JPG | NA.204.40dtl4.JPG | NA.204.4Dk1.JPG | NA.204.4dtl1.JPG | na.204.4.jpg | NA.204.4.VIEW2.JPG | NA.204.4.jpg | NA.204.4.VIEW1.JPG | crescents | stars | corn | sage stems | birds | circles | Ghost Dance dress | pigment | feathers | tanned elk hide | Southern Arapaho | Oklahoma

NA.203.213
Tama, Iowa | Young Bear, Joh...
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Exhibit notes: This bear claw necklace isn't the oldest one in our collection but it's in SUCH great condition. It also has intact ribbons which usually deteriorate before the other materials.

Museum record: NA.203.213 | ca. 1920 | inside circle length: 12 in, inside circle width: 6.5 in, width: 13.5 in, L: 18.5 in | Adolf Spohr Collection, Gift of Larry Sheerin | Personal Adornment & Ritual Regalia. Necklace and trailer - Otter fur necklace and trailer with red ribbon trim on trailer and multi-color overlay bead border. Two red ribbons at end and two blue and gold ribbons on trailer. 40 bear claws attached to otter fur circle with single row of glass blue beads. Overlay multi-color medallions on fur. | Pamphlet: Cody, Wyoming Relocation Guide; Cody Chamber of Commerce, Cody, Wyoming; 2004; page 7 | na.203.213 v1.jpg | na.203.213 v2.jpg | NA.203.213dtl2.jpg | NA.203.213.JPG | NA.203.213dtl1.jpg | NA.203.213.jpg | trailer | necklace | fur | glass | glass beads | grizzly bear | ribbon | claws | otter | Tama, Iowa | Young Bear, John | Meskwaki | Sac and Fox

NA.203.688
Rosebud Indian Reservation, ...
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Exhibit notes: This little bag is currently part of what I believe is the most impactful display in the Plains Indian Museum, the timeline wall that chronicles the drastic changes that came to Indian populations as a result of white settlers and government regulations. During the reservation era when many Indians subsisted on government rations, they would keep their ration tickets in decorated bags like this one. It's a heartbreaking reminder of the importance of maintaining one's cultural values through great injustices.

Museum record: NA.203.688 | ca. 1875 | width: 2.75 in | Chandler-Pohrt Collection, Gift of Mr. William D. Weiss | Inside: Weekly Ration Check | Dress and Adornment - Personal Adornment and Ritual Regalia. (a) Pouch - deerskin, beaded front, diamond pattern in green, white, and red on blue background. Leather fringe with cowrie shells, blue beads, dentalium shell, tin cones, bullet shell. Brown and blue beads on strap. (b) Inside: Weekly Ration Check | NA.203.688.JPG | Diamond | bag | leather | deer hide | shell | cowrie | fringe | glass beads | shells | cones | dentalium | bullet | tin | Rosebud Indian Reservation, South Dakota | Sioux

1.69.25
firearm
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Exhibit notes: Well, guns are an inescapable part of the story of the West. This Winchester belonged to Annie Oakley and I can't think of a more iconic western firearm or a neater gun-totin' gal.

Museum record: 1.69.25 | 1905 | Barrel length: 22 in, pull: 13.375 in, overall length: 39.625 in, H: 2.25 in | Gift of Dorothy Stone Collins | Stamped on bottom of receiver: 301670, Top of barrel stamped: MANUFACTURED BY THE WINCHESTER REPEATING ARMS CO./NEW HAVEN. CONN. U.S.A. PATENTED OCTOBER 14. 1884, Left rear of barrel stamped: 44 W.C.F., Tang stamped: MODEL 1892/--WINCHESTER--/TRADE MARK, Rubber butt plate embossed: WINCHESTER/REPEATING/ARMS CO. | 1892 Winchester rifle, caliber .44WCF, shotgun butt, half octagon barrel, checkered stock and forearm, engraved with foliate design and big horn ram on left side, elk on right side of receiver. Made for and used by Annie Oakley. | Winchester Model 1892 | .44 WCF | 301670 | 1.69.25v1.jpg | 1.69.25v2.jpg | 1.69.25VIEW1.JPG | 1.69.25VIEW2.JPG | 1.69.25VIEW3.JPG | 1.69.25VIEW4.JPG | 1.69.25.jpg | big horn ram | foliate | elk | firearm | rifle