This collection include souvenir photographs shot by producer Frank E. Moore of his 1906 outdoor stage production of "Hiawatha: The Indian Passion Play" based on Longfellow's epic poem The Song of Hiawatha. This production of Hiawatha was performed near the Cattaraugus Reservation, New York, and included Seneca [Cattaraugus] performers, possibly with Jesse Cornplanter in the role of Hiawatha.
Scope and Contents:
This collection includes 98 photographic prints from a souvenir book of a 1906 performance of "The Song of Hiawatha" produced by Frank E. Moore. The performance was held on the shore of Lake Chautauqua near the Cattaraugus Reservation. It is very likely that several of the performers photographed in this collection were also a part of the 1913 film production of Hiawatha, also produced by Frank E. Moore. This includes Jesse Cornplanter, in the role of Hiawatha, and his father Edward Cornplanter. The photographs show scenes from the theatrical production featuring characters such as Hiawatha, Minnehaha, Nokomis, and Pau-Puk-keewis. 18 copy negatives were later made from the photographic prints.
Henry Wadsworth Longfellow first published the epic poem, Song of Hiawatha, in 1855. By 1900, the poem had been translated into 20 different European languages as well as back into the Ojibwe language at the turn of the century ushering in a "Hiawatha Revival" that captured American Imaginations. In 1901, Louis Oliver Armstrong, an amateur ethnologist and land agent for the Canadian Pacific Railroad, wrote a new libretto from the Longfellow poem in English and Ojibwe which was first prepared with Garden River Anishinaabeg community members as actors. His performances, or "Pageants," became regular events which led to additional versions and tours around the United States. Not long after Armstrong discontinued his show in 1905, Frank E. Moore created his own version. Originally from Middletown, Ohio, Moore gathered a large cast of Native performers from various tribal communities including many actors from the Seneca Nation on the Cattaraugus Reservation. Moore continued the tradition of large outdoor pageant performances of "Hiawatha" which were performed along a body of water and featured Native actors performing traditional dances and wearing "Native" costumes alongside narration of Longfellow's poem.
In 1913 Frank E. Moore produced the stage version of Hiawatha into a film, hiring Jesse Cornplanter (Seneca) to play Hiawatha. Jesse Cornplanter had previously accompanied his father, Edward Cornplanter, acting and singing in the Hiawatha pageant on tour through the United States and Europe. "Hiawatha" was shot in upstate New York and northern Michigan by Moore and was the first feature film to use an all-Native cast, with reportedly 150 actors from the Cattaraugus Reservation. A twenty-eight-minute cut is housed in the American Film Institute's collection in the Library of Congress.
Sources:
McNally, Michael D. "The Indian Passion Play: Contesting the Real Indian in "Song of Hiawatha" Pageants, 1901-1965," American Quarterly Vol. 58, No. 1 (March 2006), pp. 105-136.
Evans, Katy Young. "The People's Pageant: The Stage as Native Space in Anishinaabe Dramatic Interpretations of "Hiawatha"," Melus Vol. 41, No. 2 (Summer 2016), pp. 124-146.
Related Materials:
Library of Congress, Lot 8218, "Scenes from theatrical production of Hiawatha, Lake Chautauqua, New York."
Provenance:
Gift of Reginald P. Bolton, 1918.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Identification of specific item; Date (if known); "Hiawatha: the Indian Passion Play" performance photographs, image #, NMAI.AC.162; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection contains silver gelatin prints and black and white photographic negatives shot by photographer Abigail Adler throughout the Navajo Nation in Arizona, New Mexico, and Utah between 1975 and 1980.
Scope and Contents:
The A. Adler photographic collection includes gelatin silver prints, 35mm and 120mm film negatives, and contact sheets. Series 1: Diné (Navajo) Portraits, Families, and Community Events, 1976-1979, includes 11 gelatin silver prints that were shot by photographer Abigail Adler throughout the Navajo Nation, including modern-day Arizona, New Mexico, and Utah. The photographs depict Diné (Navajo) individuals and family portraits; ceremonial scenes, such as a Kinaaldá (girl's puberty ceremony), portrait of woman and mother on wedding day, and a Medicine Man with sand painting; and daily activities such as planting corn, outdoor cooking, and traveling by horse-drawn wagon. Series 2: Diné (Navajo) Community and Events Photographs, 1975-1980 includes 4295 35mm film and 460 120mm film black and white photographic negatives and 8 associated contact sheets. . The photographs depict scenes with Diné (Navajo) community members, both at their homes and hogans as well as at community events such as at protests, art shows, contests, in court, and ceremonies like weddings. Adler's photographic negatives exhibit the range of her documentary and personal work throughout the Navajo Nation and the breadth of her connectedness to the greater Diné (Navajo) community. There may be content within this collection that is considered culturally sensitive.
Arrangement:
This collection is arranged in two series. Series 1: Diné (Navajo) Portraits, Families, and Community Events [Photographic Prints], 1976-1979, and Series 2: Diné (Navajo) Community and Events Photographs [photographic negatives], 1975-1980. Series 2 is divided into 15 subseries based on Abigail Adler's original order.
Biographical / Historical:
Abigail Adler was an American professional photographer with a degree in Anthropology from Barnard College in New York City. Adler lived on the Navajo Reservation for five years and began her career as a reporter and photographer, using Leica M3's and a Rolleiflex cameras, while working for the Navajo Times. She received funding through the Navajo Nation and a grant from the National Endowment for the Arts for her project titled Navajo Matriarchs, which illustrated the complex, modern lives of Navajo Women of all ages and traditions.
Provenance:
Series 1 was a Gift of Gail Adler Hughes (Abigail Adler), 1979. Series 2 was a gift of the Estate of Abigail Adler, 2023.
Restrictions:
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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Native American Church of North America Search this
Citation:
Identification of specific item; Date (if known); Abigail Adler Diné (Navajo) photographs, NMAI.AC.373 catalog #; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains photographic prints and copy negatives taken by Ales Hrdlicka in Arizona and Mexico between 1898 and 1902. The majority of the photographs were donated by George Pepper to the Museum of the American Indian, Heye Foundation in 1923. Native communities that Hrdlicka photographed during his research include--Purepecha (Tarasco), Yoeme (Yaqui), Hualapai (Walapai), Havasupai (Coconino), Piipaash (Maricopa), Mojave (Mahave), Tohono O'odham (Papapgo), Quechan (Yuma/Cuchan), Tepecano, Akimel O'odham (Pima), Opata, Cora, Seri, Wixarika (Huichol), Nahua, Otomi and Yoreme (Mayo). Ales Hrdlicka (1869-1943) was born in the Czech Republic moved to the United States in 1881. Hrdlicka became known as the "Father" of Physical Anthropology and worked at the U.S. National Museum (now the National Museum of Natural History).
Scope and Contents:
This collection contains photographic prints taken by Ales Hrdlicka in Arizona and Mexico between 1898 and 1902. It is likely that many of the photographs were taken in 1902 as a part of the Hyde exploring expeditions on behalf of the American Museum of Natural History. Some of these photographs were taken by Carl Lumholtz and not Hrdlicka. Native communities that Hrdlicka photographed during his research include--Purepecha (Tarasco), Yoeme (Yaqui), Hualapai (Walapai), Havasupai (Coconino), Piipaash (Maricopa), Mojave (Mahave), Tohono O'odham (Papapgo), Quechan (Yuma/Cuchan), Tepecano, Akimel O'odham (Pima), Opata, Cora, Seri, Wixarika (Huichol), Nahua, Otomi, and Yoreme (Mayo). Locations photographed in Mexico include--Michoacán, Sonora, Mesa del Encanto and the Ruins of Totoate in Jalisco, Ruins of La Quamada and Ruins of Teul in Zacatecas, Nayarit State, and the central altiplano. Locations photographed in Arizona include--Casa Grande in Pinal County, Fort Yuma Reservation, Supai in Coconino County and the Mission San Xavier del Bac.
The photographs include a large amount of posed portraits of men and women, none of them identified in our collection. Hrdlicka often posed his subjects both facing forward and in profile so that he could better examine their physical attributes.There are some group portraits as well as scenic shots of houses, churches and village views. Hrdlicka also photographed archaeological ruins inlcuding Casa Grande, Mesa del Encanto, Totoate, La Quamada and Teul.
