G 1997 CONTENTS

FROM LYRES TO LARIATS Cowboy Songs & Range Ballads sets the standard lor preserving a uniquely American genre of lolklore.

REMINGTON ARMS RETROSPECTIVE The Arms and Art ol the Remington Arms Company are spotlighted in a new exhibition opening in May.

THE YELLOWSTONE PARTNERSHIP As America's lirst national park celebrates its t25th anniversary. the Buffalo Bill Historical Center collaborates on an educational exhibition of the park's bison herd.

11 NI'llHl': lN A GOOD WAY lmages by cultural anthropologist Sara Wiles are leatured in a new photo exhibition on the Arapaho people of Wyoming.

12 THE FEATHERED CAPE AND PAINTED PROOF A painting solves the mystery of the origins ol unusual leathered capes.

1 5 PUBLT. suPPoRr'e6 Development initiarives enjoy srrong backing in 1q96.

1 B FAM]LY FUN Ambitious schedule ol children's and lamily programs planned for 1997.

DEPARTMENTS I he Buffalo Bill Historical Center's Director's Report ...... 3 stellar dedication to the preservation Recent Gifts ...... I 6 and perpetuation oi occupalional songs is New Acquisitions ...... 20 one of the best things about the museum, Planned Gifts/Calendar...... 2i signiiying a well-reasoned, well rounded generating, maintaining, and POINTS WESI is published quarrerly as a benefir of membership in the approach to Bulfalo Brll Hrsroncal Center For in[ormatton about membership contact disseminating public interesl in a precious, Jane Sanders, Director ol Membership. Buffalo Bill Historical Center. perishable legacy. To incorporate songs and 720 Sheridan Avenue. Cody. wY 82414 or call (107) 587'477t. ext.'1032. srories at such a high level into the galaxy ol Request permission to copy, reprinl or distribute arlicles in any mediunr or lor- mai. Address editorial correspondence lo the Editor, POINIS WESI Bulfalo other aesthetic, historical, anthropological, and Bill Historical Center. 720 Sheridan Avenue. CodV WY 82'11'1. sectional activities ol the museum does noble Editor: Scorr Hagel Production: Jan woods. Renee Tafoya, Karen Cee service to our American heritage. As the Photography: Devendra Shrikhande and Lucille warters greatest museum the American West, you The Buffalo Bill Hislorical Center is a private, non-prolit educational ol insritution dedicated to preserving and inlerprering the cultural history of the a position to do it right. And you do. American West. Founded in 1917, the Historical Center is home to the are in Bultalo Bill Museum, Cody Firearms Museum, Plains lndian Museum. Whitney Callery of western Art and Mccracken Research Library. -Stuart M. Frank. Director KendaII Whaling Museum (,orr'r Coultor nrt trrtrt.tlrLli.l lttllll tlltr (1)Ll('ltloils ()i lll(' IlLrll.rlo liill IlList'Ltnr l'iroloQlat)lt Lrr. l.iirtllLr \'1 \\'ilrli'ls Founder of the Mystic Seaport Sea Music Festival and Symposium Celebrating Change B. Byron Price. Executlve Director

a s I begin what I hope will be a long Frederic Remington catalogue raisonn6 I \and producrive tenure as executive project and releasing a critically acclaimed director ol the Bullalo Bill Historical compact disc leaturing original music Center, I am reminded oi the critical from Buiialo Bill's Wild West show. role ol change in today's museums. These lledgling lorays loreshadow Popular misconceptions notwithstand- exciting lurure projecrs. ing, museums are, by their very nature, To better serve the community oi dynamic institutions, always struggling Cody and the winter visitors to Park to remain relevant and vital to the County, the Center abandoned irs long- needs and concerns of their audience. standing practice of closing during the Modern museum-goers bring with coldest months, electing instead to them diverse backgrounds, perceptions remain open on an abbreviated schedule. and expectations. Some want to be This change has allowed the museum to entertained, others crave understandin$, more effectively serve local schools as still others expect to be awed. Confronted well as walk-in tralfic. The new hours by an increasingly sophisticated and have already inspired much good will. demanding public, savvy museums Regular readers oi the Historical must constantly search for lresh ways Center's quarterly publication will to communicate their message. In notice still other significant changes recent years the stale curiosity cabinets beginning with this issue. The expanded and dull permanent exhibits oi the past journal has been renamed Points West have increasingly given way to exciring and leatures more photographs, interactive presentations, many oi them improved content, additional color and utilizing computers, audiovisuals and a brand-new, magazine-style design. other forms of technology to help tell These changes represent a natural the story. With the advent of rhe evolution from an institutional newsletter Internet and electronic mail and with to a meatier publication with broader greater access to telecommunications, appeal. We will strive to make Poinfs many museums are now sharing their West a more readable and appealing collections and their expertise electroni- publication and we hope you will like cally, outside the walls ol the instiru- the changes. tion. These improvements are only the The computer age made its appearance latest maniiestations oi an ongoing at the Bullalo Bill Historical Center as institutional process. In the years to early as the mid-1970s when several come I look iorward to helping guide terminals were installed in a new the iuture development ol the Bullalo Bill lirearms exhibit giving visitors immediate Historical Center by articulating a vision access to additional information about that will keep this already outstanding the objects on display. In recent years institution in the lorefront ol American the Center has continued to pioneer museums and relevant to the needs new technological trails, establishing an and concerns ol 2l st century Internet home page, producing its first Americans. I ever CD-ROM in connection with the F r,@s- by Lillian Turner, Public Programs Coordinator

D ailroad workers. sailors. fishermen, part. The program now includes two I \ tumUerlacks. larmers and home- full days oi educational performances steaders-their songs have become part for over 600 schoolchildren as well as oi America's musical heritage, capturing a one-day symposium, two evening the spirit and story oi America's work- concerts, 10 educational workshops, ing class. But what about the cowboy and demonstrations oi cowboy crafts. and his music? With the exception of Continuous music performances in the work oi a handlul oi song collectors, three venues entertain hundreds of little has been done to preserve or cele- listeners who come lrom throughout brate this music in the past 100 years. this region and as iar away as Minnesota, ln 1982, however, the Buttalo Bill Missouri, Texas and California. Historical Center began sponsoring a As the reputation oi this award- program to preserve winning program has grown, it has and perpetuate the brought national and even international "lt is the performers coming grassroots music of attention to the Historical center. It has together and sharing their this region...the tradi- become the model lor other programs, music. That is what will tional songs of the yet it has remained unique...avoidin$ keep the music alive." working cowboys. the trend toward country music and That lirst year there cowboy poetry. were 10 performers. However, the In recent years the scholarly aspect determination to find the music and of Cowboy Songs increased with the those still perlorming it led the addition of the Cowboy Songs Historical Center to continue the Symposium, a lull day devoted to the From left: Mike Ley, program until in 1996 the CowboY study oi some aspect oi cowboy history Buck Page and Joe ''J.8. ' Boemecke oI Songs and Range Ballads pro$ram drew and culture. Most recently the locus has Riders o.f the Purple Sage during an 75 periormers from 16 states to take been on the roots ol the cowboy's evening Cowboy music itself. In keeping with that idea, Songs performance the theme ol this year's program is From Lyres to Lariats. Oi importance to our mission state- ment, the program not only reilects the Center's collections, placing them in their cultural context, but each year adds to the collections. The programs have been tape-recorded throughout the years resulting in the acquisition ol hundreds oi hours of tapes. These have become the core ol the Center's Cowboy Songs Archives. This repository of tapes, records, sheet music, song- ta Lariats Vie

