#782-#1118, A. S. Hitchcock: Asia, 1921, Georgia and Florida, Panama and Ecuador, 1923, includes photographs of Floyd A. McClure
A. S. Hitchcock: Asia, 1921; Georgia and Florida; Panama and Ecuador, 1923. Includes photographs of Floyd A. McClure. Vol. 2, 782-1118
United States National Museum, Division of Grasses, Records, 1884, 1888, 1899-1965
1 photograph album
Smithsonian Institution Archives
The photograph album contains images compiled by A. S. Hitchcock from collecting trips. Images are numbered consecutively and have captions detailing subject matter, common or scientific name, location, and sometimes date. Locations visited included: Ecuador; Panama (Barro Colorado); Caribbean (St. Thomas, Haiti); Florida (Lake Okeechobee, Caxambos, Brooksville); Georgia (Savannah); Macao [Macau] ; China (Hoi How, Shiu Chow, Ying Tak, vicinity of Canton Christian College, Shanghai, Yangtze Valley, Hakone Valley); Japan (Nikko); Philippines; and Guam. Subject matter included: vegetation (multiple examples of bamboo), bird preserves, botanical gardens, sailing vessels and ports, lime processing in Macao, colleagues, landscapes, city scenes of Shanghai, and agricultural fields.
Many of SIA's holdings are located off-site, and advance notice is recommended to consult a collection. Please email the SIA Reference Team at email@example.com.
100 Native Americans who shaped American history / Bonnie Juettner
One hundred Native Americans who shaped American history
112 p. : ill. ; 23 cm
Dekanawida (C.1550-C.1600) -- Squanto (C.1580-1622) -- Massasoit (C.1580-1661) -- Pocahontas (C.1595-1617) -- Metacomet (C.1639-1676) -- Pope (C. Mid1600s-1690) -- Kateri Tekakwitha (C.1656-1680) -- Pontiac (C.1720-1769) -- Handsome Lake (C.1735-1815) -- Molly Brant (C.1736-1796) -- Nanye'hi (C.1738-1822) -- Joseph Brant (C.1742-1807) -- Sequoyah (C.1765-1843) -- Black Hawk (C.1767-1838) -- Tecumseh (C.1768-1813) -- Kennekuk (C.1785-1852) -- Sacajawea (C.1786-1812) -- Seathl (C.1788-1866) -- Mangas Colorado (C.1795-1863) -- Osceola (C.1804-1838) -- Black Kettle (C.1804-1868) -- Washakie (C.1804-1900) -- Stand Watie (C.1806-1871) -- Billy Bowlegs (C.1810-1864) -- Dull Knife (C.1810-1883) -- Cochise (C.1812-1874) -- Manuelito (C.1818-1894) -- Little Wolf (C.1820-1904) -- Red Cloud (C.1822-1909) -- Spotted Tail (C.1823-1881) -- Victorio (C.1825-1880) -- Big Foot (C.1825-1890) -- Ely Samuel Parker (C.1828-1895) -- Standing Bear (C.1829-1908) -- Geronimo (C.1829-1909) -- Sitting Bull (C.1831-1890) -- Kicking Bird (C.1835-1875) -- Datsolalee (C.1835-1925) -- Lozen (C.1840-1890) -- Chief Joseph (C.1840-1904) -- Crazy Horse (C.1842-1877) -- Sarah Winnemucca (C.1844-1891) -- Quanah Parker (C.1845-1911) -- Plenty Coups (C.1848-1932) -- Susette La Flesche (C.1854-1903) -- Francis La Flesche (C.1857-1932) -- Henry Chee Dodge (C.1857-1947) -- Charles Alexander Eastman (C.1858-1939) -- Nampeyo (C.1859-1942) -- Charles Curtis (C.1860-1936) Susan La Flesche (C.1865-1915) -- Amos Bad Heart Bull (C.1869-1913) -- Gertrude Simmons Bonnin (C.1876-1938) -- Will Rogers (C.1879-1935) -- Maria Martinez (C.1880-1980) -- Clinton Rickard (C.1882-1971) -- Charles Albert Bender (C.1883-1954) -- Clarence Tinker (C.1887-1942) -- Jim Thorpe (C.1888-1953) -- Ella Cara Deloria (C.1889-1971) -- Lucy Lewis (C.1895-1992) -- Ben Reifel (C.1906-1990) -- Annie Dodge Wauneka (C.1910-1997) -- Elizabeth Peratrovich (C.1911-1958) -- Howard Rock (C.1911-1976) -- Jay Silverheels (C.1912-1980) -- Oscar Howe (C.1915-1983) -- Pablita Velarde (C.1918-) -- Ira Hayes (C.1923-1955) -- Betty Mae Tiger Jumper (1923-) -- David Sohappy (C.1925-1991) -- Maria Tallchief (C.1925-) -- Ladonna Harris (C.1931-) -- Louis Ballard (C.1931-) -- Dennis Banks (C.1932-) -- Fred Begay (C.1932-) -- Ben Nighthorse Campbell (C.1933-) -- Vine Deloria, Jr (C.1933-) -- Janet McCloud (C.1934-) -- N. Scott Momaday (C.1934-) -- Ada E. Deer (C.1935-) -- Peterson Zah (C.1937-) -- Billy Mills (C.1938-) -- Ramona Bennett (C.1938-) -- Clyde Bellecourt (C.1939-) -- Paula Gunn Allen (C.1939-) -- William Hensley (C.1941-) -- Simon Ortiz (C.1941-) -- Buffy Sainte-Marie (C.1941-) -- Frank Dukepoo (C.1943-1999) -- Leonard Peltier (C.1944-) -- Michael Dorris (C.1945-1997) -- John Echohawk (C.1945-) -- Wilma Mankiller (C.1945-) -- Robert Eugene Megginson (C.1948-) -- Leslie Marmon Silko (C.1948-) -- Joy Harjo (C.1951-) -- Louise Erdrich (C.1954-) -- Winona Laduke (C.1959-) -- Sherman Alexie (C.1966-) -- Trivia quiz & projects
Read about 100 diverse Native-Americans, including: Dekanawida, founder of the Iroquois Confederacy; Sacagawea, Lewis and Clarks's guide; the warrior Cochise; Medal of Freedom winner Annie Dodge Wauneka; author Sherman Alexie, Will Rogers, Jay Silverheels and many more.