The copy negatives that were made from the prints in the late 1960s by the Museum of the American Indian, Heye Foundation.
Arrangement:
The majority of the photographs have been left in the order that they were originally cataloged. Photographs from the various tribal communities in Arizona and Mexico are in Series 1-16, each community with its own series. The final series, Series 17, contains photographs from various archaeological ruins in Arizona and Mexico.
Biographical / Historical:
Ales Hrdlicka (1869-1943) was born in Bohemia in and came to America when he was thirteen. As a young man, he was trained in medicine at New York's Eclectic Medical College and the New York Homeopathic Medical College, receiving degrees from each. His first professional work was as a private practitioner, but he gave that up in 1894 when he joined the staff of the New York State Hospital for the Insane at Middletown. There, in addition to other duties, he began studies of the physical characteristics of inmates. In 1896, in preparation for a research appointment with the Department of Anthropology in the Pathological Institute of the New York State hospitals, Hrdlicka went to Paris and studied with Leon Manouvrier. After his return to America, he worked for a short period with the Pathological Institute and came into contact with G.S. Huntington, of the College of Physicians and Surgeons in New York. Hrdlicka arranged and studied Huntington's large collection of skeletal material, thus gaining knowledge of a well-documented collection representing largely normal persons of European ancestry. He furthermore came to the attention of Frederic Ward Putnam, of the American Museum of Natural History, who arranged for his first anthropological field studies.
Hrdlicka became a member of the Hyde Expeditions to the American Southwest and northern Mexico. In 1898, he traveled to Mexico with Carl Lumholtz to study the Tarahumaras, Huichols, and neighboring tribes. In subsequent years, he returned to Mexico and the Southwest alone and studied physical characteristics and medical conditions of several American Indian tribes. Following this experience and examinations of the Trenton and Lansing skeletal material for Putnam, Hrdlicka was appointed head of the newly formed Division of Physical Anthropology in the United States National Museum in 1903.
In 1905, Hrdlicka returned to the Southwest for studies of Pima and Apache children and, in the following year, traveled to Florida to examine allegedly ancient remains of man. In 1908, he worked among a number of Native American tribes, including the Menominee, Oglala Dakota, Quinailt, Hupa, and Mohave, in a study of tuberculosis among them. In 1909, he traveled to Egypt with an expedition of the Metropolitan Museum of Art in New York in order to study living Egyptians and to examine remains of Egypt's past population. The following year took him to Argentina, Peru, and Mexico. In the first of these, he again examined allegedly ancient remains of man. In Peru, he made a large collection of skeletal material near Trujillo, at Pachamac, and in the Chicama Valley.
Between 1912-1914, Hrdlicka undertook a physical anthropological exhibit for the Panama-California Exposition in San Diego and, for this, traveled to eastern Siberia, Mongolia, Peru, and Florida. He also examined fossil remains of man in Europe and directed field work of other anthropologists in South and East Africa, St. Lawrence Island in Alaska, the Philippines, eastern Siberia, and the Ukraine. In 1915, for the Department of Justice, he assessed the racial makeup of Chippewas on the Leech Lake and White Earth reservations in Minnesota and also studied Dakota Indians. In 1917, his field work was directed toward white American families with longtime residence in the United States. In 1918, he carried out a survey of ancient sites in eastern Florida for the Bureau of American Ethnology. In 1920, he traveled to Hawaii, Japan, Korea, and Manchuria in connection with an appointment to lecture at the Peking Union Medical College. As director of the American School for Prehistoric Studies in France, he again studied fossil remains of man in Europe in 1922 and 1923. In 1925, he carried out work in India, Ceylon, Java, Australia, South Africa, and Europe. In 1927, he was again in Europe to deliver the Huxley Memorial Lecture before the Royal Anthropological Society in Great Britain. Between 1929 and 1938, he traveled frequently to Alaska to carry on an anthropological survey. In 1939, he traveled to Russia and Siberia.
Beginning with much of the skeletal collection of the Army Medical Museum, which had been transferred to the Smithsonian in 1898 before he was appointed there, Hrdlicka amassed a bone collection that included, among many other specimens, the Huntington collection, casts of fossil remains of man, and a large and diverse North American collection. He also gathered a large collection of human brains. Over three hundred publications resulted from his study of this material, his field work, and his study of specimens in other museums. In addition, he was involved in many other activities. For United States government agencies, he provided services ranging from examinations of human remains for law enforcement officials to providing information and opinions concerning national origins and traits that were needed to interpret laws and form foreign policy. During World War II, he also advised government officials on policies to be pursued with certain national groups following the war.
In 1918, Hrdlicka founded the American Journal of Physical Anthropology and remained its editor until 1942. In 1928, he was the major force behind the organization of the American Association of Physical Anthropologists and served as its president in 1928-1932. He was also president of the Anthropological Society of Washington in 1907, the American Anthroplogical Association in 1925-1927, and the Washington Academy of Sciences in 1928-1929. He was chairman of Section H of the American Association for the Advancement of Science in 1918 and secretary of the Committee on Anthropology of the National Research Council in 1917. In addition, Hrdlicka was a member of the American Philosophical Society and the National Academy of Sciences. He represented the Smithsonian at several international gatherings of scholars, including meetings of the International Congress of Americanists.
Biographical note courtesy of the National Anthropological Archives, National Museum of Natural History. See Ales Hrdlicka Papers. Edited by Rachel Menyuk, Processing Archivist at the National Museum of the American Indian.
Related Materials:
The majority of Ales Hrdlicka's papers and photographs are located at the National Athropological Archives, Smithsonian Institution. In addition to the Ales Hrdlicka Papers ca. 1887-1943 additional Hrdlicka photographs can be found in photographic lots 8, Division of Physical Anthropology collection; 9, photographs of Indians for the Panama-California Exposition, San Diego; 24, Bureau of American Ethnology, United States National Museum photographs of American Indians; 70, Department of Anthropology portrait file; 78, miscellaneous negatives; 97, Division of Ethnology collection (―USNM‖ Collection); 73-26B, Aleš Hrdlička photographs; 73-26G, miscellany; 77-48, group portraits of International Congress; 79-38, Division of World Archeology collection; 83-41, Division of Physical Anthropology collection of photographs of human bones; and 92-46, anthropology lantern slides.
Provenance:
Although it is unclear when George Pepper received the photographs from Ales Hrdlicka, Pepper donated the majority of the collection of photographs to the Museum of the American Indian, Heye Foundation (MAI) in 1923. The rest of the photographs were cataloged by the MAI some time in the 1920s but the provenance history is unknown.
Restrictions:
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: nmaiarchives@si.edu).
There are several restricted photographs in Series 2: Yoeme (Yaqui). This have been restricted due to cultural sensitivity.
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Aleš Hrdlička photographs from Mexico and Arizona, Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection of twenty-three cabinet card photographs was collected by Alice Kennedy Eagan, and depicts Native American and non-native life in the Fort Still, Oklahoma Territory, circa 1894-1896.
Scope and Contents:
This collection consists of twenty-three cabinet cards of Native Americans and non-native soldiers and civilians in the Fort Sill area of the Oklahoma Territory. The images consist of studio portraits and exterior shots of Fort Sill school buildings, military barracks, and the surrounding countryside. Particular images of note include studio portraits of Kiowa women and children, babies in cradleboards, women quilting, a baseball game, and soldiers in uniform. All photographs are attributed to photographer George A. Addison, taken in approximately 1894-1896, and collected by Alice Kennedy Eagan.
Arrangement:
The materials in this collection are organized into folders, and arranged by image number: (P34119-P34141).
Biographical / Historical:
Alice Kennedy Eagan (1870-1955) was born in Ohio in 1870, and moved to Fort Sill in the Oklahoma Territory in the 1890s, collecting cabinet cards of local Native American tribes and non-native Fort Sill soldiers and civilians while there. She later received her nursing degree in San Francisco, California in 1904, met and married James E. Eagan in Nevada in 1907, and eventually moved to Columbia County, Wisconsin in 1908. She raised her family there and remained in Wisconsin for the rest of her life, passing away in 1955 at the age of 85.
