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Tipis: The original mobile homes

This collection of Whitney Western Art Museum works all feature tipis, nomadic housing for Plains Indians. Tipis are some of the most practical shelters ever designed—easy to erect and take down, and resistant to wind and rain. In summer, the sides of the tipi can be rolled up for air circulation; in winter, a tipi liner keeps out cold air while a fire and animal hides on the floor keep the interior warm and comfortable. Adjustable smoke flaps help regulate draft. Copy and paste these links in your browser to learn more about tipis: 1) from Plains Indian Museum Curatorial Assistant Hunter Old Elk: https://centerofthewest.org/2017/10/19/inside-the-lodge. 2) We also have a lesson from the Education Department about making a tipi: https://centerofthewest.org/wp-content/uploads/2013/08/Make-a-Plains-Indian-Tipi-Skype-Lesson.pdf. 3) Lastly, learn about the Center's extraordinary buffalo hide tipi on display in the PIM's Seasons of Life exhibit: https://centerofthewest.org/2014/05/24/treasures-buffalo-hide-lodge.

A Buffalo Bill Center of the West Virtual Exhibit
Curated by: Marg2309


Preparing for the...
Sharp, Joseph Henry | Painti...
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5.74 | ca. 1922 | H: 16 in, width: 19.875 in, Frame height: 19.625 in, Frame width: 23.375 in | Preparing for the Medicine Sweat | Gift in memory of Charles Dean Cook | In a letter describing a similar painting, Sharp told of the ritual surrounding the sweat tipi. He wrote that the men "carry the hot stones in little teepees, close entrance & men strip, pour water on hot stones & have regular steam bath--then go out & jump in river or rub snow on! It is for ceremonial for cleanliness, also to help conquer col(d)s etc." | LR: J H SHARP | Restriction: Not to be sold or traded. | 5.74.JPG | 5.74.jpg | 5.74.web.jpg | Crow Reservation | tipi | Sweat lodge | Crow | Indian | Landscape | Painting | oil on canvas | Joseph Henry Sharp (1859-1953) Preparing for the Medicine Sweat ca.1922, oil on canvas Gift in memory of Charles Dean Cook Fascinated by Plains Indian traditions, Sharp painted a sweat tipi ritual. He wrote how men "…carry the hot stones in little teepees…pour water on hot stones & have regular steam bath--then go out & jump in river or rub snow on!" The sweats were for cleanliness, to remedy colds, and other purposes. 5.74 | Joseph Henry Sharp (1859–1953) Preparing for the Medicine Sweat ca. 1922, oil on canvas Gift in memory of Charles Dean Cook When he lived on the Crow Agency, Sharp observed small, dome-shaped sweat lodges. Sharp described, “A fire was built in the sweat lodge and large stones were heated. Water was poured over them to produce steam and a ‘sweat’ bath followed. When finished, the Indians ran out for a plunge in a nearby stream.” 5.74 | Sharp, Joseph Henry

Untitled - saddle...
De Yong, Joe | Painting | wa...
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136.69.1 | sight height: 2.875 in, sight width: 4.25 in, Sheet height: 3.063 in, Sheet width: 4.563 in, Frame height: 25.625 in, Frame width: 6.875 in | Untitled - saddled horse outside tipi | LLC: Z/Joe De Yong | Torn top center | 136.69.1.JPG | Painting | watercolor on paper | De Yong, Joe

The Blue Tepee
Sharp, Joseph Henry | Painti...
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22.61 | ca. 1906 | H: 16.125 in, width: 20 in, Frame height: 21.125 in, Frame width: 25.125 in | The Blue Tepee | Whitney Purchase Fund | Sharp often wrote inscriptions on the backs of his paintings, providing information about the subjects. Although this painting has no inscription, another painting of The Blue Tepee in a private collection bears the following, "The Blue Tepee was a medicine tepee, the property of (young) Harry Wolf…" | LL: J. H. SHARP | 22.61.JPG | 22.61.jpg | 22.61.web.jpg | Indian | Landscape | tipi | Painting | oil on canvas | Joseph Henry Sharp (1859-1953) The Blue Tepee ca. 1906, oil on canvas Whitney Purchase Fund, 22.61 Sharp often wrote inscriptions on the backs of his paintings, providing information about the subjects. Although this painting has no inscription, another painting of The Blue Tepee in a private collection bears the following, "The Blue Tepee was a medicine tepee, the property of (young) Harry Wolf…" | Sharp, Joseph Henry

