Partially identified as Cherokee, Oto, Kiowa, Comanche, etc., but with no original identifications and no source information except "bought from McDonald, April, 1900."
NAA MS 4793
Prints found in A & I photo lab, and copy negatives made for all, 1966; see Negative Numbers 55,838-55860. See listing of these and other copy negatives previously catalogued as having come from "McDonald," filed in office files.
Show various Mission churches in the Southwest and Mexico. Originals and copies, made 1890-1958.
Catalog Number 4563: (Missions) (1) Description: "Mission San Jose, Tucson, Arizona, APH Soc. Taken about 1890. Now a complete ruin." (Number AS-29 D). Date: ca 1890; 1891 ?; 1882 or 91. (2) "San Xavier del Bac Mission, Tucson, Arizona." Photographer: George Grant, U. S. National Park Service 1935. (3) "Mission Tumacacori- 34 miles south of Tucson, Arizona- about 30 miles north of Mexcan border." Exterior view. Colonel Leppewatt ? ca. 1955 or 56. (4) "Old Jesuit Mission at Batuc, Sonora." Lee Fuller April 1958. (5) "Caborca (Mission), Sonora, Mexico." Exterior view. (Number AS-11 A-4). G. B. Eckhart 1955. (6) "Side view, Pitiquiti Church, Sonora, Mexico." (Number AS-44 F). Probably by G. B. Eckhart 1955 ? (7) "Mission church at Pitiquito, Sonora, Mexico, near Caborca, Sonora. Built by Franciscans during last half of 1800's - Original church was built by Jesuits here- possibly Padre Kino." Exterior view. G. B. Eckhart. (8) "Door-way to Baptistry at Tubutama, Sonora, church." U. S. National Park Service, Globe, Arizona ca. 1936. (9) "Old Mission church at Tubutama, Sonora, Mexico. Father Garces, the first Franciscan father at San Xavier del Bac was buried here after he was martyred at Yuma. He wrote his diary here, as did Father Font, who accompanied de Anza on his trip to California with the group who founded San Francisco. Built probably in the 1770's.
Prints from negatives by Thomas M. Galey, Independence, Kansas, including original stereoscopic views made 1921-1930, and copies by Galey from older commercial photographs.
Contents: Catalog Number 4460: Tribe: 1) Cheyenne Description: Wolf Chief and Spotted Elk, Miles' scouts. Lame Deer, Montana Photographer: T. M. Galey Date: 9/3/30. 2) Cheyenne Little Wolf and squaw. War chief. Died March 8, 1927. Lame Deer, Montana T. M. Galey 8/17/2. 3) Cheyenne Black Horse and squaw. Leg wound in famous Oklahoma retreat. Manufacture of travois. Lame Deer, Montana T. M. Galey 9/3/30. 4) Cheyenne Old Bull or Buffalo Hump (and squaw), only surviving son of Dull Knife. Aged 82. [Lame Deer, Montana]. T. M. Galey 9/2/30. 5) [Cheyenne ?] Medicine Wheel on summit, ancient travois trail in foreground. Big Horn Mountains, Wyoming. [A. Anthrop. 24, 1922, Figure 26]. 8/10/21. 6) Cheyenne Medicine Wheel, Big Horn Mountains, Wyoming, showing wall built by U. S. Forestry Service, 1929 T. M. Galey 9/8/30. 7) Tribe: [Osage] Description: Wild Cat, Custer scout, Washita campaign Photographer: G. W. Parsons, Pawhuska, Oklahoma (Galey, copy) No date See Bureau of American Ethnology Negative Number 55,009. 8) Osage "Gov. En tse tah wah ti an kah." --original caption. E-ut-est-a-wat-a-hanka, Osage Ex-Governor Black Dog and Big Chief bands.--Galey (Galey, copy) (1930) 55,008. 9) Osage Mon-e-kah-moie (Walks in the Mud), half brother of Big Hill Joe. On the council but not a chief G. W. Parsons, Pawhuska, Oklahoma (Galey, copy) No date 54,906-A. 10) Osage Saucey Chief and squaw. Osage Agency, Indian Territory (Galey copy) (1875) 55,002. 11) Osage Toby Mongrain (pronounced "Mogeray"). Osage half-breed Custer's scout, Washita campaign (Galey, copy) No date 55,007. 12) Osage Isaac Gibson, Agent at time of removal, 1870; Sam Bevenue (left); Chetopah (right, wearing fur hat of otter) (Galey, copy) ca. 1870 13) Historical Description: Taylor, old-time deputy marshal, Pawhuska, and unidentified man Photographer: Sawyer, 112 E. Douglas Avenue, Wichita, Kansas (Galey copy) No date. 14) Historic Independence Rock, 10 miles s. w. of Casper, Wyoming, on old Oregon Trail T. M. Galey 8/15/30.