George Anthony Addison (1853-1937) was a photographer who operated studios in Texas and the Oklahoma Territory from the early 1880s until approximately 1907. Addison operated studios in Taylor and Georgetown near Autsin, Texas, Norcona in northern Texas, Wheeler County in the Texas Panhandle, and from 1890 to 1895, in the Fort Sill, Oklahoma Territory area. He passed away and was buried in the town of Canadian, Oklahoma in 1937.
Related Materials:
Additional photographs by George A. Addison in the NMAI Archive Center include image numbers: [P13128, P20326-P20329, and P20455].
Other photographic collections of George A. Addison's work exist in the Smithsonian Institution's National Anthropological Archives, and the National Cowboy & Western Heritage Museum in Oklahoma City, OK.
Provenance:
This collection was donated by Robert J. Pietrykowski in 2008.
Restrictions:
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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Indians of North America -- Great Plains Search this
Identification of specific item; Date (if known); Alice Kennedy Eagan Collection of George A. Addison Fort Sill photographs, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Ambrotype of Chief Okemos [Anishinaabe (Chippewa/Ojibwa)] photographed by Henry H. Smith in 1858.
Scope and Contents:
P12521
This collection contains one 1/4 plate ambrotype depicting Chief Okemos [Anishinaabe (Chippewa/Ojibwa)], photographed by Henry H. Smith of Cheboygan, Michigan in 1858. The upper, right hand portion of the ambrotype glass is broken and missing. The ambrotype is housed in a leather case and features a brass mat and preserver.
Inside the case is a handwritten note that reads, "See back of picture for photographer and date." However, due to the photo's fragility, current NMAI Archives staff have not removed the ambrotype from its case to confirm the photographer and date.
Also included in the case are two newspaper clippings about Chief Okemos that are glued together. The first appears to be from the Lansing Journal and reads, "Old Okemus. –Our friend [paper missing] has left on our table a very fine ambrotype of Okemus, the well known chief of the Chippawas, whose residence in this part of the State has made his name and fame familiar to most of our readers. The old Chief paid a visit to our village a few days since. He is not far from one hundred years old, and although his step is feeble, yet he is as erect as in his palmier days. He has heretofore objected to having his likeness taken, under the impression it would shorten his life. At best he has but a few more days on earth. He carries scars upon his head and shoulder into which a man could lay his finger, which he claims to have received at the battle of Thames and while he was aiming his tomahawk at the head of Col. Johnson, just after he had shot Tecumseh. He also claims to have held a captain's commission in the British government. His position as chief has been usurped by younger hands. – Lansing Jour[word cut off]".
The second clipping is from Springfield (Mass) Republican on December 22, 1858 and reads, "The Potawatamie Chief Okemos, who has for a long time lived near Lansing, Michigan died on Sunday last. His precise age was not known, but it is supposed to have been over one hundred years".
Arrangement:
This ambrotype is housed in an archival phase box.
Biographical / Historical:
There is conflicting information about the details of Chief Okemos' biography including his birth year. It is believed that Chief Okemos was born circa 1769 possibly in the Anishinaabe (Chippewa/Ojibwa) settlement of Ketchewandaugoning on the Shiawassee River (near present day Bloomfield, Michigan). Other spellings of his name included Okemus, Okemans, Ogimaus, Okemos, O-ge-mah, and O-Gee-Manse.
He fought in several battles including the battle of Tippencanoe, Indiana (1811), the War of 1812, the Battle of Sandusky (1813), and the Battle of the Thames (1813). During the War of 1812, Okemos suffered an injury, which left him with a large scar on his forehead. Chief Okemos also signed several treaties on behalf of the Anishinaabe including the Treaty of Saginaw (1819).
His family included his wife Waindegoquayzance; his son Paymechewaysawdung (1829-1899; also known as John); his son Waygeshegome (1845-1902; also known as James); his daughter Kawbaishcawmoquay (1845-1896); and his daughter Shawusquahbenoquay (d.1852). Chief Okemos died on December 5, 1858 in Michigan.
Related Materials:
There are only 3 other known photographs of Chief Okemos. Two are in private collections and the third is an ambrotype held in the Archives of Michigan (Record Group 2005-13).
The NMAI Archives Center also holds other photographs (NMAI.AC.142) and objects collected by artist and collector Joseph Imholf.
Provenance:
This ambrotype was formerly in the collection of Joseph Imhof (1871-1955, Western artist); lent to MAI by Joseph Imhof in 1930; donated to MAI by Joseph Imhof's widow Sarah Imhof (1872-1966) in 1961.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Ambrotype of Chief Okemos, P12521, NMAI.AC.385; National Museum of the American Indian Archives Center, Smithsonian Institution.
The American Indian Community House (AICH) Gallery records include papers, postcards, photographs and video recordings that document the activities of the Gallery from 1978-2007. Over the course of 30 years, approximately 100 exhibitions were shown including the work of hundreds of Native artists.
Scope and Contents:
Series 1: Gallery Exhibits and Other Events is divided into two Subseries. Subseries 1.1: AICH Gallery Exhibits and Subseries 1.2: Other Gallery Events. Subseries 1.1 includes documents, postcards, photographs and video recordings related to exhibits organized by the AICH Gallery from 1978-2007. There are gaps of exhibit materials between 1985, the end of G. Peter Jemison's tenure as curator, and 2000 when Kathleen Ash-Milby became curator of the Gallery. Subseries 1.2 includes materials related to other events hosted by the AICH Gallery outside of it's exhibition program. This includes-- Indian Art market, poetry readings, film festivals, lectures, and benefits.
Series 2: Subject Files includes materials related to the everyday work of the gallery and general information about AICH. This includes--AICH Bulletins and board of directors meetings, job guidelines and operations manuals, calendars and day planners used by G. Peter Jemison, as well as press lists and information about other art Galleries supporting Native American artists work.
Series 3: Photographs of Native Artwork, includes slides collected by AICH curators of Native American artists work. These slides were used as reference and encompass a range of Native artists, both geographically and stylistically. NMAI does not hold the rights to these images.
Arrangement:
Arranged into three series. Series 1: Gallery Exhibits and Other Events, arranged chronologically, Series 2: Subject Files, arranged alphabetically, and Series 3: Photographs of Native Artwork, arranged alphabetically by artist and topic.
Biographical / Historical:
In 1978, The American Indian Community House created an art gallery with the purpose of consistently and exclusively exhibiting contemporary Native American art. Over the course of 30 years, from 1978 to around 2007, approximately 100 exhibitions were shown in the Gallery which included the work of hundreds of Native artists. Some of the field's most well-known artists exhibited their work in the Gallery, many early in their careers, including Edgar Heap of Birds, Kay WalkingStick, Jaune Quick-to-See-Smith, Alan Michelson, Shelley Niro and Jeffrey Gibson. The majority of the exhibitions organized by founding Gallery Curator, G. Peter Jemison, focused heavily on group exhibitions and artists from the Northeast. Succeeding curators, Lloyd Oxendine (1985-1993) and Joanna Bigfeather (1993-1999) expanded the roster, including artists from throughout the United States and Canada. Kathleen Ash-Milby (2000-2005) and Sarah Sense (2006-2007), focused more on solo exhibitions and exhibitions with more work from fewer artists. Although AICH struggled to fund the Gallery, it became a dynamic nexus for contemporary Native art, offering opportunities for artists and guest curators.
Biographical note provided in 2019 by Kathleen Ash-Milby, member of the Navajo Nation, and former associate curator at the National Museum of the American Indian.
The American Indian Community House is a not-for-profit organization serving the needs of Native Americans residing in New York City. Founded in 1969, the mission of the AICH is to improve and promote the well-being of the American Indian Community and to increase the visibility of American Indian cultures in an urban setting in order to cultivate awareness, understanding and respect.
AICH Website: https://aich.org/
Provenance:
Gift of Kathleen Ash-Milby and G. Peter Jemison, 2022.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
The NMAI does not own the copyright to any of the images of artwork in Series 3: Photographs of Native Artwork. Permission will need to be aquired from the artist/artist's estate.
Identification of specific item; Date (if known); American Indian Community House Gallery records, NMAI.AC.423; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection consists of 49 black and white photographic prints of images of village life as well as pre-Columbian stone carvings and statues photographed by Andrew Meyer in Colombia in 1929.