Crow Winter Camp ...
Red Star, Kevin | Painting |...
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15.99.4 | 1999 | H: 22.625 in, width: 30.25 in, Frame height: 34 in, Frame width: 41.5 in | Crow Winter Camp in Teepees | William E. Weiss Memorial Fund Purchase | The cool, clear silence toward the end of a perfect winter day is evoked in Red Star's painting Crow Winter Camp in Teepees. The artist explained his intentions for the work, "I wanted it to be a tranquil, serene setting. I was thinking about dusk--seeing the light reflecting from the setting sun." | LLC: 'CROW WINTER CAMP IN TEEPEES' [LRC, embossed in paper:] 40 AQUARIUS [label, verso, ulc:] BUFFALO BILL/ ART SHOW & SALE/ #75/ Kevin Red Star | LRC: Kevin Red Star | 15.99.4.jpg | 15.99.4.jpg | 15.99.4.web.jpg | winter | dusk | tipis | Crow | Painting | oil on paper | Red Star, Kevin

Burial Cortege of...
Sharp, Joseph Henry | Painti...
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2.61 | ca. 1905 | H: 27 in, width: 39.375 in, Frame height: 33.625 in, Frame width: 46.25 in | Burial Cortege of a Crow Chief | Whitney Purchase Fund | While at Crow Agency, Sharp painted several representations of burial customs, such as this funerary procession and its pendant, Dividing the Chief's Property. He also painted several scenes of the tree and scaffold graves traditionally used by this tribe. In portraying these scenes, Sharp painted a lament for the passing of traditional Indian customs. | 2.61.jpg | 2.61.jpg | 2.61.jpg | 2.61.web.jpg | 2.61.JPG | Indian | Group | Painting | oil on canvas | Joseph Henry Sharp (1859-1953) Burial Cortege of a Crow Chief ca. 1905, oil on canvas Whitney Purchase Fund, 2.61 | Sharp, Joseph Henry

Tepees on the Pra...
attributed to Joseph Henry S...
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20.61 | ca. 1902 | H: 12.125 in, width: 17.875 in, Frame height: 17.25 in, Frame width: 23.125 in | Tepees on the Prairie | Whitney Purchase Fund | Forrest Fenn was in town and asked to see the back of one Sharp painting. Two paintings were pulled because it was unclear which one he wanted to view. Tepees on the Prairie (20.61) and Preparing for the Medicine Sweat (5.74). The unsigned painting, Tepees on the Prairie (20.61) was questioned by Fenn for the authenticity. In Fenn's opinion, it was not a Sharp painting for the following reasons: - not signed - no handwriting on the reverse of the painting as is typical for Sharp - from Mrs Riebeth, but she had other paintings that were by other artists, as well as art by J.H. Sharp - the colors were too bright - Sharp did pointillism, but not in the manner used here (sighted the sky as the main example) - Detail on the crow tepee was not quite right - see lower edge patterning (not something Sharp did) - One figure in foreground left was too detailed, although the central figure looked like Sharp - Paint-handling was not skilled enough to be Sharp, "painted by a 'Sunday painter'" Fenn said he has been looking at this painting for years and it has never felt right. He was relieved to know that there was no handwriting on the reverse because it would have truly been a mystery if there was. He's not implying that it is a fake, just simply by another artist When this painting was compared with the other painting side by side, there were notable differences in the two paintings, especially the way the paint was handled, the treatment of the tepees, and the saturation of the colors. Additionally, the painting, Preparing for the Medicine Sweat was signed, and had the handwriting on the back of the painting that Fenn was looking for with Tepees on the Prairie. The painting will not be re-hung as a Sharp at this time. Further research is needed. | 20.61.JPG | Landscape | Indian | Painting | oil on canvas | attributed to Joseph Henry Sharp