NAA MS 4460
Negatives lent to Bureau of American Ethnology May, 1931 by T. M. Galey.
Filed: Original Prints series, by tribe or other classification.
(depicting various family members, including Rockwell Kent as a young boy, and photograph albums)
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
The Rockwell Kent papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
There are 6 prints of Crow Indians by F. A. Rinehart, Omaha, 1900, and photographic prints (11) of Chippewa (?) by Bell, Sault Ste Marie, Michigan, no date.
Catalog Number 4560: (1) Tribe: Crow Description: "Crow Girls." Three girls, one on horse. (Original number 1695). Photographer: F. A. Rinehart, Omaha Date: Copyright 1900. (2) Crow "Chief Spotted Horse. Crow." Standing with horse. (Original Number 1751). (3) Crow. "Mounted S[q]uaws. Crow." Group of five.. (Original Number 1782). F. A. Rinehart Copyright 1900. (4) Crow. "Mounted Squaws. Crow." [Probably by F. A. Rinehart] No date, 1900 ? (5) Crow. "Squaws Going to Dance. Crow." (Original Number 1772). F. A. Rinehart. Omaha Copyright 19[00 ?]. (6) Crow. Crow encampment showing four tipis; cooking fire-place with pot suspended from tripod (retouched- authentic ?). (Original Number 859.) F. A. Rinehart No date [1900 ?]. Following are apparently scenes from an outdoor production of Hiawatha, with native actors, as follows: (7) [Chippewa] "Deer Dance; big pow wow after the return of Hiawatha."--on back, in pencil Bell, Sault Ste Marie, Michigan. (8) [Chippewa] Group sitting on dance platform near tipi. (See 4560: (7). Bell, Sault Ste Marie, Michigan. (9) [Chippewa] Group at clearing looking into woods. Bell, Sault Ste Marie, Michigan. (10) [Chippewa] Man with woman seated on rocks in wooded area. (Hiawatha and Minnie Ha-Ha ?). Bell, Sault Ste Marie, Michigan. (11) [Chippewa] Man (same as in 13) with drum, and woman with ceremonial pipe. Bell, Sault Ste Marie, Michigan.
Catalog Number 4560 (12) Tribe: [Chippewa] Description: Young Woman (same as in 10). Photographer: Bell's Elite Studio, Soo , Michigan See BAE Negative Number 56,823. (13) [Chippewa] "Jim Wawgisie, an old Indian, takes part in Hiawatha." --on back in pencil Bell, Sault Ste Marie, Michigan. (14) [Chippewa] Old woman with baby on cradleboard; cooking fireplace in rear with pot suspended from tripod Bell, Sault Ste Marie, Michigan See BAE Negative Number 56,822. (15) [Chippewa] "Chiefs of 2 different tribes in one tent after peace is made." --on back in pencil. "Chiefs" outside of mat wigwam Bell, Sault Ste Marie, Michigan. (16) [Chippewa] Woman with baby on cradle board; in front of conical birchbark tipi. Bell, Sault Ste Marie, Michigan. (17) [Chippewa] Man with drum and pipe. [Probably by Bell]. Cf. "Hiawatha Played by Real Indians", by Henry Hale, Critic and Literary World, July, 1905. (Clipping filed with these photos.)
