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CONTENTS 3 WILLIAM R. LEIGH IN CODY COUNTRY 6 THE POWER OF IMAGES: Indian Revitalization ne of the many ways that the Historical Presents Unbounded Possibilities .,,,.""..,,.,. ii :,i Center can benefit from its donors is COL. CODY, THE ROUGH RIDERS AND THE 'ir,u,. ":;1' through the vehicle oi planned gifts. What I SPANISH AMERICAN WAR is a planned gift? Essentially, it is a way for donors to make gilts to charitable organizations in return for 12 THE IRMA: "Just the Swellest Hotel That Ever favorable tax and other linancial benefits. In other Happened" words, lifetime gifts provide long-term bene[its to both 15 CHEYENNE DOG SOLDIERS: Warrior Exploits the donor and the recipient institution. Survive in Ledger Drawings Planned gifts fall into three general categories: bequests, ouright gifts and life income gifts. The WESTERN DESIGN: An Ever-lncreasing Sphere I6 ol Influence latter include charitable remainder unitrusts, charitable remainder annuity trusts, life and deferred INSPIRED BY NATURE. Weiss Purchase Award gift annuities, charitable lead trusts as well as:gifts of I8 Winner Charles Fritz life insurance and real estate. r ', :ri:.:.: l.iiiti:i::lll::r.d:, WE'VE COME A LONG WAt BABY-Remembering Each of these different gift vehide.!111t!$11$ 19 the beginnings of the Patrons Ball tages, depending on the individual,donOf$fir. situation. Whether they be guaranteedrtfi$C( KLEIBER, PACHMAYR WORKS FEATURED 20 NEW DISPLAY and tax savings from a gift annuitll,orl O4: IN large capital gains on appreciated':,pf.ope,!lV,: 21 BIT BY BIT: Ned and Jody Martin Create Bit advanrages can materially benefit the donor \thile and Spur Makers in the Vaquero Tradition providing for a favorice charity. For the charity the mosr important advantage is helping:,ii.'.|jinn rn. u 22 INSIGHTS secure future. 23 CALENDAR OF EVENTS Il you wish more information on the Center's planned giving program please call the Planning and ,307) Development oflice at 578 4O1J. Someone here would be happy ro speak with you ' POINI5 WESI is published quarterly as a benelit of membership in the Buifalo Bjll Historical Center For membershjp inlormalion contact: Jane Sanders Director ol Membership Buffalo Bill Historical Center 720 Sheridan Avenue, Cody, WY 82414 or call (307) 5A7-4771, ext. 4032. Request permjssion to copy, reprint or distribute articles in any medlum or format. Address editorial correspondence to the Edjtor, POINIS WEST Buifalo Bill Historical Cente\ 72O Sheridan Avenue, Cody, wY 8241 4. Editor: Scott Hagel Designer: Jan Woods Krier Coordinator: Renee Taloya Photography l)evendra Shrikhande Lucille warlers. Chris Cink (1866-1955), The Buffalo Bill Historical Center is a private, non-profit educational Cover. W. R. Leigh Corl Creek instjtution dedicated to preserving and interpreting the cultural history of (detail of above). Oil on canvasboard, 13 x the American West. Founded in 1917. the Historicai Center is home to the Bullalo Bill Museum, Cody Fjrearms Museum, Plains Indian Museum, 16718in. Gilcrease Museum. Tulsa. oldahoma whitnev Gallery oi Western Art and Mccracken Research Library. WILLIAM R. LEIGH IN CONY COUNTRY by Sarah E. Boehme The John S. Bugas CLVator Whitney Aaftery of Western Art William R. Leigh (1866-1955), Grizzly atBay, 1913-1915. Oil on canvas, 24x36 in. Buffalo Bill Historical Center, William E. Weiss Purchase Fund. .1rhe landscape and western life around Cody, in a 1912 museum-sanctioned collecting expedition. I Wyoming. have inspired many works of art, but He accompanied Cody guides Ned Frost, Fred lew are as fiercely dramatic as the William R. Leigh Richard and Will Richard, who were leading Dr. J.D. (1866-1955) painting of Grizzly at Bay, 1913-15, orl Figgins in a search for a grizzly specimen for the on canvas, William E. Weiss Purchase Fund (see Colorado natural history museum, now the Denver above). At the edge of a forest among dead and Museum of Natural History. decaying tree stumps, a ferocious grizzly bear stands The hunting party ventured into the rugged over a lallen hunter whose rifle lies useless nearby. countryside near the eastern boundary ol Equally ferocious hunting dogs bare their teeth, snarl Yellowstone National Park. According to published and encircle the grizzly, holding him back from the accounts lrom Ned Frost and J.D. Figgins, after hunter and keeping him in place. In the background, several days ol hunting, they tracked and cornered a running up a ridge in the nick of time, appear two grizzly. Leigh, the artist, saw this as an opportunity to other hunters. The closest hunter can end the stand- obtain studies lor a future painting. As the dogs held off and save his partner with a well-placed shot from the bear at bay, Leigh excitedly yelled to Frost to his rifle. make the bear stand. Using a Kodak camera and his This depiction of life and death struggle, of violence sketching implements, the artist made studles as the and hunterly skill, resulted lrom Leigh's participation bruin thrashed and roared. 