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.
-------
[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 consists of photographic views made by William Stiles in New York, Rhode Island, Florida, Mississippi, South Carolina, Newfoundland and Quebec, among the Attikamekw (Tete De Boule Cree), Eastern Band of Cherokee, Innu, Miccosukee Seminole (Mikasuki), Mohawk [Kahnawake (Caughnawaga)], Mushuaunnuat (Barren Ground Naskapi) [Utshimassit (Davis Inlet)], Narragansett, Niantic, Onondaga, Seminole, and Seneca communities. These were made while Stiles was a staff member of the Museum of the American Indian, Heye Foundation from 1938-1974.
Scope and Contents:
The Stiles collection consists of photographs and films made by William Stiles on behalf of the Museum of the American Indian, Heye Foundation from 1938 to 1974. More than half of these document the life of Innu peoples of Quebec, Canada, in the years 1952, 1958, 1959, and 1964. They depict Innu men, women, and children, and food preparation, dwellings, fishing, canoes, settlements, the preparation of animal skins, and ceremonials. Stiles photographed among the Seminole and Miccosukee peoples of Florida in 1939, 1940, 1941, 1966, and 1974. He also variously photographed the Narragansett and Niantic peoples of Rhode Island, the Onondaga on the Onondaga Reservation, the Eastern Band of Cherokee in North Carolina, the Seneca of New York, the Attikamekw (Tete De Boule Cree) and the Mohawk of Quebec, and the Mushuaunnuat of Labrador. He also photographed various archaeological sites in New York State, Mississippi, and South Carolina. There are also two 8mm film reels titled "Nascapi Indians at Davis Inlet, Labrador, New Foundland" that were made in the summer of 1965.
This collection has been intelectually arranged into four series and subseries geographically and then chronologically within each subseries.
Series 1: Expedtions in New York, 1938-1973; Series 2: Expeditions in Canada, 1940-1965; Series 3: Expeditions in the Southeastern, United States, 1939-1974; Series 4: Nebraska, Rhode Island and Other Locations, 1939-1942, undated.
Physically arranged by negative "N", print "P" or slide "S" number.
Biographical/Historical note:
Before joining the staff of the Museum of the American Indian, Heye Foundation in May 1938, William F. Stiles was George G. Heye's personal driver. An employee of the Museum for almost forty years, Stiles retired in March 1978 as the Curator of Collections. Although Stiles published very little, he was an active field collector and participated in numerous archaeological expeditions. As is evident from his photographs of the Innu and Seminole peoples, he often visited individual communities more than once and over the course of several years.
Stiles Expeditions for the Museum of the American Indian, Heye Foundation
1938 Summer -- Cayuga County Expedition.
1939 October -- Expedition to Pennsylvania and New York.
1939 November – 1940 January -- F. K. Seward and William F. Stiles Florida Expedition.
1941 -- Trip to North Carolina and Florida.
1942 -- Trip to Putnam County, New York.
1946 -- Expedition to Mississippi.
1952 June -- Expedition to Québec, Canada.
1953 June-July -- Expedition to Québec, Canada.
1957 July -- Expedition along St. Lawrence River, Canada.
1959 August -- Expedition to Québec, Canada.
1960-1967 -- William F. Stiles Southeast Expedition. Stiles began expeditions to the Southeastern U.S. in Spring and Fall of 1960. He returned to the Southeast each Oct - Nov. through 1966 conducting investigations and excavations in South Carolina, Tennessee, Alabama, Mississippi, Georgia, and North Carolina and Florida returning to some sites multiple times.
1961-1965 -- William F. Stiles Savannah Farms Expedition. Preliminary investigation began in Nov 1961 and work continued each year during the fall until 1965.
1964 May-June -- Expedition to Québec, Canada.
1965 June-July -- Stanley R. Grant Naskapi Expedition to Davis Inlet, Labrador, Canada.
1966 June-July -- Expedition to Labrador, Newfoundland, and Québec, Canada
1972 October -- Expedition to Seneca Reservations, New York.
1972 October-December -- Expedition to Tennessee.
1973 April -- Expedition to Seneca Reservations, New York.
1974 November -- Expedition to the Southeast: North Carolina and Florida.
Separated Materials:
Correspondence and field notes from William Stiles can be found in the Museum of the American Indian, Heye Foundation records in Box 200.13, Box 201.7, Box 274.3-275.9, Box 305.1-305.2, Box 307.21, Box 312.11-312.17.
Restrictions:
Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
Excavations (Archaeology) -- Mississippi Search this
Indians of North America -- New York (State) Search this
Indians of North America -- Rhode Island Search this
Excavations (Archaeology) -- New York (State) Search this
Excavations (Archaeology) -- South Carolina Search this
Genre/Form:
Negatives
Photographic prints
Color slides
Photographs
Citation:
Identification of specific item; Date (if known); William F. Stiles collection of photographs and films, NMAI.AC.001.014, item #; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection includes slides (photographic) and audio-cassettes created by James Jones during research trips to San Ingnacio de Moxos, Beni, Bolivia in 1977-1979 and 1988. Jones was conducting research to complete his dissertation in anthropology and photographed many indigenous Moxo (Mojo) community members he interviewed during the course of his research, as well as local festivals and agricultural activities.
Scope and Contents:
The James C. Jones collection includes photographic slides (35mm) and two audio-cassettes made by Jones in San Ignacios de Moxis, Beni, Bolivia in 1977-1979 and in 1988. The majority of the photographic slides in this collection were taken by Jones during his 1977-1979 research trip for his PhD dissertation. There are a small number of slides that were shot in 1988 on a return trip to Beni, Bolivia. The slides from 1977-1979 were shot in 25 rolls with 36 slides per roll. The majority of the photographs were shot in and near San Ignacio de Moxos in Beni, Bolivia an indigenous village in Norther Bolivia, though additional locations in Bolivia visited include Trinidad and La Paz. Jones interviewed around 70 local Moxo (Mojo) men and women in and near San Ignacio. During and in between interviews Jones shot photographs that documented daily life for his interviewees with a particular focus on agricultural activities such as farming and cooking. Many of the photographs include images of the Rivero family (Ignacito and Yolanda) with whom Jones stayed for extended periods of time. Jones also took a special interest in the many celebrations and festivals that occurred during his stay in Bolivia and took photographs of dancers, musicians and processions. He also shot many landscape views of the village, farms, "pampas," as well as aerial views of roads and rivers and close up images of the local flora and fauna.
The two audio-cassettes, recorded by Jones in 1977-1978, includes music played by local Moxo musicians during special occasions, such as Christmas, Independence Day as well as music played in the local church. There are also interviews with Juan Bautista Savala and Chaco war veteran Horacio Semani.
Arrangement:
Arranged chronologically and by slide roll or sound-cassette.
Biographical / Historical:
James C. Jones was born in Harlan, Kentucky in 1944. He graduated from University of Kentucky in 1966 with a B.A. in Science in Mathematics. Jones spent two years teaching math in Columbia (1969-1970) and developed an interest in Latin American studies while traveling around South America. Due to this interest, he pursued and received a Master's degree and later PhD in anthropology at the University of Florida. Jones first visited San Ignacio/Beni in 1976 for three months to define his topic for his PhD thesis with funding from the University of Florida's Tropical South American Program. He returned to Bolivia with funding from the Inter-American Foundation in 1977 (September) and stayed through the first quarter of 1979. Returning to Florida, Jones finished his dissertation in 1980 titled "Conflict between Whites and Indians on the Llanos de Moxos, Beni Department" (PhD diss., University of Florida, 1980).
