The collection consists of photographs collected by the Albertype Company for their postcards and viewbooks, including portraits, scenery, camps, American Indian schools, and some paintings and composites for postcard printing. Additional subjects include rock drawings in Maine; a statue in Kansas City, Missouri; Standing Rock Monument in North Dakota; people in Atlin, British Columbia; Carib rock drawings in the Virgin Islands; and totem poles in Vancouver.
Included are works of Charles Milton Bell, E. A. Benson, C. R. Bourne, H. E. Brown, William Bull, H. H. Clarke, George B. Cornish, Frank Bennett Fiske, H. Lee Flood, N. W. Halsey, Fred Harvey, H. R. Hazeltine, Kiser Photograph Company, W. H. Martin, C. W. Mathers, Frank Matsura, W. H. Matthewson, Charles E. Morris, Ernest Moses, J. S. Myers, M. OʹConnor, G. W. Parsons, Roland W. Reed, C. B. Robinson , J. E. Stimson, W. M. Stoltz, and H. H. Watkins. Clarke and Fiske, however, are the only photographers with more than a few images.
The Albertype Company, headquartered in Brooklyn, New York, published viewbooks and postcards for national distribution. Founded by Adolph and Herman Witteman, the company began publishing souvenier photographic albums as early as 1867. The Wittemans established Witteman Brothers in 1885, and then the Albertype Company in 1890. From 1890 to 1950, the firm published collotypes made from the photographs of its agents (including Adolph Witteman), other companies, and independent photographers. The firm was purchased in 1952 by Art Vue Post Card Company.
Local Call Number(s):
NAA Photo Lot 25
Modern copy negatives and prints made by Smithsonian Institution, circa 1972.
Location of Other Archival Materials:
The Library of Congress, Wisconsin Historical Society, and Historical Society of Pennsylvania also hold original Albertype Company prints and negatives.
Albertype Company views are also held in National Anthropological Archives Photo Lot 88-37, Photo Lot 92-37, and Photo Lot 92-3.
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Albertype Company photograph collection relating to American Indians, circa 1890-1910
Original nitrate negatives are in cold storage and require advanced notice for viewing. Modern copy prints and copy negatives for nearly all images are available.
The collection consists of photographs relating to Native Americans, which were submitted to the copyright office of the Library of Congress in and around the early 20th century. Many of the photographs are studio portraits as well as photographs made as part of expeditions and railroad surveys. It includes images of people, dwellings and other structures, agriculture, arts and crafts, burials, ceremonies and dances, games, food preparation, transportation, and scenic views. Some of the photographs were posed to illustrate literary works, including Henry Wadsworth Longfellow's Hiawatha, while others depict paintings or other artwork.
The collection was formed from submissions made to the Library of Congress as part of the copyright registration process. In 1949, arrangements were made to allow the Bureau of American Ethnology to copy the collection and some negatives were made at that time, largely from the Heyn and Matzen photographs. The project was soon abandoned, however, as too large an undertaking for the facilities of the BAE. In 1957-1958, arrangements were begun by William C. Sturtevant of the BAE to transfer all of the photographs from the Library to the BAE.
Local Call Number(s):
NAA Photo Lot 59
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Library of Congress Copyright Office photograph collection of American Indians, 1860s-1930s (bulk 1890s-1920s)
In 1965, the Bureau merged with the Smithsonian's Department of Anthropology to form the Smithsonian Office of Anthropology, and in 1968 the Office of Anthropology Archives transformed into the National Anthropological Archives.
The collection is open for research.
Access to the collection requires an appointment.