This collection, which dates from circa 1930, contains 19 black-and-white photographic prints and 9 black-and-white negatives depicting the family of Mrs. Ruth Marie Hudson, as well as the black community in Eustis, Florida. The images portray African American men, women and children.
The city of Eustis is located in Lake County, Florida. Traditionally African-American neighborhoods in the city include Egypt and East Town. In 2009, the City of Eustis received a grant from the Florida Division of Historical Resources to complete a historical and architectural survey of the two neighborhoods.
Use of the materials requires an appointment. Please contact the archivist at firstname.lastname@example.org.
Custom-made wooden box containing 13 matted digital color prints, of guitars and a mandolin, by Dr. Singer. The subjects are custom-made instruments in private collections. Cover text: "Gibson Boxed Set #1/5 / This Gibson commemorative / Morrison Hotel Gallery / boxed edition containing / thirteen original digital / prints were shot with a / Hasselblad H2D-39 and / printed on Casson paper," signed by the photographer and dated 2011. Image sizes approx. 18" x 13-1/2". Each print is signed in pencil under the image at left, and the photographer's blind-stamp is at the right. Mounts are Foam-Core, with descriptive labels on the verso. Mat hinges are masking tape.
The collection is arranged into one series.
Biographical / Historical:
Jonathan Singer is a podiatrist who gained notoriety as a botanical photographer, then turned his attention to handmade guitars. See http://www.vanityfair.com/culture/features/2008/03/flowerphotog200803 from Vanity Fair.
Donated by Jonathan Singer on May 20, 2011.
Collection is open for research.
Reproduction restricted due to copyright or trademark. Photographer retains copyright.
Contents: Catalog Number 4458: 1) Tribe: Shoshoni Description: Washakie Photographer: Baker & Johnston No date See Bureau of American Ethnology Negative Number 1664. 2) Shoshoni Washakie's grandson Baker & Johnston No date 42023-E. 3) Shoshoni Wickiup with meat drying, Fort Washakie, Wyoming Photographer unknown 1891. 4) Tribe: Arapaho Description: Boy Photographer: Baker & Johnston No date See Bureau of American Ethnology Negative Number 42017-E. 5) Tribe: Chilkat (Filed: Tlingit) Description: Indians in dancing costume Photographer: Winter & Pond Juneau Date: 1895 copyright See Bureau of American Ethnology Negative Number 73-6821. 6) Tribe: Comanche Description: Quanah Parker, on horseback. Fort Sill, Oklahoma Photographer unknown Date: ca. 1897 See Bureau of American Ethnology Number 43,896-E. 7) Comanche (Duplicate of 4458:6.)
NAA MS 4458
Filed according to tribe in series of original photos.
This collection consists of views of New York, Rhode Island, Florida, Mississippi, South Carolina, Newfoundland and Quebec (slides are primarily of Saint Augustin, Quebec).
Scope and Contents:
The Stiles collection consists of views made by Stiles on behalf of the Museum of the American Indian, Heye Foundation from 1938 to 1974. More than half of these document the life of Innu peoples of Quebec, Canada, in the years 1952, 1958, 1959, and 1964. They depict Innu men, women, and children, and food preparation, dwellings, fishing, canoes, settlements, the preparation of animal skins, and ceremonials. Stiles apparently photographed among the Seminole and Miccosukee peoples of Florida in 1939, 1940, 1941, 1966, and 1974. He also variously photographed the Narragansett and Niantic peoples of Rhode Island, the Onondaga on the Onondaga Reservation, the Eastern Band of Cherokee in North Carolina, the Seneca of New York, the Attikamekw (Tete De Boule Cree) and the Mohawk of Quebec, and the Mushuaunnuat of Labrador. He also photographed various archaeological sites in New York State, Mississippi, and South Carolina.