After completing his degree, Jones left the field of anthropology and received a Master's degree in agricultural economics, entering the world of development for the next 15 years. During this time Jones worked on development and security issues across the globe. Jones resumed research on Bolivia in the late 1980's and 1990s and published an essay, "Development: Reflections from Bolivia" in the Society for Applied Anthropology's Human Organization, Vol. 56, No. 1 (Spring 1997), pp.111-120. Since then, Jones has worked as an independent contractor.
Separated Materials:
Jones took copious notes that describe that photographic and audio materials but these are still in the possession of Jones himself. The Archive Center has copies of these notes for reference purposes only.
Provenance:
Gift of James Jones, 2017.
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); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
This collection contains three daguerreotypes depicting relatives of George Gustav Heye (1874-1957), founder of the Museum of the American Indian.
Scope and Contents:
This collection contains three daguerreotypes depicting relatives of George Gustav Heye (1874-1957), founder of the Museum of the American Indian. The images include Herman Gustav Heye (paternal grandfather to George Gustav Heye); Christian Heye (paternal uncle of George Gustav Heye); and Cattie Brottman Heye (paternal grandmother of George Gustav Heye). The daguerreotypes displayed in a gold frame.
Arrangement:
Photographs arranged in a box.
Biographical / Historical:
George Gustav Heye was born on September 16, 1874 in New York City. His father, Carl Friederich Gustav Heye, was born in Quakenbrück, Germany on November 3, 1834, and came to the United States as a young man. George Heye's paternal grandparents were Herman Gustav Heye of Crefeld, Germany, and Cattie Brottman Heye. Christian Heye was the elder brother of Carl Friederich Gustav Heye and son of Herman and Cattie.
Provenance:
Gift of K. King Burnett, 1989.
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.
This collection contains gelatin silver photographs shot by photographer David Grant Noble that depict Mohawk ironworkers constructing a building in New York City and Anishinaabe (Chippewa/Ojibwa) wild rice harvesting in Wisconsin and Minnesota, 1970-1971.
Scope and Contents:
This collection contains 192 gelatin silver prints shot by photographer David Grant Noble from 1970-1971. The photographs depict Mohawk ironworkers at a construction site at 450 Park Avenue (Franklin National Bank Building) in New York City; Lake Superior Chippewa band of Anishinaabe harvesting wild rice on the Bad River Reservation in Odanah, Wisconsin; Minnesota Chippewa [Bois Forte/Nett Lake, Minnesota] band of Anishinaabe harvesting wild rice on the Bois Forte Reservation in northern Minnesota; and Anishinaabe (Chippewa/Ojibwa) Pinery Indian Cemetery in L'Anse, Michigan.
Arrangement:
The photographs are arranged in folders and oversize boxes according to subject matter.
Biographical / Historical:
David Grant Noble is a professional photographer, author, and editor living in Santa Fe, New Mexico. After attending Yale University, Noble served in the U.S. Army in 1962 where he began his photography career.
In 1970, Noble was shooting street photography when he befriended Mohawk ironworkers constructing a building at Park Avenue and 53rd Street in New York City. They invited him to document their work including photographing them many stories above street level.
From 1971-1989, Noble worked at the School for Advanced Research (SAR) in Santa Fe where he photographed and studied American southwest archaeological ruins, cliff dwellings, rock art, and landscapes. His books include Ancient Ruins of the Southwest: an Archaeological Guide, Search of Chaco: New Approaches to an Archaeological Enigma, and In the Places of the Spirits.
Noble's photographs are in the collections of numerous public institutions including Yale University's Beinecke Library, Museum of New Mexico, and New York City Public Library. He is also the recipient of the 2011 Emil Haury Award from the Western National Parks Association and the 2003 Victor Stoner Award from the Arizona Archaeological and Historical Society.
Provenance:
The photographs in this collection were a Museum purchase and gift of David Grant Noble.
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.
Some photographs in this collection are RESTRICTED due to Cultural Sensitivity.
Topic:
Indians of North America -- Québec (Province) Search this
Identification of specific item; Date (if known); David Grant Noble photographs, Box and Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains 260 photographs depicting many American Indian communities including Diné (Navajo); Hopi; Isleta Pueblo; Pikuni (Piegan) [Blackfeet Nation, Browning, Montana]; Taos Pueblo; and Lacandon Maya, as well as others. Photographs were shot by amateur photographer Herbert Underhill Silleck circa 1924-1944 during his travels with his wife Agnes Smartt Silleck.
Scope and Contents:
This collection contains 260 photographs (196 film negatives and 64 photos in an album) shot by amateur photographer Herbert Underhill Silleck during his travels with his wife Agnes Smartt Silleck circa 1924-1944.
The photographs depict many American Indian communities in western United States including Diné (Navajo), Hopi, Isleta Pueblo, Pikuni (Piegan) [Blackfeet Nation, Browning, Montana], Taos Pueblo, and Lacandon Maya. The images include scenes of candid portraits; powwows in Flagstaff, Arizona and Montana; Pueblos; tourist goods for sale; Aztec Ruins National Monument, New Mexico, among other scenes.
Arrangement:
The photographs are intellectually arranged by subject matter and physically arranged in boxes by image #.
Biographical / Historical:
Relatively little is known about Herbert Underhill Silleck. He was born in New York in April 24, 1881 and worked for the Brooklyn Trust Company for about 47 years. He married Agnes Smartt on June 1, 1905 and they had one daughter Doris G. Silbeck (born 1918). He died in New York on March 14, 1961. Based on Herbert's photographic record, it appears that he was an amateur photographer who traveled throughout the western United States.
Separated Materials:
Agnes Smartt Silleck also donated a sash, hair tie, and a painting to the museum, which can now be found under object numbers 23/2012 - 23/2014.
Provenance:
Gift of Agnes Smartt Silleck, 1962.
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); Herbert U. Silleck photographs, image #, NMAI.AC.223; National Museum of the American Indian Archives Center, Smithsonian Institution.
The General Photograph collections contains photographs depicting people, events, and activities related to the historical and contemporary lives of Native peoples throughout the Western Hemisphere.
Scope and Contents:
The General Photograph collections is comprised of individual small collections of photographs that were acquired by the Archive Center from various sources. These small collections are presented together under a single collection for easy access and depict the historical and contemporary lives of Native peoples throughout the Western Hemisphere.
Arrangement:
This collection is organized in folders by accession numbers.
Biographical / Historical:
The photographs in this collection were shot by a variety of photographers and depict many different people and scenes. For specific biographical and historical notes please see individual photographs listed in this guide.
Provenance:
The National Museum of the American Indian and its predecessor, Museum of the American Indian, acquired the photographs in this collection from 1916 to the present.
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.
Citation:
Identification of specific item; Date (if known); General Photograph collections, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection consists of seventeen photographic prints depicting Native artists from Chaticks Si Chaticks (Pawnee), Jemez Pueblo, Kiowa, Niuam (Comanche), Southern Tsitsistas/Suhtai (Southern Cheyenne), and Oklahoma Muskogee (Creek) communities. Many of these individuals studied under Oscar B. Jacobson at the University of Oklahoma in the first half of the twentieth century.
Content Description:
The Oscar B. Jacobson photographs of Native Artists collection consists of seventeen photographic prints, mainly taken by Oscar B. Jacobson in Oklahoma between 1917 and 1950. Jacobson was the Director of the University of Oklahoma School of Art for several decades in the first half of the twentieth century, mentoring many young Native men and women artists. This collection includes photographs of some of the many students who studied under Jacobson and later emerged as prominent artists, such as the group known as the Kiowa Six, consisting of one Kiowa woman and five Kiowa men. Photographs of other artists who studied with Jacobson include Jemez Pueblo artist Jose Toledo, Oklahoma Muskogee (Creek) and Chaticks Si Chaticks (Pawnee) artist Acee Blue Eagle, and Southern Tsitsistas/Suhtai (Southern Cheyenne) artist Richard West, Sr.