WHY I SING COWBOY SONGS By Buck Ramsey books, lield notes, and musical instru- and poet, called him a national treasure. ments is a growing collection ol But Duane had no idea that what he 11 early eight years ago I gor wind I \ ol what was going on ar Cody's enormous value to folklorists, music knew- what he had learned lrom his annual cowboy song gathering and historians, perlormers, songwriters, father and grandiather- was ol such out in Elko at the poetry gathering. I decided to try to throw in with and those interested in the history and importance. Until he came here. the gatherers. culture oi the West. But it is not just the growth in their At the Elko gathering, I asked around about singers ol cowboy But collecring the music is nor musicianship and stage presence that songs, and learned of a feller there by the name of Duane Dickinson enough. Music is meant to be sung. has been evident over the years, it is from Montana who knew a lot of And that is the vital part of Cowboy the performers' desire to learn more the old songs. I looked Duane up and followed him Songs. It is the perlormers around for a few coming about their music and its history-and days. He sang nearly the whole time together and sharing their music to place it all in the broader context ol and never the same song twice. I wanted to be another Duane throughout the weekend as they swap western history. They go into schools and Dickinson. That's one reason I give versions ol songs, exchange ideas about work with the children. Their concerts for singing the old songs, but it's not the only one. just how to play a song on the guitar or become educational opporrunities to Cowboys in the cow country liddle or banjo. One ol the rewards oi teach others about the cowboy and know about one another by word of mouth. Ever since I first sat the weekend is to come upon a l6- his music. listening to cowboys talk, I wanted year-old perlormer deep in discussion Bulfalo Bill did more than anyone my name to enter into those con- versations. Full of health and hell, I with a 78-year-old cowboy about a song else [o help promote a positive image roped and rode my while, even and watch drank and fought my way through then the two ol them work of the cowboy both here and abroad. the saloons and honky-tonks, out the intricacies oi that particular It is appropriate that the museum yearning to earn a place in that conversational lore ol the West. I piece. That is what will keep the music which bears his name promote and didn't have time and wasn't good alive. That's not the only reward. It's preserve the music oi those same enough at what I did to earn that place. watching the growth in the periormers cowboys. I But good ropers and riders and themselves. It's seeing drinkers and fighters were always a dime a dozen. The singers of the Duane Dickinson, a old songs were almost extinct, so rancher lrom when the conversation got around to who knew the old classics, most Ryegate, Montana, of the cowboys only knew of a genuine cowboy singer by hearsay. who literally had to I learned just enough of the old be shoved up on the songs ro secretly hold to a vain hope that when the subject came stage the lirst time he up, my name might enter the attended Cowboy conversation. That's pretty much what it Songs... to watch him comes down to now. I sing the old grow into a confident, cowboy songs to keep my hand in the game, to keep alive the hope competent perlormer. that the cowboys will speak my This rancher has such name. When they are in earnest confab around the wagons, in the a repertoire oi 19th bunkhouses and saddle shops, passing jugs from the tailgates and early 20th centu- of pick-ups, I want them, when the ry songs that Buck subject of old cowboy songs comes up, to speak my name with the Ramsey, nationally Liz Masterson and Sean Blackburn entertain on stage during the annual same quiet reverence they speak known cowboy singer Cowboy Songs and Range Ballads concert. ol Duane Dickinson. Remington Arms retrospective details history of major firearms manulacturer bv Howard Michuel Madaus. CLn'ator. Cody Firearms Museu]n

tThe wealher in Cody on Dec. 2. In addition to the lirearms loaned to L ooo may have been clear and the Center by the Remington Society oi cold. but in the bowels oi the Bulialo America, the special exhibit It Never Bill Historical Center, the "deluge" had Failed Me will encompass nearly 100 begun. The "deluge," however, was paintings from the Ilion, New York lactory neither liquid nor an acl ol Mother museum and corporate headquarters ol Nature. Rather, it was lhe beginning ot the Remington Arms Company, recently the influx ol objects that would arrive relocated in Madison. North Carolina. over the next three weeks to temporarily These paintings were commissioned by swell the museum's holdings ol the company lor calendars and adver- firearms produced over the past I 80 tising posters printed lrom the turn of

years by the Remington Arms Company. the century to the 1 980s. While the For three weeks, the museum's registra- wildliie art ol contemporary artists R. tion and collections staii, the curatorial Kuhn and T. Beecham predominate in stall oi the Cody Firearms Museum, the exhibit, examples are also present and iour volunteers irom the Remington oi such well known early nineteenth Society ol America condition-reported, cenlury artisls as N.C. Wyeth, Philip R catalogued, videotaped, photographed, Coodwin. and F. Leyendecker. and organized the record number ol loan objects In May, all oi these objects "lt Never Faited Me will display will be on public display when the nearly 100 turn-of-the-century It Never Failed Historical Center unveils advertising illustrations in addition Me: The Arms and Art oJ the Remington to the 700 Remington lirearms Arms Company. loaned by the members oi the - The llood ol arms that poured into T"-t"'*- = it' Remington Society ol America " the museum's receiving area during the first three weeks ol December eventually totaled more than 650 loan objects It Never Failed Me (so named lor a lrom 60 separate individuals. (Additional comment made by Bullalo Bill when he loans that trickled into the museum in gave his Remington "New Model Army" the beginning olJanuary increased that revolver to his Nebraska ranch foreman. total to more than 700 arms lrom 76 Charlie Trego, in 1906 as a Christmas Abover Paul Goodwin ol Newport. lenders.) The source ol these arms was gift) will occupy the Special Exhibitions Kentucky photographs firearms lor rhe Remrngron Arms exhibirion the membership of the Remington Gallery in the lower level ol the Buifalo caralog. Sociery o[ America. an organization Bill Museum. A patrons' opening is Center. Leon W Wier. Jr.. President Remingron Society ol America. lounded in 1981 among collectors planned for Friday, May 16, 1997.The catalogs incoming lirearms on whose primary interest lies in the exhibit, with its twenty lheme areas, loan for the exhibition. lirearms manulactured by Eliphalet will be open to the public from May l7 Below. Cody Firearms Curator Howard M. Madaus examines part Remington, his sons, and the Remington through September 28, 1997.'t, pisrol collectron. of rhe Rcmrngron Arms Company lrom l8l6 to the present. The society numbers approxi- mately 500 members throughout Norlh America. Curators author new publications Seth Eastman, Confederate longaims are subjects of expansive works

