By Samantha L. Harper
Title: Institutional Archives
Creator: Buffalo Bill Center of the West (2013-xxxx)
Extent: 0.0
Annual Financial Reports – Not “The Annual Report” – Discuss with Accounting Department – They are handling this already and it is backed up on servers with IT to GAAP standards.
All business records (definition needed) retained for no less than 5 years (Sarbanes-Oxley Act)
For "The Annual Report" please see Publications series.
Not Event, Exhibit or Project related!
Includes department social media accounts.
to include the following:
Accession Records
Conservation Treatments
Condition Reports
Deaccession Records
Exhibition Record
Loan Records for each item record
Preparation Records for Exhibitions
Rights and Reproductions
Items made specifically as fund raisers
Buffalo Bill Bronze
Belt Buckle
Frederic Remington “The Bronco”
Etc.
Donation Records and Reports for specific Special Project Campaigns
Grant Records Permanent Retention for those awarded under the Project by Year of:
Applications
Budgets
Certifications
Financial Records
Reports
Timesheets
Temporary 5 year retention for proposals and applications unawarded after final use of materials.
Permanent Retention for those awarded under the Project by Year of:
Applications
Budgets
Certifications
Financial Records
Reports
Timesheets
From 1976 Annual Report, p. 8-9
A selection from the new Winchester Museum collection representative of the firearms and accessories which played a role in the winning of the West. The fifty-eight firearms selected for the exhibition were not presentation models with fine engraving nor were they weapons with great historic value but rather the day to day firearms which forged the myths and realities of the western saga. From flintlocks which bridged the Appalachians and the Rockies to the revolutionary Winchester rifles and ubiquitous Colt side arms, these were the guns which woves the fabric of America's frontier history.
The exhibition was assembled under the guidance of Thomas E. Hall, Curator of the Winchester Museum collection. He wrote the introduction to the catalog and assisted with research on the individually selected arms. In addition, the Amon Carter Museum of Western Art, the Denver Art Museum and the Sid W. Richardson Foundation loaned major paintings from their collections to enhance and lend historic perspective to the exhibition.
From 1976 Annual Report, p. 9
Ned Jacob, a vibrant Denver artist, has chosen for his expression the West in its historic as well as contemporary essence. Over many years he has traveled widely throughout the West, lived among the Indians in Montana and drawn his inspiration from a broad variety of western images which include cowboys, contemporary Indian life and the historic Indian tradition. From the beginning he has focused on people as his principal subject. Jacob is a master draftsman whose perspective broadens with each new work completed. His superb ability to compose and to handle colors allied with his great sympathy for the subjects he paints brought Jacob to the highest plateau of western art today. His exhibition in the Whitney Callery of Western Art evidenced the Center's continued support of contemporary artists, especially those who concentrate on the western scene.
From the 1976 Annual Report, p. 9
Nicolai Fechin was an artist of two worlds - Russia and America. In both he achieved recognition and honor and left a treasured legacy of creative visual images. The first exhibition of paintings to adorn the new mezzanine galleries was a retrospective of early works by Nicolai Fechin on loan from several museums in the Union of Soviet Socialist Republics. These were all paintings executed by the artist before 1923 when he came to America to spend the remainder of his life. Fechin was a well trained, masterful painter. His portraits each have a rare spontaneous quality which has given them universqal appeal - they generate a striking emotional force, especially through the expressive eyes of his subject.
This important exhibition was displayed in the Historical Center at the same time that fifteen major works from the Whitney Gallery of Western Art were on display in a number of Russian museums. Thus the bicentennial year shared an international as well as national focus in the Center's exhibition schedule.
From 1979 Annual Report, p. 8-9
Winchester authority George Madis summed it up nicely in the Preface for the Promotional Arts catalogue - "One may trace, in some measure, the history of our country's business enterprise - and that of the Winchester Repeating Arms Company - in the late 19th and early 20th centuries through a review of the various advertising mediums employed by Winchester. Although the Company first stressed the military use of its firearms, their dependability became so well know that, in turning to the civilian market, a 'hard sell' was found unnecessary. The Company had little more to do than illustrate the product. Rarely, if ever, over the years were overt attempts to sell the product by concentrating on its technical merits resorted to. The name WINCHESTER coupled with attractive illustrative material, proved ample promotion."