Arrangement:
This collection is arranged chronologically into folders.
Biographical / Historical:
Oscar Brousse Jacobson was born in 1882 in Sweden. While still in his youth he immigrated to the United States, receiving his bachelor's degree in 1908 from Bethany College in Lindsborg, Kansas. He pursued studies abroad in Denmark, France, and his native Sweden, before receiving his Master of Fine Arts degree from Yale University, and later a doctorate from Bethany College.
From 1915 until 1954 Jacobson directed the University of Oklahoma's School of Art, mentoring a great many Native men and women during these years. In addition to his work as a professor, Jacobson was also an accomplished painter of portraits and landscapes. He died in Norman, Oklahoma, in 1966.
Provenance:
This collection was donated by Oscar B. Jacobson in 1965.
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); Oscar B. Jacobson photographs of Native Artists, NMAI.AC.318; National Museum of the American Indian Archives Center, Smithsonian Institution.
The Frank Gouldsmith Speck photograph collection includes portraits of individuals and families, as well as scenic shots and landscape views made between 1909 and 1937. Speck was an anthropologist and ethnographer, a professor at the University of Pennsylvania, and worked on behalf of the Museum of the American Indian, Heye Foundation collecting ethnographic materials across the Eastern United States and Canada. His collection of photographs includes materials from native communities ranging from Newfoundland to Ontario in Canada and from Maine to South Carolina in the United States.
Scope and Contents:
The Frank Gouldsmith Speck photograph collection includes negatives and a small amount of prints made by Speck throughout the course of his career as an anthropologist and ethnographer. The majority of the photographs in this collection were made while Speck conducted field trips on behalf of the Museum of the American Indian, Heye Foundation between 1924 and 1932, though there are photographs from before and after this time. This collection has been arranged into Series by geographical location and then into subseries by culture group or community. Series 1: Newfoundland and Labrador: Innu, Mushuaunnuat, 1916-1935; Series 2: Quebec: Innu, Mistassini Cree, Lorette Huron, Wawenock, Mohawk, Kitigan Zibi Anishinabeg, 1910-1937; Series 3: New Brunswick and Nova Scotia: Maliseet, Mi'kmaq, 1909-1917; Series 4: Ontario: Six Nations/Grand River (Naticoke, Mohawk, Cayuga, Mahican, Tutelo), Oneida Nation, 1914-1937; Series 5: Maine and New Hampshire: Penobscot, Passamaquoddy, Abenaki, 1910-1924; Series 6: Massachussets and Rhode Island: Wampanoag, Nauset, 1914-1931; Series 7: Connecticut: Mohegan, Niantic, Schaghticoke, Pequot, 1912-1931; Series 8: Delaware: Nanticoke and Rappahanock, 1911-1925; Series 9: Virginia and Maryland: Rappahanock, Chickahominy, Pamunkey, Mattaponi, Nansemond, Potomac, Accomac, Powhatan, 1915-1924; Series 10: North Carolina and South Carolina: Catawba, Eastern Band of Cherokee, 1915-1930.
Many of Frank Speck's photographs are individual and family portraits of community members, many identified, posed outdoors in front of homes and community buildings. There are also landscape views as well as photographs taken during community events. There are a small amount of photographs that have now been restricted due to cultural sensitivity though for the most part Speck did not photograph culturally sensitive activities.
Arrangement:
The collection is intellectually arranged in 10 Series by geographic region and within each series by culture group. The negatives are physically arranged by catalog number.
Biographical / Historical:
Frank Gouldsmith Speck was born on November 8, 1881 in Brooklyn, New York. He studied under the prominent linguist John Dyneley Prince and anthropologist Franz Boas at Columbia University, receiving his BA in 1904 and MA in 1905. He received his Ph.D. in 1908 from the University of Pennsylvania. His doctoral dissertation on the ethnography of the Yuchi became a basis for an article which later appeared in the Handbook of American Indians. That same year Speck became an assistant in the University of Pennsylvania Museum and an instructor in anthropology at the University. He was made assistant professor in 1911, and professor and chairperson of the department in 1925, a position which he held until his death in 1950. Speck was the founder of the Philadelphia Anthropological Society, and was vice-president of the American Anthropological Association from 1945-46. Speck's research concentration was on the Algonkian speaking peoples. Speck studied every aspect of a culture: language, ethnobiology, technology, decorative art, myths, religion, ceremonialism, social organization, and music. Collecting material culture was also an integral part of Speck's fieldwork. His collections can be found in museums around the world, one of which is the National Museum of the American Indian. He is the author of numerous books and articles. Frank G. Speck died February 6, 1950. (A. Irving Hallowell, American Anthropologist, Vol. 53, No. 1, 1951)
Related Materials:
The Frank G. Speck Papers can be found at the American Philosophical Society (Mss.Ms.Coll.126) along with additional photographic materials by Speck.
Frank Speck published extensively in the Museum of the American Indian, Heye Foundation publications; "Indian Notes" and "Indian Notes and Monographs." These publications are avialable through the Smithsonian Institution Libraries or online on the Internet Archive.
Separated Materials:
A small amount of notes from Speck's field work can be found in the Museum of the American Indian/Heye Foundation records (NMAI.AC.001) in Box 273, Folder 18 through Box 274 Folder 2.
Close to 4000 ethnographic and archeological items were collected by Speck for the Museum of the American Indian, Heye Foundation (MAI) and are now in the National Museum of the American Indian (NMAI) collection. For more information about these objects contact the NMAI Collections Department.
Provenance:
The majority of the negatives were gifted to the Museum of the American Indian, Heye Foundation (MAI) by Frank Speck in 1927. The group of Nanticoke photographs were purchased by the MAI in 1915 and smaller amounts of photographs were gifted and purchased by the MAI between 1923 and 1942.
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); Frank Speck photograph collection, Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
The Frank C. and Clara G. Churchill collection includes photographic negatives, photo albums, lantern slides, journals, scrapbooks and other documents created and compiled by the Churchills over the course of Frank's career as a special agent and Indian Inspector for the Department of the Interior between 1899 and 1909. Initially assigned as a revenue collector to the Cherokee Nation and later as an Indian Inspector reviewing boarding schools, Frank's assignments took him all over the United States including Indian Territory (present day Oklahoma), Missouri, Texas, Nebraska, Kansas, South Dakota, Minnesota, Wisconsin, New Mexico, Arizona, Utah, California, Florida, North Carolina and Alaska. During this time the Churchills visited over 80 different Native communities shooting photographs and taking notes.
Scope and Contents:
The Frank C. and Clara G. Churchill collection includes 1430 photographic negatives, 29 photo albums containing 3710 photographic prints, 325 lantern slides, and 3 linear feet of journals, scrapbooks, and other documents created and compiled by the Churchills over the course of Frank's career as a special agent and Indian Inspector for the Department of the Interior between 1899 and 1909.
Series 1: Photographs in Indian Territory (Oklahoma): Muskogee, Tahlequah, Sulphur Springs and Other Assignments, 1899-1903, includes 11 photo albums and 357 negatives from Frank Churchill's original assignment as revenue collector to the Cherokee Nation. Locations include Indian Territory (Oklahoma) [bulk], Kansas, Nebraska, Iowa, South Dakota, Arkansas, and Missouri. The Native communities visited and photographed in this series include— Oklahoma Cherokee, Oklahoma Muskogee (Creek), Quapaw, Osage, Miami, Wyandotte [Oklahoma], Tsitsistas/Suhtai (Cheyenne), Winnebago [Nebraska], Eastern Shawnee [Quapaw Agency, Oklahoma], Ponca, Chaticks Si Chaticks (Pawnee), Oto, Sioux [Crow Creek], Kaw (Kansa), Chickasaw, Modoc, Kiowa, Choctaw.