A monumenral new study. $ 120 (plus shipping and handling, rhe I lConJederate Rifles 6. Muskets new book is available lrom Museum (Graphic Publishers, Los Angeles, 1996). Selections. co-authored by Cody Firearms Museum Curator Howard Michael Madaus and qarah E. Boehme. John S. Bugas arms collector and retired psychiatrist rJCurator of rhe Whirney Callery ol Dr. John M. Murphy, was released in Western Art, has contributed to the July ol 1996. The massive volume (778 recent publication, Seth Eastman: A pages in length and weighing jusr over Portfolio oJ North American Indians, six and a hall pounds) is a detailed, published by the Alton Historical Press, scholarly study of rhe infantry longarms ol Afton, Minnesota. produced or adapted in the Conlederate The book showcases a collection of States of America during its short exis- Eastman's watercolors, produced by the Seth Eastman; A PortJolio o.f tence lrom 1861 ro 1865. Each oi its artist alter his experience living at Fort North American /ndrans by Sarah 60 chapters individually rreats rhe E. Boehme and ConJederate Snelling in the 1840s. There he painred Rifles and Muskets by Howard M known arms producers who either scenes ol lile among the Dakota and Madaus are available from the Museum Selections Ci[t Shop. made arms anew or altered existing Chippewa. arms lor the Confederate central Dr. Boehme's essay "An Olficer and government or its states. AII of the an Illus[rator: On the chapters are extensively annotated with Indian Frontier" ^**,r"f,flA references to primary documents in places Eastman in state and national repositories. The context with other documentary analysis for this study artists who portrayed evolved over two decades, while the Indian subjects in the writing and editing oi the text itself early nineteenth encompassed the last seven years. century. Her essay is While the documentary research was based on her disser- based on source materials in many tation lor a Ph.D. scattered archives, the great majority of lrom Bryn Mawr the arms described in micro-detail and College. photographed lor the book originated Seth Eastman: A fS '.1 in the collection ol Dr. Murphy, a PortJolio oJ North Calilornian whose collection ol American Indians also Confederate longarms is recognized as includes "Annotations the foremost in the world. More than on the Plates" by 700 photographs ol individual lirearms Christian Feest, and their component parts complement proiessor of anthro- the descriptive texr and general histori- pology at the University of Franklurt, cal background data. Well-received by and a biographical essay "He Chased reviewers, ConJederate Ri.fles & Muskets Indians. The Soldier Artisr's Liie" by has already been declared as the new Patricia Condon Johnsron, iounding "bible" ol Conlederate longarms director oi the Alton Historical Press. lil researchers and collectors. Priced at THE Partnership YELLO'\I/STONE b)/ Scott Hagel. Director o,f Commttnimtions

A remarkable partnershiP between ol the Yellowstone Park bison herd and I \rhe Bufialo Bill Historical Center the issues surrounding its ongoing and Yellowstone National Park will management. result in creation ol an exhibition on The collaboration has rts roots in the Yellowstone Park bison herd in 1995. when the Historical Center

1997 . produced a natural history exhibition Unlike traditional Historical Center called Seasons of the BulJalo. It was the exhibitions, which originate in the Historical Center's lirst natural history museum at Cody even ii they later exhibition and received a national travel to other venues. this award lrom the American Association "Oh give me a hOme project will be consrrucred of Museums in early 1996. Whefe the bUlialO rOam..." and installed in Yellowstone The show attracted the attention ol Park. On Aug. 1, Where the Yellowstone National Park Superintendent Bulfalo Roam is scheduled to open lor Mike Finley. In late 1995, he and his public viewing at the Canyon Visitor stali began talking with the BBHC about Center The exhibition will help visitors producing a similar exhibition lor display to the park understand the signiiicance inside Yellowstone. The result ol those discussions is Where the BulJalo Roam. Several inter- pretive specialists lrom Yellowstone have joined with a group lrom the Historical Center to lorm an exhibition developmenr ream. The two entrties are lointly linancing the exhibition and contributing equally to its content and design. The show is particularly relevant because 1997 is Yellowstone's 125th anniversary. As visitors contemplate the park's origins and history, they will also have the opportunity to ponder the future oi the Yellowstone bison herd within the context oi ongoing manage- ment issues. The exhibition will include dioramas leaturing life-size taxidermy mounts, photo murals. replicas of relevant arti- lacts and reproductions ol art from the Historical Center's collection The title comes lrom the song "Home on lhe Range." and individual lines lrom the song will help to guide development ol Lefr: Spechr, fhe American Bison (Bison Americanus) Engraving, hand- tinted. McCracken Research Library Archives.

Right: Thomas Moran (1837-1926) and S.V Hunr (engraver). The Uppu Yellowstone Falls. Hand colored engraving,1873. Gift of Dr and Mrs. DeWitt Dominick. S\$ individual components ol the exhibition. Through their experience with this For example, the line "Give Me a exhibition, park visitors may become Home" will introduce Yellowstone as motivated to learn more about what the unique habitat ior the last free-ranging Historical Center has to offer. herd ol bison on the continent. "Where The show is expected to be in place the Buffalo Roam" will be a section that at the Canyon Visitor Center ior a delves into biological and ecosystem period of two to five years, and then be themes. Additional segments will follow moved to another location in the park. other lines lrom the song and cover the But the exhibition is perhaps only the bison's relationship with predators, visi- first step in a relationship that will tor saiety, conflicts within the scientilic result in future collaborations between community, migration, brucellosis and the Historical Center and the park. other themes still to be determined. Funding for the Historical Cenler's The goal is to help visitors arrive at a portion of the expense comes from the deeper understanding of the buflalo as generous sponsorship of the Park a species, its place in the Yellowstone County Travel Council, Shoshone First ecosystem and how the buffalo repre- Bank oi Cody, and Trustee Nancy- sents the essential qualities that make Carroll Draper of Cody. At press time, Buffalo, 1995. Lucille Yellowstone such a unique and Yellowstone officials were securing Warters, photographer. attractive place. sponsorship for the park's share ol Below: Artist unknown. Hot Springs and Geysers o.f The partnership represents an extra- the expense. the Ye l[ow stone. Engraving. Historical Center stafl members on McCracken Research ordinary opportunity lor the Historical Library Archives. Center to extend its reach the exhibition planning team include beyond its own walls. Connie Vunk, collections manager; By reaching out Alan Ternes, adjunct curator of natural to visitors in history; Debbie Steele, natural history Yellowstone assistant; Byron Price, director; Wally Park, the Reber, associate director; Betty Kercher, Historical grants manager; Sharon Schroeder, Center education director; Denny Barhaug, * can carpenter; and Scott Hagel, communi- better cations director. fulfill its Members from Yellowstone Park mission include Linda Young, assistant chief of interpreter, planning and media, Tom advancing Tankersley, assistant chiei interpreter, knowledge personal services; Neysa Dickey, about the Canyon District naturalist; and Ron .{-,, American West. Thoman, chiei ol interpretation.