Photo Lot 59, Library of Congress Copyright Office photograph collection of American Indians, National Anthropological Archives, Smithsonian Institution
Drawings in a small notebook of ruled paper, now disbound, covers retained. Drawings document an 1887 hunting excursion taken by Colonel Bliss of Fort Supply (in Indian Territory) and Major John Dunlop, a visitor to the fort from Washington D.C.. Included in the manuscript are a cyanotype picture featuring Colonel Bliss, end papers, and covers of the book as well as a typescript note pasted to the inside cover describing the drawings. The inscription reads as follows: "This pictorial history of various hunts made by Cheyenne Indians, and white men, was drawn and painted entirely by Squint Eye, a Cheyenne and Sergeant of the Scouts at Fort Supply, Indian Territory, April 1887. It will be observed that Sergt. Squint Eye, and Major Dunlop are the most important personages represented ; and it will also be observed that the Sergt. never forgets to put on his stripes, or chevrons. If any difference is noticed between the verbal report made by the major, of his encounter with the Catamount, and Squint eye's representation of it, it will please be ascribed to the native Scotch and Cheyenne modesty of the participants. Fort Supply, I.T., April 17, 1887, with compliments of Z.R. Bliss, on this his birthday." Many drawings are inscribed names identifying the figures, most of whom are Cheyenne men who were enlisted as Army scouts.
Biographical / Historical:
Tichkematse a.k.a. Squint Eyes, Quchkeimus (1857-1932) was one of the best known groups of Plains artists was among the men held prisoner at Fort Marion in Saint Augustine, Florida, from 1875-1878. Tichkematse, a Cheyenne, was one of these prisoner artists. While imprisoned, he learned to speak English and to read and write. Upon release he attended school at the Hampton Institute in Virginia for about a year before coming to the Smithsonian. There he was trained in the preparation of bird and mammal specimens for study and display. During his time at the Smithsonian, he also produced drawings illustrating his old life on the Plains, full of buffalo hunts and battles as well as everyday camp life. In 1880 he returned to the Cheyenne and Arapaho Reservation in what is now Oklahoma, but he continued his affiliation with the Smithsonian. He was active in collecting bird and mammal specimens as well as craft items acquired from Cheyenne friends and relatives, which he shipped to the museum. For additional information on Tichkematse, see Plains Indian Art from Fort Marion by Karen Daniels Petersen (University of Oklahoma Press, Norman, OK 1971), "Squint Eyes: Artist and Indian Scout" by Bob Rea, (2002) www.nmnh.si.edu/naa/scout, and "Tichkematse: A Cheyenne at the Smithsonian" by Candace Greene, (2000) www.nmnh.si.edu/naa/squint_eyes/squint_eyes.htm. For further information on the Cheyenne scouts and their artwork, see "Artists in Blue: the Indian Scouts of Fort Reno and Fort Supply," by Candace S. Greene (American Indian Art Magazine, Winter 1992, pp.50-57) Major John Dunlop was a supply sergeant in San Antonio before the Civil War, then went to Mexico, and later to Washington. While in Washington he met Col. Bliss and the maintained a friendship over time, resulting in his visiting Bliss in Indian Territory and participating in the hunt depicted.
Fort Supply, established in 1868, was initially designated as a supply camp where U.S. Cavalry troops could restock and refresh themselves. It was from this post that Custer and the Seventh Cavalry marched to the Battle of Washita. Over the next twenty-five years, soldiers from Fort Supply performed duties that included peace-keeping and monitoring of the Cheyenne and Arapaho reservation and the Cherokee Outlet as well as monitoring the Land Run of 1893. From 1869 to early 1870, the post served as the temporary location for the Cheyenne and Arapaho Indian Agency. For more information on Fort Supply see Fort Supply, Indian Territory: Frontier Outpost by Robert C. Carriker, 1990 Norman: University of Oklahoma Press; and "History of Fort Supply" at http://www.ok-history.mus.ok.us/mus-sites/fshistory.htm.
NAA ACC 91-13
NAA MS 7500
United States Indian Territory Fort Supply.
United States Oklahoma Fort Supply.