From 1979 Annual Report, p. 9
The Buffalo Bill Historical Center organized its main summer exhibition, "Wyoming: In The Eye Of Man" with the generous assistance of the Allied Chamical Corporation and the Wyoming Council for the Humanities. This selection of over 125 historic photographs, superbly printed and enlarged by Ed Riddell and Roger Lavake of Jackson, Wyoming, presented a vivid pictorial record of Wyoming's past from 1865 - 1920. Wyoming history, as research associate Virginia Huidekoper pointed out in the essary to the illustrated catalog, is "a story punctuated with struggle, heroism, violence and gentility." The photographic images, selectred from the work of over thirty Wyoming photographers, captured all the variety and spirit of that history. They also spoke to the tremendous reserve of artistic talent possessed by Wyoming's early photographers.
From 1979 Annual Report, p. 9
A beautiful and historic array of American flags and associated material went on display in the lower galleries of the Historical Center as of Flag Day, 1979. Selected from the famous collection of Boleslaw and Marie-Louise d'Orange Mastai of New York City, the 200 items spanned the history of the American flag from the pre-Revoluntionary days until the present.
Besides presenting a vivid picture of the evolution of the American flag with a collection of materials more extensive and comprehensive than even the Smithsonian Institution, the exhibition also portrayed the flag as folk art in America. It was not until 1912 that the federla government passed a law which established uniformity in flag design. Up until that time, families made their own flags - designs thus becoming a product of individual imagination. Only the number of stars and stripes were uniform.
The rare display of flags was brought to Cody through the encouragement and sponsorship of Historical Center Trustee, Glenn E. Nielson of Cody, Admiral John J. Bergen of New York City and the American Historical and Cultural Society, Inc. Board Chairman Margaret S. Coe concluded that the collection was "unrivaled in its scope and uniqueness, showing us as it does the flag of a young and growing nation as both art and history."
From 1979 Annual Report, p. 9
Rivaling the flag exhibition in splendor, scale and color was the exhibition of Painted Tipis which went on display around the fountain in front of the museum on June 7. Consisting of seven full sized plains tipis decorated with traditional tribal designs, this exhibition was made possible through the generous assistance of the Indian Arts and Crafts Board of the Department of the Interior.
From 1979 Annual Report, p. 9.
Closing out the 1979 exhibition season was a display of over seventy-five major paintings of the American West selected from the Anschutz Collection of Denver, Colorado. The Anschutz Collection covers the spectrum of Western artistic expression from the precise renderings of the explorer-artists of the 1830s to the bold perceptions of contemporary painters such as Georgia O'Keeffe and Fritz Scholder. This collection, representing perhaps the most comprehensive assemblage of wetern art still in private hands, is responsible for richly enhancing our understanding and appreciation of that special element of the American Western experience.
From 1980 Annual Report, p. 9.
First, exhibited in the Fall of 1978, the Winchester Promotional Arts exhibit was returned to the main gallery as one of the spring exhibitions.
Spanning the last one hundred years, the display vividly presented the variety of promotional materials which illustrated the spectrum of Winchester's advertising skills. Included were photographs and posters, calendars and cartridge boards as well as original paintings assembled by Curtor Richard Rattenbury from the Center's vast Winchester collection.
With the Promotional Arts displayed, it became increasingly clear that the popular promotional campaigns waged by Winchester not only publicized the company's product, they contributed significant creative and artistic expression in a blend of advertising and art.
From 1980 Annual Report, p. 9.
Opening on the mezzanine in March was an exhibiti of early twentieth century photographs taken by Sumner W. Matteson.
The focus of the exhibit titled The Changing Winds: Photographs of Sumner Matteson was ninety-nine sepia toned enlarged photographs of "the native people of the North American continent." Many of the magnificent photographs were taken during a celebration at the Fort Belknap Reservation in 1904 and saved for the ages, aspects of a way of life that is all but gone today.
Arranged by Curator George Horse Capture with the assistance of Elmer Main, Fort Belknap Reservation, Montana, the showing provided a look at rare Indian photos taken by the relatively unknown Matteson.
From 1980 Annual Report, p. 9.
Art of the Southwest: Selections From The Millicent Rogers Museum opened on the mezzanine in May.
The display, featuring over one hundred items assembled from the renowned collection of the Millicent Rogers Museum in Taos, New Mexico, included textiles, silver and turquoise jewelry, basketry and pottery. Dating from 1875 to 1950 the materials represented notable examples of Southwest Indian craft, skillfully executed and beautifully preserved. The exhibition allowed a throughtful and wonderful comparison with many of the materials displayed in our own Plains Indian collections.
From 1980 Annual Report, p. 10.
The principal exhibit at the Buffalo Bill Historical Center during the summer season was The Western World of N.C. Wyeth.
Newell Convers Wyeth's western paintings were only a fraction of his total output, but they have shown the artist's capacity for careful observation, and his ability to capture excitement, energy and romance in a way few have ever matched.