10 Ni'iihi': In a Good Way by Emma L Hansen. Curator. Platns Indian Museum

6pening at the Historical Center on Arapaho community \-/tvtarctr t4, tggT, will be a new whether as skilled bead- exhibition ol contemporary photographs workers, ceremonial lead- entitled Ni'iihi': In a Good way, ers. excellent lry bread Photographs o.f the Wind River Arapaho makers, or other identities. 1976-1996. The exhibition will consist of Accompanying the photo- 40 black and white photographs, including graphs will be individuals' portraits oi Arapaho elders, children Arapaho names wirh their and families, ceremonies, and daily meanin$s and stories on activities on the Wind River Reservation how the names were oi Wyoming. The photographs were bestowed. taken by Sara Wiles, a cultural anthro- Although many photog- pologist from Lander, Wyoming, who raphers are able to capture has lived near the reservation and the beauty of Arapaho participated in Arapaho community and other Plains Indian language and cultural activities for the cultures through images last 20 years. ol powwow dancers or As one ol the two American Indian traditional arts, Sara Wiles tribes with contemporary homelands in brings an added human Wyoming, the Arapaho tribe is an dimension to her pho- important part ol the state's heritage. tographs. Her photographs From their first entrance into the Plains reflect her ties to the com- region at the end of the 18th century, munity and a sensitivity the Arapaho people traveled through and understanding ol present Montana, Wyoming, Colorado, many of its cultural values Nebraska and Oklahoma following the and traditions. vast herds of buflalo that once roamed In the Arapaho language the prairies. As the Plains tribes were the phrase, Nl'rrhl, relers placed on reservations in the late l9th to living "in a good way." century, the Northern Arapaho joined While participating as the Shoshone on the Wind River dynamic members of Top: Josephine Redman was born May | 8. I 903. She is the Reservation ol Wyoming, while a southern Wyoming communities, mother ol nine children and has over 60 great-grandchildren and contingent was located with the the Arapaho continue to lollow cultural four great-great-grandchildren. Southern Cheyenne on a reservation in values and traditions which enable the She has been a noted beadworker and ripi maker. Her Arapaho western Oklahoma. Despite the geo- people to live in a good way. The exhibi- name, Bee'eenesei, was given to her when she was young. graphic separation, the northern and tion will provide museum visitors an (Photograph by Sara Wiles, 1986.) gain greater southern members of the tribe continue opportunity to a under- Bottom: Coulton Armout whose to have social and ceremonial lies main- standing ol contemporary Arapaho life, Arapaho name is Nii'ehii Niirouu or Hollering Bird. KaylaJean tained through lrequent visits between including changes and continuity of Armour (Biikoo'usei or Night Woman). and Robin Chase the two areas. traditions. Alone (Neci'cebsei). The photographs Way Arapaho names were given to The exhibit will be Ni'iihi': In a Cood wlll be on the children by their grandfather interpreted through commentary on the display in the Cody Firearms Museum Robert Armour (Photograph by Sara Wiles. 1990.) individuals and their roles within the breezeway through 1997. 4 The Feathered Cape and Painted Proof Stearns painting resolves rystery on origin of unusual feathered capes by Etnma I. Hansen. CLu"ator. Plains lndlan Museutn and Sarah E. Boehme. John S. ,Bil../as CL]'alor. Wh[tney Gallery oJ western Art

collections around the world, with 36 in the United States. Without precise collection inlor- mation, the capes have been attributed in museum records to several cultures ranging irom Victorian English to American Indian. Many scholars doubted the American Indian attribution due to the use ol peacock feathers, which were not thought to have been available through trade during the early 19th century. Only one similar cape at the University oi lowa Museum of Natural History had a documented

( history. Junius Brutus Stearns I 81 0- I 885). r oans ro two dilierent museums in collection Ind[ans. 1'847. Washington and the According museum records, it was oil on canvas. 36 x 50 rnches. Loan Lrfl" Historical Center will be united to lrom Mr and Mrs. WD. Weiss. in a special "locus exhibition" in the made for Mesquakie Chiel Poweshiek by CFM Breezeway, opening on April 3, his youngest daughter in the winter oi 1997 . The Plains Indian Museum and 1839.|t" was subsequently given to Dr. the Whitney Callery ol Western Art are Henry Murray as payment for medical cooperating on this display. An unusual bills for treatment oi members oi leathered cape, made oi peacock, peahen, Poweshiek's lamily, probably lor small- prairie chicken, and guinea fowl feath- pox. Poweshiek, who was born on the ers from the Great Lakes region and Rock River in Illinois ca. 1790.lived in dating from the second quarter ol the lowa lrom about 1836 until removal of a reserva- I gth century has been loaned to the the Sauk and Mesquakie to Museum Bo and Anna tion in Kansas in 1843. Research has Plains Indian by 1 Polk. It will be exhibited with the shown that peacock feathers, in fact, were available periodically lor trade to painting by Junius Brutus Stearns l the Sauk and Mesquakie in the 1830s, ( 1 81 0- 1 885). Washington and the lndians. 1847. oll on canvas, which is and sold for the expensive sum oi 25 on loan lrom Mr. and Mrs. WD. Weiss. cents each. Approximately 50 leathered capes The design ol the cape on loan to with similar designs ol crescents and the museum like those in other collec- inverted triangles exist in museum tions is strikingly similar in design and

t2 technique to that at the University ol painting and is supposed to have visired lowa. According to researchers Nancy Canada and western New York state to Oestreich Lurie and Duane C. study the Indians lor this painring. An Anderson, these interesting leathered 1848 publication which commenred on capes appear to have been made by a the painting noted that it included single tribe and distributed among "portraits of the Onondagas. .. " Stearns Creat Lakes people through rrade lrom studied Indian subjects available to him the 1820s to the 1850s. in the 1840s. Having seen one ol the Woman's leathered cape Great l-akes region, early The painting Washington and the feathered capes, he meticulously por- I gth century. cofton. Indians attracted the interest oi scholars trayed it and the other items ol Indian peacock. peahen. prairie chicken. and guinea fowl researching the feathered cape because clothing, giving his painring rhe semblance feathers. Iength 46 inches (Worn by seated woman artist Junius Brutus Stearns painted an ol authenticity. Although rhe cape in painting on opposite page). Loan lrom Bo and Indian woman wearing such a cape would not have been worn in a council Anna Polk. among the group assembled around in the 18th century, Stearns' painting George Washington. As the viewer laces supports Lurie and Anderson's views the painting, she sits just to rhe right oi that the capes were made by lndian Washington with a child at her knee. women in the nineteenth century. Stearns painted this work on com- mission lor the American Art-Union, an I For research on Stearns and his paintings organization which distributed works ol of George Washington. see rhe writings ol Mark art to its members through a lottery. He Thisrlethwaite, especially The lmage o.f George Washington: Studies ln Mid-Ntneteenth Century sent the Art-Union a sketch ol his Amerlcan Hlstory Painting (New York, New York: Garland.1979). \ proposed painting, which might be the I g-- sketch now owned by Mr. and Mrs. W.D Weiss and also teatured in the exhibition This painting was rhe lirst oi many that Stearns would paint ol the Iile ol Washingron, contributing to the glorilication oi Washington and showing his many roles as soldier, larmel

citizen, statesman, and Christian. t Washington in the Indian Council (alternate title) depicrs Washingron, on his first mission ol diplomatic leader- 1 ship. at age 21. He met with leaders oi

I the Iroquois Conlederacy at Logstown on the Ohio River in 1753. Represenring British interests in their conllicts with the French, Washington sought assurances that the Six Nations would continue to be lriendly with the British. Stearns carelully researched the