MS 7500 000
Manuscript 7500, National Anthropological Archives, Smithsonian Institution
Relate to Arapaho(s), Dakota (some Oglala) and probably Dakota Indians (25), most on mount of D. S. Mitchell, Eddy Street, Cheyenne, Wyoming, others on unprinted mounts; and 1 Shoshoni photograph on mount of Howard, Fort San[ders ?], Wyoming Territory. All on carte de visite style mounts.
Catalog Number 4754: (1) Tribe: Arapaho Description: "Sharp Nose" Photographer: D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,703. (2) Arapaho "White Horse" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 132-c. (3) Arapaho "Friday" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,704. (4) Arapaho "Black Coal" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,705. (5) Cheyenne "Little Wolf" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 54,855-B. (6) Dakota (Oglala) "Red Cloud" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3237-d. (7) Dakota (Oglala) "American Horse" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3214-c. (8) Dakota (Oglala) "Little Big Man" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3215-b. (9) Dakota (Oglala) "Three Bears" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3207-b. (10) Dakota (Oglala) "He Dog" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3229-b. (11) Dakota (Oglala) Red Dog D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3208-b. (12) Dakota (Oglala) "Little Wound" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3219-b. (13) Dakota (Oglala) "Slow Bull" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,717. (14) Dakota (Oglala) Young Man Afraid of His Horses D. S. Mitchell, Eddy Street, Cheyenne , Wyoming Negative Number 55,718. (15) Dakota (Oglala) "Red Shirt" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,719.
Catalog Number 4754: Tribe: (16) Dakota Description: "Rockey Bear" Photographer: D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3711-o-1. (17) Dakota "The one that Sleeps Negative Number 3711-p. (18) Dakota "Long Bull" Negative Number 3656-c. (19) Dakota "Washington Enlisted Man" See (20), below Negative Number 3655-d. (29) Dakota "Stands First" Same individual as (19), above. Bureau of American Ethnology file print gives name as Stands First Negative Number 55,708. (20) Dakota "Pawnee Killer" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,707. (21) [Dakota ?] Man wearing three-cornered hat, holding pipe D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,709. (22) [Dakota ?] "6 Feather" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,710. (25) [Dakota ?] "Little Wolf" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,713. (23) [Dakota ?] "Black Bear" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negaive Number 55,711. (24) [Dakota ?] "White Bird" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,712. (26) [Dakota ?] "Walking Cane" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,714. (27) [Dakota ?] "Money" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,715. (19) ? [Dakota ?] "Yellow Bear" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,706. (28) [Dakota ?] "Feather Head Negative Number 55,716. Shoshoni "Shoshone Squaw" Photographer: Howard, Fort San[ders ?], Wyoming Territory Negative Number 55,720.
NAA MS 4754
Copy negatives are on file for all (Negatives 54,855-B and 55,703-55,720 made 2/66; others were previously on file.)
This collection consists of 145 postcards and 11 photographs depicting indigenous peoples of the Americas, with dates ranging 1890 – 1930s. The bulk of the collection consists of postcards of Native communities throughout the United States, and includes portrait images, dwellings, basket-making, weaving, and crafts.
Scope and Contents:
The Dale Jenkins postcard and photograph collection consists of 145 postcards and 11 photographs with dates ranging 1890 – 1930s. The images depict indigenous peoples of the Americas, and spans a large geographical breadth extending from the Arctic in the north to Chile and Peru in South America. The bulk of the collection consists of postcards of Native communities throughout the United States, with a significant number of images depicting various Pueblo and Southwest cultural groups; many of these latter postcards were produced by the Fred Harvey Company. A number of the postcards and photographs include portrait images, dwellings, basket-making, weaving, and crafts. Also of particular note are 13 scenes of daily life at a number of different Indian Boarding Schools at the turn of the twentieth century. Finally, in addition to the postcard images are 11 photographs consisting of cabinet cards and other photographic prints.
