Exhibit Design 101

We’re in the last days of installing our new exhibit, Git fer Vegas , Cowboy! Exhibit development includes ingredients of staging a play and of creating a book. The writer, or curator, establishes a storyline. Inspiration comes from any number of sources — a song, a person, a newspaper article. In this case, our curator found a compelling story in the programs and poetry of the Cowboys’ Reunions. The curator chooses pieces of the Museum’s collection as illustrations. Next, the story and the “illustrations” are turned over to the exhibit designers. This team decides how the objects, images and text will best demonstrate to the visitor the curator’s concepts and how these elements will be arranged in a gallery. Fabricators build casework, platforms and other apparatus to house objects or hang images. Many pieces in museum collections are fragile and require special handling. This is especially true when these artifacts are displayed. Preparators create special mounting devices that hold objects securely without harming the object’s material or form. All of these elements are choreographed in the gallery and come together in a flurry of activity, so I guess exhibits have a little bit of dance in them, too.

Linda Gegick

Museum Administrator

Western Women's Saddlery

In Europe, sidesaddles have been in use since the Middle Ages primarily to provide women the opportunity to ride with modesty. Over the centuries, women adapted sidesaddles to their personal preferences. In 1915, Mrs. Esther Stace, riding “aside,” cleared a 6’6” jump.

In the early days of Western American expansion, “no lady straddled a horse,” but many expert horsewomen rode the prairies, ranched, and performed trick riding in their sidesaddles. After witnessing a severe riding accident, Charles Goodnight (1836-1929), a well-known cattle rancher, approached his friend and expert saddle maker, S. C. Gallup (1834-1904), Pueblo, Colorado, to make a sidesaddle suitable for the Western rider’s needs. By 1870, the Goodnight-Gallup Sidesaddle was born and came into popular use in the American West.

Until this new version appeared, sidesaddles were dangerous, hard on the horses’ backs, and uncomfortable for the riders. The new Goodnight-Gallup sidesaddle was built on a standard man’s saddle tree—higher in front over the horse’s withers. It had double-layered, square skirts, a mohair double cinch, and a downward-facing, adjustable side horn--where the rider secured her left leg. These adaptations, along with the traditional adjustable stirrups, made for a better fit for the horse and a more solid seat for the rider. These saddles were also fancy, with floral tooling on the skirts, embroidered buckskin seats, and white angora side pockets.

The Museum’s new exhibit, Git Fer Vegas, Cowboy!, opening October 23, includes an S. C. Gallup #85 Western Sidesaddle, purported to have been purchased by Ludwig Ilfeld, Las Vegas businessman and supporter of the Cowboys’ Reunions, and offered to one of the Reunion Rodeo trick riders as a courting present. Alas, she spurned him.

Pat Romero
Guest Curator - Git Fer Vegas Cowboy! exhibit

Play Time at the Museum Brings Las Vegas Alive!

Last Thursday we had another group visit, and it might have been the most successful trial of Las Vegas Alive yet! A group of home school children, along with their parents, participated in playing Las Vegas Alive!, and all seemed to enjoy it.

We began in the morning with a tour of the museum, and then separated everyone into three groups for the learning stations. At station one the children learned to wash clothes using a wash board and bucket, at station two they learned how to make butter and had a tasty treat, and at station three the children sewed their own money bags, which they used in Las Vegas Alive later that day. Each station was educational as well as interactive, and the groups rotated so each one participated in all of the hands-on activities. At first, the children didn’t seem too excited about sewing, especially the boys, but once they were doing it they loved it! They grew a real attachment to their money bags because they made them. It was neat to connect the sewing activity with the game Las Vegas Alive!.

The afternoon was dedicated to playing Las Vegas Alive!. Some of the parents played too, and those that didn’t remained involved by assisting the younger children. Everyone really got into their characters, parents included, and everyone enjoyed bartering and buying artifacts. (Each player was given play money that they carried in the bags they made earlier.) Almost everyone completed all of their tasks, and commented that they really enjoyed playing. The only shortcoming was that a few of the children were too young for the game. However, the children that were within our target age group completed the game successfully and had a great time!

We are continuing work on Las Vegas Alive! and look forward to the next visit!

Laura Gonzales
Humanities Consultant

Cowboys’ Reunions—The Artists & Writers

The annual Las Vegas Cowboys’ Reunions drew rodeo celebrities like Tex Austin, “Foghorn” O’Malley,” Prairie Rose Henderson, and Jim Shoulders, but the Reunions also attracted many artists and writers who came and produced works for or about the Reunions. Uncovering this information was like being a detective on the trail of a mystery. I’d come across a name or a sketch or a poem in the Museum’s archives then trace it to flesh out the story. Internet sources were helpful but sometimes contradictory, so then I’d hunt for corroboration in newspapers, books, and photographs.

The first, and most exciting writer I came across was N. Howard “Jack” Thorp, who traveled the country collecting cowboy song lyrics. In 1908, he produced his first book: The Songs of the Cowboys. In 1915, Thorp came to Las Vegas and wrote a song, “Las Vegas Reunion,” for the first Cowboys’ Reunion. The 1921 edition of his book, including this song, will be on display in the Cowboys’ Reunion Exhibit, and Mark Gardner and Rex Rideout plan to perform the song in their program, The Songs of the Cowboys, on October 23, 7:00 pm, in the Plaza Ballroom.