Poster depicting a town view with buildings and scaffolding in the background under large clouds. Large arms coming from above hold a book open to an audience of men (workers) holding signs. All look to a man, standing on a tall platform, pointing to the book.
Museum purchase through gift of Mrs. John Innes Kane
A Votive Image of a Boy Presented by his Parents to St. Nicholas of Bari
Francesco Saverio Mergolo, Italian, 1746–1786
Brush and brown and gray wash, pen and brown ink on paper
late 18th century
Research in Progress
The Saint is sitting on clouds, with book and three balls, blessing. Surrounded by angels, two of them with mitre and crozier. Below, at left: The father standing, mother and son kneeling. At right a tub surrounded by three children.
Museum purchase through gift of various donors and from Eleanor G. Hewitt Fund
A pretty group at an Indian Tent. Jack Redcloud brings the news of surrender and end of war to his lady friends.
Major Sherman Miles, Non-Indian, 1882-1966
Cecelia Miles Reber (Mrs. Samuel K. Reber/Cecelia Sherman Miles), Non-Indian, 1869-1952
Chief Jack Red Cloud (Jack Redcloud/Makhpiya-Luta), Oglala Lakota (Oglala Sioux), 1862-1928
9.5 x 12.5 in.
Oglala Lakota (Oglala Sioux)
South Dakota; USA (inferred)
Formerly in the collection of General Nelson A. Miles (1839-1925, U.S. Army); inherited by his children, Cecelia Miles Reber (Mrs. Samuel K. Reber, 1869-1952) and Major Sherman Miles (1882-1966); donated to MAI in 1925.
Jack Red Cloud (Makhpiya-Luta), the son of Chief Red Cloud, on horseback next to four women standing in front of a tipi. Women wear patterned blankets, including one Navajo chief blanket, and two hold babies in cradleboards. A third child sits on the shoulders of his/her mother.
Administered by City of St. Cloud Parks Department 400 2nd Streeet South St. Cloud Minnesota 56301
Located Fourth Avenue North, near Veterans Memorial Bridge St. Cloud Minnesota
Original cast 1898. 1918. Dedicated May 30, 1918
Save Outdoor Sculpture, Minnesota survey, 1995.
Full-length figure of Abraham Lincoln stands on a tall pedestal, flanked by urns, on a low base. Lincoln wears a suit with bow tie, vest and long coat. His proper right hand is extended palm up and he holds an unfurled scroll, the Emancipation Proclamation, in his proper left hand. There is an unfurled American flag incised on the front of the pedestal, between inscriptions.
Portrait male--Full length
Art Inventories Catalog, Smithsonian American Art Museums
Adelia Boisseau Warfield and Daughter Huldah Belle, (painting)
Newman, Robert Loftin 1827-1912
Warfield, William Wallace, Mrs. (Adelia Boisseau)
Warfield, Huldah Belle
Oil on canvas
Cheek, Leslie, Jr
Kelly, James C., "Portrait Painting in Tennessee," Tennessee Historical Quarterly, pg. 236.
Landgren, Marchal E., "Robert Loftin Newman, 1827-1912," Washington, DC: Smithsonian Institution Press, National Collection of Fine Arts, 1974, no. 126.
Portrait of Mrs. William Wallace Warfield standon on a balcony, her body facing forward, her gaze directed toward the viewer, and her right hand resting on the shoulder of her young daughter Huldah standing in front of her. The mother wears a dark off-the-shoulder dress with short sleeves trimmed in lace, a long gold chain, a gold cuff bracelet, and a gold pin at the neck, and loosely darped over her left arm is a fringed shawl. The daugher wears a bright blue off-the-shoulder dress with white pantaloons, and a beaded necklace. She stands with her right arm reston on the arm of a chair beside her, and in he right hand she holds a sprig of blooming pink roses. In the background is a river landscape with puffy white clouds floating across a blue sky.
Portrait group--Family--Mother & Child
Portrait female--Full length
Art Inventories Catalog, Smithsonian American Art Museums
Museum of Wisconsin Art 300 South Sixth Avenue West Bend Wisconsin 53095 Accession Number: 340
West Bend Art Museum, 1997.
In the center there is a semi-circle of angel children gazing to the far right where Mary, in a light colored gown and veil, holds Jesus on her lap, with Joseph standing behind, covering his eyes with his right hand. In the background there is a blue sky with clouds.
Religion--New Testament--Holy Family
Art Inventories Catalog, Smithsonian American Art Museums
2-D - Unframed (H x W): 17.8 x 54.6cm (7 in. x 21 1/2 in.)
2-D - In Frame (H x W x D): 22.9 x 59.7cm (9 x 23 1/2 in.)
Country of Origin:
United States of America
Alabama Landscape, 1964. A rolling landscape spreads out to the horizon. In the center is an industrial plant with several large structures and other smaller ones. Roadways and fences cut across the valley and seem to converge at the plant. The sky is light blue with large white clouds.
The spring of 1962 was a busy time for the men and women of the National Aeronautics and Space Administration. On February 20, John H. Glenn became the first American to orbit the earth. For the first time since the launch of Sputnik 1 on October 4, 1957, the U.S. was positioned to match and exceed Soviet achievements in space. NASA was an agency with a mission -- to meet President John F. Kennedy's challenge of sending human beings to the moon and returning them safely to earth by the end of the decade. Within a year, three more Mercury astronauts would fly into orbit. Plans were falling into place for a follow-on series of two-man Gemini missions that would set the stage for the Apollo voyages to the moon.