This collection is arranged into 11 series, organized thematically (Indian Boarding Schools) and then regionally by location or culture group. Series 1: Indian Boarding Schools, Series 2: Arctic/Subarctic, Series 3: Northwest Coast,
Series 4: California, Series 5: Great Basin/Plateau, Series 6: Southwest, Series 7: Plains, Series 8: Northeast/Great Lakes, Series 9: Southeast, Series 10: Mexico/Central America, Series 11: South America
Biographical / Historical:
Dale Jenkins is a retired Financial Planner living in California, having previously worked in the Aerospace industry. He has collected late-nineteenth- and early-twentieth-century American photographs and postcards for over 30 years. In addition to archival collections donated to the Smithsonian Institution's National Museum of the American Indian, Jenkins has also donated postcard and photograph collections to the California Museum of Photography, the California Historical Society, and the Museum of the City of New York.
This collection was donated by Dale Jenkins in 2013 and 2014.
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: firstname.lastname@example.org).
Mille Lacs Band of Chippewa Indians. Minnesota Search this
Identification of specific item; Date (if known); Dale Jenkins postcard and photograph collection, NMAI.AC.069, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
These papers reflect the professional lives of Alice Cunningham Fletcher (1838-1923), an ethnologist with the Peabody Museum of Harvard and collaborator with the Bureau of American Ethnology, and Francis La Flesche (1856-1923), an anthropologist with the Bureau of American Ethnology. Due to the close professional and personal relationship of Fletcher and La Flesche, their papers have been arranged jointly. The papers cover the period from 1874 to 1939. Included in the collection is correspondence, personal diaries, lectures, field notes and other ethnographic papers, drafts, musical transcriptions, publications by various authors, maps and photographs.
Scope and Contents:
These papers reflect the professional lives of Alice Cunningham Fletcher (1838-1923), an ethnologist with the Peabody Museum of Harvard University and collaborator with the Bureau of American Ethnology, and Francis La Flesche (1856-1923), an anthropologist with the Bureau of American Ethnology. Due to the close professional and personal relationship of Fletcher and La Flesche, their papers have been arranged jointly. The papers cover the period from 1874 to 1939. Included in the collection is correspondence, personal diaries, lectures, field notes and other ethnographic papers, drafts, musical transcriptions, publications by various authors, maps and photographs.
The papers have been divided into three general categories: the papers of Alice Cunningham Fletcher, the papers of Francis La Flesche, and the ethnographic research of Fletcher and La Flesche. The first two categories represent personal and professional materials of Fletcher and La Flesche. The third section holds the majority of the ethnographic material in the collection.
Of primary concern are Fletcher and La Flesche's ethnological investigations conducted among the Plains Indians, particularly the Omaha and Osage. Fletcher's Pawnee field research and her allotment work for the Bureau of Indian Affairs among the Omaha, Nez Perce, and Winnebago are represented in the collection. A substantial portion of the ethnographic material reflects Fletcher and La Flesche's studies of Native American music. Much of the correspondence in the papers of Fletcher and La Flesche is rich with information about the situation of Omaha peoples in the late nineteenth and early twentieth centuries.
Also included in the collection are documents related to Fletcher's work with the Archaeological Institute of America and the School for American Archaeology. Additionally, substantial amounts of Fletcher's early anthropological and historical research are found among her correspondence, lectures, anthropological notes, and early field diaries. La Flesche's literary efforts are also generously represented.
The collection is divided into the following 3 series: 1) Alice Cunningham Fletcher papers, 1873-1925; 2) Francis La Flesche papers, 1881-1930; 3) Papers relating to the anthropological research of Alice Fletcher and Francis La Flesche, 1877-1939.
Series 1: Alice Cunningham Fletcher papers is divided into the following 10 subseries: 1.1) Incoming correspondence, 1874-1923 (bulk 1882-1923); 1.2) Outgoing correspondence, 1873-1921; 1.3) Correspondence on specific subjects, 1881-1925; 1.4) Correspondence between Fletcher and La Flesche, 1895-1922; 1.5) Publications, 1882-1920; 1.6) Organizational records, 1904-1921; 1.7) General anthropological notes, undated; 1.8) Lectures, circa 1878-1910; 1.9) Diaries, 1881-1922; 1.10) Biography and memorabilia, 1878-1925.