Shadows in the Ni...
Sharp, Joseph Henry | Painti...
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19.61 | ca. 1906 | H: 12.125 in, width: 18.125 in, Frame height: 17.25 in, Frame width: 23 in | Shadows in the Night | Whitney Purchase Fund | Spending his winters at Crow Agency in Montana between 1899-1910, Sharp observed many events of Indian life. He built a log cabin on the reservation so he could come back each year to paint portraits and other works. Sharp preferred to spend his winter in cold Montana because in that season the Indians had more time to pose and because otherwise, Montana was "too green." | 19.61.jpg | 19.61.JPG | Group | Indian | Landscape | Painting | oil on canvas | Joseph Henry Sharp (1859-1953) Shadows in the Night ca. 1906 oil on canvas Whitney Purchase Fund, 19.61 In Montana, Sharp began experimenting with the manipulation of light sources in his paintings. He wrote, "I am interested in firelight things now, & have a little tepee interior rigged up in studio, where I can pose model by lamplight…" Fascinated with the romantic effects of firelight, he developed the appearance of glowing light shining through tipis. | 19.61 Joseph Henry Sharp (1859-1953) Shadows in the Night ca. 1906, oil on canvas Whitney Purchase Fund | Sharp, Joseph Henry

The Summer Camp
Sharp, Joseph Henry | Painti...
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23.61 | ca. 1906 | H: 15.875 in, width: 24.125 in, Frame height: 21 in, Frame width: 29.125 in | The Summer Camp | Whitney Purchase Fund | Sharp painted The Summer Camp when he lived at Crow Agency, Montana. To be able to paint year round on the Crow reservation, he built a log cabin home in 1905. That cabin, pictured at the left, has been moved to the museum's grounds and can be seen in the garden between the Whitney Gallery and the Cody Firearms Museum. | Exhibit catalog: Art of the Rocky Mountain West; U.S. Ambassador's Residence, Dublin, Ireland; U.S. Department of State, Art in Embassies Program; Vienna, 2000 | 23.61.JPG | 23.61.jpg | 23.61.jpg | Indian | Landscape | Painting | oil on canvas | Joseph Henry Sharp (1859-1953) The Summer Camp ca. 1906, oil on canvas Whitney Purchase Fund 23.61 | Sharp, Joseph Henry

Dividing The Chie...
Sharp, Joseph Henry | Painti...
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1.61 | ca. 1905 | H: 27 in, width: 39.375 in, Frame height: 33.625 in, Frame width: 46.25 in | Dividing The Chief's Property | Whitney Purchase Fund | Sharp portrayed the Indian mourners in a procession that has the solemnity of ancient funerary monuments. This painting depicts the custom of giving the deceased's belongings to the mourners. | 1.61.jpg | 1.61.JPG | 1.61.jpg | Indian | Group | Painting | oil on canvas | Joseph Henry Sharp (1859–1953) Dividing The Chief’s Property ca. 1905, oil on canvas Whitney Purchase Fund Sharp closely observed Crow burial customs, and depicted their funeral rituals in many of his paintings. In this scene, Sharp shows the custom of giving the deceased’s belongings to mourners. The passing of the Crow chief and the procession of mourners symbolized the gradual disappearance of many Native American traditions. 1.61 | Cincinnati artist Joseph Henry Sharp first visited the Crow Agency in Montana in 1900. He built a cabin on the reservation in 1905 and often spent his winters there. Despite witnessing the changes to Plains Indian life affected by the reservation system, Sharp sought picturesque images that looked to the past. He painted this mourning ritual of giving the deceased’s belongings away not only as a witness to the event but also as a symbolic lament for traditional Indian customs. | Sharp, Joseph Henry

Camp on the Littl...
Sharp, Joseph Henry | Print ...
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53.86 | ca. 1900 | H: 2.5 in, width: 4.5 in | Camp on the Little Horn | Gift of Mr. and Mrs. Forrest Fenn | Signed in plate LR: JH Sharp (backwards) | 53.86.jpg | 53.86.JPG | Indian | Landscape | Print | copper etching plate | Sharp, Joseph Henry

Stormy Morning in...
Remington, Frederic | Painti...
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40.67 | 1906 | H: 12 in, width: 16 in, Frame height: 18 in, Frame width: 22 in, frame depth: 3 in | Stormy Morning in the Bad Lands | Gift of The Coe Foundation | LRC: Frederic Remington/(unclear wording) | This was formerly known as Untitled (Indian camp on Cheyenne River) | 40.67.jpg | 40.67.jpg | 40.67.JPG | 40.67.jpg | 40.67.web.jpg | Other | Landscape | teepees | Painting | oil on canvas | Frederic Remington (1861-1909) Stormy Morning in the Badlands 1906, oil on canvas Gift of The Coe Foundation 40.67 | Remington, Frederic