In early March 1962, artist Bruce Stevenson brought his large portrait of Alan Shepard, the first American to fly in space, to NASA headquarters.(1) James E. Webb, the administrator of NASA, assumed that the artist was interested in painting a similar portrait of all seven of the Mercury astronauts. Instead, Webb voiced his preference for a group portrait that would emphasize "…the team effort and the togetherness that has characterized the first group of astronauts to be trained by this nation." More important, the episode convinced the administrator that "…we should consider in a deliberate way just what NASA should do in the field of fine arts to commemorate the …historic events" of the American space program.(2)
In addition to portraits, Webb wanted to encourage artists to capture the excitement and deeper meaning of space flight. He imagined "a nighttime scene showing the great amount of activity involved in the preparation of and countdown for launching," as well as paintings that portrayed activities in space. "The important thing," he concluded, "is to develop a policy on how we intend to treat this matter now and in the next several years and then to get down to the specifics of how we intend to implement this policy…." The first step, he suggested, was to consult with experts in the field, including the director of the National Gallery of Art, and the members of the Fine Arts Commission, the arbiters of architectural and artistic taste who passed judgment on the appearance of official buildings and monuments in the nation's capital.
Webb's memo of March 16, 1962 was the birth certificate of the NASA art program. Shelby Thompson, the director of the agency's Office of Educational Programs and Services, assigned James Dean, a young artist working as a special assistant in his office, to the project. On June 19, 1962 Thompson met with the Fine Arts Commission, requesting advice as to how "…NASA should develop a basis for use of paintings and sculptures to depict significant historical events and other activities in our program."(3)
David E. Finley, the chairman and former director of the National Gallery of Art, applauded the idea, and suggested that the agency should study the experience of the U.S. Air Force, which had amassed some 800 paintings since establishing an art program in 1954. He also introduced Thompson to Hereward Lester Cooke, curator of paintings at the National Gallery of Art.
An imposing bear of a man standing over six feet tall, Lester Cooke was a graduate of Yale and Oxford, with a Princeton PhD. The son of a physics professor and a veteran of the U.S. Army Air Forces, he was both fascinated by science and felt a personal connection to flight. On a professional level, Cooke had directed American participation in international art competitions and produced articles and illustrations for the National Geographic Magazine. He jumped at the chance to advise NASA on its art program.
While initially cautious with regard to the time the project might require of one of his chief curators, John Walker, director of the National Gallery, quickly became one of the most vocal supporters of the NASA art initiative. Certain that "the present space exploration effort by the United States will probably rank among the more important events in the history of mankind," Walker believed that "every possible method of documentation …be used." Artists should be expected "…not only to record the physical appearance of the strange new world which space technology is creating, but to edit, select and probe for the inner meaning and emotional impact of events which may change the destiny of our race." He urged quick action so that "the full flavor of the achievement …not be lost," and hoped that "the past held captive" in any paintings resulting from the effort "will prove to future generations that America produced not only scientists and engineers capable of shaping the destiny of our age, but also artists worthy to keep them company."(4)
Gordon Cooper, the last Mercury astronaut to fly, was scheduled to ride an Atlas rocket into orbit on May 15, 1963. That event would provide the ideal occasion for a test run of the plan Cooke and Dean evolved to launch the art program. In mid-February, Cooke provided Thompson with a list of the artists who should be invited to travel to Cape Canaveral to record their impressions of the event. Andrew Wyeth, whom the curator identified as "the top artist in the U.S. today," headed the list. When the time came, however, Andrew Wyeth did not go to the Cape for the Cooper launch, but his son Jamie would participate in the program during the Gemini and Apollo years.
The list of invited artists also included Peter Hurd, Andrew Wyeth's brother-in-law, who had served as a wartime artist with the Army Air Force; George Weymouth, whom Wyeth regarded as "the best of his pupils"; and John McCoy, another Wyeth associate. Cooke regarded the next man on the list, Robert McCall, who had been running the Air Force art program, as "America's top aero-space illustrator. Paul Calle and Robert Shore had both painted for the Air Force program. Mitchell Jamieson, who had run a unit of the Navy art program during WW II, rounded out the program. Alfred Blaustein was the only artist to turn down the invitation.
The procedures that would remain in place for more than a decade were given a trial run in the spring of 1963. The artists received an $800 commission, which had to cover any expenses incurred while visiting a NASA facility where they could paint whatever interested them. In return, they would present their finished pieces, and all of their sketches, to the space agency. The experiment was a success, and what might have been a one-time effort to dispatch artists to witness and record the Gordon Cooper flight provided the basis for an on-going, if small-scale, program. By the end of 1970, Jim Dean and Lester Cooke had dispatched 38 artists to Mercury, Gemini and Apollo launches and to other NASA facilities.
The art program became everything that Jim Webb had hoped it would be. NASA artists produced stunning works of art that documented the agency's step-by-step progress on the way to the moon. The early fruits of the program were presented in a lavishly illustrated book, Eyewitness to Space (New York: Abrams, 1971). Works from the collection illustrated NASA publications and were the basis for educational film strips aimed at school children. In 1965 and again in 1969 the National Gallery of Art mounted two major exhibitions of work from the NASA collection. The USIA sent a selection of NASA paintings overseas, while the Smithsonian Institution Traveling Exhibition Service created two exhibitions of NASA art that toured the nation.