Series 2: Francis La Flesche papers is divided into the following 6 subseries: 2.11) General correspondence, 1890-1929; 2.12) Correspondence on specific subjects, 1881-1930; 2.13) Publications, 1900-1927; 2.14) Literary efforts, undated; 2.15) Personal diaries, 1883-1924; 2.16) Biography and memorabilia, 1886-1930.
Series 3: Papers relating to the anthropological research of Alice Fletcher and Francis La Flesche is divided into the following 12 subseries: 3.17) Alaska, 1886-1887; 3.18) Earth lodges, 1882, 1898-1899; 3.19) Music, 1888-1918; 3.20) Nez Perce, 1889-1909; 3.21) Omaha, 1882-1922; 3.22) Osage, 1896-1939; 3.23) Pawnee, 1897-1910; 3.24) Pipes, undated; 3.25) Sioux, 1877-1896; 3.26) Other tribes, 1882-1922; 3.27) Publications collected, 1884-1905, undated; 3.28) Photographs, undated.
Biographical / Historical:
Alice Cunningham Fletcher (1838-1923) was an ethnologist with the Peabody Museum of Harvard and collaborator with the Bureau of American Ethnology. Francis La Flesche (1856-1923) was an anthropologist with the Bureau of American Ethnology.
Chronology of the Life of Alice Cunningham Fletcher
1838 March 15 -- Born in Havana, Cuba
1873-1876 -- Secretary, American Association for Advancement of Women
1879 -- Informal student of anthropology, Peabody Museum, Harvard University
1881 -- Field trip to Omaha and Rosebud Agencies
1882 -- Assistant in ethnology, Peabody Museum, Harvard University
1882 -- Helped secure land in severalty to Omaha Indians
1882-1883 -- Begins collaboration with Francis La Flesche on the Peabody Museum's collection of Omaha and Sioux artifacts
1883-1884 -- Special Agent, Bureau of Indian Affairs, Omaha Agency
1886 -- Bureau of Education investigation of Alaskan native education
1887-1888 -- Special Disbursing Agent, Bureau of Indian Affairs, Winnebago Agency
1889-1892 -- Special Agent for allotment, Bureau of Indian Affairs, Nez Perce Agency
1890-1899 -- President, Women's Anthropological Society of America
1891-1923 -- Mary Copley Thaw Fellow, Peabody Museum, Harvard University
1892-1893 -- Department of Interior consultant, World's Columbian Exposition
1896 -- Vice-President, Section H, American Association for the Advancement of Science
1897 -- Collaborator, Bureau of American Ethnology
1899-1916 -- Editorial board, American Anthropologist
1900 -- Published Indian Story and Song from North America
1901-1902 -- Advisory committee, Anthropology Department, University of California at Berkeley
1903 -- President, Anthropological Society of Washington
1904 -- Published The Hako: A Pawnee Ceremony with James Murie
1908-1913 -- Chair, Managing Committee of School of American Archaeology
1911 -- Honorary Vice-President, Section H, British Association for Advancement of Science
1911 -- Published The Omaha Tribe with Francis La Flesche
1913 -- Chair Emeritus, Managing Committee of School of American Archaeology
1915 -- Published Indian Games and Dances with Native Songs Arranged from American Indian Ceremonials and Sports
