Logging in is for verification only and does not grant us access to mess with your precious Social Media.
No Thanks, I Hate Fun
Tap anywhere to continue, otherwise the kiosk is going to reset
Pull the Plug
Are you sure you wish to reset the kiosk?
Everything copied to your phone is safe and sound.
No, go back!
I am done
Feel the Love
+ = Gun-believable
You have loved your first item. Add as many as you like. Use the Phone icon below to claim your FREE permalink!
Copy to phone button
How to use i-Scout
Look for labels with a 3-digit code to learn more about exhibits and discover hidden treasure. Also, check the map for additional layers!
Questions or FeedbackAbout i-Scout
NA.202.394 - Beaded hat. Seth's favorite!
i-Scout was hand-crafted by a small team right here at the Buffalo Bill Center of the West. Our only motive is to enrich your experience both at the Center and on the web. We welcome your questions or comments. If you'd like to help support us, please inquire at the Membership Desk.
Questions or FeedbackFascinating
We welcome your questions, comments, feedback, or inquiries. Please include a way for us to get back in touch with you such as an e-mail, phone, social media handle, post office box, etc.
Sheet height: 18.5 in, Sheet width: 25 in, Frame height: 23 in, Frame width: 29 in
The Last Race, Mandan (Eeh-K'na-K'nah-Pic)
Gift of Paul Mellon
During his time at the Mandan village, Catlin was able to witness a major religious cermony, the O-kee-pa, a test of manhood and a fertility rite. His paintings and written descriptions of the ceremony recorded a rite that was not widely known or well understood outside the Mandan culture.
Top center: 420; 137, LL: A (over 198), On secondary support typed label: AMNH 198, Catlin: 420, (in pencil): 420, Mandan
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