"Since we …began," Dean noted in a reflection on the tenth anniversary of the program, the art initiative had resulted in a long string of positive "press interviews and reports, congressional inquiries, columns in the Congressional Record, [and] White House reports." The NASA effort, he continued, had directly inspired other government art programs. "The Department of the Interior (at least two programs), the Environmental Protection Agency, the Department of the Army and even the Veterans Administration have, or are starting, art programs." While he could not take all of the credit, Dean insisted that "our success has encouraged other agencies to get involved and they have succeeded, too."(5)
For all of that, he noted, it was still necessary to "defend" the role of art in the space agency. Dean, with the assistance of Lester Cooke, had been a one-man show, handling the complex logistics of the program, receiving and cataloguing works of art, hanging them himself in museums or on office walls, and struggling to find adequate storage space. In January 1976, a NASA supervisor went so far as to comment that: "Mr. Dean is far too valuable in other areas to spend his time on the relatively menial …jobs he is often burdened with in connection with the art program."(6) Dean placed a much higher value on the art collection, and immediately recommended that NASA officials either devote additional resources to the program, or get out of the art business and turn the existing collection over the National Air and Space Museum, "where it can be properly cared for."(7)
In January 1974 a new building for the National Air and Space Museum (NASM) was taking shape right across the street from NASA headquarters. Discussions regarding areas of cooperation were already underway between NASA officials and museum director Michael Collins, who had flown to the moon as a member of the Apollo 11 crew. Before the end of the year, the space agency had transferred its art collection to the NASM. Mike Collins succeeded in luring Jim Dean to the museum, as well.
The museum already maintained a small art collection, including portraits of aerospace heroes, an assortment of 18th and 19th century prints illustrating the early history of the balloon, an eclectic assortment of works portraying aspects of the history of aviation and a few recent prizes, including several Norman Rockwell paintings of NASA activity. With the acquisition of the NASA art, the museum was in possession of one of the world's great collections of art exploring aerospace themes. Jim Dean would continue to build the NASM collection as the museum's first curator of art. Following his retirement in 1980, other curators would follow in his footsteps, continuing to strengthen the role of art at the NASM. Over three decades after its arrival, however, the NASA art accession of 2,091 works still constitutes almost half of the NASM art collection.
(1) Stevenson's portrait is now in the collection of the National Air and Space Museum (1981-627)
(2) James E. Webb to Hiden Cox, March 16, 1962, memorandum in the NASA art historical collection, Aeronautics Division, National air and Space Museum. Webb's preference for a group portrait of the astronauts was apparently not heeded. In the end, Stevenson painted an individual portrait of John Glenn, which is also in the NASM collection (1963-398).
(3) Shelby Thompson, memorandum for the record, July 6, 1962, NASA art historical collection, NASA, Aeronautics Division.
(4) John Walker draft of a talk, March 5, 1965, copy in NASA Art historical collection, NASM Aeronautics Division.
(5) James Dean, memorandum for the record, August 6, 1973, NASA art history collection, NASM Aeronautics Division.
(6) Director of Planning and Media Development to Assistant Administrator for Public Affairs, January 24, 1974, NASA art history collection, NASM Aeronautics Division.
(7) James Dean to the Assistant Administrator for Public Affairs, January 24, 1974, copy in NASA Art history Collection, Aeronautics Division, NASM.
Tom D. Crouch
Senior Curator, Aeronautics
National Air and Space Museum
July 26, 2007
Transferred from the National Aeronautics and Space Administration
Do not reproduce without permission from the Smithsonian Institution, National Air and Space Museum
Sculpture and base: polished pink granite; Basin: concrete
Administered by Montgomery County Department Facilities/Services 110 North Washington Street, 3rd Floor Rockville Maryland 20850
Located Silver Spring Garage 7 8530 Cameron Street Silver Spring Maryland
Commissioned June 1987. Aug. 1988
Save Outdoor Sculpture, Maryland survey, 1992.
A large abstract granite sculpture consisting of a huge disc standing on its side on top of a truncated pyramid. Water comes out of the top of the disc and flows down the sides into a oval-shaped fountain basin. The sides of the disc are cut with striations which enhance the flow of water down the surface of the disc. The disc represents the sun and the striations cut into the sides represent clouds crossing the sun. The sculpture is made of a red granite from Pietra Santa, Italy. Sun strikes the disc in the morning, hence the title "Alba Rosa," which is Italian for red morning.
Art Inventories Catalog, Smithsonian American Art Museums
Administered by Fairleigh Dickinson University, Teaneck/Hackensack Campus Art Department 1000 River Road Teaneck New Jersey 07666
Located Fairleigh Dickinson University, Teaneck/Hackensack Campus Weiner Library Teaneck New Jersey
1955. Copyrighted 1955. Dedicated 1962
Save Outdoor Sculpture, New Jersey survey, 1994.
High-relief cast aluminum sculpture mounted to the side of a library building. In the center is the full-length figure of a reclining nude woman. She leans on her proper right arm; her head is turned and she gazes to the proper right. To the left of the female is a full-length standing figure of an Indian. He wears a loin cloth and a beaded sun medallion necklace. His arms are raised and he looks skyward. To the right of the female is a figure group of a man and young boy. The boy stands in front of the man; his arms reach up to the man. Above the head of the female is a grouping of several vertically hung flags with an American flag in the foreground. Above the flag grouping is a sun with a layer of cloud passing in front of it.
Art Inventories Catalog, Smithsonian American Art Museums
Boston Public Library 700 Boylston Street Boston Massachusetts 02116
Brumbaugh, Thomas B., "The Art of Gerald Brockhurst," Athens, GA: Georgia Museum of Art, University of Georgia, 1993, no. 46.
Portrait of a young boy standing in a landscape with his body facing forward and his gaze directed toward the viewer. He wears a white shirt with a white tie at the neck and a navy vest. His straight blond hair is cut short with bangs falling across his forehead. In the badckground there are rolling hills and a small river, and overhead wispy white clouds float across the sky.