1923 April 6 -- Died in Washington, D.C.
Chronology of the Life of Francis La Flesche
1857 December 25 -- Born on Omaha Reservation near Macy, Nebraska
1879 -- Lecture tour, Ponca chief Standing Bear
1881 -- Interpreter, Senate Committee on Indian Affairs
1881-1910 -- Clerk, Bureau of Indian Affairs
1891 -- Informally adopted as Fletcher's son
1892 -- LL.B., National University Law School
1893 -- LL.M., National University Law School
1900 -- Published The Middle Five: Indian Boys at School
1906-1908 -- Marriage to Rosa Bourassa
1910-1929 -- Ethnologist, Bureau of American Ethnology
1911 -- Published The Omaha Tribe with Alice Fletcher
1921 -- Published The Osage Tribe, Part One
1922 -- Member, National Academy of Sciences
1922-1923 -- President, Anthropological Society of Washington
1925 -- Published The Osage Tribe, Part Two
1926 -- Honorary Doctor of Letters, University of Nebraska
1928 -- Published The Osage Tribe, Part Three
1932 -- Published Dictionary of the Osage Language
1932 September 5 -- Died in Thurston County, Nebraska
1939 -- Posthumous publication of War Ceremony and Peace Ceremony of the Osage Indians
Additional material related to the professional work of Fletcher and La Flesche in the National Anthropological Archives may be found among the correspondence of the Bureau of American Ethnology (BAE) and the records of the Anthropological Society of Washington.
Sound recordings made by Fletcher and La Flesche can be found at the Library of Congress. The National Archives Records Administration hold the Records of the Bureau of Indian Affairs (BIA), including those relating to allotments in severalty for the Nez Perce by Alice Fletcher. The Nebraska Historical Society has diaries, letters and clippings regarding the La Flesche family, including correspondence of Francis La Flesche and Fletcher. The Radcliffe College Archives holds a manuscript account of Alice Fletcher's four summers with the Nez Perce (1889-1892). Correspondence between Fletcher and F. W. Putnam is also located at the Peabody Museum Archives of Harvard University.
Ethnographic photographs from the collection have been catalogued by tribe in Photo Lot 24.
Glass plate negatives from the collection have been catalogued by tribe in the BAE glass negatives collection (Negative Numbers 4439-4515).
The papers of Alice Cunningham Fletcher and Francis La Flesche have been received from an undocumented number of sources. Portions of Fletcher's ethnographic papers were donated to the archives by Mrs. G. David Pearlman in memory of her husband in 1959.
The Alice Cunningham Fletcher and Francis La Flesche papers are open for research.
Access to the Alice Cunningham Fletcher and Francis La Flesche papers requires an appointment.
The bulk of the collection consists of portraits of identified American Indians and some government officials and interpreters. It includes cabinet cards, other mounted prints, newspaper articles, illustrations, and a photographic postcard. Depicted individuals include American Horse, Oglala; Black Hawk, Sauk; Bob Tail, Cheyenne; Crowfoot, Hunkpapa; Gaul, Hunkpapa; Geronimo, Chiricahua; John Grass, Teton; Chief Joseph, Nez Perce; Little Wound, Oglala; Medicine Bull, Hunkpapa; Osceola, Seminole; Ouray, Ute; Litte Raven, Arapaho; Plenty Coups, Crow; Pocahontas, Powhatan; Rain in the Face, Hunkpapa; Red Cloud, Oglala; Red Iron, Dakota; Short Man, Piegan; Sitting Bull, Hunkpapa; Standing On Prairie, Siouan; Thayendanegea (Joseph Brant), Mohawk; Two Guns White Calf, Piegan; Two Moon, Cheyenne; and Washakie, Shoshoni.
Local Call Number(s):
NAA Photo Lot 87-2P
Smithsonian Institution Bureau of American Ethnology photograph collections, undated
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United States National Museum Department of Anthropology photograph collection of American Indians, undated
The collection is open for research.
Access to the collection requires an appointment.