3 Dr. Figgins described the actions of the other 1866, Leigh studied art in Baltimore, Maryland, then members of the party while Leigh sketched and took in Munich, Germany. He settled in New York City in snapshots. ln the Rocky Mountain News, Aprtl 7, 1 896 and established a steady career as an illustrator 1917,he was quoted, ". we waited nearby, changing for magazines. In 1906 he accepted the invitation ol our position occasionally in order to maintain a a former classmate to visit New Mexico. There Leigh vantage point in case the bear should make a break found new inspiration in the beauties ol the south- for liberty. It was in one of those maneuvers, I think, western landscape and compelling subjects in the life that the guide came too close to the lighting dogs of the Indians. From his base in New York, he would and was knocked down. This gave Mr. Leigh the idea return to the Southwest in the summers. which he has incorporated in his picture as it was Then in 1910 he received another invitation.Will finished." Thus in reality, the dogs held the bear at Richard, a taxidermist in Cody, Wyoming, wanted to bay not to save a hunter, but rather to provide a have an artist accompany him on a hunting expedi- source for art. In the end, L€igh produced his paintings, tion. Contact was made with Leigh, and in July he the guides took the bear meat, and Figgins had the joined Richard and George Merrill lor lour weeks head and hide lor his habitat exhibit. camping and sketching in the Carter Mountain area. Leigh's excursion into grizzly country was one of Lei$h recorded in his diary relerences to Meeteetse several treks in the Cody area which were crucial to Creek, Antelope Creek, Rawhide Creek, the Greybull his development as a painter of the American West. River, Cow Creek and the Palette Ranch. He forged a His Wyoming experience will be highlighted in a friendship with Will Richard and returned to sketch special exhibition this fall at the Buffalo Bill Historical wirh him in 1911 , 1912, 1913, and 1921 . Center, WiIIiam R. Leigh: Wyoming Field Sketches, By traveling with Will Richard, Leigh was able to go which opens to the public on Oct. 23, 1998 and into uninhabited areas and gain a sense ol wilderness. continues until March 21, 1999. A preview and reception will take place Thursday, Oct. 22, 1998. The exhibition includes more than 30 sketches in oil paints, which Leigh made between 1910 and 1921 on trips to Cody and the sur- rounding area. Here he gained experience in the western landscape by painting out- doors. Born in West Virginia in 4 Richard, in turn, received artistic instruction from Leigh's paintings of Grizzly at Bay, Panning Gold, Leigh. In his lield sketches Leigh showed a freer Wyoming, The Three Tetons, and The Lower FaIIs of the application of paint than in his tightly rendered Yellowstone will present finished works related to the finished paintings. The sketches feature scenes of studies in the Gilcrease collection. Wyoming sagebrush-covered hills, dense forests, and Leigh's painting ol the Tetons will provide a compari- familiar landmarks such as Heart Mountain, Carter son with The Tetons done by Will Richard, also from Mountain, and the McCullough Peaks. Animal studies the Whitney collection, to show how the taxidermist- of horses and hunting dogs also resulted lrom the trips. artist learned lrom Leigh. A Winchester calendar from In an unpublished autobiography, Leigh wrote about the Cody Firearms collection presents an example ol the dogs he sketched in Cody: "They had a special Leigh's illustrational work. A depiction of western breed ol dogs, bred specially for hunting bear- hunters with an elk, it is possibly based on the elk mixture of bloodhound, foxhound and greyhound." hunt Leigh experienced with Will Richard in 1911. The exhibition of Wyoming field sketches comes A self portrait of William R. Leigh will be loaned for from the extensive Leigh collection at the Gilcrease the exhibition, courtesy ol the National Museum ol Museum in Tulsa, Oklahoma and was curated by Wildlile Art, Jackson, Wyoming, which displayed the Gilcrease curator Anne Morand. The Gilcrease Museum exhibition previously. acquired Leigh's studio collection lrom the estate of For information on educational programming and the artist's widow Ethel Traphagen. events associated with William R. Leigh: Wyoming The exhibition will be supplemented by works of art Field Sketches, please contact the Buflalo Bill Historical and interpretive material lrom the Buffalo Bill Historical Center. I Center collections. From the Whitney collection, Top: W. R. Leigh (1866-1955). Jack Richard Collection.
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