Art Inventories Catalog, Smithsonian American Art Museums
Administered by United States Department of the Interior National Park Service Washington District of Columbia
Located John F. Kennedy Center for the Performing Arts Entrance Washington District of Columbia 20566
Save Outdoor Sculpture, District of Columbia survey, 1994.
Goode, James M., "The Outdoor Sculpture of Washington, D.C., A Comprehensive Historical Guide," Washington, D.C.: Smithsonian Institution Press, 1974, pg. 481-482.
Relief on the west side of the plaza at the entrance to the Kennedy Center is a tableau of people, buildings, and objects which represent the German artist's image of America. From left to right the images depicted are: a group of nude figures all reaching up toward sacks of wheat which are being unloaded from a U.S. ship docked at a nearby wharf (represents American foreign aid and the idea of survival); flanked by classical columns, five nude males stand around debating each other (represents free speech); large car bumpers with teeth for grills (represents technology); skyscrapers adorned with the phrases, "DONT WALK," "SOFT SELL," "PEACE ON EARTH," "BLESSED ARE THE MEEK," and large heads, lips, and eyes (represents the consumer apt to be persuaded by advertisers); Statue of Liberty standing in the midst of billowing clouds of smoke and flames, to her proper left, there are a group of flags, cannons pointing out from the bow of a ship, and a rocket taking off (represents threats to liberty).
Art Inventories Catalog, Smithsonian American Art Museums
American Indian nonfiction : an anthology of writings, 1760s-1930s / edited by Bernd C. Peyer
ix, 401 p. ; 24 cm
Northeast : the new England Indians. Short narrative of my life ; Beloved Brethren / Samson Occom -- Samson Occom biography -- Speeches to the Oneidas / Joseph Johnson -- Joseph Johnson biography -- History of the Muh-he-con-nuk Indians / Hendrick Aupaumut -- Hendrick Aupaumut biography -- Indian's looking glass for the white man / William Apess -- William Apess biography --
Northeast : the New York Indians. Address on the present condition and prospects of the original inhabitants of North America / Maris B. Pierce -- Maris B. Pierce biography -- Appeal to the Christian community / Nathaniel T. Strong -- Nathaniel T. Strong biography --
Southeast and Indian territory : the five tribes. Extract of a letter from Catherine Brown, to her brother David / Catherine Brown -- Catherine Brown biography -- Indian address / John Ridge -- John Ridge biography -- Letter to the editor of the Cherokee Phoenix / Elias Boudinot -- Resolutions of the treaty party / Elias Boudinot, John Ridge -- Elias Boudinot biography -- To the senate and house of representatives / John Ross ...[et al.] -- John Ross biography -- Cherokees, their history : present condition and future prospects / John Rollin Ridge -- John R. Ridge biography -- Remarks of Elias C. Boudinot, of the Cherokee nation, in behalf of the bill to organize the territory of Oklahoma / Elias C. Boudinot -- Elias C. Boudinot biography -- Indian's hard lot / DeWitt Duncan Clinton -- DeWitt Duncan Clinton biography -- Passing of Creek lands / Charles Gibson -- Charles Gibson biography -- Fus Fixico letter (1905) ; Fus Fixico letter (1906) / Alexander Lawrence Posey -- Alexander L. Posey biography -- Writes on feeding Democrats raw oratory at Jackson dinner ; Story of a misspent boyhood / Will Rogers -- Will Rogers biography --
Great lakes : the three fires. Account of the Chippewa Indians, who have been travelling among the whites, in the United States, England, Ireland, Scotland, France and Belgium / George Henry -- George Henry biography -- American Indians / George Copway -- George Copway biography -- Death of Chief I. H. Turtle / John Johnson -- John Johnson biography -- Red man's rebuke / Simon Pokagon -- Simon Pokagon biography -- Indian problem, from the Indian's standpoint / Andrew J. Blackbird -- Andrew J. Blackbird biography --
Transregional voices : the society of American Indians. Report of Colonel Parker on Indian affairs ; Letter to Harriet Maxwell converse / Ely S. Parker -- Ely S. Parker biography -- Letter to Major Henry Douglas ; Letter to Commissioner Ely S. Parker ; Petition to Congress / Sarah Winnemucca biography -- Indian question / Susette La Flesche -- Susette La Flesche biography -- Indian allotment / Francis La Flesche -- Francis La Flesche biography -- Why I am a Pagan ; America, home of the red man / Gertrude Bonnin -- Gertrude S. Bonnin biography -- Industrial organization for the Indian / Laura Cornelius Kellogg -- Laura C. Kellogg biography -- Native Indian Art / Angel De Cora Dietz -- Angel De Cora Dietz biography -- Teaching of ethnology in Indian schools / J.N.B. Hewitt -- J. N. B. Hewitt biography -- Indian reservation system ; Let my people go ; Truth is coming to light / Carlos Montezuma -- Carlos Montezuma biography -- Function of the society of American Indians / Sherman Coolidge -- Sherman Coolidge biography -- Legal status of the American Indian ; Civilizing power of language / Arthur C. Parker -- Arthur C. Parker biography -- Justice for the Sioux ; Indian's plea for freedom / Charles A. Eastman -- Charles A. Eastman biography -- New Indian leadership / John M. Oskison -- John M. Oskison biography -- Future of the red man in America / Henry Roe Cloud -- Henry Roe Cloud biography -- Tragedy of the Sioux / Luther Standing Bear -- Luther Standing Bear biography
Product Description: American Indian literature has deep roots. This collection of political writings covers nearly two centuries and represents a historical survey of the development of Indian nonfiction prose, from the missionary-trained writers of the late eighteenth century to the members of the first Indian intellectual network in the early twentieth century. Included are personal letters, sermons, printed speeches, autobiographical sketches, editorials, pamphlets, and humorous pieces. From early writers such as Samson Occom to twentieth-century writers such as Will Rogers and Luther Standing Bear, these authors were deeply committed to the welfare of their Native communities. Many of the pieces were quite popular in their day but have been lost to time.