Series 2: Photographs in the Southwest and Midwest: Arizona, New Mexico, Califonia, Minnesota and Wisconsin, 1903-1907, includes 9 photo albums and 832 negatives from Frank Churchill's assignment as an Indian Inspector. Because the Churchills visited some of the same locations on multiple occasions, it has been hard to date some of the negatives. For that reason, all the negatives made in the Southwest have been included in this series, though there are two photo albums with Southwest photographs included in Series 4. Locations in this series includes Arizona, New Mexico, California, Minnesota and Wisconsin. The Native Communities visited and photographed in this series include—A:shiwi (Zuni), Diné (Navajo), Acoma Pueblo, Akimel O'odham (Pima), Cahuilla, Chemehuevi, Cochiti Pueblo, Hopi Pueblo, Isleta Pueblo, K'apovi (Santa Clara Pueblo), Kumeyaay (Diegueño), Laguna Pueblo, Luiseño (Luiseno), Mescalero Apache, Mojave (Mohave), Ohkay Owingeh (San Juan Pueblo), Picuris Pueblo, Piipaash (Maricopa), Puye Pueblo, Quechan (Yuma/Cuchan), San Carlos Apache, Taos Pueblo, Tohono O'odham (Papago).
Series 3: Photographs in Alaska and Oregon, 1905-1910 (bulk 1905), includes four photograph albums and 71 negatives from Frank Churchill's appointment as special agent, by President Roosevelt, to investigate the condition of the school & reindeer service and other affairs in Alaska in the summer and fall of 1905. Two of the albums were not made by the Churchills. The first of these (Box 20) includes photographs by William Hamilton and the second (Box 21) includes photographs by W. T. Lopp. Locations in Alaska include St. Lawrence Island, Nuwukmiut/Point Barrow, Teller, Diomedes Islands, Nome, Kotzebue, Wrangell, Port Clarence Bay, Unalaska Island and Baranof Island. There are a number of photographs aboard the U.S. Cutter "Bear" and aboard the mailboat "Georgia." Native communities photographed include—Yuit (Siberian Yup'ik), Inupiaq (Alaskan Inupiat Eskimo), Bering Strait Inupiaq [Diomedes], Alutiiq (Pacific Eskimo), Tlingit.
Series 4: Photographs in Arizona, Utah, North Carolina, Montana, North Dakota, Florida and Miscellaneous, 1907-1909, includes five photograph albums and 163 negatives from Frank Churchill's assignment at Indian Inspector. Because the Churchills visited some of the same locations in the Southwest (Arizona and Utah) on multiple occasions, it has been hard to date some of the negatives. For that reason, all the negatives made in the Southwest have been included in Series 3. Locations include Arizona, Utah, North Carolina, Montana, North Dakota and Florida. Native communities visited and photographed include-Diné (Navajo), Hopi Pueblo, Kaibab Paiute, Quechan (Yuma/Cuchan), Eastern Band of Cherokee, Pikuni Blackfeet (Piegan), Wahpetonwan Dakota [Sisseton-Wahpeton Sioux Tribe], Turtle Mountain Chippewa, Seminole. There is restricted material in Box 23 (Album P23380).
Series 5: Non-Native Photographs: Colorado Vacation, Lebanon, New Hampshire, and other Materials, 1898-1913, includes four photograph albums from vacations and other visits made by the Churchills unrelated to Frank's activities as Indian Inspector.
Series 6: Manuscripts: Journals, Documents and Scrapbooks, 1880-1928 (bulk 1899-1909), includes three linear feet of materials arranged in three subseries. Subseries 6.1, Clara Churchill, includes 16 journals, 12 scrapbooks and various other manuscript materials written and accumulated by Clara Churchill during their travels. Many of the journals include personal writings as well as several photographs that are duplicated in the photograph albums. The journals and scrapbooks encompass the full range of the Churchills' travels and include notes from Indian Territory, Southwest, Midwest, Southeast, Plains and Alaska. Subseries 6.2, Colonel Frank C. Churchill, includes official documents around Churchill's assignments as well as the reports Frank submitted back to the Secretary of the Interior (Box 41 and 42). Subseries 6.3, Churchill Museum and Miscellaneous, includes catalogs and other notes related to the large collection of Native American objects amassed by Frank and Clara. Clara also collected other items such as shells, minerals, and sand.
Series 7: Lantern Slides for Lectures, 1899-1909, includes 325 hand colored glass lantern slides. These were made by the Churchills from existing negatives and used for lectures. Lantern slides #1-#121 include views photographed in Alaska in 1905. Sldes #122-#325 include an assortment of views from Oklahoma (Indian Territory), Nebraska, Montana, Minnesota, California, Arizona and New Mexico photographed between 1900 and 1909.
Arrangement:
The Frank C. and Clara G. Churchill collection has been arranged in seven series by material type and then chronologically. The first five series are then divided into subseries by "Photo Albums" and "Negatives." These include--Series 1: Photographs in Indian Territory (Oklahoma): Muskogee, Tahlequah, Sulphur Springs and Other Assignments, 1899-1903; Series 2: Photographs in the Southwest and Midwest: Arizona, New Mexico, California, Minnesota and Wisconsin, 1907-1907; Series 3: Photographs in Alaska and Oregon, 1905-1910 (bulk 1905-1905); Series 4: Photographs in Arizona, Utah, North Carolina, Montana, North Dakota, Florida and Miscellaneous, 1907-1909; Series 5: Non-Native Photographs: Colorado Vaction, Lebanon, New Hampshire, and other Materials.
Series 6: Manuscripts: Journals, Documents and Scrapbooks, 1880-1928, is arranged in three subseries. Subseries 6.1: Clara G. Churchill, Subseries 6.2: Frank C. Churchill, and Subseries 6.3: Churchill Museum and Miscellaneous. Series 7: Lantern Slides for Lectures, 1899-1909, is arranged in orginal number order from the Hood Museum at Dartmouth College.
Biographical / Historical:
Frank Carroll Churchill was born August 2, 1850 to Benjamin P. Churchill and Susanna Thompson in West Fairlee, Vermont. Frank was educated at Thetford Academy in Thetford, VT and worked as a clerk for D.C. Churchill & Co. in Lyme, NH between 1869-1870. Between 1870 and 1877, Churchill was employed by H.W. Carter as a wholesale merchant in Lebanon, New Hampshire. During this time, Churchill met Clara Corser Turner and they were married on June 11, 1874.
Clara G. (Turner) Churchill was born December 16, 1851, to Colonel Francis H. Corser and Sarah Hook (Perkins) Corser. Colonel Corser and his wife died young, and Clara was adopted by George and Abby H. Turner of Concord, New Hampshire.
In 1877, in association with William S. Carter, Frank Churchill opened the business "Carter & Churchill" which was in this business for 21 years. Churchill held various political offices from 1879-91. He served as chairman of the Republican town committee of Lebanon and of the Republican State committee in 1890 and 1891. He served on the staff of Governor Natt Head in 1879 and 1880, with the rank of Colonel. He was chairman of the New Hampshire delegation at the Republican National Convention which nominated President Harrison and represented the Fourth District in the Executive Council in 1889-1890 during the administration of Governor David. H. Goodell.