Scope and Contents:
The Andrew Meyer photographs from Colombia collection consists of 49 black and white photographic prints. The photographs were taken by American mining engineer Andrew Meyer while working in Colombia in 1929. The photographs depict primarily pre-Columbian stone carvings and statues now known as the San Agustín Archaeological Park and designated a UNESCO World Heritage Site. The collection includes images of villagers, landscapes, and daily life in Colombia. Communities represented include Emberá (Choikoi); Guambiano (Guambia); and Páez. Locations depicted include the Lower San Juan River in the Chocó Department; Inzá, Popayán, and Silvia in the Cauca Department; and San Agustín in the Huila Department.
Many of the photographs contain descriptive information hand-written on the back, preseumably by the photographer.
Arrangement:
This collection is arranged into 3 series, organized geographically by Colombian department and then by city or village. This organization mirrors Andrew Meyer's travels through Colombia. Series 1: Chocó Department, Series 2: Cauca Department, Series 3: Huila Department
Biographical / Historical:
Andrew Meyer was a mining engineer from Cleveland, Ohio. In 1929, while working in Chocó, Colombia, he became interested in stories of pre-Columbian stone carvings and statues. Documenting a large number of these carvings throughout the Republic of Colombia, he later authored a journal article about his experiences, as well as his suppositions about the people who made these carvings: "The Stone Gods of Colombia," published in Art and Archaeology 34, no. 3 (May-June 1933): 117-129. Many of the images now in the Andrew Meyer photographs from Colombia collection were included in Meyer's article.
Andrew Meyer married metallurgical engineer Edith Chartkoff, and the two went on to work together on a number of international engineering projects in Canada, Russia, and Spain, before settling down again in Cleveland, Ohio.
Separated Materials:
Approximately 66 material culture objects acquired by Meyer throughout his work in Colombia were also donated to the Museum of the American Indian (now the National Museum of the American Indian) in 1932. These objects were assigned object numbers: 18/2829 – 18/2871.
Provenance:
This collection was donated by Andrew Meyer in 1932.
Restrictions:
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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Identification of specific item; 1929; Andrew Meyer photographs from Colombia, NMAI.AC.259; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains 5 gelatin silver prints that were shot by photographer Ann Bromberg on the To'hajilee (Canoncito) Reservation, N.M. in 1996. The photographs depict informal, outdoor portraits of Diné (Navajo) sheepherder Dorothea Begay and include photographs of Begay posing with her sheep herd, walking outdoors, and standing next to an enclosed sheep corral or pen. Photographs from this collection were part of the traveling exhibition Ranch Women of New Mexico that ran from 1996-2011. All five prints are signed by Ann Bromberg.
Arrangement:
5 photographs organized in 1 box.
Biographical / Historical:
Ann Bromberg is a professional photographer and independent filmmaker. Born in New Mexico, Bromberg has exhibited her work internationally and her photographs are in the permanent collections of the New Mexico History Museum, the Santa Fe History Museum, and the Roswell Art Museum to name a few.
Dorothea Begay was born and raised just west of Albuquerque, New Mexico in the To'hajilee (Canoncito) band of Diné (Navajo) community. Begay was 78 years old and working as a sheep herder when Bromberg shot the photographs in the collection.
Related Materials:
Other Ann Bromberg photographs from her Ranchwomen of New Mexico series are in the New Mexico History Museum in Santa Fe, N.M.
Provenance:
Donated by Ann Bromberg in 2013.
Restrictions:
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: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Indians of North America -- New Mexico -- Photographs Search this
Genre/Form:
Photographs
Citation:
Identification of specific item; Date (if known); Ann Bromberg photograph collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection consists of 105 photographic images of Native American peoples throughout the U.S., primarily in Arizona and New Mexico. A number of the postcards and photographs were sent back and forth between non-Native family members who worked in Indian Boarding Schools in Fort Defiance, AZ, among other locations.
Scope and Contents:
The Arizona and New Mexico postcard and photograph collection consists of postcards, photographic prints, and stereographs, totaling 105 photographic items. Many of the postcards and photographs date to between the early 1900s and the late 1920s and were sent between non-Native family members who worked in Indian Boarding Schools, including those at Fort Defiance and Chinle in Arizona, Chilocco in Oklahoma, Haskell in Kansas, and Lac du Flambeau in Wisconsin.
These items have been organized into three series. Series 1: Postcards, 1908-1916, includes 79 postcards. Approximately 10 postcards contain images taken by the photographer Simeon Schwemberger of Diné (Navajo) people on the Navajo Reservation, and were sold out of his studio in St. Michaels, Arizona. Series 2: Photographs, 1896-1926, includes 18 photographs. Several of these include depictions of Native and non-Native peoples in Fort Defiance in Arizona, Haskell in Kansas, and Lac du Flambeau in Wisconsin. Series 3: Stereographs, 1865-1875, includes 8 stereographic images. These stereographs contain images taken by the photographer William Stinson Soule (Will Soule) of Kiowa-Apache, Niuam (Comanche), and Southern Tsitsistas/Suhtai (Cheyenne) men near Fort Sill in Indian Territory (present-day Oklahoma), between approximately 1865 and 1875.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged into three series. Series 1: Postcards, 1908-1916, Series 2: Photographs, 1896-1926, and Series 3: Stereographs, 1865-1875.
Biographical / Historical:
Photographer William Stinson Soule (Will Soule) lived and worked in the region of Fort Sill, in the Indian Territory (present-day Oklahoma), in the 1860s and 1870s, regularly photographing U.S. Army personnel and Southern Plains Indian communities.
Simeon Schwemberger was a photographer originally from Cincinnati, Ohio, who settled near the St. Michaels mission church in Arizona in 1901. There he took many photographs of the Native communities of the region, later selling the images as postcards.
Provenance:
Gift from Jenene Garey in 2018 and 2021.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Arizona and New Mexico postcard and photograph collection, NMAI.AC.127; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection consists of fifteen photographic prints depicting individuals from Hunkpapa Lakota (Hunkpapa Sioux) and Yanktonnai Nakota (Yankton Sioux) communities, and dating from approximately the 1870s and 1880s.
Content Description:
The Arthur Billings Hunt photograph collection consists of fifteen photographic prints dating to the 1870s and 1880s. The bulk of the photographs are studio portraits and depict a number of Hunkpapa Lakota (Hunkpapa Sioux) and Yanktonnai Nakota (Yankton Sioux) community members and leaders. These photographs represent the work of various turn of the twentieth-century photographers of the American West including David F. Barry, Orlando Scott Goff, F. Jay Haynes, and Laton Alton Huffman. The photographs were later acquired by Arthur Billings Hunt, who subsequently donated them to the Museum of the American Indian, Heye Foundation.
Arrangement:
This collection is arranged into folders by cultural group.
Biographical / Historical:
Arthur Billings Hunt was born in 1890. He attended schooling at Macalester College in St. Paul, Minnesota, receiving his undergraduate degree there in 1911, and later was awarded an honorary Doctor of Divinity degree from the same institution in 1945. Moving to New York soon after graduation, Hunt had a lifelong career as a well-known soloist, musical director, broadcaster, and collector of Christian Americana. In addition to conducting a weekly broadcast of singing services for fourteen years with the New York Federation of Churches on radio station WEAF, Hunt also served as the Executive Director of the National Hymn Sing Association. While primarily interested in collecting Christian hymnals and sheet music himself, Hunt also inherited from his maternal grandfather, Newell B. Perkins, a number of material culture objects and photographic images related to different North American Plains Indian communities. These he subsequently donated to the Museum of the American Indian, Heye Foundation, in the mid-twentieth century. Arthur Billings Hunt died in 1971 at the age of 81.
Related Materials:
Other archival collections relating to the life and work of Arthur Billings Hunt include the Arthur Billings Hunt papers, located in the Columbia University Libraries Archival Collections.
Provenance:
This collection was donated by Arthur Billings Hunt in 1945.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Arthur Billings Hunt photograph collection, NMAI.AC.159; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection contains 6 snapshot photographs depicting Pikuni Blackfeet (Piegan) Chiefs participating in the Fair of the Iron Horse held at Halethorpe, Baltimore County, Maryland in 1927.The photographs in this collection were owned by Bertha Gritzner, who attended the fair and may depicted in the images.