American prose literature--Indian authors--History and criticism
American Indian Photographs, color reproductions, and other items by various commercial photographers and publishing companies ca. 1899-1913
Burbank, Elbridge Ayer
Detroit Photographic Company
Hillers, John K. 1843-1925
Barry, David Francis
Walton, W. R
H. H. Tammen Company
A. Hoen & Co
Campbell Art Company
Denver Lith. Co
Collier, R. F. & Son
Burbank, Elbridge Ayer
De Maris, Walter
King, George A
Remington, Frederic 1861-1909
Russell, C. M
Latox, G. ?
Latoy, G. ?
Garfield, James A Apache
Pouche Te Foya Chief
Left Hand Bear Chief
Stinking Bear Chief
Grass, John Chief
Bear Foot Chief
Hollow Horn Bear Chief
Sitting Bull Hunkpapa Dakota
Red Cloud Dakota Oglala
Big Bear Winnebago
Big Black Bear
Bull Head Dakota
Cody, William F
Eagle Feather Chief
Buckskin Charlie Sub Chief
Tsa wel la tsi tsa
In ih ti
American Indian Plains
Nez Percé Indians
Indians of North America Subarctic
Indians of North America Great Basin
Indians of North America Northeast
Indians of North America Great Plains
Indians of North America Plateau
Indians of North America Southwest, New
Catalog Number 4559: (1) Tribe: Apache Description: "Apache Chiefs Garfield, Pouche Te Foya and Sanches." (Color reproduction of photograph; Original Number 53413) (Studio) Photographer: Detroit Photographic Co. Date: 1899 (copyright) (2) Apache "Apaches. Chief James A. Garfield." (Color reproduction of photograph; Original Number 53412). Detroit Photographic Co. 1899 (copyright) (3) Arapaho "Chief Black-Coyote. Arapaho." (Color reproduction of painting). E. A. Burbank, Darlington, Oklahoma Territory. (Artist) 1899. (4) "Straight-Crazy. Arapaho." (Color reproduction of painting). E. A. Burbank, Darlington, Oklahoma Territory. (Artist) 1898. (5) Archeology: Arizona "Ruins of Cliff Dwellings in De Chelly Canon." Hillers See BAE Negative Number Ariz. 37. (6) Cheyenne "Red Woman. Southern Cheyenne." (Color reproduction of painting). E. A. Burbank, Darlington, Oklahoma Territory. (Artist) 1899. (7) Dakota "She-Comes-Out-First. Sioux." (Color reproduction of painting). E. A. Burbank, Pine Ridge, South Dakota. (Artist) 1899. (8) Dakota "Chief Stinking-Bear. Sioux." (Color reproduction of painting). E. A. Burbank, Pine Ridge, South Dakota. (Artist) 1899. (9) Dakota "Interior of a Sioux Lodge. Drawn---[Illeg.]--- expressly for the casket. S. C. Atkinson Publisher Philada." (Engraving). P. Rindisboreher [Rindisbacher] (Artist). "Aguatinted by J. Yeager."
Catalog Number 4559: (10) Tribe: Dakota (Blackfoot) Description: "Chief John Grass." Written on back: "John Grass- Chief Justice of the Indian court, held at Standing Rock, every two weeks." (Studio). Photographer: D. F. Barry, Wast Superior, Wisconsin Similar to 3115-c-1, but better. (11) Dakota (Brule) "Bear Foot, Chief Brule. In pencil: "Bothfeet." (Color reproduction of photo.) Heyn, Photo, Omaha. (Copy) Published by Burkley Printing Co., Omaha 1899 (copyright) See BAE Negative Number B-118 (Catalog Number 3696-e-4-b). (12) Dakota (Brule) "Chief Hollow Horn Bear." (Color reproduction of painting) Williamson-Haffner Co. (Copyright) (13) Dakota (Hunkpapa) "Chief Sitting Bull." (Color reproduction of painting). H. H. Tammen Co. (Copyright) (14) Dakota (Oglala) "Chief Red Cloud. Sioux." (Color reproduction of painting.) E. A. Burbank, Pine Ridge, South Dakota (Artist) 1899. (15) Dakota (Oglala) "Chief Red Cloud." (Color reproduction of painting). H. H. Tammen Co. Copyright. (16) Dakota (Oglala) "Left Hand Bear, Ogallala Sioux Chief." (Color reproduction) Heyn, Photo, Omaha. (Copyright) Published by Burkley Printing Co., Omaha 1899 (Copyright) See BAE Negative Number 45,247-M. (17) Eskimo "Esquimaux Toupek kyak and dog sledge. Tent a toupek made of seal skin." A summer house. (18) Eskimo "Group Esquimaux with their huts." Sod-covered winter house.
Catalog Number 4559: (19) Tribe: Eskimo Description: Group of Esquimaux with their hut." Sod-covered winter house. (20) "Esquimaux woomen with a child on he[r] back." (Two adults in photo). (21) Eskimo "Esquimaux man & wooman." (22) Hopi "Wolpi, one of Moqui Towns." Photographer: Hillers See BAE Negative Number Cf. 1828 (stereo; covers less area). (23) Four color reproductions on one page: Missouri "Big Bear," [Big BLack Bear--BAE] See BAE Negative Number 3821. Ponca "Big Chief. [Gahige or the chief--BAE 4188] See BAE Negative Number 4188. Chippewa "Noon Day." See BAE Negative Number 432. Pawnee "Bull Head." (24) Four color reproductions on one page: Dakota, Sioux "Black Hawk." Nez Perce "Chief Joseph." See BAE Negative Number 2906. Oto "Arkikita." [Arkeketah-- BAE] See BAE Negative Number 3826-a. Dakota Sioux [Hunkpapa] "Sitting Bull." (25) Navaho "Juan Pedro, A Navaho." (Color reproduction of painting). W. R. Walton (Copyright) (Artist ?) (26) Nez Perce "Chief Joseph. Nez-Perces." (Color reproduction of painting). E. A. Burbank, Nez-Pilem, Washington, (Artist) 1899. (27) Paloos "Hush-Low. Palouse." E. A. Burbank, Nez-Pilem, Washington, (Artist) 1899. (28) "Sincerely yours, Wm. F. Cody, Buffalo Bill." "This print was sold during the visit of Cody to England in the 1890's. A. Hoen & Co. Baltimore, Maryland [189-].