In 1899 Frank was appointed revenue inspector for the Cherokee Nation in Indian Territory and was later appointed a special agent for the Interior Department to formulate a system of public schools in Indian Territory (Oklahoma) and across the Southwest. In 1905, he was appointed special agent, by President Roosevelt, to investigate the condition of the school & reindeer service and other affairs in Alaska and was reappointed Indian Inspector between 1905-1909. In 1909, Churchill resigned due to failing health and died November 5, 1912. Clara accompanied Frank on all his travels between 1899 and 1909 (see below chronology for full details) maintaining journals and writing articles for publication in "WHAT." Clara was also a painter, producing watercolors and hand-painting many of the photographs she and Frank made on their travels. Following Frank's death, Clara maintained their collection of Native artifacts and photographs in their home in Lebanon, New Hampshire. Clara died April 16, 1945, bequeathing the full collection to Dartmouth College.
Frank Churchill's assignments as Special agent and Indian Inspector from 1899-1909 took him all over the United States including Indian Territory (present day Oklahoma), Missouri, Texas, Nebraska, Kansas, South Dakota, Minnesota, Wisconsin, New Mexico, Arizona, Utah, California, Florida, North Carolina and Alaska. During this time the Churchills visited over 80 different Native communities. For more details, see the chronology below.
Travels in Indian Territory (Oklahoma) and other assignments, 1899-1903
1899, June 29 -- Churchills arrive in Muskogee, Indian Territory (Oklahoma).
1899, July-October -- Visit to Fort Gibson, Tahlequah, Sallisaw, and Vinita (Indian Territory/Oklahoma). Visit to Noel and South west City, Missouri. Visit to Chelsea and Coffeyville, Kansas. Visit to Fort Smith, Arkansas.
1899, November -- Visit Tahlequah while the Cherokee Nation legislature was in session.
1899, December -- Travel in Colorado.
1900, March -- Return to Muskogee and Fort Gibson.
1900, Sept 17-Oct 5 -- Dawes Commission in Vinita.
1901, Mar-Apr 3 -- Visit to the Quapaw Agency, Wyandotte Reservation and school, Modoc reservation and the town of Miami.
1901, April -- Visit to Denison, Texas. Visit to Checotah, Eufaula, South McAlester (Choctaw nation).
1901, Summer -- Visit to Pawhuska, Osage Nation.
1901, October -- Visit to Tishomingo, seat of government of the Chickasaws.
1902, January -- Trip to the Chickasaw Nation Visit to Anadarko, Indian Agency of the Kiowa, Comanche and Apache, Fort Sill, Wichita Mountains, and Lawton.
1902, May -- Frank is dispatched to Sioux City, Iowa.
1902, July -- Visit to St. Paul, Minnesota and Eau Claire, Wisconsin, (Chippewa Falls). Frank is sent to Sulphur Springs, Texas, to author a report.
1902, August -- Churchills return to Muskogee, IT.
1902, September-October -- Trip to White Eagle, Ponca Agency for a month. Visit to Otoe school, Pawnee School, Shawnee, Sac and Fox reservations.
1902, November-December -- Visit to Crow Creek Agency.
1903, January -- Return to Sulpher Springs, Texas.
1903, March -- Visit to Pawhuska, Osage Nation.
1903, April -- Visit to Colorado.
1903, May-October -- Visit to 23 towns in Oklahoma (IT) with the Secretary of the Interior.
Travels in New Mexico, Arizona and California, 1903-1905
1903, November -- Frank receives orders to proceed to Zuni Pueblo, New Mexico.
1903, December 9 -- Visit to Zuni, followed by Canyon de Chelly, Hubbell's Ranch, Keams Canyon.
1903, December 21 -- Visit to Hopi Pueblo. Walpi, Polacca Day School, Oraibi, Shumopavi (Shungopavi/Songoopavi), Shipaulovi (Supawlavi) and Mishongnovi (Musungnuvi).
1903, December 28 -- Visit to Fort Defiance.
1904, January -- Travel in New Mexico. Visit to Gallup, Laguna Pueblo, Acomita, Paraje, Acoma, Albuquerque, Isleta Pueblo, Santa Fe, Ohkay Owingeh (San Juan Pueblo), K'apovi (Santa Clara Pueblo).
1904, February -- Visit to Sacaton, Akimel O'odham (Pima) Reservation and Casa Grande ruins in Arizona.
1904, March -- Visit to Lehi Day School, Salt River Day School, Phoenix Indian School, Gila River Crossing Day School and Maricopa Day School, Arizona.
1904, March 10-26 -- Visit to Fort Mojave and Chemehuevi.
1904, March 30-April -- Visit to Riverside, California, Sherman Institute and Perris School. Side trip to Yuma, Arizona.
1905, January-February -- Visit to Sulphur, IT.
1905, March -- Visit to Mescalero Apache Agency, San Carlos Apache Agency, Geronimo Settlement, Rice Station School at Talkalai.
1905, April 10-20 -- Return to Sherman Institute in Riverside, California. Visit to San Jacinto, Perris, Saboba, Cahuilla, San Manuella (Band of Mission Indians), Coachella, Torres Reservation, Martinez Reservation Day School, Cabazon Reservation, Protrero Reservation and Day School.
1905, April 22-May -- Visit to Temecula, Pechanga Day School, Pala Mission, Campo Reservation, Mission of San Luis Rey, Rincon Day School, Mesa Grande School, Santa Ysabel (Diegueno), Volcan Mountain Day School.
Travels in Alaska, 1905
1905, June -- Frank receives an assignment in Alaska.
1905, July -- Board the U.S. Revenue Cutter "Bear" in Nome. Visit to Reindeer Station in Teller, Cape Prince of Wales, Kotzebue Sound, Cape Thompson, Point Hope and Point Barrow.
1905, August -- Visit to Wainwright Inlet, return to Nome. Visit to Anvil Creek, Gologin (Golovin) Bay, St. Lawrence Island, Pribilof Islands (Seal Islands), St. George, Dutch Harbor and Unalaska.
1905, September -- Board the "Dora" anchored near Belkofski, Cold Bay, Karluk, Afgonak, and Kodiak. Stop in Homer, Seldovia and Seward. Visit to Sitka.
1905, September 28 -- Board the steamer "Georgia" to Juneau and Skagway via Hoonah.
1905, October -- Return to Lebanon, NH.
Travels in Arizona, New Mexico, Minnesota, Wisconsin, California and Utah, 1906-1907
1906, March-April -- Re-assigned to Southwest and arrive in Tucson, Arizona. Visit to San Xavier Mission, Tohono O'odham (Papago) reservation, Casa Grande, Sacaton, Maricopa, Gila Crossing, Salt River and Phoenix schools.
1906, May -- Return to New Mexico to visit Gallup and Zuni Day School.
1906, June -- Visit to St, Paul, Minnesota and the White Earth (Ojibwe) reservation and Wild Rice River School in Boliere.
1906, July -- Visit to Ashland, Wisconsin, Lac Courte Oreilles, Hayward, and Lac de Flambeau (La Pointe Agency.
1906, July-September -- Return to Lebanon, New Hampshire.
1906, September -- Visit to Fond du Lac (Winnebago Lake), Wabeno, and Carter, Wisconsin.
1906, October -- Visit to Phlox, Wausau, Minocqua, Star Lake, Bark River and Wausaukee, Wisconsin.
1906, November-December -- Visit to Keshena (Green Bay Indian School), Menominee Reservation and Ashland, Wisconsin.
1906, December-January -- Stay in Washington, DC.
1907, February -- Return to Albuquerque, New Mexico.
1907, March -- Visit to Santa Fe and various Pueblos (Cochiti, Tesuque, San Ildefonso, Ohkay Owingeh [San Juan], Toas and Picuris).
1907, April -- Return to Albuquerque, visit to Pueblos (Isleta, Laguna, Mesita, Acomita, Paraje, Acoma, Seama).