t3 Changes in the Galleries

DUDE RANCHING wrote Sincerely. Mary S., a delightlul EXHIBIT EXPANDED book about wyoming guests. They sold the ranch in 1947 and retired. The new by Christine Houze, BufJalo Bil[ Museum Curatorial Assisldnt owners renamed lhe ranch Crossed Sabres after Howell's brand. It is still a illiam Carpenter had a personal guest ranch. reason for looking at the BBM's Mr. Carpenter donated photographs dude ranching exhibit on his spring and his grandfather's 12 gauge Fox 1995 visit. His grandiather, Billy Howell, shotgun. A Howell nephew Joseph was one of the lirst dude ranchers. Mr. Hoffart, donated a skinning knile with Carpenter saw objects lrom Valley the "crossed sabres" brand carved in Ranch, Eaton's, and the OTO Ranch but the handle. From the BBM vaults came none lrom his grandfather's Holm a bridle and spurs previously donated Lodge ranch. He did iind his grandfa- by Betty Waldron, Howell's granddaughter. ther's boots and chaps on display in The result is an expanded exhibit on an other cases. Memories of summers important aspect oi Cody's economy spent on his grandiather's dude ranch and a tribute to a coloriul iigure in its prompted Mr. Carpenter to oller the history. BBM additional Billy Howell materials. James William "Billy" Howell (1874- WHITNEY GALLERY The Burlingron Northern 1952) was a Cody pioneer homesteader Railroad actively promoted UNDERGOES CHANGES dude ranching. This circa and helped build Bullalo Bill's irrigation 1920 photograph of Billy by Sarah E. Boehrne, John S. Bugas Curator Howell was part of their canal. He then worked ior the Holm advertising campaign. Transportation Company ,rr hanges were made in the works oi guiding early tourists to Uur, on view in the Whitney Callery Yellowstone, first on of Western Art and Kriendler Callery ol horseback, then by stage Contemporary Art during the month ol and iinally by Stanley January. Works were rolaled lor conser- Steamer. Recognizing the vation purposes, to accommodate importance ol tourism, changes due to loans, and to present Billy Howell bought the new acquisitions. charred remains ol Holm Some ol the most dramatic changes Lodge in 1914. rebuilt it. were evident in the Kriendler Gallery and began a 35-year with the installation ol new acquisitions. career as a dude rancher. Several works ol art which link wildlife Holm Lodge, a iew miles and the mountain man were installed east lrom Builalo Bill's together. Realist painter Tom Palmore's Pahaska, had customized When Fear Meets Elegance, 1996, acrylic cabins [or the [amilies on canvas, giit ol the Edward R. Bazinet who returned year alter Foundation, was paired with sculptor year. Miss Mary Shawver Bob Scriver's, The Deer Slayer, 1965, became Howell's business bronze. loan from the artist. lil,, partner in 1930. She Development elforts eryoy sffong support by Frank Coodyear. Dlrector of Planning and Development

a t the beginning oi I e9o the goal ol operating revenue whereas iive years 1 \raising S1.490.608 or approximately ago it represented just under 3 percent. 29 percent of the Historical Cenrer's There has been signiiicant growth in total operating revenue mix was agreed almost every membership category and upon by trustees and staff. We chal- among the most important growth has lenged ourselves to reach higher levels been in the local corporate community. ol public support and fundraising We value this "partnership" with the revenue than in previous years as we community and look lor ways to anticipated some potential linancial enhance it. vulnerability in other sectors ol the A related membership revenue budget. stream results lrom Because of the generosity of thousands the research on ol members and donors. we were able lirearms provided to 5oo to exceed our goal by raising 51,626,185 the over 600 Cody 400 or approximately 32 percent ol the Firearms Museum € Center's total operating revenue mix. members. ln 1996 E ,oo Every donor really does make a revenue in this area E 2oo diilerence. totalled 956,41 5 Let me lake a moment to describe and the service to loo the Center's comprehensive iundraising our members is o initiatives. The largest amount ol unre- exemplary. 1992 1993 1994 1995 t996 stricted support comes lrom the Annual The Center also I Annual lncome Fund. This year's Annual Fund estab- has an active lished a record; it totaled 5442,00O grantswriting from 482 donors. Largely unrestricted, program: at the Annual Fund monies are allocated federal, state and local levels as well as rhrough rhe entire insrirution. in the loundation and corporate areas. Representing approximately 8 percenr ln 1996, grant funds, unrestricted and oi operating revenue, the Fund helps to restricred, rotalled 5548,833. assure a level oi excellence in everything Finally, there are the revenues the Center does: collecrions manage- earned from the Patrons' Ball and the ment, programming, facilities mainte- Bullalo Bill Celebrity Shootout. The Ball nance and staffing. Annual Fund dollars celebrated its twentieth anniversary in are important dollars to the Center. 1996 and grossed over $21 2,000. Not The Center's membership program only is the Ball a magniFicent and fun- is another vital source oi unrestricted iilled event, it raises important revenues support. lt also reached an all time high while making lriends for the Center. A in 1996-2,890 members conrributed much newer event, the Bullalo Bill over $385,000. Like the Annual Fund. Celebrity Shootout, has become a membership revenue has grown signifi- lixture on the Center's calendar and a cantly during the past iive years. It growing contributor to the Center's represents approximately 7 percent ol revenues. I

15 Recent Gilts exhibition highlights acquisitions

t-T.rhe annually reinstalled Recent CtJts the leatures oi his marchers. In the I exhibition opens on April 3. 19q7. years when Dehn painted in Colorado. with a new display ol donations to the the United Slates took an isolationist lour museums and library. The exhibi- slance to the growing Problems in tion presents special highlights ol new Europe and Dehn's work perhaps sati- acquisitions and relates them to museum rizes this attitude. functions ol collecting. exhibiting, The other works in this grouPing conserving, researching and educating. were created by artists lrom more Recent Gr/rs, which also honors lhe recent years who come out oi a social importance oi donors' contributions, is satire movement. Red Crooms painted installed adjacent to the Cody. Wyoming. warercolor, 1990, gilt Orientation Gallery in the ol Mr. and Mrs. W.D. Weiss. Grooms center lobby. contributed to the expanding delinitions of art through the Happenings he Whitney Gallery staged in New York in the 1 960s. His Ruckus Rodeo. a gigantic multi-media of Western Art installation, brought a Pop sensibility to by Sarah E. Boehnte. cualor the interpretation ol rodeo. This water- down[own Cody serves primarily rThe Whitnev Callery oi color ol sketch lor a memory ol I *"r,"rn Art's contribu- as an artist's one of his western trips. tion to Recent Grlrs includes Audrey Roll-preissler's sense ol a grouping which iorms an humor is evident in Western Chorus exhibition within the exhibi- 1993. mixed media, giit oi Mr. tion. The works oi art span Line, and Mrs. W.D. Weiss. She caricatures a 50-year period from 1940 the West, playing with myths that spool until 1993. These works are lime signify independence unilied by their artists' roles but at the same and lreedom. as social satirisls. The Whitney will also include other The Whitney grouping works ol art, such as those by T.D. begins with the important Oreland and Arthur Amiolte, donation of a painting by Kelsey, Joe Top. Red Grooms (b. 1937). Cody. in Recent Gtfts. Wyominq. 1990. Watercolor on Adoll Dehn (1895-1968), Good paper. i 2ri.+ x I 6ll+ rnches. Gilt of Mr. and Mrs. W. D. Weiss. Americans AU, 1940, walercolor. gift oiJoseph and Miriam Sample. Dehn Buffalo Bill Museum Bottom. Adolf Dehn ( I 895- l 968). Good Aner[cans AU. 1940. traveled to Colorado lrom New York by Christine Houze. Curator[al Assistant Warercolor on paper. l9 x 29 inches Cift otJoseph and Miriam Sample lor summer visils and teaching assign- ments at the Colorado Springs Fine Arts a Switchback Ranch Purchase Award Cenler between 1939 and 1942.In I \brought the Bullalo Bill Museum an Colorado he was inspired by parades to "lndians versus Cavalry" loosball game paint, and then lithograph, the array oi crealed by Ken Siggins of Triangle Z Western types in Good Americans All. Ranch Furniture. The box is made oi Dehn used his characteristic "blousy, poplar the ligures ol hard maple, and semi-abstract" style which exaggerated the rest ol Douglas iir Jill Siggins painted t6 a--

the figures and the landscape on the artist. Ms. Jennings, also known by her inside oi the regulation-size box. Kiowa name, Paukeigope, has received Siggins has been making lurniture lor numerous awards and recognition lor over 30 years in Cody. He displayed his her work including a National unique creation at the 1996 Western Endowment for the Arts Heritage Award. Design Conlerence where it caught the Among other recent gilts to the attention of the Historical Center's Plains Indian Museum are a collection award selection team. oi 115 pieces of Southwestern and Plains jewelry donated Plains Indian Museum by Mr. and Mrs. Warren Buxton and a collection by Emma L Hansen. Curator oi 19 Plains Indian objects lrom the estate highlight ol the t996 Plains Indian a of Mrs. FW. Watrous. I \Seminar on PowerJul Expressions; Examples ol these Art oI Plains Indian Women last collections and others September was the participation of will be on display in the Kiowa artist Vanessa Jennings. The Recent Gilts exhibit. I keynote address by JoAIlyn Archambault, director ol American Indian programs at the Smithsonian Above: Vanessa Jennings (Paukeigope), Bulfalo Bill Institution Narional Museum ol Natural Historical Center. Septembel 1 996 History, addressed the lile and work ol Ms. Jennings, iocusing on the ways in Above right: Kiowa cradleboard. made by Vanessa Jennings. Fort Cobb. Oklahoma. which her lamily history and cultural 1996. L.49 in.. W 9 in.. D. 8 in. Wood. buckskin. rawhide. beads. metal. cotton values have shaped her artistic direction. cloth, pigments. Cilt of The Pilor Foundation and Arrhur Amiotte During the weekend, Ms. Jennings and Barbara Hail of the Halfenreller