Catalog Number 4559: (29) Tribe: Flathead Description: "Dust Fly. Flathead." 2/3 profile portrait, half-length, seated. On back: "Dust Fly, Flathead-Salish. Painted at Polson, Montana, Jocko Reservation, Montana, 1913. A middle aged good type. He, on his charging horse make the dust fly, the meaning of his name. (sgd.) Joe Scheuerle." Also on painting: "To the Landis Bros. with my very best wishes J. Scheuerle. 7/1939" (Original painting) Photographer: Joe Scheuerle, 163 College Place, South Orange, New Jersey Date: 1913. (30) White (?) girl in Indian costume. (Fanciful.) Schlesinger Brothers, New York. (Copyright) 1911. (31) "The Call." Indian standing in canoe. (Color reproduction of painting; original Number 15100). Walter De Maris (Artist) (Copyright by) (National Art Co., New York, publishers). (32) "The New Neighbor." Indian looking down from rock ledge at covered wagon camp. Color reproduction of painting. George A. King (Artist) 1908. (33) Pueblo or Navaho "Chief Thunderbird." (Color reproduction of painting). H. H. Tammen Co. (Copyright). (34) Unidentified (Plains) "Chief Blackbird." Color reproduction of painting. (2 copies) H. H. Tammen Co. (Copyright) (35) Unidentified (Plains) "Chief Eagle Feather." (Color reproduction of painting). Artist: LBP ?, LBP ? H. H. Tammen Co. (Copyright). (36) Unidentified (Plains) Man in war bonnet. May be same man as 4559: (37). (Color post card, made in United Kingdom.)
Catalog 4559: (37) Tribe: Unidentified (Plains) Description: Man in war bonnet. May be same man as 4559: (36). Color post card, made in United Kingdom.) Photographer: H. H. Tammen Co. (Copyright). (38) Unidentified (Plains) Man in war bonnet. Color post card, made in United Kingdom. (39) Unidentified "A Forest Princess." (Tinted photograph; Original Number 7252.) Campbell Art Company, New York (publishers) (39a) Unidentified Embossed copy of same subject as 4559: (39); different coloring; no caption or source. (40) Unidentified "A Real American." Man in war bonnet, etc. (Tinted photograph; Original Number 7202.) Campbell Art Company, New York. (publishers) (41) Unidentified "Sachem." (Tinted photograph; Original Number 3002). Campbell Art Company, New York (publishers) (42) Unidentified "The Dead Man." (Color reproduction of painting). Frederick Remington (Artist) 1908 ?, Copyright 1909 by P. F. Collier & Son. (43) "Indians Simulating Buffalo." (Color reproduction of painting). Frederick Remington, (Artist) 1908 ?, Copyright 1909 by P. F. Collier & Son. (44) Unidentified (Plains) "When Sioux and Blackfeet Met." Battle scene. (Color reproduction of painting). Original Number MY7281). C. M. Russell 1908 (Artist) Copyright 1909, Brown & Bigelow, St Paul, USA. (45) Unidentified (Plains) "A Disputed Trail." Bear attacking white man on horse. (Color reproduction of painting). (Original Number MY8115). C. M. Russell (Artist) Copyright 1910, Brown & Bigelow, St Paul, USA 1908.
Catalog Number 4559: (46) Unidentified (Plains) "Caught With The Goods." Canadian Mounted Police capturing two Indians with captured ammunition, etc. (Color reproduction of painting). (Original Number 9670). C. M. Russell (Artist) Copyright 1913, Brown & Bigelow, St Paul, USA. (47) Unidentified (Plains) "Sun Worshippers." Three Indians on horseback. (Color reproduction of painting). (Original Number MY9282). C. M. Russell (Artist) Copyright 1911, Brown & Bigelow, St Paul, USA. (48) Unidentified (Plains) "Single Handed." Canadian Mounted policeman in a Plains camp. (Color reproduction of painting). (Original Number PMY9439). C. M. Russell (Artist) Copyright 1912, Brown & Bigelow, St Paul, USA 1912. (49) Ute "Group of Children." (four) (Color reproduction of studio photograph). (Original Number 53410). Detroit Photographic Co (Copyright) 1899 (Copyright). (50) Ute "Jose Romero and Family." (Color reproduction of studio photograph). (Original Number 53409). Detroit Photographic Co (Copyright) 1899 (Copyright). (51) Ute "Buckskin Charlie, Sub Chief." (Color reproduction of photograph). (Original Number 53407). Detroit Photographic Co. (Copyright) 1899 (Copyright) See BAE Negative Number 46,786. (52) Ute "Buckskin Charlie, Sub-Chief of the Utes." (Color reproduction of photograph.) (Original Number 50623). Same as 4559:(51) but larger. (53) Ute "A Southern Ute." Young man holding bow and arrows. (Color reproduction of painting). G. Latox or Latoy (Artist) , The Denver Lith. Co., Denver, Colorado)
Catalog NUmber 4559: (54) Tribe: Zuni Description: "A Zuni Maiden." At bottom of photo in pencil: "Tsa wel la tsi tsa." Photographer: Hillers Date:  See BAE Negative Number 2240-b. (55) Zuni "Governors of Zuni." Hillers  See BAE Negative Number 2255-c-1. (56) Zuni "Zuni transportation." [extreme left] "In ih ti"; [extreme right] "Ho ta". Hillers  See BAE Negative Number 2267-a. (57) Zuni "The Mesa, The site of Zuni." Hillers  See BAE Negative Number 2267-e. (58) Zuni "Terraced houses, Zuni." Hillers  See BAE Negative Number 2267-j. (59) Zuni The Governor's House, Zuni." Hillers  See BAE Negative Number 2267-v. (60) Zuni "Modern Pueblo, Zuni." Hillers  See BAE Negative Number 2267-w. (61) Zuni "First Terrace of Zuni." Hillers  See BAE Negative Number 2267-x. (62) Zuni "General View of Zuni." Hillers  See BAE Negative Number 2308-c. (63) Zuni "Zuni Water Carrier." Hillers  See BAE Negative Number 2380.