1907, April -- Visit to Phoenix, Arizona (Phoenix Indian School), Fort McDowell and Salt River Day School.
1907, May -- Visit to Sacaton, Maricopa, Casa Grande, and Yuma, Arizona.
1907, June -- Visit to Riverside (Sherman Institute), and Pomona, California.
1907, June-July -- Travel to Salt Lake City, Utah. Visit Panguitch, Orton, Kanab, Escalante and Marysvale, Utah.
1907, July-August -- Return to Arizona. Visit Flagstaff, Tuba Indian School, as well as Hopi Pueblo (Walpi, Moencopi, and Oraibi).
1907, September-October -- Return to Lebanon, NH.
Travels in North Carolina, Montana and Florida, 1907-1909
1907, October 22 -- Assigned to Cherokee, North Carolina, to make a new roll of the Eastern Band of Cherokee.
1907, November -- Arrive in Cherokee, North Caolina.
1908, February -- Visit to Robbinsville and Big Cove
1908, April -- Cherokee council meeting regarding Churchill's new roll.
1908, May -- Completes assignment in North Carolina.
1908, June-September -- Return to Washington, DC and Lebanon, New Hampshire.
1908, September-October -- Trip to Montana. Visit to Browning, Blackfeet Reservation, Harlem, Fort Belknap and Fort Peck.
1908, November -- Visit to Spirit Lake (Devil's Lake) and Wahpeton, and Fort Totten, North Dakota.
1908, December -- Visit to Morris, Minnesota.
1909, January -- Trip to Washington, DC for the inauguration of President Taft.
1909, February -- Visit to Carlisle, Pennsylvania.
1909, March-April -- Trip to Florida. Visit to Miami, Fort Lauderdale, Fort Myers, Tampa Bay, St. Petersburg, Gainesville, and St. Augustine.
1909, May -- Visit to Soco Creek and Cherokee, North Carolina.
1909, July -- Return to Lebanon, New Hampshire.
1909, August -- Resignation as Indian Inspector.
Related Materials:
A large collection of Native American cultural objects and archaeology bequeathed by Clara Churchill can still be found at the Hood Museum at Dartmouth College.
Provenance:
Frederick Dockstader, former director of the Museum of the American Indian (MAI), Heye Foundation, illegally removed the majority of the photographs (photo albums, negatives) and manuscript material (journals, reports) from the Hood Museum of Art at Dartmouth College in 1955, before depositing them at the MAI. Those materials were officially gifted to NMAI in 2018 by the Hood Museum. Additional materials from the Churchill collection that remained at the Hood Museum (lantern slides, photographs, scrapbooks, journals) were donated in 2020. These materials have been noted in the finding aid.
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:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiarchives@si.edu.
Identification of specific item; Date (if known); Frank C. and Clara G. Churchill collection, NMAI.AC.058, National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection contains 276 photographs and documents that were collected by Episcopal missionary and teacher Ida Roff Fick working in Anadarko, Oklahoma Territory circa 1898-1902. Most of the photographs are believed to have been taken by amateur photogarapher Annette Ross Hume (1858-1933).
This collection contains 276 photographs and documents that were collected by Episcopal missionary and teacher Ida Roff Fick working in Anadarko, Oklahoma Territory circa 1898-1902.
The photographs depict scenes in Oklahoma Territory, primary Anadarko region and features portraits of Wichita, Kiowa, Niuam (Comanche), Oklahoma Delaware peoples; daily activities; reservation schools; beef issues; leisure such as games. The bulk of the photographs depict the land allotment registration and auction process in 1901 when "surplus" lands were open to non-Indian settlers and the establishment of Anadarko town.
It is unclear if Ida Roff Fick only collected the photographs or if she photographed some of them herself. It is believed that most of the photos were likely photographed by Annette Ross Hume, with whom Ida Roff boarded with until her marriage in 1902. A handful of photographs in this collection are also attributed to other photographers including George Addison, Russell and Miller Co, and William E. Irwin, among others.
The paper materials in this collection include correspondence, manuscripts, clippings, and notes written and collected by Ida Roff Fick, circa 1897-1955.
Content warning:
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 a 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:
Arranged by catalog number.
Biographical / Historical:
Ida Roff was born in New York City on May 3, 1868. In the late 1880s, Ida Roff Fick graduated from Hunter Normal School and then traveled to Oklahoma Territory to work as a missionary and Sunday school teacher. She also taught the art of lace making to the Native women she worked with as part of the Woman's Auxiliary of the Domestic and Foreign Missionary Society of the Protestant Episcopal Church. She boarded with Annette Ross Hume (1858-1933) On Dec. 18, 1902, Ida Roff married Henry L. H. Fick. Ida Roff Rick died on February 16, 1960.
The biography of Annette Ross Hume below is from the Encyclopedia of Oklahoma history and culture on the Oklahoma History Society website.
"Annette Ross Hume, Amateur photographer and clubwoman Annette Ross Hume, daughter of James and Catherine Darling Ross, was born on March 8, 1858, in Perrysburg, Ohio. Annette Ross married Dr. Charles R. Hume on December 27, 1876, and in 1890 they moved to Anadarko, where Dr. Hume was agency physician for the Kiowa, Comanche, and Wichita. Of five children, two sons survived, Carleton Ross and Raymond Robinson.
In the late 1800s, with the advent of light-weight cameras and less toxic chemicals, middle-class women enjoyed photography as a hobby. For twenty years beginning in 1891 Annette Hume photographed American Indians (including Geronimo and Quanah Parker) living near the agency as well as the settling of Anadarko after the land lottery in 1901. Her photographs, numbering more than seven hundred, add imagery to history as Oklahoma Territory transformed from reservations to towns and farm communities.
Before her death on January 19, 1933, in Minco, Oklahoma, Hume, a Presbyterian, was president of the Women's Territorial Synodical Society. Inducted into the Oklahoma Hall of Fame in 1930, she was a charter member of the Anadarko Philomathic Club, organized in 1899, and had served as president of the Oklahoma Federation of Women's Clubs from 1913 to 1915. She wrote An Historical Sketch of the Federation of Women's Clubs of Oklahoma and Indian Territories, 1898–1908, published at Anadarko in 1908."
Related Materials:
Other Annette Ross Hume photographs can be found at the University of Oklahoma; the Annette Ross Hume Collection at the Oklahoma Historical Society Research Center; and the Phillips Collection in Washington, DC.
Separated Materials:
This collection includes drawings and watercolors by children in the class of Ida Roff that are housed in NMAI's object collections under catalog #s: 23/1620 - 23/1623
Provenance:
Gift of Margaret Cronk to the Museum of the American Indian in 1962.
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); Ida Roff Fick collection, image #, NMAI.AC.217; 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.
The photographs of Princess Atalie Unkalunt collection includes 75 photographic prints and postcards of Princess Atalie Unkalunt (Oklahoma Cherokee) taken by various photographers throughout her life and career. Princess Atalie Unkalunt, nee Iva J. Rider, (1895 – 1954) was a Cherokee opera singer, artist, author, and community activist.
Scope and Contents:
The bulk of the collection contains photographic prints and postcards of Princess Atalie Unkalunt (Oklahoma Cherokee) taken by various photographers throughout her life and career. Many of the photographs are undated but it is likely that most were taken between 1920 and 1950.
Included in the collection are studio portraits of Princess Atalie, both headshots and full length shots. In many of the studio shots Princess Atalie is wearing a beaded headband, or a full headdress, a hide dress and moccasins and is frequently posed with additional props. However there are a number of studio portraits where she is wearing non-native dress, often wearing a hat and stole. Princess Atalie was also photographed at the Museum of the American Indian, Heye Foundation, circa 1920, modeling hide dresses and moccasins from the collection (see related materials note). There are also photographs of Princess Atalie posed with groups or individuals she met throughout her career. This includes photographs with Jim Thorpe (Sac and Fox), famed Olympian and athlete; Charles Curtis (Kaw), Vice President to Herbert Hoover; the Girl Scouts of East Orange, Oklahoma; as well as several groups of unidentified children.