Museum presented two workshops -iS $\ on Kiowa cradleboards. Through generous donations lrom The Pilot Foundation and Arthur Amiotte to the Plains Indian Museum contemporary traditional art fund, the museum purchased one ol Ms. Jennings' cradleboards. The cradleboard is based on the design ol an earlier one used by Ms. Jennings' grandparents, Stephen Mopope and Jeannete Berry. Stephen Mopope was a noted Kiowa artist, known as one oi the Kiowa Five who greatly iniluenced generations Foosball table. made by Ken Siggins. of Triangle Z Ranch Furniture. Cody, Indian artists. Berry was a Wyoming. 1996 Western Design Jeannete Conference. Switchback Ranch gifted traditional Kiowa and Apache Purchase Award.

17 Family fun. Children's and family programs emphasized in '97 by Janice Fuld, Coord[nator oJ Children's and l:atni[y Programs

rrrhe Buiialo Bill Historical Center will Historical Center's third annual celebra- I .on,inr" to olier its popular series tion of Women's History Month. The oi iamily lun days this spring. These program will take place March 15, 1997 lam ily-oriented programs leature irom l0 am to 2 pm and will leature hands-on activities and participation- live perlormances and hands-on activi- oriented presentations related to ties by and about women oi the West. themes presented in Children oi all ages will be able to the Bullalo Bill participate in hands-on arts and cralts Historical Cenler's sessions, watch art in progress, attend collections. ln 1996, Iive musical performances, see food our lamily lun days demonstrations and talk with artists, included celebrations musicians and a variety oi other ol Women's History performers. All events are geared lor Month, Cody's children and their iamilies. Centennial, American We will also present a lamily lun day, lndian Heritage May 18, 1997 to celebrate Yellowstone Month, art ol the National Park's I 25th anniversary. West and animals During this program, children oi all oi the West. ages will be able to see a variety ol Our lirst family lun presentations and participate in day this year will be many hands-on activities related to the Bulfalo Bill Yellowstone National Park. The Historical Center is always looking for suggestions lor new children's and iamily programs and we welcome any comments that you may have. Please ieel lree to contact Janice Fuld at the Bulialo Bill Historical Center, (i07) 578-4061 .'

Top: Volunteer Bonnie Whitt-Stanton demonstrates roping techniques while BBHC staff member Candy Whitt t (below) encourages banjo playing during lamily fun day. \t) l8 New lamily guides enhance museum experience by lanice Ftrld. Coordinator of Children's and f:amily Proqrams

T\uring the past several years the and write them on the following lines: IJauttuto Bill Hisrorical cenrer has been enhancing its ollerings lor children I and families. As part of this eifort, the Historical Center stali has recently developed lamily guide brochures that contain inlormation about themes and objects presented in the galleries. New lamily guides lor the Whitney Gallery Patrons of all ages are encouraged to ol Western Art and the Cody Firearms visit the Bullalo Bill Historical Center to Top. HarryJackson (b. 1924). Range Burial. bronze. l5ll.: x Museum are now available at the try out the new family guides. For more 43tt2 x 22 inches. Cilt of The admissions desk. Family guides ior the inlormation about the guides, please Coe Foundarion.

Harry.Jackson (b. I 924). Plains Indian Museum and the Bullalo contact Janice Fuld at (307\ 578-4061 . Bottom: The Range Burial. c. I 963. Oil on Bill Museum are currently canvas. llll/4 x 2451li inches. Gifr ol The Coe Foundation being produced. Each brochure contains questions and activities that lead children and rheir \,/ families through one ol the four museums. The guides are intended to help young visitors have lun as they learn about the Bulfalo Bill Historical Center's collections. The following is an excerpt (modiiied lor this article) from the Whitney Gallery oi Western Art iamily guide:

Harry Jackson. an artist from Cody, made the sculpture Range Burial, shown top right, to help him plan the painting The Range Burial, shown bottom right.

When Jackson made the painting he decided not to include several objects that are in the sculpture. Find three things in the sculpture that are nof in the painting

t9 Year-end gifts swell acquisitions to Historical Center's four museums

-fh" period from Thanksgiving to the .22 cal. rifle that had been specially I close ol the year traditionally brings modiiied to receive a 45-round rotating to the Buflalo Bill Historical Center a magazine below the buttstock. This wonderlul assortment of giits. The end rifle, used in commercial goose hunt- of 1996 was no exception. The iollowing ing, also had other modilications and is an account oi year-end acquisitions. came in a breakdown case. Finally, as the year drew to an end, Trustee John Cody Firearms Museum Sullivan delivered on behali ol Walter Among the gilts showered upon the Emery ol Colorado a superb cased set Cody Firearms Museum were l4 containing one of the pair ol double-bar- lirearms, including two Winchester air rel shotguns that Greener & Co. had rilles (rhe iirst a Model427. a gift ol made and had embellished ior the Ron Reagan; the second a Model 41 6, 1904 St. Louis Louisiana Purchase a joint gift oi Advisory Board member Exposition. Leigh Coliin and Herb Houze), a in Above: Colt Model 1847. Whitneyville- One ol the finest shotguns now "Bulialo Walker Colt Patent Firearms Mlg. Co.. Winchester Bill" commemora- our collection, this arm will shortly be Hartlord. Connecticut. Gilt oI the Gordon T. Matson family. tive carbine (a gift of Trustee Joe Jones), placed into permanent display in the a Winchester M 1894 riile (a gift of Below. One of a pair of consecutively Woodrufi Gallery oi Embellished Arms, numbered, double-barreled shotguns Larry Brooks in memory oi the made by W W Greener of Birmingham currently undergoing renovations. and embellished lor display at the Shumway-Brooks family), live foreign Louisiana Purchase Exposition held martial riiles (gilts of Val Forgett, Sr.), a at St. Louis in 1904. Gift of walter Buffalo Bill Museum Emery. .22 cal. H.&R. "trapper" pistol (a gift ol lndian costume. ca. l.935. Gilt of Mr. & Mrs. Mr. and Mrs. F.L. Farnsworth), Charles Lisius. Bulfalo Bill l8q4 Winchesrer commemorative air and a double-barrel Daly shot- rifle, 1996. Gilt of Daisy Manufacturing Company. gun and a Remington Hepburn Jewelry box, 1996. Switchback Ranch Purchase Award. long range target rifle lboth gifts Foosball game, I 996. Switchback Ranch Purchase Award. oi Mr. Henry S. Kingman, Sr.). Fire bucket. ca. 19O2. Gift of Estate of Stan In addition to these iine Landgren. Dress, ca. I 935. Gift of Esther Johansson Murray. items, three spectacular gilts Cody cigar box, ca. I 930. Gift ol Bonnie Chapman. WF Cody portrait. Gilt of Bonnie Chapman. were received in December. Mr. Jewelry box, ca. 1890. Gift of Nancy Norslien. US Cavalry bit. ca. 1862. Gilt ol Nancy Norslien. Gordon T. Matson ol Calilornia Buffalo-hide parka, ca. 1920. Gift ol Michael Bernd. LO.O.F. pin, 1909. Giit ol William Goetzmann. generously donated his Whitneyville Chief Sitting Bull print, ca 1960. Gift ol Peggy Colt-Walker percussion revolver Ellen Smith. Holster, 1946. Gilt of Gerald Mitchell. (Company D, no. 66) to the Western shirt. ca. 1946. Cift of Gerald Mitchell. Knife and scabbard, ca. 1910. Gilt ofJoseph V. museum. It had previously been Holfart. U.S. Government identification tag, ca. 1880. on loan and displayed in the Gift of Frank M. Watkins. Colt case oi the Ruger Gallery. Also in December we Plains Indian Museum