Organized with the help of James Duff, Director of the Brandywine River Museum, Chadds Ford, Pennsylvania, and under the kind offices of Mrs. Andrew Wyeth, the exhibit featured over forty paintings and drawings by the consumate illustrator.
Assembled from works owned by museums and private collectors throughout the country, the display presented the excitements of the West and Wyeth's youthful fervor for it.
From 1980 Annual Report, p. 10.
The obvious lure of every western movie was enhanced by graphic posters offering frontier adventure, fun and fascination.
The fall exhibition at the Center featured a display of those western movie posters, selected by Preparator Leo Platterer, from the vast collection of Don Look, Boulder, Colorado.
Over one hundred promotional posters which have graced theater marquees across the country made up the special display. The posters spanned the years 1923 - 1976 and advertised western movies made by John Wayne, Errol Flynn, William S. Hart, Duncan Renaldo, Tim McCoy, Rex Allen, Roy Rogers, Tex Ritter and many more.
From 1982 Annual Report, p. 9.
Mesa Images: Southwest Indian Artworks inaugurated the 1982 season at the Historical Center. On display was Southwest Indian material from the rich collections of the Plains Indian Museum. Mesa Images provided the opportunity to examine and compare the pottery, basketry and fiber art of the Southwest.
From 1982 Annual Report, p. 9.
The Historical Center's Spring Mezzanine exhibit was entitled Barbed Remarks: History and Images, an unusual and excellent representation of the history and variety of barbed wire as it developed over the years. The show comprised 384 samples of barbed wire in 21 cases and covered the range of patented and unpatented styles as they developed. On loan from Mr. Robert O. Campbell, the wire represented a selection from what is perhaps the larged collection of barbed wire in the world. The exhibit was augmented by other interpretive materials from the Buffalo Bill Historical Center.
From 1982 Annual Report, p. 9.
The principal summer show at the Historical Center was an exhibition entitled Alfred Jacob Miller, Artist on the Oregon Trail. Organized jointly by the Historical Center, the Walters Art Gallery, Baltimore and the Amon Carter Museum, Fort Worth, it contained 110 watercolors, oils and sketches chronicling Wyoming and the West of the early nineteenth century.
Among the first significant painters of the American West, Miller was also a successful eastern landscape and portrait artist. Ironically, beyond a close circle of friends and associates, he was relatively unknown in his own time, even though the resulting sketches and paintings Miller created during his years of recording and documenting the West have emerged historically as well as artistically important to the recording of an era. Miller's perspective remains the sole pictorial recounting of a page from that wonderous American experience.
From 1982 Annual Report, p. 9-10.
The summer's Mezzanine show featured a unique exhibition entitled, Larry Larom: Welcome to My West. The show examin3ed three significant facets of Larom's colorful life: his role as conservationist, collector and dude rancher. Focusing on Larom's lifelong passion for collecting, the exhibition presented clothing, beadwork and artifacts that he had traded directly with Blackfeet and Crow, as well as other Plains Indian materials. The exhibit, organized by Dr. Paul Fees and Michael Kelly, also included a vast array of artifacts, letters, photos and artwork, highlighting the life and times of Irving H. "Larry" Larom and his renowned Valley Ranch.
From 1982 Annual Report, p. 10.
During the summer of 1982, five Plains Indian tipis graced the front lawn of the Buffalo Bill Historical Center. The unique and colorful structures, decorated with traditional tribal motif, were produced by artists Al Chandler (Gros Ventre), Howard Pepion (Blackfeet), and Gerald Red Elk (Sioux). The tipi project was commissioned as a gift to the Center by the Honorable Robert D. Coe and Countess Natalie Coe Vitetti.
From 1982 Annual Report, p. 10.
A display of 20 big game trophies from the collection of The Boone and Crockett Club opened to the public in late September at the Buffalo Bill Historical Center. The National Collection of Heads and Horns includes the Chadwick ram - the world record Stone's sheep - and the record moose, caribou, buffalo and various other North American big game animals. The display will become a permanent part of the Buffalo Bill Museum when it is reorganized in 1984.
The Collection, which was most recently housed in the headquarters of the National Rifle Association in Washington, was begun in 1907 as a study collection for the New York Zoological Society.
From 1982 Annual Report, p. 10.
A companion exhibition of the National Collection was The Browning Connection. Featuring ten production models and nearly thirty experimental guns, The Browning Connection examined the innovative weapon's designs of John Browning. According to many, Browning was the "greatest gun inventor in the United States" with over 120 patents for firearms to his credit. The guns he designed in the 19th century are still being manufactured.
September 20, 1986 to November 30, 1986
Main Gallery
An exhibition which will examine the endurance of Custer legend and myth, from the aftermath of the battle to the popular culture and scholarly investigations of today.