Of note are several postcards from Princess Atalie (signed Iva) written to her sisters from her time in the Business Women's Unit of the Y.M.C.A during WWI. There are also photographs that include a note to Atalie's sister Mary as well as a portrait of Mary that had previously been mis-identified as Atalie. In addition to photographs of Princess Atalie, there are portraits of other opera performers who were contemporaries of Princess Atalie. These include portraits of Chief Yowlachie (Yakama), a bass singer and soloist with the Seneca Orchestra; and Yma Sumac, a Peruvian-American soprano.
Known photographers and photo studios include—Albert R. Dupont, Jack Gordon, Del Ankers, Bryant E. Sherman, Albert Green Heath, Pierson Studio, Strand Studio, Chdnoff Studio, Underwood and Underwood Co., Watton Studio (Oklahoma City), Apeda Studio, Sands Studio and Roege Photo.
Arrangement:
Arranged by catalog number P23844-P23911.
Biographical / Historical:
Princess Atalie Unkalunt, nee Iva J. Rider, (1895 – 1954) was a Cherokee opera singer, artist, author, and community activist. Also known as Sunshine Rider, Atalie was born in Stilwell, Oklahoma to Thomas L. Rider (Domgeske Unkalunt), a Cherokee state senator and chairman of Indian affairs, and Josephine Pace Rider. As a child attending Indian schools, Atalie saw the need for a cultural missionary to educate the world about Native people and their place in history. She developed a gift for song at a young age and after finishing her high school studies spent time in California where she gained experience in film and then moved to Boston to begin vocal studies. After the U.S. entered World War I, Atalie joined the Business Women's Unit of the Y.M.C.A. secretly advancing her age several years in order to meet the age requirements. She served 18 months overseas working as an entertainer and secretary. Upon her return to the United States, she settled in New York City to continue her vocal studies and quickly became an acclaimed opera singer. She sang at concert venues around the country and performed at the White House.
Her desire to be a cultural missionary never wavered and she became a lecturer for the New York Board of Education where she spoke to audiences about Native American customs and songs. She broadcasted a radio program to countries in Europe singing both classical arias as well as Native songs. She founded the Society of the First Sons and Daughters of America Foundation whose mission was to recognize and promote the contributions of Native people and give them opportunities to promote their talents in the arts. In addition to her vocal talents, she was a skilled painter and designer and in 1942, she wrote and illustrated the book "The Earth Speaks", a collection of tales adapted from Cherokee legends. In the late 1940s, Atalie moved to Washington D.C. where she spent her time digging through government archival records in order to research claims due the Cherokee Indians from the United States government. Atalie passed away in 1954.
Related Materials:
Three photographs in the collection include images of objects currently in the NMAI collection. These include Princess Atalie wearing a Nimi'ipuu (Nez Perce) hide dress (NMAI 029996), a Ute beaded hide dress (NMAI 050958) and Ute mocassins (NMAI 006986) and Ethyl E. Schellbach wearing a Niuam (Comanche) beaded hide dress (NMAI 021803) and Niuam (Comanche) legging moccasins (NMAI 021132).
Provenance:
Donated by Mrs. Dale Hall to the C.H. Nash Museum (Chucalissa) in 1967. Donated by the C.H. Nash Museum (Chucalissa) to the Museum of the American Indian, Heye Foundation in 1978. It is unclear how Mrs. Hall came into the posesssion of the photographs though it is possible she was a friend of the family or a distant relative.
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 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); Photographs of Princess Atalie Unkalunt collection, Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains materials documenting George Conner (Tse-da-ha; Osage) and his time as a student at the Carlisle Indian School in Pennsylvania. The collection contains 3 photographs of Conner circa 1884-1896, as well as Carlisle Indian School booklets and correspondence circa 1900-1914.
Arrangement:
This collection is arranged in 5 folders.
Biographical / Historical:
George Conner, also known as Tse-dah-ha (Buffalo Hide), was born on the Osage Reservation in Kansas in 1870. His parents were Wah-kon-tah Shinka (Little Doctor) and Le-ah-tsa, both of the Little Osage tribe. Le-ah-tsa was the daughter of Wa-caba-shinka (Little Bear) who was the Principal Chief of the Little Osage.
Kansas Militia killed George's father on a return hunting trip shortly after George was born. George's mother married William Conner (Oh-hunka-moie) and approximately five years later, she was also killed. William Conner played a prominent role in reformulating the Osage government in the new Oklahoma Reservation and helped write the first Osage Nation Constitution.
William sent George to live with his Aunt Margaret "Maggie" Lawrence on her ranch west of Grainola. He attended Carlisle Indian School in Pennsylvania from 1885-1890 and was re-admitted in 1896 and stayed until 1899. During his last years at Carlisle, George assisted with the physical education of fellow students including exercise drills using 3.5-pound Spaulding Indian clubs, a set of which he brought home (now held in NMAI's collection). He also assisted with coaching younger boys in baseball and other athletics at Carlisle. While at Carlisle the second time, he learned harness making and saddle repair. He also participated in Carlisle's "outing" program, which placed student on neighboring Pennsylvania farms in the summer.
Upon return to the Osage Reservation at age twenty-nine, George moved from his boyhood home on the Lawrence ranch to the Osage Nation capital, Pawhuska. There he opened a harness shop and met his wife Lillian House, a matron at the Osage Girl's school. They had five children Letha, Adelia, Victor, Lester, and Don. George served as the Osage National Council Secretary for a number of years.
George and his step-father William also got involved with Osage resistance to the U.S. Government's Allotment Act, otherwise known as the Dawes Act of 1887. This law was designed to open up remaining Indian land in the West to white settlement, by dividing large reservations among the tribal members. Each would receive a small parcel and then U.S. made the remaining "surplus" land available for settlement. The Osage opposed this and William, George, and the tribe worked collectively for nearly two decades to prevent the reservation from allotment. In 1906, U.S. Congress passed the Osage Allotment Act, making the Osage one of the last tribes in Oklahoma to accept allotment. The tribe was also able collectively to retain the mineral rights of the reservation.
George and Lillian moved from Pawhuska, started farming west of Grainola, Oklahoma, and remained on the farm the rest of their lives. George died in 1936 at the age of 66 years old.
[Biography written by Dr. Joe L. Conner (George Conner's grandson) in 2012 and edited by E. Moazami (NMAI Assistant Head Archivist) in 2018.]
Related Materials:
The Archives and Special Collections at Dickinson College in Carlisle, Pennsylvania also holds collections related to the school.
Separated Materials:
The museum also purchased two objects with this collection: a Carlisle Indian School uniform owned and worn by George Conner and a set of exercise jugggling pins used by Conner when he assisted with physical education at Carlisle (object #s 268789 and 268790).
Provenance:
This collection was purchased by the museum in 2012.
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); George Conner Carlisle Indian School collection, NMAI.AC.250; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains 46 gelatin silver and albumen prints that depict the southwest Indigenous peoples and landscapes from around 1880-1914.
Scope and Contents:
This collection contains 46 gelatin/albumen silver prints that were in the collection of Douglas D. Graham. The photographs represent portraits and landscapes of the southwest around 1880-1914. Some photographs were taken by Ben Wittick (6), John K. Hillers (2), and Colonel Frank. C. Churchill (1).
Arrangement:
Arranged in folders by print catalog number.