Scope and Contents:
This collection contains 6 snapshot gelatin silver prints depicting scenes at the Fair of the Iron Horse held at Halethorpe, Baltimore County, Maryland. The Fair was held from September 24 to October 8, 1927 in honor of the Baltimore and Ohio Railroad's centennial. The photographs depict Pikuni Blackfeet (Piegan) Chiefs posing at the fair along with unidentified individuals. The photographs were originally owned by Bertha Gritzner, who may be depicted in the photographs.
Chief Two Guns White Calf is featured in two photographs.
Arrangement:
Photographs arranged in a folder by image number.
Biographical / Historical:
The Fair of the Iron Horse celebrated the 100-year anniversary of the Baltimore and Ohio Railroad. Held in Halethorpe, Baltimore County, Maryland from September 24 to October 8, 1927, the Fair was advertised as a miniature World's Fair and featured a fairground, pageant, and exhibits. Members of the Blackfeet Nation in Montana traveled to Maryland for the Fair and marched in the pageant highlighting the history of inland transportation.
The photographs in this collection were owned by Bertha Gritzner, who attended the fair and may depicted in the images. The photographs were donated by her granddaughter Jean Stitzel in 2001.
Related Materials:
The Maryland Historical Society and the Library of Congress also hold materials related to the Fair of the Iron Horse.
Provenance:
Gift of Jean Stitzel, 2001.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Fair of the Iron Horse (1927 : Halethorpe, Md.) Search this
Identification of specific item; Date (if known); Bertha Gritzner collection of Fair of the Iron Horse photographs, image #, NMAI.AC.349; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection contains 93 photographs shot by amateur photographer Bird Carson (1842-1925) depicting daily life on the Cheyenne River Indian Reservation, circa 1890-1920. Bird worked as a housekeeper for the local school and her husband John Franklin Carson worked for the Bureau of Indian Affairs as a teacher at Cherry Creek Day School on the Reservation.
Scope and Contents:
This collection contains 93 photographs shot by amateur photographer Bird Carson (1842-1925) depicting daily life on the Cheyenne River Indian Reservation, circa 1890-1920. Bird worked as a housekeeper for the local school and her husband John Franklin Carson worked for the Bureau of Indian Affairs as a teacher at Cherry Creek Day School on the Reservation.
The photographs include portraits of Lakota men, women, and children, photographs of the Carson family, school children, photographs of the Cherry Creek Day School #8 and the Thunder Butte Day School, and landscapes. Activities depicted include ration day, Indian band, chopping trees, tanning hides, cutting ice, washing clothes,
The photographs were donated in two separate albums which included handwritten and typed captions and identifications for many photographs.
Arrangement:
Photographs arranged in the original order in which they were organized and donated to NMAI.
Biographical / Historical:
Bertha "Bird" Louise Pickering Carson was born to Hannah Binford Pickering (1842-1925) and Philip Pickering (1837-1909) in Iowa on August 18, 1872. In 1891, she married John Franklin Carson (1860-1935) and they lived on the Cheyenne River Agency at Cherry Creek in South Dakota circa 1890-1920. John Franklin worked for the Bureau of Indian Affairs as a teacher on the reservation and census records show that Bird Carson served as a housekeeper. The couple had four children: Catherine Hannah Carson Spain (1895- 1980); Franklin Morris Carson (1898-1941); John Henry Carson (1900-1964); and Philip D. Carson (b. circa 1902).
Bird Carson was an amateur photographer and photographed daily life on the reservation.
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[Excerpt below is from the Cheyenne River Sioux Tribe website (2022) which borrows text from Cheyenne River Sioux by Donovin Sprague. Arcadia Publishing, Charleston, S.C., 2003.]
The name Sioux is part of the Ojibway/Chippewa/Anishinabe word "Nadoweisiweg," which the French shortened to Sioux. The original word meant "little or lesser snakes/enemies." The Sioux are really three groups comprised of the Lakota, Dakota, and Nakota, each having slightly different language dialects. Geographically, the Lakota are the most western of the groups and there are seven distinct bands. Four of the Lakota bands (Minnicoujou, Itazipco, Siha Sapa, and Oohenumpa) are located on the land known as the Cheyenne River Indian Reservation. The other three (the Oglala of Pine Ridge Indian Reservation, Hunkpapa at Standing Rock Reservation, and Sicangu at the Rosebud Indian Reservation and also at Lower Brule Indian Reservation), are all located in western South Dakota. The Standing Rock Reservation also stretches into North Dakota. Some of the Lakota also settled in Canada at Wood Mountain Reserve in Saskatchewan beginning in 1876. Collectively the bands are part of the Oceti Sakowin (Seven Council Fires) of the Lakota, Dakota, and Nakota.
The present land base of the Cheyenne River Indian Reservation was established by the 1868 Fort Laramie Treaty. Prior to this, the bands placed within this reservation knew no boundary to their territory. They were a hunting people and traveled frequently in search of their main food source, the sacred American bison or buffalo.
The Sioux Agreement Act of 1889 set reservation boundary lines and was named the Cheyenne River Sioux Reservation. West of the Missouri River was the waters of the Cheyenne River, known to the Lakota as the Good River (Wakpa Waste'). The "Post at Cheyenne River Agency" was established seven miles above Fort Sully on the Missouri River in 1870 and became known as Fort Bennett. Fort Bennett was next to the village named Cheyenne Agency, and was the quarters for the Indian Agent and soldiers. Separate from the fort was the agency town which housed U.S. Government employees and this location would later be moved to higher ground away from the river. The fort and town would be moved a total of four times in the coming years, with the name Cheyenne Agency attached to the town adjoining Fort Bennett. As reservation land was ceded following the Dawes Act of 1887, the town was moved again since it was now off the new reservation boundaries. After 1891, Fort Bennett was closed by the military and the reservation was believed to be safe without a military fort beside it. The next location of the agency would be between the Cheyenne River (Good River) and the Moreau (Owl) River at the site of Chief Martin Charger's camp. It was called Cheyenne Agency.
The final location of the Agency would be to the town of Eagle Butte in 1959, a move necessitated due to the construction of the Oahe Dam near Pierre, South Dakota, which flooded tribal lands along the Missouri River. When people refer to the Old Agency or Old Cheyenne Agency, they are referring to the Agency location prior to the move to Eagle Butte, which is now the tribal headquarters offices. There is also confusion about the name Cheyenne as people often think the four bands here are of the Cheyenne Tribe. Although the Lakota's have been close allies with the Cheyenne, they are, nevertheless, a separate tribe. The tribal headquarters of the Northern Cheyenne are located in Montana and the Southern Cheyenne are in Oklahoma.
The first towns were Evarts and then LeBeau which were trading posts. LeBeau was established by Antoine LeBeau, a French trader. Evarts and LeBeau became non-existent when railroad service left and the town of LeBeau burned. Both locations are now under the waters of the Missouri River. The old main home camps of the Minnicoujou were in the towns of Cherry Creek, Bridger, and Red Scaffold in the western area of the reservation. Cherry Creek is believed to be the oldest permanent community in South Dakota. The home camps of the Oohenumpa went from Iron Lightning, Thunder Butte, Bear Creek, and White Horse along the Moreau (Owl) River. The Siha Sapa located around the Promise and Blackfoot areas in the northeast part of the reservation. Green Grass and On The Tree communities were home to the Itazipco. Green Grass is the home to the sacred Buffalo Calf Pipe. There would soon be some reshuffling of the band locations as allotments were chosen and intermarriage. Many Itazipco joined the Minnicoujou and the Siha Sapa had earlier camped in close proximity to the Hunkpapa on the neighboring Standing Rock Reservation. Today, other communities on or near the reservation include Eagle Butte, Dupree, Red Elm, Takini, Bridger, Howes, Glad Valley, Isabel, Firesteel, Timber Lake, Glencross, Swiftbird, La Plant, Ridgeview, Parade, and Lantry. There are also many rural areas on the reservation.