Manuscript 4559, National Anthropological Archives, Smithsonian Institution
Pt. 1. Ancient America. The Indians' old world: Native Americans and the coming of Europeans / Neal Salisbury ; Nanih Waiya, the sacred mound of the Choctaws / H.S. Halbert ; Legend of Nanih Wayah / Muriel Hazel Wright -- pt. 2. First encounters. The Anglo-Algonquian gender frontier / Kathleen M. Brown ; Castaęda's history of the expedition / Pedro de Castañeda of Náxera ; Voyages of Samuel de Champlain, 1604-1618 / Samuel de Champlain -- pt. 3. International diplomacy and cultural exchange. Dressing for success on the Mohawk frontier: Hendrick, William Johnson, and the Indian fashion / Timothy J. Shannon ; Excerpts from the Treaty of Lancaster, 1744 ; Witham Marshe's journal of the treaty held with the Six Nations by the commissioners of Maryland, and other provinces, at Lancaster -- pt. 4. Cherokee removal. Evidence of surplus production in the Cherokee Nation prior to removal / David M. Wishart ; Excerpts from census roll, 1835, of the Cherokee Indians east of the Mississippi ; Three excerpts from The Cherokee Phoenix -- pt. 5. Sacred places. The sacred Black Hills: an ethnohistorical review / Linea Sundstrom ; Land of the spotted eagle / Luther Standing Bear ; The sixth grandfather: Black Elk's teachings given to John G. Neihardt / Raymon J. DeMallie -- pt. 6. Boarding schools. "Hm! White boy! You got no business here!" / K. Tsianina Lomawaima ; Supplemental report on Indian education / Thomas J. Morgan ; Education of the American Indian / Henry Roe Cloud -- pt. 7. Red Power. Remembering Alcatraz: twenty-five years after / Troy Johnson and Joane Nagel ; Alcatraz, activism, and accommodation / Vine Deloria, Jr. ; Mankiller: a chief and her people / Wilma Mankiller and Michael Wallis
Frame: 286.1 x 206.4 x 6.4cm (112 5/8 x 81 1/4 x 2 1/2")
Seventh president, 1829-37
With the possible exception of Abraham Lincoln, no nineteenth-century president wielded his powers more aggressively than Andrew Jackson, which is confirmed by his use of the presidential veto over Congress. Unlike his predecessors, who invoked that power on strictly constitutional grounds, Jackson vetoed key congressional measures, not because he deemed them illegal, but simply because he did not like them. In doing so, he set a precedent that vastly enlarged the presidential role in congressional lawmaking. Among Jackson's opponents, this executive activism drew charges of dictatorship. Those accusations, however, carried little weight among yeoman farmers and laborers, who doted on Jackson's professed opposition to elitism.
Jackson is here depicted in the last year of his presidency, standing on the east portico of the White House with the Capitol in the distance. In 1836 Jackson selected the plan, architects, and site for the new Patent Office Building, now the home of the National Portrait Gallery and the Smithsonian American Art Museum. At the same time, he signed into law a statute that has remained the backbone of the U.S. patent system.
Clothing & Apparel\Dress Accessory\Headgear\Hat
Nature & Environment\Clouds
Nature & Environment\Plant\Tree
Clothing & Apparel\Dress Accessory\Glove\Gloves
Clothing & Apparel\Cape
Andrew Jackson: Law and Law Enforcement\Lawyer
Andrew Jackson: Military and Intelligence\Army\Officer\General
Andrew Jackson: Politics and Government\US Senator\Tennessee
Andrew Jackson: Politics and Government\President of US
Andrew Jackson: Politics and Government\US Congressman\Tennessee
Andrew Jackson: Law and Law Enforcement\Judge\Justice\State Supreme Court Justice\Tennessee
Andrew Jackson: Politics and Government\Governor\Florida
Andrew Standing Soldier : a retrospective exhibition / organized by The Heritage Center, Inc., Red Cloud Indian School, The University Art Galleries, The University of South Dakota
Standing Soldier, Andrew 1917-
University of South Dakota University Art Galleries
Heritage Center (Pine Ridge, S.D.)
W.H. Over Museum
Standing Soldier, Andrew 1917
36 p. : ill ; 18 cm
"Exhibition dates: April 23-May 20, 1990, The Heritage Center, Inc., Red Cloud Indian School, Rine Ridge, South Dakota ; June 1-30, 1990, Sletwold Hall, W.H. Over Museum, The University of South Dakota, Vermillion, South Dakota."
Administered by Samford University 800 Lakeshore Drive Homewood Alabama 35229
Dwight and Lucille Beeson Center for the Healing Arts Dawson Drive Homewood Alabama
Save Outdoor Sculpture, Alabama survey, 1993.
Winged angel, her hair in loose waves, stands barefoot on a cloud-like form. She is dressed in billowing, full-length drapery which is gathered at the waist. Her hands are outstretched in a welcoming gesture. Sculpture and stone base sit inside a raised planting bed.
Art Inventories Catalog, Smithsonian American Art Museums