Biographical / Historical:
Douglas D. Graham was born in New York in 1849 and died in 1914. Graham was a U.S. Indian Agent at Zuni, New Mexico from 1870 to about 1906. During this time, he was also a teacher and superintendent at a local school.
Provenance:
This collection was donated to the Museum of the American Indian (MAI) in 1959 by Graham's nieces: Evelyn Brinckerhoff Lent (Mrs. Ward S. Lent, 1890-1970); Heloise Graham Brinckerhoff Oman (Mrs. Charles M. Oman, 1885-1966); Beatrice Brinckerhoff Young (Mrs. Alexander M. Young, 1895-1973); and Mary Franklin Brinckerhoff Van Houten (Mrs. John M. Van Houten, 1894-1964).
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); Douglas D. Graham photographs of the Southwest, image #, NMAI.AC.313; National Museum of the American Indian Archives Center, Smithsonian Institution.
Minneconjou Lakota (Minniconjou Sioux) Search this
Type:
Collection descriptions
Archival materials
Cabinet photographs
Date:
circa 1889
Summary:
This collection includes 11 colored cabinet cards that were part of a series called "Colored Cabinets of Noted Indians" published by F. Jay Haynes and Brothers in St. Paul, Minnesota around 1889. The photographs include images of Apsáalooke (Crow/Absaroke), Hunkpapa Lakota (Hunkpapa Sioux), and Niimíipuu (Nez Perce) leaders.
Scope and Contents:
This collection includes 11 of the 12 colored cabinet cards published by F. Jay Haynes and Brothers, circa 1889, in the series "Colored Cabinets of Noted Indians." Published in Saint Paul, Minnesota, the cabinet cards have rounded edges and include a listing of the full series printed on the back. The portraits include— Running Deer, Apsáalooke (Crow/Absaroke); Chief Sitting Bull (Tatanka Iyotanka/Tatanka Yotanka), Hunkpapa Lakota; Jessie Iron Bull, Apsáalooke (Crow/Absaroke); Lewis Sitting Bull (Louie Sitting Bull/Sitting Bull, Jr.), Hunkpapa Lakota; Chief Rain In The Face (Iromagaja), Hunkpapa Lakota; Chief Joseph (Hinmuuttu-yalatlat[Thunder Rolling Down the Mountain]), Niimíipuu (Nez Perce); Big Medicine Man, Apsáalooke (Crow/Absaroke); Curley (Ashishishe), Apsáalooke (Crow/Absaroke); Chief Little Head, Apsáalooke (Crow/Absaroke); Yellow Dog, Apsáalooke (Crow/Absaroke); Chief White Bull (Joseph White Bull/Pte san Hunka), Hunkpapa Lakota/Minneconjou Lakota. Some of the portraits, though later published by Haynes, were originally made by other photographers such as David Barry and Orlando Scott Goff.
Catalog numbers include P19431-P19441.
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.
Biographical / Historical:
F. Jay Haynes was a photographer who traveled extensively in the West and who was best known for his early photographs of Yellowstone National Park. He was also the official photographer for the Northern Pacific Railroad, and for a time he even maintained a special railroad car equipped as a mobile photography studio which was called the "Haynes Palace Studio." He opened his first studio in 1876 in Moorhead, Minnesota, and in 1879 opened a larger studio in Fargo, North Dakota. In 1889 he began operating out of St. Paul, Minnesota, where he published his series of "Colored Cabinets of Noted Indians," among many other subjects. His photographs were widely published in articles, journals, books and turned into stereographs, and postcards in the late 19th and early 20th century.
Provenance:
Provenance information is still unknown, though the collection may have been part of an acquisition by the Museum of the American Indian, Heye Foundation from the Winchester Historical Society in 1962.
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:
Cabinet photographs
Citation:
dentification of specific item; Date (if known); F. Jay Haynes and Brothers colored cabinet cards , image #, NMAI.AC.317; 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 includes 17 photographic color prints made by John Fortenberry on a 1985 expedition with Canadian psychologists to the Amazonas region and Orinoco river in Venezuela. Photographs were made among the Yanomami (Yanoama) community, and possibly among the Piaroa and Ye'kuana (Makiritare/Mayagone) communities as well.
Scope and Contents:
This collection includes 17 photographic color prints made by John Fortenberry in October of 1985. The photographs include images made in several villages along the Orinoco river in the Amazonas region of Venezuela. The snapshots include portraits of Yanomami (Yanoama) community members and leaders, views of yucca processing and a banana plantation, as well as scenic views on the Orinoco river. There are also several photographs that include members of the expedition team including Leonard Langman and Pepe Hymas, the Assistant to the Medical Administrator to the Amazonas Region.
Additional descriptions of the photographs were provided by Fortenberry with the donation of the collection in 1986.
Catalog numbers include P25943-P25959.
Arrangement:
Arranged by catalog number in three folders.
Biographical / Historical:
Born in Jackson, Mississippi, John Fortenberry graduated from the University of Mississippi in Film/Television. Right out of school, he went to work at Lorne Michaels' Broadway Video, serving as an editor for eight years before becoming a producer/director.
Fortenberry joined a 1985 expedition to the Amazonas region in Venezuela accompanying Robert Monnier, Leonard Langman, Pepe Hymas and a group of eight or nine Canadian psychologists.
Provenance:
Gift of John Fortenberry, 1986.
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; 1985; John Fortenberry expedition photographs from Venezuela, image #, NMAI.AC.342; National Museum of the American Indian Archives Center, Smithsonian Institution.
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 consists of 534 glass lantern slides depicting Indigenous groups throughout North America. It also includes a small number of publications written by Elmer E. Higley and others about Native Americans and missionary work during the early twentieth century.
Scope and Contents:
The Elmer E. Higley collection consists of both Lantern Slides and Printed Materials. Series 1: Lantern Slides, 1900-1924, includes 534 glass lantern slides, many hand-colored. The lantern slides were used by Higley in lectures to promote his missionary and reform work with the Joint Committee on Indian Work of the Methodist Episcopal Church, of which he was the Superintendent from 1919 to 1923. While Higley was the photographer of some of the lantern slide images, specifically those taken in Mesa Verde, the majority of the photographs were not taken by Higley, but rather collected by him for use in his lectures as he traveled around the country. Series 2: Printed Materials, 1914-1968, includes a small number of early twentieth-century publications written by Higley and others about Native Americans and missionary work in the United States during this time.
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 two series. Series 1: Lantern Slides, 1900-1924 and Series 2: Printed Materials, 1914-1968.
Biographical / Historical:
Elmer Ellsworth Higley was born in Ohio in 1867. He attended high school and college in northwestern Pennsylvania before marrying Alice C. Dowler in 1892. Higley later also attended the Drew Theological Seminary and afterwards worked as a pastor in a number of Methodist churches around the country. In approximately 1919 Higley was appointed Superintendent of the Joint Committee on Indian Work of the Methodist Episcopal Church, with his office based in Chicago, Illinois. Employed in this work until 1923, Higley traveled the United States, visiting Native reservations and promoting Christian reform efforts for American Indian education. While traveling, Higley frequently presented illustrated lectures on his missionary work to audiences, using the glass lantern slides now residing in the collections of the National Museum of the American Indian Archives Center. In the years after 1923, Higley continued as a pastor in both Ames, Iowa, and Evanston, Illinois, the latter where he eventually died in 1931.
Provenance:
Gift of Mrs. R. S. Jensen and Family in 2018 and 2019.
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.
Some photographs in this colletion are restricted due to cultural sensitivity.
Identification of specific item; Date (if known); Elmer E. Higley collection, NMAI.AC.228; National Museum of the American Indian Archives Center, Smithsonian Institution.