June 22, 1986 to September 21, 1986
Mezzanine
Dixon's talents are represented in seventy drawings and watercolors on display. He was best known for his monumental images of Native Americans silhouetted against the western landscape and his excellent drawings.
March 1, 1986 to June 8, 1986
Mezzanine
These 35 paintings and sketches by Johnson were executed during the seven summers he spent at the Rimrock Ranch near Cody. They depict familiar landmarks of the Cody-North Fork area and episodes in the lives of ranch wranglers. The works are on loan from private collections in California.
September 24, 1986 to November 30, 1986
Mezzanine
Highly decorated arms produced by the Manifattura Armi Perazzi are featured along with arms demonstrating that decorated firearms are legitimate examples of the applied arts. Sectionized shotguns and a series of components illustrating the manufacturing and engraving process are also on display.
March 1, 1986 to June 18, 1986
Sacagawea Gallery
These pictograph ledger drawings were done by 21 young Plains Indians at Hampton Institute in 1879. They are an important contribution to the study of the native art tradition, and trace the change from a nomadic existence on the plains to the present reservation system.
June 14, 1986 to September 10, 1986
Main Gallery
This extraordinary collection focuses on the Flathead Indians of Montana and highlights their transitional era between 1915 and 1925. It includes clothing, accessories, horse trapping and other materials.
June 12, 1987 to September 10, 1987
More than 60 paintings and prints portray the everyday life of trappers, flatboatmen, pioneers and Indians in the exotic West of 1830-1860. George Caleb Bingham, Charles Deas, William Ranney and Author F. Tait are featured artists with additional works by George Catlin, Alfred Jacob Miller, Currier and Ives, and others.
The American Frontier Life exhibition is the first major show to explore the artistic traditions which represented the everyday lives of Indians and early visitors to the American West between 1830 and 1860. More than 60 paintings and prints by celebrated artists portray the lives and times of trappers, flatboatmen, pioneers and Indians in the exotic frontier West of the mid 1800s. George Caleb Bingham, Charles Deas, William Ranney and Arthur F. Tait are featured artists with additional works by George Catlin, Alfred Jacob Miller, Currier and Ives, and others.
The American Frontier Life exhibit will premier in Cody, Wyoming as part of the BBHC's 60th year and reinstallation of the Whitney Gallery. This exhibit will travel to the Amon Carter Museum in Fort Worth, Texas and then to the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania.
The exhibition is made possible by grants from the Henry Luce Foundation, Inc., Boulevard Mortgage Company, Philadelphia, Mr. and Mrs. Meyer P. Potamkin, and an anonymous donor.
March 24, 1987 to ?
The exhibit will feature traditional and contemporary expressions of Plains Indian arts.
June 1, 1988 to June 8, 1988
Mezzanine
19th and 20th century photographs from the collections of the Buffalo Bill Historical Center and the Bureau of Indian Affairs.
July 17, 1988 to ?
Over 60 paintings, drawings, and sculptures reveal the mastery of artist Frederic Remington. This loan exhibition of his major works examines Remington's life and artistic contributions.
March 1, 1988 to ?
Main Gallery
Originially assembled for His Excellency General Don Porfirio Diaz, President of Mexico, the collection is one of the few surviving private armouries of the period.
September 15, 1988 to November 30, 1988
Mezzanine
Pencil drawings, wash sketches and oil studies demonstrate the artist's beginning steps in the creative process. Works from the early 19th century to contemporary times will come from the permanent collection.
September 19, 1988 to November 30, 1988
Main Gallery
A display of contemporary manifestations of the powwow celebration.
From 1989 Annual Report, p. 5.
The year's major exhibition, Interior West: The Craft and Style of Thomas Molesworth, traced the evolution of the Cody furniture maker's 30 year career. Co-curated by Buffalo Bill Museum Paul Fees and Historical Center assistant director Wally Reber, the exhibition included over 125 representative examples of Molesworth's work and one complete re-created "roomscape". The exhibition is now on display at the Gene Autry Western Heritage Museum in Los Angeles.
March 1, 1991 to May 17, 1991
A retrospective of the career of one of New Mexico's most important painters.
June 20, 1991 to September 8, 1991
A centennial exhibition of art, artifacts, and historical photographs celebrating the 100th anniversary of America's national forest system.
September 28, 1991 to November 30, 1991
Reviews the career of the Taos, NM illustrator and painter of cowboy scenes and wildlife subjects.
Autostart
May 3, 2007
Those not related to specific exhibits or events – Would include advertising, financial, newsletters, publishing, research, etc.
Advertising – General (Chronological under each grouping)