Photo lot 87-2P, United States National Museum Department of Anthropology photograph collection of American Indians, National Anthropological Archives, Smithsonian Institution
Photographs made by Herman J. Viola, depicting the 1973 Institute of American Indian Art meeting, Wolf Robe Hunt and his Acoma pottery, the transfer of Blue Eagle collection from Mae Abbott home to National Anthropological archives, and the 1974 Star Hawk Pow Wow in Watonga, Oklahoma. Additionally, there are photographs of NAA staff and the 1974 Acee Blue Eagle reception at NAA, possibly made by Viola. The collection also contains some photographs of Wounded Knee taken by Rev. Salvatore Genete, and copies of official portraits of Governor Aquillar of San Ildefonso Pueblo made by Harry B. Neufeld. There are also National Archives photographs of Chinese Boxer Rebellion prints, and Young watercolors and Alden sketches of American landscapes.
Much of the collection consists of portraits of participants in the NAA's American Indian Cultural Resources Training Program made by Smithsonian photographers, including Victor Krantz. These individuals include: Harry Walters, Navajo; Anna Walters, Otoe-Pawnee; George Sutton, Southern Arapaho; Sarah Yazzie, Navajo; Rubie Sootkis, Norther Cheyenne; David Fanman, Cheyenne; Augustine Smith, Navajo; Lorraine Bigman, Navajo; Jim Jefferson, Southern Ute; Rose Marie Pierite Gallardo, Tunica-Biloxi; George Horse Capture, Gros Ventre; Violet Zospah, White Mountain Apache; Gloria Anderson, Mille Lacs; Wenonah Silva, Wampanoag; Claire Lamont, Oglala; George Wasson, Coos-Coquille; Virginia Martin, Yakama; Gary Roybal, San Ildefonso; Richard Ground, Sihasapa; Almeda Baker, Hidatsa; June Finley, Hidatsa; Lida Young Wolf, Hidatsa; Christine Webster, Menominee; Rose Marie Roybal, Puyallup; Vivienne Jake, Kaibab-Paiute; Kim Yerton, Hupa; Dean Jacobs, Ojibwa; Lois Nowlin, Shawnee; Bonita McCloud, Nisqually; Gloria Maude Blackbird Cheswalla, Osage; Emily Peake, Ojibwa; Gordon McLester, Oneida; Mary Seth, Nez Perce; Bill Tohee, Oto-Missouria; Frank LaPena, Wintu; Juanita McQuistion, Wyandot; Carson Waterman, Seneca; Elton Stumbling Bear, Kiowa Apache; Patrick Chief Stick, Chippewa-Cree; Lynne Walks-on-Top, Spokane; Ethelyn Garfield, Paiute; Nora Dauenhauer, Tlingit; Caroline B. Jones, Tulalip; Grace F. Thorpe, Sauk and Fox; Dixie Lee Davis, Yavapai; Lynn D. Pauahty, Kiowa; David Lee Harding, Ojibwa; Robert V. Bojorcas, Klamath; Patty Leah Harjo, Seneca-Cayuga; Steven DeCoteau, Clallam; Robert Van Gunten, Ojibwa; Danny K. Marshall, Steilacoom; Meredith P. Flinn, Makah; Rhonda Hulsey, Chickasaw; Betty J. Brown, Choctaw; Vernon Calavaza, Zuni; Jack Bowen Jr., Upper Skagit; and Harry William Jr., Pima.
Herman Joseph Viola is a historian of the American Indian who was director of the National Anthropological Archives from 1972-1989 and founding editor of Prologue: The Journal of the National Archives. In 1973, he launched the American Indian Cultural Resources Training Program, designed to entice American Indians into becoming professional archivists, librarians, curators, and historians through research and internships at the NAA.
Local Call Number(s):
NAA Photo Lot 74-17
Location of Other Archival Materials:
The National Anthropological Archives holds Viola's papers from 1980-1981.
Records relating to the American Indian Cultural Resources Training Program can be found in the National Anthropological Archives in the Records of the National Anthropological Archives.
Photo lot 74-17, Herman J. Viola photograph collection of Star Hawk Pow Wow, American Indian Cultural Resources Training Program, and acquisition trips for NAA, National Anthropological Archives, Smithsonian Institution