Ellie Norman

This Breyer model of the mare Brentina evokes the lesser known equestrian history of Olympic achievements in Sun Valley—an understated but impressive legacy.

The triumphant shades of blue, red, and yellow characterize the bold branding of the well-preserved packaging, and the chestnut Hanoverian model horse is frozen mid-trot against a rich, yellow-gold vignette in the box’s interior.

This limited edition model is owned by Adrienne Lyle, a local to Ketchum and accomplished dressage competitor on the global scale. She is widely considered “The First Lady of Dressage” for good reason. In addition to winning a silver medal for team dressage at the World Championships in 2018, Lyle competed in the 2012 and 2020 Olympic games, earning another silver medal in 2020 in team dressage.

On the underside of the model horse is dressage rider Debbie McDonald’s name signed in gold. Brentina was McDonald’s mount for her 1999 gold medals at the Pan American Games, for her 2002 and 2006 World Championship medals in team dressage (silver and bronze, respectively), and her bronze medal in team dressage at the 2004 Olympics in Athens. McDonald has lived in Hailey for over 40 years.

Alongside other pieces of local Olympic history, Breyer’s Brentina will be displayed in the foyer of The Community Library through Labor Day 2024, as part of our new Summer Games | Local Heroes exhibit showcasing summer Olympians who have a connection to the Valley.

From the Adrienne Lyle Collection, Wood River Museum of History and Culture.

Collection highlight written by Lucy Maitland-Lewis, Museum Preservation Summer Intern.

The Wood River Museum of History & Culture is proud to showcase this ceramic insulator from the original power poles that once stretched from Cold Springs up to The Roundhouse on Baldy Mountain. This seemingly modest object is a fascinating piece of our local history, representing a significant era in the development of rural electrification and infrastructure in the mid-20th century.

Ceramic insulators like this one began to replace their glass predecessors post-1950, reflecting advancements in materials, science, and a growing understanding of the demands of electrical transmission. While glass insulators were widely used prior to this period, they were gradually phased out in favor of ceramic due to the latter’s superior durability, higher resistance to electrical leakage, and ability to withstand harsher environmental conditions.

The power line that this insulator once served was a crucial link in providing electricity to the iconic and cherished Roundhouse Restaurant. Getting electricity up the mountain was particularly challenging due to the rugged terrain and severe weather conditions. This insulator not only survived these elements but played a vital role in ensuring a reliable power supply, enabling the local community to flourish and modernize.

This specific insulator, with its distinctive form and glaze, tells a story of innovation and perseverance. Each component of the power line had to be robust and reliable, and ceramic insulators were a key part of this resilience. Their adoption marked a significant transition in electrical infrastructure, representing a move towards more advanced and dependable technology.

By examining this ceramic insulator, we can appreciate the ingenuity and effort that went into building and maintaining the electrical networks that have become integral to our daily lives. It stands as a testament to the engineers and workers who navigated the rugged landscapes of the Valley to bring power to isolated communities. This artifact not only illuminates a technical evolution but also highlights the human endeavor behind our modern conveniences.

Wood River Museum of History & Culture, 2022.01.323.

Step into the rhythmic heartbeat of tradition with a recent addition to our collection—a handcrafted drum by Pete Yellowjohn, a revered Traditional Elder, Bundle Keeper, and Medicine Man of the Shoshone Bannock Tribe. Crafted with meticulous care and adorned with symbols of ancestral reverence, this drum stands as a testament to the enduring legacy of Indigenous craftsmanship.

Fashioned from stretched buffalo hide, the drum’s surface is adorned with masterfully hand-painted images of the local fauna—a mountain lion and bear—entwined amidst vibrant depictions of native flora. Each stroke of Yellowjohn’s brush tells a story of kinship with the land and its inhabitants, echoing the spiritual connection deeply rooted in Shoshone Bannock culture. Complementing the beautiful paintings on the buffalo hide, the drumstick is a work of art in itself—a slender willow branch wrapped in supple deer hide, embellished with brass tacks.

But more than an object of beauty, this handcrafted drum and its accompanying stick serve as custodians of tradition, embodying sacred knowledge that is passed down through generations. In the hands of Yellowjohn and his predecessors, the art of drum-making transcends mere craftsmanship—it becomes a sacred act of remembrance, a vessel for preserving cultural heritage in a rapidly changing world.

As you view this masterpiece of Indigenous artistry, imagine its rhythmic pulse transporting you across time and space, inviting you to listen not just with your ears, but with your heart—to the echoes of the past, the whispers of the ancestors, and the timeless melody of tradition.

From the Pete Yellowjohn Collection (2023.15.01), Wood River Museum of History and Culture.