Once I learned about Jack Thorp, my sensitivities were heightened and I encountered all sorts of “literati.” Phil LeNoir and S. Omar Barker, Las Vegans participating in the Reunions, wrote and published poetry, short stories, song lyrics, and articles. LeNoir, author of Rymes of the Wild and Woolly, also wrote “Down on the Ol’ Bar G” (Poetry: A Magazine of Verse). A postcard with this poem and a sketch by Will James for the 1924 Reunion will be on display. LeNoir coined the first Reunion slogan, “Git Fer Vegas, Cowboy.” Barker and LeNoir collaborated on a story, “When Texas Annie Rode the Bull,” and published The Reunion News, for the 1922 Reunion.

Visual artists attending the Reunions included Randall Davey, Ruth Monro Augur, Edward Borein, and Will James. Davey and Augur studied with Robert Henri in New York but were drawn to the Southwest for their subjects. Augur’s illustrations appeared in an advertisement for the Reunion in The Albuquerque Herald. A reproduction of Davey’s “Wild Horses – Cowboys’ Reunion, Las Vegas, NM” will grace a section of the exhibit. Will James, author and illustrator, began sketching at the age of four and is best known for his Newberry Medal winning book, Smoky the Cow Horse. Borein began sketching at the age of five and is famous for his accurate depictions of the vanishing Western America. Museum records indicate that Borein attended the 1921 Reunion and sketched Bill Stanton’s final bronc ride—“with reins in teeth.” This drawing was used in several Cowboys’ Reunion posters.

Music played a major role in the Cowboys’ Reunions—from parades to balls. The Las Vegas Cowboys’ Band, formed during the early years, grew to have 32 musicians and became “the most famous organization of its kind in the West,” performing through the USA and in London. Another well-known band, Dick Bills and The Sandia Mountain Boys, often played for the Reunion dances. Bills’ young nephew, Glen Campbell, was performing with the band in 1955 when they played for the Reunion dance at the Castaneda Hotel.

Pat Romero,
Museum Assistant/Research Specialist

Saddles

The Museum collection includes some interesting saddles. One of them was produced some time between 1873 and 1928 by Frank A. Meanea. This saddle is one of the items that will be featured in the upcoming exhibit, Git Fer Vegas, Cowboy!

Frank A. Meanea (1849-1928) was one of the most accomplished saddle makers of the territorial period. He was born in Missouri and made his way to Cheyenne, WY around 1868. There, he worked with his uncle E.L Gallatin in the Gallup & Gallatin Saddlery. By 1873, Frank had taken over the business. He developed innovative aspects of saddles, including the “Cheyenne Roll” cantle. He produced other items of cowboy rigging, like chaps and gun holsters. Cowboys considered his products, especially his saddles, high quality. Notables like Buffalo Bill Cody, Theodore Roosevelt, Charles M. Russell and the Canadian Northwest Mounted Police owned items produced by Meanea.

There is no doubt this Meanea product was the work-a-day saddle for its owner. There have been several repairs, the fork leather has been worn down and the padding is failing. The high desert climate has taken a toll on the leather: it’s curled and a little cracked. In spite of hard wear, the saddle is in amazingly good condition. The famous Meanea style and tooling are evident, as is the maker’s mark, high on the seat.

Linda Gegick

Museum Administrator

Mining for facts and more

It's already September and the Cowboy Reunion is only a month away! The museum staff has been hard at work preparing for this event. In addition to putting together an exhibit to reflect our cowboy heritage, they will also be hosting a reception on Friday, October 23, 2009, from 4:00pm to 6:00pm. We strongly encourage anyone who is interested to come and join us!

Behind the scenes I have still been assisting Nellie Price, our museum educator, to gather accurate historical information for the game Las Vegas Alive! Currently I am looking over area census reports covering the decades from 1860 through 1880 to compile a list of occupations that are not already on our list. Any ethnicity other than white is also being noted. We need to make the game as historically accurate as possible for each time period. This has proven to be a greater challenge than we anticipated.

I have not been able to locate the 1880 census report for San Miguel County. I am beginning to wonder if it exists at all. It is important for our purposes because there was a large migration of people of all backgrounds and occupations that came to the area after the arrival of the railroad. In addition to mining through census enumerations, we are also compiling a list of artifacts and props for each student, or character, to use during the game. This project is not only a lot of fun, but I am learning very interesting things about this area. I can't wait to see the final product!

Laura M. Gonzales
History Consultant
Las Vegas City Museum

But, where are the Big Pants?

Familiarity is comfortable, but it also breeds contempt. You’ve heard it — been there, done that museum. Well, get ready for some big changes at the City of Las Vegas Museum. Staff and community members gathered as a planning team earlier this year to discuss new ways to tell the area’s stories.

Over the next couple of years, the museum plans to unveil displays that will replace exhibits in the entire gallery. The new exhibits will offer a broad outline of the history and traditions of the Las Vegas area through topics and subjects that resonate with the community. Some areas that will be explored include the arts, social institutions, architecture, trade, land resources and sources of conflicts. Displays will include interactive components to engage and challenge visitors. Traditional text panels and displays will be augmented with other forms of media to provide a hierarchy of information in a variety of learning styles.

An area will be designated for temporary exhibits. Changing exhibits allow more of the collection to be displayed, on a rotating basis. It provides space to explore topical subjects and to examine some subjects in more depth than could be accomplished in the permanent exhibit area. Who knows? The big pants may reappear.

Linda Gegick

Museum Administrator