Blackfoot Women M...
Borein, Edward | Print | dry...
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18.65 | ca. 1922 | Image height: 6 in, Image width: 11 in, Frame height: 12.25 in, Frame width: 17 in | Blackfoot Women Moving Camp, No. 2 | Gift of Corliss C. and Audrienne H. Moseley | The subject of moving camp, traditionally the woman's duty, provided Borein with an opportunity to depict the Blackfoot women proudly riding horseback. The acquisition of horses not only facilitated a more rapid camp move, but also increased the distance bands could travel, and the quantity and variety of goods and household furnishings they could carry. | LR: Edward Borein | 18.65.jpg | 18.65.JPG | Group | Indian | Print | drypoint | etching | paper | Borein, Edward

Cheyenne Winter C...
Coleman, Michael | Painting ...
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24.00.1 | 1976 | H: 30 in, width: 23.5 in, Frame height: 38.5 in, Frame width: 32.625 in | Cheyenne Winter Camp. Alternate title: Campsite and Cloudy Moutains | Gift of Dick and Helen Cashman | In communicating the relationship between nature and its inhabitants, Michael Coleman draws inspiration for his own works from nineteenth century American painters. In Cheyenne Winter Camp, Coleman's idyllic view of the Northern Plains Indians existing peacefully in nature recalls the work of Henry Farny, whose paintings also romantized Native peoples' traditional way of life. | verso, ULC: CO 78-29 [label, LLC:] #13 M. Coleman/ Western (underlined)/ painting/ oil | LRC: Michael Coleman/ 1976 II | 24.00.1.jpg | camp | mountain | clouds | Painting | oil on canvas | Michael Coleman (b. 1946) Cheyenne Winter Camp 1976, oil on canvas Gift of Dick and Helen Cashman 24.00.1 | Coleman, Michael

Camp on the Littl...
Sharp, Joseph Henry | Print ...
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35.83 | comp height: 2.375 in, comp width: 4.375 in, Sheet height: 13.5 in, Sheet width: 10.75 in | Camp on the Little Bighorn | Handwritten at bottom: Camp on the Little Horn 44/227 | Credit line: Gift of Forrest Fenn | 35.83.jpg | 35.83.JPG | Indian | Print | Etching on paper | Sharp, Joseph Henry

PoPo Agie River C...
Coleman, Michael | Painting ...
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8.76 | 1976 | sight height: 15 in, sight width: 27 in, mat height: 24.313 in, mat width: 35.75 in, Frame height: 29.75 in, Frame width: 41.375 in | PoPo Agie River Camp | William E. Weiss Contemporary Art Fund | Contemporary western art often maintains a connection with traditional western art in style and subject matter. Coleman's romantic vision of Indians camped on Wyoming's PoPo Agie River in the Wind River Mountains recalls the pastoral Indian images by Henry Farny. To create this work, Coleman used gouache (pronounced gwash), a chalky waterbase paint, which has the fluidity of watercolor, but, which forms a non-transparent paint layer. | LRC: c Michael Coleman----/1.9.7.6 [label on verso:] Title "Indian Camp - PoPo Agie River"/ Medium Gouache/ Ins. Value 2900.00/ Cat. No. /Date October 1976/ REPRODUCTION RIGHTS/ RESERVED BY ARTIST/ MICHAEL COLEMAN | Exhibit catalog: Art of the Rocky Mountain West; U.S. Ambassador's Residence, Dublin, Ireland; U.S. Department of State, Art in Embassies Program; Vienna, 2000 | 8.76.JPG | Group | Indian | Landscape | Animal | Painting | gouache on paper | Coleman, Michael

Indian Women Movi...
Russell, Charles M. | Painti...
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21.70 | 1898 | sight height: 20 in, sight width: 28 in, Frame height: 30.75 in, Frame width: 38.75 in, mat width: 31.5 in, mat height: 23.5 in, frame depth: 2.25 in | Indian Women Moving Camp | Gift of William E. Weiss | Indian women played important roles in a number of Russell paintings and he produced several versions of the subject of Indian women moving camp. The subject provided the artist with the opportunity of depicting the Indian women proudly riding on horseback. He used a compositional group placed at a slight diagonal to the picture plane which is similar to his subject of Indian warriors. Thus he accords the same dignity to the women's work. | LLC C M Russell (skull) 1898 | 21.70.JPG | 21.70.jpg | Landscape | Group | Indian | Animal | Painting | watercolor on paper | Russell, Charles M.