received irom Mr. Howard A. Moccasins. Sioux, South Dakota, ca. 1890. Hide, beads, rawhide. Purchased by the stail of the Adkins of Ohio a unique Buffalo Bill Historical Center in the names of Winchester Ml 905 self'loading Peter H. and Elizabeth w. Hassrick.

)n Moccasins, Ute, Colorado, 1890. Buckskin, paint, Bracelet, Navajo, made by Frances Jones. Silver, beads. Chandler-Pohrt Collection, Gift of Mr. and turquoise. Mrs. Harold Ramser, Jr Bracelet, Navajo, made by Tommy Singer. Cradle, Kiowa, I 996. Made by Vanessa Jennings. Silver, coral, turquoise. Wood, beads, hide, meral, cotton. Gitr of The Bracelet, Navajo, made by Preston Monongye, Pilot Foundation and Arthur Amiorre. 1954 Basket, Papago, 1930-1939. Fiber pigmenr. cifr Bracelet, Navajo. Stone that belonged to ol Ted and Diane Smith. Lillian Dineyateze's mothen Selection ol chipped ilint flakes, scrapers, worked Bracelet, Navajo. Silver, deer antlers. tools. Collected in 1974 at Ranch of Meinszeq Ring, Navajo. Silver, deer antlers. Converse County, Wyoming. Gift of Rosalee Cox. Bracelet, Navajo, made by johnny Begay. Beaded headband, Northern Plains, Wind River Silver. turquoise. Reservation, ca. I 950s. Beads. Gift of Gloria S. Ring, Navajo, made by Johnny Begay. Duffy. Silver, turquoise. Twenty-two Caddoan pots collected in Harrison Bracelet. Navajo. made by Robert Begay. County, Texas. Gilt of Stella A. Young. Srlver, turquotse. Bracelet. Navajo, made byJimmy Begay. 1 9 piece collection ol Plains Indian objecrs. cifr Silver. stone. of Mrs. F.W Watrous Bracelet, Navajo, made by Kenneth Begay. Dress yoke, Sioux. Hide, beads. Concho belt, Navajo, made by Johnny Pipe bag, Sioux. Hide, beads, pigmenr, porcupine Begay. Silver, turquoise. quills. Concho belt, Navajo. Silver, rurquoise. Moccasin, Northern Plains. Hide, beads. Two watches, Navajo, made by Tommy Singer Necklace, Northern Plains. Beads, leathet hair Watch, Hopi. pipes. Watch, Apache, made by Polly Davis. Beads. Necklace, Northern Plains. Beads, leather Spider web pin, Navajo. Silve( rurquoise. Beaded spoon. Silver. beads. Dragon fly pin, Navajo. Silver, rurquoise. Doll, Northern PIains. Hide, beads. Rainbow god pin, Navajo, made by Frances Awl case. Hide, beads. Jones. Beaded bag. Hide, beads, rin cones. Pin, Navajo, made by Raffaelo. Silver. Beaded bag. Hide, beads, bells. Peyote design pin, Navajo, made by Tommy Beaded bag. Hide, beads, rin, cowrie shell, fabric. Singer Silver. Beaded strip. Beads, yarn. Owl pin, Zuni. Silver Beaded strip. Hide, beads. 2 Butterfly maiden pins, Zuni. Silver. Horse collar Hide. beads. Squash blossom earrings, Navajo. Silver N4occasins. Hide, beads, labric. Buckle, Navajo. Turquoise. Gauntlet. Hide, fabric, porcupine quills. Buckle, Navajo, made by Jimmy Begay. Turquoise, Amulet. Hide, beads. coral. Armband. Leather, beads, cowrie shells. Buckle. Navajo. made by Douglas Dejolie. Copper Above: Squash Blossom Necklace. Beads. brass. necklace, contemporary Rainbow god pendant, Navajo, made by Frances Silver, turquoise. Gift ol 11 3 piece collection ol Southwestern and Plains Jones. Turquoise, coral. Jo and Warren Buxton. jewelry. Gift of jo and Warren Buxton. Spoon, Navajo. Silver. rurquoise. Necklace, Navajo, made by Frances Jones. Metal, Hairpiece, Hopi, made by Charles Loloma. Srone, Below: Cody cigar box, turquoise. silver, ironwood. ca. I 930. Gift of Bonnie 2 Necklaces, Zuni. Beads. 2 Hairpieces, Navajo. Silver, turquoise. Chapman. Tube Necklace, Navajo. Beads. Necklace, Navajo, made by Sara D. Necklace, Hopi, made by Preston Monongye. Silver. Badger claq coral, turquoise. Woman's peyote design Necklace, Navajo, made by Lillian Dineyarze's ring, Navajo, made by son. Turquoise, coral. Tommy Singer. Necklace. Hopi. made by Vicror Cochetewa. 2 Rings, Navajo. Silver, Badger claw. metal. turquoise. Necklace, Zuni. Mother ol pearl. Woman's ring, Zuni, Necklace, Zuni, made by Sam Delong. Mother of made by Lon Jose. pearl. Man's ring, Zuni, made by Necklace, Santa Domingo, made by Tony Aguilar. Lon Jose. Turquoise, sea shell. Kachina dancer ring, Necklace. Zuni. Silver. turquoise. Navajo. Turquoise. Sand cast necklace, Navajo. Silver, turquoise. Woman's oak leal ring, Necklace. Navajo. made by Roberr Begay. Silver. Navajo. Turquoise. Ketoh necklace. Navajo. Silver. Woman's ring, Navajo. Necklace, Hopi. Silver, rurquoise. Turquoise, coral. Fleur de lis necklace, Navajo. Silver. Necklace, Navajo. Silver, coral, turquoise. 2 Ketoh necklaces, Navajo. Silver, turquoise. 3 Necklaces, Navajo. Silver, turquoise. Necklace, Navajo, made by Lillian Johnson. Silver, turquoise. Squash blossom necklace, Navajo. Silver. Rug pattern bracelet, Navajo, made by Nelson Begay. Rug pauern ring, Navajo, made by Nelson Begay. Woman s ring. Navajo. Turquoise. Oreland C. Joe (b. 1958) RinQ. Navajo. made by Nelson Begay. Standing Bear 1946. Ptint lndian head nickel ring, Tohono O'odham. 24" x 18" image. 50 ol 750 Indian head nickel necklace, Tohono O'odham. Cift ol Pat and Jerry Evans Indian head nickel buttons (5), Tohono O'odham. Man's peyote ring, Navajo, made by Tommy Arrhur Amiotte (b. 1942) Singer. The VisItors Jrom Oklahoma 2 Men s rings. Navajo. Turquoise. I996. collage 18" x 23t18" Wedding band, Zuni. Turquoise, silver. Gift of Mr and Mrs. WD. Weiss Pin. Zuni. (b. 1932) Orland C. Joe (b. 1958). Fleur de lis pendant, Navajo. Audrey Roll-preissler Star Blanket.1996 Pendant. Navajo. Turquoise. western Chorus Line alabaster 25518 x ll x 8 Necklace. Green stone. 1993. mixed media 56714" x 58rrz" inches. William E. Weiss Necklace. Beads, porcupine quills. Gift ol Mr and Mrs. W.D. Weiss Purchase Award, I 996 Necklace. Sioux/Cheyenne. made by Ellen Poitras Bulfalo Bill Art Show. Beads. Adolf Dehn (1895-1968) Buckle, Sioux/Cheyenne, made by Ellen Poitras. Good Americans All Beads. 1 940, watercolor on paper Buckle, Crow made by Will and Aileen Frazier. 19" x29" Beads. Gift of Joseph and Miriam Sample Buckle, Mandan, made by Fawn Journey Hawk. Buckle, Navajo. made by Marilyn Willie. AdollDehn (1895-1968) Man's bearclaw necklace, Hopi, made by Preston Untitled. sketch lor Good Americans All Monongye. Beads, hide. I 940, crayon on paper Buckle. Oglala Sioux, made by Rachel Red Bear. 83 tq" x l1 | tz" Beads. GiFt olJoseph and Miriam SamPle Necklace. Beads. Headband. Beads. AdollDehn (1895-1968) Necklace. Deerskin, turkey bone, beads. Untitled. sketch lor Good Amertcans AII Bola. Beads. I 940. pencil on paper Bola, Apache, made by Happy Moses. Beads, liJrq" x 167 e" medallion. Gift of Joseph and Miriam Sample Bola, Apache, made by Happy Moses. Beads. 3 Necklaces, Apache, made by Happy Moses. Adolf Dehn (1895-1968) Beads. Colorado Sprlngs. The Cosmopolts Necklace, Apache, made by Polly Davis. 1940, pencil on paper Beads. 173tq" x 233tq" Bola, Tohono O'odham, made by Frances Gift of Joseph and Miriam SamPle wilson. Beads. Necklace, Apache, made by Gretta Gilbert. Adolf Dehn (1895-1968) Beads. Good Americans All Necklace. Beads. I 940, lithograph on paper 2 Necklaces, Apache. Beads. I2rl8" x 18" Necklace, Tohono O'odham. Beads. Mary Gift ol Mrs. Adolf Dehn Sampson Tohono O'odham basketmaker Necklace. 5 strand bird fetish on silver Edward Borein (l 872-1945) chain. Reclinino Buffalo 2 pairs Earrings, Navajo. Silver, turquoise. Plasrer.istex'x 41u" x 17 ts.'' Earrings. Zuni. Silver. rurquoise. Gilt ol Mr and Mrs. Forrest Fenn, Santa Fe Fetish, Zuni. Miniature turquoise bear. Necklace. Navajo. Class. slone. turquoise. Red Grooms (b. 1937) beads. Cody. wyoming Wall hanging, Zuni. Shell, turquoise. I 990, watercolor on paper stones. 12tt4" x l6tt4" Tie tacks, Navajo. Silver. Gilt of Mr. and Mrs. WD. weiss Pins, Navajo. Silver. Tom Palmore (b. 1945) When Fear Meets Elegance Whitney Gallery Of Western Art 1996, acrylic on canvas 46" x 46" Winold Reiss ( I 888- 1953) Gift of Edward R. Bazlnet Foundation Chie.f Shot Both Sides. 1 940 .from (b. I I 94i, lithograph on paper Joe Beeler I 9l ) Wind ll l tq" x 81 tz" lnro the North Cift ol Gloria S. Duffy and Son, Bronze. cast number I 8 ol 30 Sean S. DuflY 2O" x 14" x9trq" Gift ol Barbara Thomas in Honour Singer Geolf Parker (b. 1 954) of her father. Jules Untitled (Rocky Mountain land' scape) ca. 1995 oil on board l0" x 13" Gift ol Walter Christie