There are different spelling preferences by individuals of the band names and the spellings in this writing appeared on a tribal flag. An older name for Minnicoujou was Howoju meaning "the people." Minnicoujou means "planters by the water," Itazipco means "Without Bows," and the French called them Sans Arc. Siha Sapa means "Black Foot," and Oohenumpa means "Two boilings/Two Kettle." The Black Foot Lakota should not be confused with the larger Blackfeet/Blackfoot nations of Montana and Canada. Many tribal members are a mixture of the four bands.
Related Materials:
Other Bird Carson photographs from Cherry Creek are held at the South Dakota State Historical Society.
Provenance:
Gift of the family of Catherine Spain, 2022.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Identification of specific item; Date (if known); Bird Carson photographs of Cheyenne River Indian Reservation, image #, NMAI.AC.425; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection contains eight photographs (plus 2 copy negatives) depicting four generations of the Blind Joe Amos (1805-1869; Mashpee Wampanoag) family.
Scope and Contents:
This collection contains eight photographs (and 2 copy negatives) depicting four generations of the Blind Joe Amos (Mashpee Wampanoag) family. The photographs include: "Blind Joe" Amos (1805-1869); Abigail Wickums Amos (1804-1853), the wife of Blind Joe Amos; Amos' daughter Rebecca C. Amos Hammond (1834-1922) and her eldest son Charles H. Hammond (1860-1849); Representative Watson F. Hammond (1837-1916), his daughter Ellen W. Hammond DeGrasse (1868-1948) and her husband Charles Henry DeGrasse (1869-1930) and their son Alfred DeGrasse (1890-1878).
Arrangement:
Arranged by catalog number.
Biographical / Historical:
This collection documents four generations of a Mashpee Wampanoag family. Below are the biographies of the family, with individuals represented in the photographs in BOLD. The family were leaders in the community.
Reverend Joseph Babcock Amos, also known as "Blind Joe" or "Blind Joseph" Amos (1805-1869) , son of Jeremiah Amos (1784-1812) and Ophelia Amos, was born in 1805 in the Mashpee Wampanoag community on Mashpee Lake in Cape Cod, Massachusetts. Blind from an early age, Joseph memorized the bible and went on to become the first ordained Mashpee Wampanoag Indian minister. He served as the founder and pastor of the Wampanoag Baptist congregation at Gay Head on Martha's Vineyard. Around 1833, Amos married Abigail Wickums (1804-1853) and they had several children including Rebecca Cecorson Amos (1834-1922); Anna F. Amos Webquish (1834–1910); Isaac C. Amos (1840–1860); Sarah B. Amos (born 1843); Cordelia Amos (1845–1880). Reverend Amos died in 1869 in Edgartown, Mass.
Rebecca Cecorson Amos Hammond (1834-1922), daughter of Rev. Blind Joe Amos, was born on April 7, 1834 in Mashpee, Massachusetts. She married Watson F. Hammond (1837-1916) around 1860. In 1885, Hammond became the first Indian to serve in the Massachusetts State Legislature. Rebecca and Watson had several children including: Mary Elizabeth Hammond (1858–1925); Charles H. Hammond (1860–1949); Jeremiah Hammond (1863–1864); Laura Hammond (1866–1869); Ellen Hammond (1868–1948); Alice Hammond (1869–1893); Rebecca Hammond (born 1870); Lorenzo Tandy Hammond (1871–1959), also known as Chief Little Bear; Edith L Hammond (born 1873); and Caroline Frances Hammond (1875–1958). Rebecca Amos Hammond passed away in 1922 and Watson F. Hammond in 1916.
Charles H. Hammond (1860–1949), son of Rebecca Cecorson Amos Hammond and Watson F. Hammond (1837-1916), was born in 1873 in Mashpee, Massachusetts. He served as a Mashapee teacher and town clerk. He married Mary Elizabeth Pompey (1862–1930) on December 21, 1882. They had several children: Evelyn May Hammond (1883–1930); Charles Henry Hammond (1884–1955); Harold W. Hammond (1886–1888); Geraldine F. Hammond (1887–1967); Cynthia A. Hammond (1889–1945); Harry Clifton Hammond (1893–1893); and Mary Louisa Hammond (1894–1925).
Edith Hammond Payne (born 1873), daughter of Rebecca Cecorson Amos Hammond and Watson F. Hammond (1837-1916), was born in 1873 in Mashpee, Massachusetts. Edith married James M. Payne (born 1869) and they had two children, Mabel Rebecca Payne (born 1894) and Raymond D. Payne (1895-1896). Edith donated this collection of photographs to the Museum of the American Indian in 1955.
Ellen Hammond DeGrasse (1868-1948), daughter of Rebecca Cecorson Amos Hammond and Watson F. Hammond (1837-1916) was born in 1868 in Mashpee, Massachusetts. She married Charles DeGrasse (1869-1930) in 1889 and they had three children Alfred Leslie DeGrasse (1890-1878); Clinton F. DeGrasse (1891–1891); and Stowell Winthrop DeGrasse (1893–1906).
Alfred Leslie DeGrasse (1890-1878), son of Ellen Hammond DeGrasse and Watson F. Hammond was born in 1890 in Mashpee, Massachusetts. He enrolled in Carlisle Indian School in Pennsylvania in 1904, left for a period, reentered, and then graduated in 1911. In 1916 he married Mary Louisa Stanley (1887-1985) of Prince Edward Island, Canada. By 1917, they were living in Detroit, Michigan and had one child, Winifred Degrasse (born 1917). Alfred died in 1878 in Detroit.
Provenance:
Gift of Edith Payne, 1955.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Blind Joe Amos family photographs, image #, NMAI.AC.408; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection consists of nine stereographic images depicting individuals from Ho-Chunk (Winnebago), Nakota (Yankton Sioux), and Wahpetonwan Dakota (Wahpeton Sioux) communities in the vicinity of Sioux City, Iowa, between approximately 1865 and 1870.
Scope and Contents:
The Byron H. Gurnsey stereograph collection consists of nine stereographic images taken between approximately 1865 and 1870 near Sioux City, Iowa. The stereographic photos depict men and women from Ho-Chunk (Winnebago), Nakota (Yankton Sioux), and Wahpetonwan Dakota (Wahpeton Sioux) communities, and include studio portraits as well as less formalized photographs shot outside of the studio on Native reservations. Some of the more notable photographs include images of Ho-Chunk (Winnebago) leaders Gray Wolf and Standing Buffalo.
While several of the images in this collection lack attribution or even list Charles L. Hamilton or his brother James H. Hamilton as the possible creators of these photographs, evidence points to Byron H. Gurnsey as the original photographer. The Hamilton brothers operated a photo studio in Sioux City at this time, as did Gurnsey, and after Gurnsey sold his studio in 1871 and relocated to Colorado, the Hamilton brothers continued to reproduce many of Gurnsey's photos with their own imprint.
Arrangement:
This collection is arranged into folders by cultural group.
Biographical / Historical:
Byron H. Gurnsey was born in New York state in 1833. After serving with the Union Army from 1861 until 1866, Gurnsey set up a photo studio in Sioux City, Iowa, primarily photographing non-Native soldiers at local forts and Native communities living in the area around Sioux City. Partnering with W.H. Illingworth in Sioux City, Gurnsey shot studio portrait photographs of Native community members and delegations passing through the area on their way to and from Washington, DC. During this time Gurnsey reportedly advertised his photo studio as Sioux City's "Headquarters for Stereoscopic Views and Indian Pictures." On at least one occasion he also traveled to the Winnebago Reservation in Nebraska to document the Ho-Chunk (Winnebago) peoples living there.
In 1871 Gurnsey decided to sell his Sioux City photo studio along with many of his previous Native American portraiture shots to the brothers Charles L., James H., and Grant Hamilton, who also operated a photo studio in Sioux City. By the following year Gurnsey and his family were living in Colorado, where he set up photo studios first in Pueblo and then later in Colorado Springs. While living in Colorado for the remainder of his days, Gurnsey continued to take stereographic views of the local scenery and neighboring Native communities, much as he had done earlier in Iowa. Byron H. Gurnsey died in 1880, and his widow, Delilah Simpson Gurnsey, thereafter briefly operated his studio until approximately 1882.