Days of Long Ago
Farny, Henry | Painting | oi...
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6.75 | 1903 | H: 37.5 in, width: 23.75 in, Frame height: 45.5 in, Frame width: 31.75 in, frame depth: 2.75 in | Days of Long Ago | Museum purchase | The high horizon and the shadowy, sheltering trees form an intimate setting for Farny's family group even within the vastness of the western landscape. With the title Days of Long Ago Farny wistfully places the scene in some distant, but not specific time. Farny's vision of the Indian rests in tranquility. | LRC: Sketch for/"Days of Long Ago"/Farny/ (circle) 1903 | Paint over edge of paper mounted on board | Pamphlet: Cody, Wyoming Relocation Guide; Cody Chamber of Commerce, Cody, Wyoming; 2004; inside back cover | 6.75.jpg | 6.75.jpg | 6.75.JPG | 6.75.jpg | 6.75.jpg | 6.75.web.jpg | Indian | Landscape | Group | Animal | Painting | oil on paper mounted on board | Farny, Henry

Little Star People
Gilleon, R. Tom | Painting |...
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48.09 | 2009 | H: 50 x 9.375 in, width: 50 x 3.125 in | Little Star People | Gift of Jim and Kathy Taggart | Iktomi (Spider Design) Parflech - medicine bundle, made by Gloria D. wife of Joe Red Feather Bettinger, is attached to back of painting. Inside the parflech is a brush used by Robert Lindneux, an arrowhead picked up on the Custer Battlefield, Sweet grass, sage, and an 1892 Indian head penny for the year Robert Lindneux met William F. "Buffalo Bill" Cody and befriended Rosa Bonheur. | Parfleche signed: Gloria (cursive) | 48.09.JPG | Painting | oil on canvas | R. Tom Gilleon (b. 1942) Little Star People 2009, oil on canvas Gift of Jim and Kathy Taggart 48.09 | Gilleon, R. Tom

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

Indian Mother and...
Cary, William de la Montagne...
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3.70 | sight height: 7.625 in, sight width: 9.625 in, Frame height: 13.125 in, Frame width: 15.625 in | Indian Mother and Child | Gift of Joseph M. Roebling | In 1874, Cary, an established New York illustrator specializing in western American subjects, accompanied the U.S. Government's Northern Boundary Survey on assignment from Harper's Weekly. While traveling along the Missouri River, he made hundreds of sketches documenting Indian life, particularly the role of women in Plains Indian society. Once back in New York, he produced documentary oil paintings based on his field drawings. | LL: W. M. Cary | Film: Documentary; Washakie: Last Chief of the Eastern Shoshone, Kyle Nicholoff, Director, KCWC-TV Wyoming Public Television, Riverton, 2003 | 3.70.jpg | 3.70.web.jpg | 3.70.JPG | 3.70.jpg | Group | Indian | Painting | oil on canvas | William de la Montagne Cary (1840-1922) Indian Mother and Child oil on canvas Gift of Joseph M. Roebling, 3.70 | Cary, William de la Montagne

Indian Encampment
Miller, Alfred Jacob | Paint...
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10.59 | after 1837 | H: 11 in, width: 19.75 in, Frame height: 15.125 in, Frame width: 23.75 in | Indian Encampment | Gift of Carman H. Messmore | After Miller returned to Baltimore, Maryland, he painted several versions of romantic landscapes of the Rocky Mountains for patrons. He painted dark areas of the landscape to create borders on the side, a luminous body of water in the middle ground, and mountains in the distance. Miller created different interpretations by varying the effects of light and color | none, unsigned | 10.59.JPG | 10.59.jpg | 10.59.jpg | 10.59.web.jpg | Group | Landscape | Indian | Animal | Painting | oil on canvas | Alfred Jacob Miller (1810-1874) Indian Encampment after 1837, oil on canvas Gift of Carman H. Messmore, 10.59 | Alfred Jacob Miller (1810-1874) Indian Encampment after 1837, oil on canvas Gift of Carman H. Messmore The artist accompanied William Drummond Steward on an expedition which included attending a fur trader's rendezvous in 1837. As the journey occurred before the invention of photography, Miller painted people, places, and events he saw so they could be remembered. In what ways do you recall places and things you have seen? 10.59 | Miller, Alfred Jacob