-('qt

FEBRUARY n" oF rhe many ways that the Historical can n Center -28 \-rf benefit from its donors is through the vehicle of 1 Museum open Thursday through Monday, 10 am to 2 pm. planned gifts. What is a planned grl7 Essentially, ir is a way for donors to make gilts to charitable organizations 7 -B Ron Bishop Western Film Seminar. in return lor lavorable tax and other linancial Cody, Wyoming: the HolWood benelits. Connection. Films and commentary In other words, liletime gilts provide long-rerm benelits focusing on Cody country involve- ment with Hollywood filmmaking. to both the donor and the recipient institution. Highlighr wtll bb rhe Rider of the" Planned gifts lall into three general categories: bequests, Painted Horse, filmed by the Cody Players in 1925. Sessions at the outright gilts and liie income giirs. The larrer include Buffalo Bill Historical Center's Coe charitable remainder unitrusts, charitable remainder Auditorium. annuity trusts, liie and delerred gilt annuities, charitable 24-25 sumuto Bill's Birthday school lead trusts as well as gilts ol lile insurance and real programs for third and fourth grade estate. classes. Reservations required. Each ol these different gilt vehicles has advantages, 26 Buflalo Bitl's Birrhday. wreath-taying depending on the individual donor's iinancial situation. ceremony at The Scout, presented by Cody High School's Future Farmers of Whether they be guaranteed fixed income and tax America, Il am. savings from a gift annuity or avoidance ol large capital gains Public program, Buflalo Bill's Birthday, on appreciated property, these advantages can 7 pm. Coe Auditorium. materially benelit the donor while providing ior a lavorite charity. For the charity the most important MARCH advantage is helping it plan lor a secure future. 1 -31 Museum open Thursday rhrough Il you wish more inlormation on the Center's planned Monday, l0 am to 2 pm. giving program please call the Planning and Development 1 4 opening of Ni'iihi': In A Good Way. olfice at (3O7) 578-4013. Someone here would be happy Photography of Wind Nver Arapaho. to speak with you l 1t- I 3 Women oJ the West: A Celebration of Women's History Month. For children of all ages throughout the museum. Hands-on activities and demonstra- tions by and about women of the West. APRIL t,l't, 'tl | -30 Museum open Thursday through '.. Monday, l0 am to 2 pm. I t ,: ,':" t)/:. '.,, t . 'i',tpt ' . az L- J Cowboy Songs and Range Ballads school programs for fourth and fifth grade classes. Reservations required.

-) Opening ol Recent Gifrs display. A selection of recent donations to the collections.

Ledgers. Schuyler, Hartley & Craham Co.. I 9t 3, Buffalo Bill Historica] Center McCracken Research 4-6 l5th AnnualCowboy songs and Library. Schuyler Hartley & Graham Archives. Gift Range Ballads.The grandaddy of of Cleveland Greys. all the cowboy music and poery festivals. A weekend of music and stories presented by cowhands, ranchers, musicians and folklorists. 23 ffi/ I3.r E

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