Prints arranged by print number (P13375-P13385, P13431-P13438, P15331-P15346, P15770-P15773, P15885-P15889, P16102, P17154, P17212-P17217, P17282-P17284, P18537-P18551, P18586, P19991-P20002)
Slides arranged by slide number (S02005-S02178, S02389, S04518-S04519, S04559-S04575, S04675-S04678, S04694-S04702, S04753-S04760)
Before joining the staff of the Museum of the American Indian, Heye Foundation in May 1938, William F. Stiles was George G. Heye's personal driver. An employee of the Museum for almost forty years, Stiles retired in March 1978 as the Curator of Collections. Although Stiles published very little, he was an active field collector and participated in numerous archaeological expeditions. As is evident from his photographs of the Innu and Seminole peoples, he often visited individual communities more than once and over the course of several years.
Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
The Lee Howard Marmon photographic prints and contact sheets contain 36 color and black and white photographic prints and two color contact sheets of 9 images each. Subjects include Laguna and Acoma elders (1950-1965), publicity images of celebrities (1967-1973), Native American portraiture (circa 1987), the New Mexico pueblos and landscape, and the potter Lucy M. Lewis, her daughters, and their pottery (1987).
Prints: organized in folders; arranged numerically by image number
Lee Howard Marmon was born as the second son of Lily and Henry "Hank" Marmon on September 25, 1925 in Laguna, New Mexico. Marmon's interest in photography was sparked when he took his first photograph at the age of 11 of an automobile accident on Route 66. Initially planning to attend the University of New Mexico to study geology, Marmon dropped out after several semesters to begin his World War II career as a Sergeant-Major on Shemya Island, Alaska in 1943. Marmon's service to the United States in the Aleutian chain lasted until 1946, after which he returned to Laguna.
Marmon retained an interest in photography and purchased his first professional camera, a 2¼ x 2¾ Speed Graphic. Later in his career, he would use a 4x5 Speed Graphic, a Rolleiflex, a Hasselblad Superwide, and a Hasselblad C model. When Marmon began photographing, he favored Kodachrome sheet film (ASA 8) and super speed B&W (ASA 100). As Marmon was learning this new hobby, his civilian life included employment as the Laguna postmaster and as a worker in his father's store, The Laguna Trading Post. Photography escalated from a hobby to a more serious pursuit after Marmon's father suggested that his son bring a camera along while making store deliveries in order to take portraits of the Laguna elders. These early black and white photographs, taken using fixed-lens cameras and natural light, became some of Marmon's most well-known images.
While Marmon mainly focused on documenting the traditions and lifestyles of the Laguna and Acoma Pueblos, a departure from this theme occurred when he moved from New Mexico to Palm Springs, California in 1966. As the official photographer for the Bob Hope Desert Classic Golf Tournament from 1967 until 1973, Marmon took publicity photographs of golfers participating in the competition along with celebrity entertainers and guests at the accompanying Bob Hope Ball. Marmon also worked as a freelance photographer throughout this time, contributing to publications such as Time Magazine and The Saturday Evening Post, working as a still photographer for Columbia Pictures, and completing a commission from President and Mrs. Nixon to photograph a collection of New Mexican Puebloan pottery.
Marmon moved back to Laguna in 1982, and in the following years he showed his work in a variety of venues, opened a bookstore called The Blue-Eyed Indian, and won an ADDY award for his contribution to the PBS documentary series, Surviving Columbus: The Story of the Pueblo People. In 2003, Marmon published a book, The Pueblo Imagination: Landscape and Memory in the Photography of Lee Marmon, in collaboration with his daughter, author Leslie Marmon Silko, and poets Joy Harjo and Simon Ortiz. The book was heralded as a success, collecting first place awards from The Mountains and Plains Bookseller's Association and from Independent Publisher Online.
After the publication of his book, Marmon's photographic activity began to diminish. His final show, Pueblo Faces and Places, was held in 2007 at the Sky City Cultural Center in Acoma, New Mexico. In recognition for achievements in the photographic field, Marmon was honored as the 88th Annual Inter-Tribal Ceremonial's "Living Treasure" of 2009, the first photographer to be given the award. Throughout his life, Marmon produced a great volume of work. In May of 2009, he donated his personal papers and over 65,000 photographs to the Center for Southwest Research and Special Collections (CSWR) at the University of New Mexico. From a humble beginning of taking photographs of village elders, Marmon eventually built a career out of saving the memories of the Laguna and Acoma tribes and is now one of the country's best-known Native American photographers.