Indian Village
Kurz, Rudolph Friederich | P...
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27.97.3 | 1854 | H: 13.25 in, width: 19 in, Frame height: 25.25 in, Frame width: 30.875 in | Indian Village | Gift of Mr. and Mrs. W.D. Weiss | Label on verso: GERALD P. PETERS/ 430 CAMINO DEL MONTE SOL. P.O. BOX 2524./ SANTA FE, NEW MEXICO 87501/ TELEPHONE 505-988-8961/ FINE AMERICAN PAINTINGS/ Artist: F. KURZ Price:/ Title: INDIAN VILLAGE (underlined)/ Year Painted: 12/2/54 Signed: SLL Stock Number:/ B-4663-w/c/ Medium: Watercolor Negative Number:/ 00046/ Size: 13 1/4 x 19" [label on verso:] GERALD GP (G above P) PETERS GALLERY/ 2200 CEDAR SPRINGS SUITE 320 DALLAS, TEXAS 75201/ TELEPHONE 214-871-3535/ FINE AMERICAN PAINTINGS/ Artist: F. Kurz Price: / Title: INDIAN VILLAGE/ Year Painted: 12/2/54 Signed: SLL Stock Number: B4663w/c/ Medium: Watercolor. Negative Nubmer: 00046/ Size: 13 1/4 by 19 inches [label:] GERALD PETERS GALLERY/ 439 Camino del Monte Sol, P.O. Box 908, Santa Fe, NM 67504-0908/ Telephone: 505/988-8961/ Rudolph Friedrich Kurz/ Indian Village (underlined) 1854/ Watercolor/ 13 1/4 x 19 inches/ (33.7 x 48.3 cm) Date lower left: 22.2.54/ NoC-10810 [label on verso:] Gene Autry Western Heritage Museum/ 4700 Zoo Drive/ Los Angeles, CA 90027-1462/ Rudolph Friedrich Kurz/ Indian Village (underlined), 1852/ watercolor/ 13 1/4 x 19 in./ EXHIBITION TITLE: The Gerald Peters Collection of Western/ American Art./ EXHIBITION DATES: 11/22/88 - 1/22/89./ CREDIT: Gerald Peters, Santa Fe, New Mexico./ GAWHM Loan Number: T88-404-3. [label:] The Denver Art Museum No. TL-10047/ Exhibition: THE WEST EXPLORED/ Rudolph Friedrich Kurz/ INDIAN VILLAGE/ Date: 5/20/89-9/24/89/ Lender: Gerald Peters Gallery/ Santa Fe, New Mexico | LLC: 22.2.54 | 27.97.3.JPG | 27.97.3.jpg | 27.97.3.jpg | 27.97.3.web.jpg | Indian | Painting | watercolor on paper | Kurz, Rudolph Friederich

Untitled (Illustr...
Henckel, Carl (Charles) | Dr...
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51.69.17 | 1890 | comp height: 8.75 in, comp width: 11.5 in, Frame height: 10.625 in, Frame width: 13.625 in | Untitled (Illustration of Indian scenes in Buffalo Bill's Wild West Show) | LRC: C. Henckel 1890-/Munchen;RC: C. Henckel 1890/Munchen | Goodman collection #81, part of an album of 21 drawings done in Germany during the WWS tour. Purchased by the BBMA from Mrs. Edith F. Goodman of Cody, following Mr. Goodman's death in 1951. Mr. Goodman was a nephew of Buffalo Bill. | 51.69.17.jpg | Other | Animal | Indian | Landscape | Multi-Scene | Group | Drawing | ink wash on paper | Henckel, Carl (Charles)

Eau Sucre River
Miller, Alfred Jacob | Paint...
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38.64 | sight height: 6.75 in, sight width: 9.5 in, Frame height: 13.75 in, Frame width: 16.5 in | Eau Sucre River | Gift of The Coe Foundation | Eau Sucre, French for Sweetwater, is the river which Miller and Stewart encountered in what is now southern Wyoming. Since many of the mountainmen were originally French Canadians, Miller probably used the place names he heard them say. | none | 38.64.JPG | 38.64.jpg | Landscape | Indian | Group | Painting | oil on board | Alfred Jacob Miller (1810-1874) Eau Sucre River date unknown, oil on board Gift of The Coe Foundation, 38.64 | Miller, Alfred Jacob