Related Materials:
Byron H. Gurnsey, Charles L. Hamilton, and James H. Hamilton images of Native American communities photographed between approximately 1865 and 1870 in the vicinity of Sioux City, Iowa, exist in many archival collections throughout the U.S. and Europe, including in the Smithsonian Institution's National Anthropological Archives, Newberry Library, the Library of Congress, and the British Museum in London.
Provenance:
Gift from the Historical Society of Washington, DC, in 2003.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Genre/Form:
Stereographs
Citation:
Identification of specific item; Date (if known); Byron H. Gurnsey stereograph collection, NMAI.AC.359; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection contains 44 photographs in a photo album and 12 loose prints that depict American Indian leaders circa 1898 to 1901. The bulk of the photographs were shot at the Indian Congress of the Trans-Mississippi and International Exposition, 1898 and the Greater America Exposition, 1899, both held in Omaha, Nebraska.
Scope and Contents:
This collection contains 44 photographs in a photo album and 12 loose prints that depict American Indian leaders circa 1898 to 1901. The bulk of the photographs depict photographic portraits and scenes of sham battles shot at the Indian Congress of the Trans-Mississippi and International Exposition in Omaha, Nebraska, from June 1 to October 31, 1898. Frank A. Rinehart (ca. 1862-1928) and his assistant Adolph F. Muhr were the official photographers. During the Indian Congress they photographed more than 500 individuals and groups representing the estimated thirty-six tribes represented at the Exposition. Rinehart shot the majority of the outdoor battles, dance scenes, and events, while Muhr photographed the majority of the delegate portraits. Rinehart copyrighted the photographs under his own name in 1899 and 1900.
Other photographs in this collection are photographic portraits of American Indian leaders that were photographed by Herman Heyn and James Matzen at the Greater America Exposition in Omaha in 1899. Heyn copyrighted the photographs under his own name in 1899.
Finally, the collection also contains 7 loose photomechanical prints depicting portraits by photographer William Henry Jackson. These prints were colorized and published under Jackson's company the Detroit Photographic Co. Other loose color photomechanical prints include portraits shot by photographer William H. Rau (1855-1920) for the Chicago Inter-Ocean Newspaper in 1901.
The photograph titles were assigned by the photographers.
Arrangement:
The photographs in the album are in original order. The loose prints are organized into 3 folders.
Biographical / Historical:
Byron Harvey, III (1932-2005) was an anthropologist and collector specializing in southwestern American Indian tribes. He was the great-grandson of Frederick Harvey, best known as the founder of the Fred Harvey Company that ran a successful chain of gift shops, restaurants, and hotels known as Harvey Houses. The Company also amassed a collection of American Indian art and sold many collections to museums including the Museum of the American Indian (NMAI's predecessor museum).
The Trans-Mississippi and International Exposition World's Fair was held in Omaha, Nebraska from June 1 to October 1898. Over 500 Indian delegates from over thirty-five different tribes were present at the Fair. James Mooney (Bureau of Ethnology) and Captain William A. Mercer organized and managed the Indian Congress in conjunction with the Exposition. It included "living exhibitions," with mock Indian villages and demonstrations of dances, daily activities, and sham battles.
The official photographer of the U.S. Indian Congress was Frank A. Rinehart (ca. 1862-1928) with his assistant Adolph F. Muhr (ca. 1858-1913). The Rinehart and Muhr photographs are considered one of the most comprehensive photo documentations of American Indian leaders at the turn of the century.
After the Trans-Mississippi Exposition ended, the Greater America Exposition opened on the same fair grounds from July 1, 1899 to October 31, 1899. Herman Heyn and James Matzen won the contract to be the official photographer of the new Exposition. This Exposition featured many of the same buildings and set up as the Trans-Mississippi Exposition of the previous year.
Related Materials:
The Haskell Indian Nations University in Lawrence, Kansas has a large collection of Frank Rinehart photographs from U.S. Indian Congress of the Trans-Mississippi and International Exposition, including the original glass plate negatives.
The National Museum of the American Indian Archive Center also holds other photographs shot by Rinehart and Muhr at Trans-Mississippi and International Exposition, including collection NMAI.AC.118.
Provenance:
Donated by Byron Harvey, III in 1966.
Restrictions:
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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Trans-Mississippi and International Exposition (1898 : Omaha, Neb.) -- Photographs Search this
Greater America Exposition (1899 : Omaha, Neb.) Search this
Genre/Form:
Photograph albums
Photographs
Citation:
Identification of specific item; Date (if known); Byron Harvey, III Collection of Exposition and Portrait photographs, P#####; National Museum of the American Indian Archive Center, Smithsonian Institution.
Standing Rock Indian Reservation (N.D. and S.D.) -- Photographs
Fort Yates (N.D.) -- Photographs
Indianapolis (Ind.) -- Photographs
Date:
1918-1930
Scope and Contents:
The Canisius family photograph album was primarily compiled by Elizabeth Canisius (1882-1977) of Indianapolis, Indiana, and contains photographs made from about 1918 to 1929 by her and various members of her immediate and extended family. Evidently not arranged in chronological order, the photographs document a burgeoning German-American family and their various pursuits. Among the photographs are depictions of unidentified men at work in a shipyard, among them Mrs. Canisius's husband Gustav (1872-1954); unidentified men playing polo or dressed for a game of basketball; men, women, and children posed in front of both urban and rural houses; and choice mid-West vacation spots, including the Great Lakes, Lincoln's tomb and home (Springfield, IL), Turkey Run State Park (IN), and Williams Bay (WI) and its famous Yerkes Observatory.
A good number of the photographs document the young adulthood of Kathryn (Dolly) L. Canisius (1906-1943), the daughter of Mr. and Mrs. Canisius. These photographs depict Dolly, her classmates and friends, her teachers, her suitors, her leisure activities, her graduation from high school in 1924, and two years later her apparent graduation from a two-year college. Following her 1926 graduation, Dolly evidently served as an itinerant teacher-in-training and from several teaching posts sent photographs of her young pupils to her mother. These her mother dutifully added to the album, even though Dolly had annotated most of the photographs' versos. Among Dolly's photographs are depictions of her white pupils in a rural mid-West school and of her Native students at Standing Rock Agency in Fort Yates, North Dakota. The Standing Rock photographs consist of depictions of Dolly's female and male Native students posed in groups and on picnics, non-student Natives congregated in town, street scenes, landscape views (including the frozen Missouri River) presumably made just outside of Fort Yates, Agency buildings, and possibly the campus of Saint Bernard Mission School, established by Father Bernard in 1924. There are also several commercially produced photographs, including a studio portrait of Holy Horse distributed by the Northwest Photo Service of Mandan, ND, and a photographic postcard of the "rugged country on Standing Rock Reservation" by Frank B. Fiske. Dolly apparently also traveled as far as Medora, ND, and sent to her mother photographs of the Chateau de Mores, the former home of Medora's founder the Marquis de Mores, and of the Little Missouri River.
Arrangement:
The album arrived at NMAI disbound with some photographs missing from various album pages. The individual album pages were rehoused inside paper envelopes, however original order was maintained.
Biographical / Historical:
Elizabeth Canisius (1882-1977) was the daughter of Frederick Nimz (1845-1921) and Louise Longere (1848-1923). Frederick and Louise were married in 1872 and in 1873 emigrated from Germany to the United States. The couple settled in Indianapolis, IN, where Frederick worked as a carpenter and cabinet maker for a furniture company. They had seven children: Minna Nimz Stelzel (1873-1935), Wilhelm Nimz (1875-1932), Ernestine Nimz Walters (1876-1947), Emma Nimz Crane (1879-1911), Elizabeth Canisius, Katherine Nimz Lang (1885-1973; the donor's grandmother), and Louis Nimz (1887-1966). Elizabeth married Gustav Canisius (1872-1954) and the two lived in Indianapolis, Chicago, IL, and perhaps also Wisconsin. (Elizabeth compiled NMAI's album while living on Congress Street in Indianapolis.) While living in either Chicago or Wisconsin, Gustav worked as a shipfitter on Great Lakes steamers. Kathryn "Dolly" L. Canisius (1906-1943) was the only child of Elizabeth and Gustav. She never married and usually lived with her parents. In 1933, Dolly graduated from Pestalozzi Froebel Teachers College in Chicago.
Provenance:
Donald Kritsch and Barbara Baker;,Gift;,2012;,2012-0065.
Restrictions:
Access is by appointment only, Monday - Thurs., 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
Topic:
Indians of North America -- Photographs -- Education -- North Dakota Search this
Citation:
Identification of specific item; Date (if known); Canisius family photograph album; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains 11 color lithographs based on original monograph portraits of American Indian delegates photographed by F.A. Rinehart, Adolph Muhr, Herman Heyn, and James Matzen, 1898-1899.
Scope and Contents:
This collection contains 6 color lithograph prints of original monochromatic photographs that were shot by Frank A. Rinehart (ca. 1862-1928) and/or his assistant Adolph F. Muhr (ca. 1858-1913) at the U.S. Indian Congress of the Trans-Mississippi and International Exposition.
The Exposition was held in Omaha, Nebraska, between June 1 and October 31, 1898. During the Congress, Rinehart and Muhr photographed more than 500 delegates and groups representing the estimated thirty-five tribes represented at the Exposition and is considered the largest gathering of American Indian leaders at the turn of the century.
Another 5 colorized photographs in this collection are photographic portraits of American Indian leaders that were photographed by Herman Heyn and James Matzen at the Greater America Exposition in Omaha in 1899. Heyn copyrighted the photographs under his own name in 1899.
The photographers assigned the photograph titles.
Portraits in this collection include:
P16902- Broken Arm [Oglala Lakota (Oglala Sioux)] -Photo by Rinehart/Muhr, 1898
P16903- Chief Red Cloud [Oglala Lakota (Oglala Sioux) -Photo by Rinehart/Muhr, 1898
P16904- White Swan [Apsáalooke (Crow/Absaroke)] -Photo by Rinehart/Muhr, 1898
P16905- Stella Yellowshirt and child [Sicangu Lakota (Brulé Sioux)] -Photo by Heyn, 1899
P16907- Ahahe and child (Wichita) -Photo by Rinehart/Muhr, 1898
P16908- Yellowshirt [Sicangu Lakota (Brulé Sioux)] -Photo by Heyn, 1899
P16909- Shot In The Eye [Oglala Lakota (Oglala Sioux)] -Photo by Heyn, 1899
P16910- Alice Lone Bear [Oglala Lakota (Oglala Sioux)] -Photo by Rinehart/Muhr, 1898
P16911- Hattie Tom (Chiricahua Apache) -Photo by Rinehart/Muhr, 1898
P16912- High Hawk [Oglala Lakota (Oglala Sioux)] -Photo by Heyn, 1899
Arrangement:
Arranged by catalog number.
Biographical / Historical:
The Trans-Mississippi and International Exposition World's Fair was held in Omaha, Nebraska from June 1 to October 1898. Over 500 Indian delegates from over thirty-five different tribes were present at the Fair. James Mooney (Bureau of Ethnology) and Captain William A. Mercer organized and managed the Indian Congress in conjunction with the Exposition. It included "living exhibitions," with mock Indian villages and demonstrations of dances, daily activities, and sham battles.
The official photographer of the U.S. Indian Congress was Frank A. Rinehart (ca. 1862-1928) with his assistant Adolph F. Muhr (ca. 1858-1913). The Rinehart and Muhr photographs are considered one of the most comprehensive photo documentations of American Indian leaders at the turn of the century.
After the Trans-Mississippi Exposition ended, the Greater America Exposition opened on the same fair grounds from July 1, 1899 to October 31, 1899. Herman Heyn and James Matzen won the contract to be the official photographer of the new Exposition. This Exposition featured many of the same buildings and set up as the Trans-Mississippi Exposition of the previous year.
Related Materials:
NMAI holds a number of related photograph collections including NMAI.AC.118- U.S. Indian Congress of the Trans-Mississippi and International Exposition photograph album and NMAI.AC.119- Byron Harvey, III Collection of Exposition and Portrait photographs.
Provenance:
Gift of Mr. Charles Vogt to Museum of the American Indian, 1945.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Charles Vogt collection of Rinehart and Heyn photographs, image #, NMAI.AC.298; National Museum of the American Indian Archives Center, Smithsonian Institution.
Photographic prints made by physician S. B. Norris among the Comcaac (Seri) community in 1920. Photographed somewhere along the Sonora Coast, 50 miles north of Isla Tiburón, in Mexico.
Scope and Contents:
This collection includes five photographic, black and white, silver gelatin prints. The photographs were made among the Comcaac (Seri) community in 1920, somewhere along the Sonora Coast, 50 miles north of Isla Tiburón, in Mexico. The images include group portraits of community members along the beach.
Catalog numbers include: P00161-P00165.
Arrangement:
Arranged by catalog number.
Biographical / Historical:
More research is needed on photographer S. B. Norris. It is possible that he was a physician working in Maricopa County, Arizona in the 1920s.
Provenance:
Acquisition information is unknown. More research is needed.
Restrictions:
Access to NMAI Archives 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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Genre/Form:
Photographic prints
Citation:
Identification of specific item; Date (if known); Comcaac (Seri) photographs from Sonora, Mexico, image #, NMAI.AC.451; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection contains 3 gelatin silver prints shot by Joseph K. Dixon as part of the Wanamaker Expedition circa 1913.
Scope and Contents:
This collection contains 3 gelatin silver prints shot by Joseph K. Dixon as part of the Wanamaker Expedition circa 1913 and printed by Palm Press of Boston, MA in 1987.
Arrangement:
This collection is arranged in 1 oversize box.
Biographical / Historical:
Rodman Wanamaker (1863-1928) was the sole surviving heir of Philadelphia-based department store magnate, John Wanamaker. Rodman, among his other philanthropic endeavors with the arts, believed that Native Americans were a "noble, though vanishing race," whose lives needed to be recorded before they disappeared. Because of this belief, he funded three expeditions (1908-1913) to "perpetuate the life stories of the first Americans." In addition, he also strove, and ultimately failed, to create a National Indian Memorial to be situated in New York City which would rival the Statue of Liberty.
Joseph K. Dixon (1858-1926) was born in New York, and received a bachelor of divinity degree from the Rochester Theological Seminary before becoming a lecturer for the Eastman Kodak photographic company in 1904. Two years later he was hired to work in Wanamaker's department store, and by 1908 he was chosen to lead the three Wanamaker expeditions (1908-1913) to document the lives and cultures of Native peoples of the United States. For the remainder of his life, Dixon frequently lectured on and continued to photograph the lives of Native Americans.
Provenance:
Gift from the Trustees of the Corcoran Gallery of Art (In the Collection of the Corcoran Gallery of Art, Gift of the Eastman Kodak Company).
Restrictions:
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: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Identification of specific item; Date (if known); Corcoran Gallery of Art collection of Joseph K. Dixon Wanamaker Expedition photographs, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains materials that were created and collected by Corporal Harold E. Brown circa 1952-1953 and relate to his service in the United States Army when he was stationed in Alaska during the Korean War (1950-1953). The materials include letters from Yuit (Siberian Yup'ik) artist Florence Nupok Malewotkuk (1906-1971) to Cpl. Brown and an album containing photos that Cpl. Brown shot while stationed in Alaska.
Arrangement:
The materials are organized in 2 boxes.
Biographical / Historical:
Relatively little is known about Corporal Harold E. Brown. Brown was born October 6, 1929 and lived in Gaithersburg, Maryland. He married Mary Helen (1938-2010) and they had at least one child Padraic Brown. Harold was a Corporal in the United States Army and served in the Korean War. He died on November 24, 2012.
Separated Materials:
The archival materials in this collection are part of a larger collection donated to NMAI by Anita and Padraic Brown. The other collection items were made by Yuit (Siberian Yup'ik) artist Florence Nupok Malewotkuk (1906-1971) and include 2 hide yo-yos (26/9291 and 26/9292); 1 pair of mukluks (26/9293); and 3 pairs of slippers with beadwork (26/9294, 26/9295, and 26/9296). These objects were either given to or purchased by Corporal Harold E. Brown when he was stationed in Alaska during the Korean War.
Provenance:
Gift of Anita and Padraic Brown, 2014.
Restrictions:
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: nmaiarchives@si.edu).
Rights:
Some images restricted: Cultural Sensitivity.
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Identification of specific item; Date (if known); Corporal Harold E. Brown collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