Researchers must contact the NMAI Archives for an appointment to access the collection. Contact information below.
Indians of North America -- Northwest Coast of North America Search this
Scope and Contents:
Volume 1: Haida. Volume 2: Tlingit. See detailed history of collection, 2 pages, and detailed descriptive list of prints, 20 pages, accompanying albums. Photographers and names indexed. Copy of list in "Guides for photo identification: Waterman" file have marks indicating indexing.
The Meyer collection consists primarily of lantern slide and glass plates negatives made by Meyer among the Apsáalooke (Crow/Absaroke) and Pikuni (Piegan) in Montana on the Crow and Blackfeet Reservations, perhaps in1902 and in 1904. The Apsáalooke and Pikuni lantern slides and negatives are mostly informal, outdoor portraits of men and women in traditional clothing, but they also depict camps and ceremonials and even buffalo herds. In addition, there are depictions of Ute, Niitsitapii (Blackfoot/Blackfeet), Nimi'ipuu (Nez Perce), Numakiki (Mandan), and Ojibwa individuals. He made the Numakiki photographs on the Fort Berthold Rerservation in North Dakota. The collection also contains landscape views made in Yosemite Valley, California, and British Columbia and cityscapes of Juneau, Alaska. Although Meyer likely photographed the vast majority of the items in the collection, it is unlikely that he created all of them. For example, there are many studio portraits that an amateur such as Meyer lacked the studio space, equipment, and experience to make. In addition, there is at least one glass plate negative of a Fred Miller Crow Reservation photograph and several that appear to be by Cree photographer Richard Throssel, who also made photographs on the Crow Reservation. The five prints (one of these--assigned a print number--is in fact a newspaper clipping announcing the death of Ka-Be-Na-Gway-Wence or Meet-Ka-Be-Nah-Gway) are certainly not by Meyer. Of interest here is a photograph depicting Goyathlay (Geronimo) in later life wearing traditional Chiricahua Apache clothing, including his headdress. Most of the negatives are on glass but some of them are film copies of the glass negatives and lantern slides.
Lantern slides: organized in envelopes; arranged by image number
Negatives: organized in envelopes; arranged by negative number
Relatively little is known about Fred R. Meyer (1874-1939), but from his photographic record it is clear that he was an amateur photographer who traveled extensively throughout the western United States, particularly in Montana and North Dakota possibly from 1890 to 1915. A handful of his Montana photographs were given to the Buffalo Bill Historical Center by Meyer's friend William P. Sargent. Meyer's notations on the versos of these prints are dated either 1902 or 1904. According to the Historical Center's records, Meyer was a surveyor but other sources indicate that he (also) worked as a butcher. It has also been suggested that he was associated in some way (perhaps as a clerk) with the Indian agencies that served the Apsáalooke, Pikuni, and Numakiki reservations. He apparently also photographed in Pine Ridge in 1907 and collected objects in Wyoming and Montana. On January 19, 1914, he gave a lantern slide lecture at the Rochester Historical Society entitled "Indian Life and Customs in the Great Northwest," and it appears that he was either originally from or eventually settled in Rochester. In addition, in 1913 he may have corresponded with Joseph Keppler. In the letter, he thanks Keppler for a book and a gun and states that he was pleased to give Keppler the medicine teeth, some of which he also planned to give to "Mr. Pepper" (George Pepper?).
Gift of Mrs. Fred R. (Hattie M.) Meyer.
Access is by appointment only, Monday - Thursday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
Copyright: National Museum of the American Indian
Crow Indians -- Montana -- Crow Indian Reservation -- Photographs Search this
Piegan Indians -- Montana -- Great Blackfeet Reservation -- Photographs Search this
Mandan Indians -- North Dakota -- Fort Berthold Indian Reservation -- Photographs Search this
Fred R. Meyer collection of lantern slides, negatives, and photographic prints, 1890-1915, National Museum of the American Indian Archives, Smithsonian Institution (negative, slide and catalog number).
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
The Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation.