Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations.
Scope and Contents:
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations. The album includes photographs (mostly albumen with three tintypes), newsclippings, wood engravings, and lithographs, some of which are reproductions of Taylor's own illustrations and paintings. Photographs depict American Indians, US Army soldiers and scouts, historical sites, forts, and scenery. Some were made on expeditions, including the Hayden and Powell surveys, and created from published stereographs. Many of Taylor's illustrations are signed, and some are inscribed with dates and "N. Y." The scrapbook also includes clippings from newspapers and other written sources relating to illustrations and photographs in the album.
Biographical Note:
James E. Taylor (1839-1901) was an artist-correspondent for Leslie's Illustrated Weekly Newspaper from 1863-1883. Born in Cincinatti, Ohio, he graduated from Notre Dame University by the age of sixteen. Taylor enlisted in the 10th New York Infantry in 1861 and the next year was hired by Leslie's Illustrated newspaper as a "Special Artist" and war correspondent. In 1864 he covered the Shenandoah Valley campaign, and was later one of the illustrator-correspondents at the 1867 treaty negotiations at Medicine Lodge, Kansas. He soon earned the moniker "Indian Artist" because of his vast number of drawings of American Indians. In 1883 Taylor retired from Leslie's to work as a freelance illustrator. Colonel Richard Irving Dodge used Taylor's drawings to illustrate his memoir, "Our Wild Indians: Thirty-three Years' Personal Experience among the Red Men of the Great West" (1882).
Local Call Number(s):
NAA Photo Lot 4605
Related Materials:
The National Anthropolgical Archives holds additional photographs by photographers represented in this collection (including original negatives for some of these prints), particularly in Photo Lot 24, Photo Lot 37, Photo Lot 60, Photo Lot 87.
Additional photographs by Whitney, Gardner, and Barry held in National Anthropological Archives Photo Lot 80-18.
Julian Vannerson and James E. McClees photographs held in National Anthropological Archives Photo Lot 4286.
Pywell photographs held in National Anthropological Archives Photo Lot 4498.
O'Sullivan photographs held in National Anthropological Archives Photo lot 4501.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 83-18 and Photo Lot 87-2N.
Provenance:
Donated or transferred by John Witthoft from the Pennsylvania Historical and Museum Commission, April 14, 1961.
50 Stereographs (circa 50 printed stereographs, halftone and color halftone)
1,000 Stereographs (circa, albumen and silver gelatin (some tinted))
239 Prints (circa 239 mounted and unmounted prints, albumen (including cartes de visite, imperial cards, cabinet cards, and one tinted print) and silver gelatin (some modern copies))
96 Prints (Album :, silver gelatin)
21 Postcards (silver gelatin, collotype, color halftone, and halftone)
Photographs relating to Native Americans or frontier themes, including portraits, expedition photographs, landscapes, and other images of dwellings, transportation, totem poles, ceremonies, infants and children in cradleboards, camps and towns, hunting and fishing, wild west shows, food preparation, funeral customs, the US Army and army posts, cliff dwellings, and grave mounds and excavations. The collection also includes images of prisoners at Fort Marion in 1875, Sioux Indians involved in the Great Sioux Uprising in Minnesota, the Fort Laramie Peace Commission of 1868, Sitting Bull and his followers after the Battle of the Little Bighorn, and the aftermath of the Wounded Knee Massacre in 1890.
There are studio portraits of well-known Native Americans, including American Horse, Big Bow, Four Bears, Iron Bull, Ouray, Red Cloud, Red Dog, Red Shirt, Sitting Bull, Spotted Tail, Three Bears, and Two Guns White Calf. Depicted delegations include a Sauk and Fox meeting in Washington, DC, with Lewis V. Bogy and Charles E. Mix in 1867; Kiowas and Cheyennes at the White House in 1863; and Dakotas and Crows who visited President Warren G. Harding in 1921. Images of schools show Worcester Academy in Vinita, Oklahoma; Chilocco Indian School; Carlisle Indian Industrial School; Haskell Instittue, and Albuquerque Indian School.
Some photographs relate to the Centennial Exposition in Philadelphia, 1876; World's Columbian Exposition in Chicago, 1893; Louisiana Purchase Exposition in St. Louis, 1903; and Centennial Exposition of the Baltimore and Ohio Railraod, 1876. Expedition photographs show the Crook expedition of 1876, the Sanderson expedition to the Custer Battlefield in 1877, the Wheeler Survey of the 1870s, Powell's surveys of the Rocky Mountain region during the 1860s and 1870s, and the Hayden Surveys.
Outstanding single views include the party of Zuni group led to the sea by Frank Hamilton Cushing; Episcopal Church Rectory and School Building, Yankton Agency; Matilda Coxe Stevenson and a companion taking a photographs of a Zuni ceremony; John Moran sketching at Acoma; Ben H. Gurnsey's studio with Indian patrons; Quapaw Mission; baptism of a group of Paiutes at Coeur d'Alene Mission; court-martial commission involved in the trial of Colonel Joseph J. Reynolds, 1877; President Harding at Sitka, Alaska; Walter Hough at Hopi in 1902; and Mrs. Jesse Walter Fewkes at Hopi in 1897.
Biographical/Historical note:
George V. Allen was an attorney in Lawrence, Kansas and an early member of the National Stereoscope Association. Between the 1950s and 1980s, Allen made an extensive collection of photographs of the American West, mostly in stereographs, but also including cartes-de-visite and other styles of mounted prints, photogravures, lantern slides, autochromes, and glass negatives.
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Photographs of drawings made by Rudolph Friederich Kurz in his diary while traveling to the western fur trading posts on the Mississippi and upper Missouri Rivers (1846-1852). Most of the drawings depict Native Americans, horses, artifacts, forts, and landscapes. The photographs were made or collected by David I. Bushnell in Berne, Switzerland, and are mounted for publication, probably in BAE Bulletin 115.
Biographical/Historical note:
Rudolf Friedrich Kurz (1818-1871) was born to a successful Swiss banker and developed his painting skills through extensive studies in Bern and Paris. Inspired by the works of George Catlin, Kurz traveled to the United States in 1846 to visit the Native Americans living on the Mississippi and Missouri Rivers. He documented this expedition through text and sketches in his journals, which were later published. In 1852, Kurz returned to Bern, where he taught art until his death in 1871.
Local Call Number(s):
NAA Photo Lot 2522-c
Location of Other Archival Materials:
The National Anthropological Archives also holds Bushnell's transcription of Kurz's journal (MS 2522-a), Myris Jarrell's translation of the journal (MS 2522-b), and related notes (MS 2522-d).
Contained in:
Numbered manuscripts 1850s-1980s (some earlier)
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Drawings
Photographs
Citation:
Photo Lot 2522-c, Photographs of Rudolph Friedrich Kurz drawings, National Anthropological Archives, Smithsonian Institution
The collection consists of photographs collected by the Albertype Company for their postcards and viewbooks, including portraits, scenery, camps, Native Americans schools, and some paintings and composites for postcard printing. Additional subjects include rock drawings in Maine; a statue in Kansas City, Missouri; Standing Rock Monument in North Dakota; people in Atlin, British Columbia; Carib rock drawings in the Virgin Islands; and totem poles in Vancouver.
Included are works of Charles Milton Bell, E. A. Benson, C. R. Bourne, H. E. Brown, William Bull, H. H. Clarke, George B. Cornish, Frank Bennett Fiske, H. Lee Flood, N. W. Halsey, Fred Harvey, H. R. Hazeltine, Kiser Photograph Company, W. H. Martin, C. W. Mathers, Frank Matsura, W. H. Matthewson, Charles E. Morris, Ernest Moses, J. S. Myers, M. OʹConnor, G. W. Parsons, Roland W. Reed, C. B. Robinson , J. E. Stimson, W. M. Stoltz, and H. H. Watkins. Clarke and Fiske, however, are the only photographers with more than a few images.
Biographical/Historical note:
The Albertype Company, headquartered in Brooklyn, New York, published viewbooks and postcards for national distribution. Founded by Adolph and Herman Witteman, the company began publishing souvenier photographic albums as early as 1867. The Wittemans established Witteman Brothers in 1885, and then the Albertype Company in 1890. From 1890 to 1950, the firm published collotypes made from the photographs of its agents (including Adolph Witteman), other companies, and independent photographers. The firm was purchased in 1952 by Art Vue Post Card Company.
Local Call Number(s):
NAA Photo Lot 25
Reproduction Note:
Modern copy negatives and prints made by Smithsonian Institution, circa 1972.
Location of Other Archival Materials:
The Library of Congress, Wisconsin Historical Society, and Historical Society of Pennsylvania also hold original Albertype Company prints and negatives.
Albertype Company views are also held in National Anthropological Archives Photo Lot 88-37, Photo Lot 92-37, and Photo Lot 92-3.
Restrictions:
Original nitrate negatives are in cold storage and require advanced notice for viewing. Modern copy prints and copy negatives for nearly all images are available.
Photographs collected by Willis G. Tilton, a dealer in artifacts and photographs relating to Native Americans. Many of the photographs were made by Field Columbian Museum photographer Charles Carpenter at the Louisiana Purchase Exposition in 1904; many others were created by various photographers for Field Museum publications. Notable subjects include Big Foot, dead in the snow at the Wounded Knee battlefield; Arapaho and Cheyenne social dances; Hopi ceremonies; a reenactment of the shooting of Sitting Bull; Sun Dances (Arapaho, Assiniboin, Gros Ventre, Blackfoot, Cheyenne, Ponca); and views of the United States Indian School Building and Pawnee people at the the Louisiana Purchase Exposition in St. Louis, Missouri. Other photographs include portraits and images of artifacts, basket weaving, cradles, dress, dwelling, tipis and other dwellings, and tree burials. There are also some photographs of Henry Field's expedition to Iraq in 1934 (Field museum anthropological expedition to the Near East), work elephants in Burma, Pipestone Quarry in Minnesota, a church in the Yucatan, and a rickshaw and cart in Ceylon.
Biographical/Historical note:
Willis G. Tilton was a dealer and owner of the store, Tilton Indian Relics, in Topeka, Kansas.
Local Call Number(s):
NAA Photo Lot 89-8, NAA Photo Lot 135
Location of Other Archival Materials:
Photographs in the Tilton Collection, previously filed in Photo Lot 135, have been relocated and merged with Photo Lot 89-8. These photographs were also purchased by the Bureau of American Ethnology from Willis G. Tilton and form part of this collection.
Associated photographs still held in the Field Museum of Natural History, Chicago.
Most photographs included in the card catalog of copy negatives and in the reference file prints by tribe.
Additional photographs by Dorsey held in the National Anthropological Archives in MS 4721 and Photo Lot 24.
Correspondence from Dorsey held in the National Anthropological Archives in MS 4821, records of the Bureau of American Ethnology, the J.C. Pilling Papers, and the Ales Hrdlicka Papers.
Additional photographs by Nelson held in National Anthropological Archives Photo Lot 171, Photo Lot 133, Photo Lot 24, and the BAE historical negatives.
Additional Maude photographs held in National Anthropological Archives Photo Lot 90-1 and Photo Lot 24.
Additional E. E. Hall photographs held in National Anthropological Archives MS 4978 and Photo Lot 24.
The Smithsonian Institution Archives holds Nelson's field reports (SIA Acc. 97-123) and the Edward William Nelson and Edward Alphonso Goldman Collection (SIA RU007364).
See others in:
Willis G. Tilton photograph collection of American Indians, circa 1880-1930 (bulk 1899-1904)
Indians of North America -- Southwest, New Search this
Indians of North America -- Southern States Search this
Type:
Collection descriptions
Archival materials
Date:
1934
Scope and Contents:
Much of this material is relevant to the Dakotas. Includes: miscellaneous notes on Dakota history, bands, and sign for "Dakota," Autograph Document. Approximately 100 pages. (Box 2); account of the Battle of Little Big Horn by He Dog, Red Feather, and Whirling, Autograph Document. 7 pages. (Box 3); "The Custer Battle with the Sioux, Autograph Document. 10 pages. (Box 3); notes on sign language in general, its history and distribution, Autograph and Typescript Document, 1 box (Box 4).
Indians of North America -- Great Plains Search this
Type:
Collection descriptions
Archival materials
Mounted prints
Cabinet photographs
Cartes-de-visite
Photographs
Studio portraits
Date:
circa 1879-1902
Scope and Contents note:
Photographs depicting students in the Carlisle Indian Industrial School in Pennsylvania, many with handwritten notation identifying pictured individuals. Included are individual and group portraits showing Crow, Gros Ventre, Iowa, Omaha, Pawnee, Ponca, and San Felipe students. There are also some images of Carlisle School buildings, and one of a parade, made by Philadelphia photographer Charles Truscott.
Biographical/Historical note:
John N. Choate (1848-1902) was a commercial photographer in Carlisle, Pennsylvania. The United States opened its first non-reservation government-supported school there in 1879 under the supervision of Lt. Richard Henry Pratt. From the opening of the Carlisle Indian School, Choate began photographing almost every student upon arrival and during their school career, as well as school activities, staff, and visiting chiefs and families. Choate remained the primary photographer for the Carlisle Indian School until his death in 1902.
Local Call Number(s):
NAA Photo Lot 73-8, NAA MS 4778
Location of Other Archival Materials:
MS 4778, previously filed in Photo Lot 24, has been relocated and merged with Photo Lot 73-8. These photographs were also donated by Mrs. James Bradford Ritter and form part of this collection.
The National Anthropological Archives also holds the original John N. Choate Negatives (Photo Lot 81-12)
Additional Choate photographs from the Carlisle School can be found in the National Anthropological Archives in MS 4241, MS 4537, MS 4544, MS 4574, MS 4988, and Photo Lot 90-1.
See others in:
John N. Choate photographs of Carlisle School students, circa 1879-1902
Photographs depicting students on arrival at Hampton Institute and again eighteen months later. Identifications of individuals are printed on verso.
Biographical/Historical note:
The Hampton Institute was founded in the 1860s as the Hampton Normal School, a trade and industrial school initially for African Americans. The first Native American students arrived at the school in 1878 and the American Indian education program continued until 1923.
Local Call Number(s):
NAA Photo Lot 73-9
Location of Other Archival Materials:
Photographs, manuscripts and artwork relating to the Hampton Institute and its students can be found in other collections within the National Anthropological Archives, including MS 4751, Photo Lot 4605, MS 7500, and the BAE historical negatives.
Hampton University (formerly Institute) in Hampton, Virginia, holds institutional records and photographs in the campus library.
The Edward S. Curtis photogravure plates and proofs for The North American Indian include photogravure printing plates and associated proofs made from Curtis photographs and used in the publication of The North American Indian volumes 1-9 and 12-19. The bulk of the images are portraits, though there are also images of everyday items, ceremonial artifacts, and camps.
Scope and Contents:
The collection comprises 183 photogravure plates (101 folio and 82 octavo) and 96 associated proofs used in the printing of The North American Indian volumes 1-9 and 12-19. The original photographs used to make the photogravures were made circa 1903-1926 and the photogravure plates were made in 1907-1930. The bulk are portraits, though there are also images of everyday items, ceremonial artifacts, and camps. About half of the proofs in the collection are originals used for Curtis's publication, though the collection also includes proofs made in the process of later publication by the Classic Gravure Company (circa 1980). Vintage proofs include handwritten notes, likely made by Curtis Studio employees in Seattle and Los Angeles. Many of the photogravure plates do not have matching proofs; in particular, there are no proofs for the octavo plates.
Arrangement:
The plates and proofs are arranged by the volume of The North American Indian in which they were published. They are described in this finding aid by the caption and plate number with which they were published.
Biographical / Historical:
Edward Sheriff Curtis (1868-1952) was an American photographer best known for his monumental and now-controversial project, the twenty-volume publication The North American Indian. Here he sought to document in words and pictures the "vanishing race" of American Indians.
Born in Wisconsin in 1868, Edward Curtis grew up on his family's farm in Le Sueur County, Minnesota, from 1874 to 1887. In 1887, he and his father Johnson Curtis settled on a plot near what is now Port Orchard, Washington, and the rest of the family joined them the following year. When Johnson Curtis died within a month of the family's arrival, the burden of providing for his mother and siblings fell to 20-year-old Edward, and Edward set out to do so through his photography. In 1891, Curtis moved to the booming city of Seattle and bought into a joint photo studio with Rasmus Rothi. Less than a year later, he formed "Curtis and Guptill, Photographers and Photoengravers" with Thomas Guptill; the enterprise quickly became a premier portrait studio for Seattle's elite. In 1895, Curtis made his first "Indian photograph" depicting Princess Angeline, daughter of the chief for whom Seattle had been named. The following year he earned his first medal from the National Photographic Convention for his "genre studies."
In 1899, Edward Curtis joined the Harriman Alaska Expedition as official photographer, a position which allowed him to learn from anthropologists C. Hart Merriam and George Bird Grinnell while documenting the landscapes and peoples of the Alaskan coast. This expedition and the resulting friendship with Grinnell helped to foster Curtis's ultimate goal to "form a comprehensive and permanent record of all the important tribes of the United States and Alaska that still retain to a considerable degree their primitive customs and traditions" (General Introduction, The North American Indian). Curtis made several trips to reservations from 1900 to 1904, including a trip with Grinnell to Montana in 1900 and multiple trips to the Southwest, including the Hopi Reservation. He also hired Adolph Muhr, former assistant to Omaha photographer Frank A. Rinehart, to manage the Curtis studio in his absence, a decision which would prove more and more fruitful as Curtis spent less and less time in Seattle.
In 1906, Curtis struck a deal with financier J. P. Morgan, whereby Morgan would support a company – The North American Indian, Inc. – with $15,000 for five years, by which time the project was expected to have ended. Systematic fieldwork for the publication began in earnest that summer season, with Curtis accompanied by a team of ethnological researchers and American Indian assistants. Arguably the most important member of Curtis' field team was William Myers, a former newspaperman who collected much of the ethnological data and completed most of the writing for the project. The first volume, covering Navajo and Apache peoples, was published at the end of 1907, but already Morgan's funding was incapable of meeting Curtis's needs. Despite heaping praise from society's elite, Curtis spent much of his time struggling to find people and institutions willing to subscribe to the expensive set of volumes. After the initial five years, only eight of the proposed twenty volumes had been completed. Fieldwork and publication continued with the support of J. P. Morgan, but Curtis's home life suffered because of his prolonged absences.
In 1919, Curtis's wife Clara was awarded a divorce settlement which included the entire Curtis studio in Seattle. Exhausted and bankrupt, Edward Curtis moved with his daughter Beth Magnuson to Los Angeles, where they operated a new Curtis Studio and continued work on the volumes; volume 12 was published
in 1922. The constant financial strain forced Myers to leave the North American Indian team after volume 18 (fieldwork in 1926) and Curtis made his last trip to photograph and gather data for volume 20 in 1927. After the final volumes were published in 1930, Curtis almost completely faded from public notice until his work was "rediscovered" and popularized in the 1970s.
Curtis's "salvage ethnology," as scholar Mick Gidley describes it, was mildly controversial even during his life and has become ever more so as his legacy deepens. In his quest to photograph pre-colonial Indian life through a twentieth-century lens, he often manipulated and constructed history as much as he recorded it: he staged reenactments, added props, and removed evidence of twentieth-century influences on "primitive" life. Curtis's work continues to shape popular conceptions of American Indians and so, while problematic, his legacy--his vision of American Indian life--continues to be relevant.
Related Materials:
NMAI also holds Edward Curtis photographs documenting the Harriman Expedition (1899) as well as platinum prints and photogravures of the images published in The North American Indian.
The Smithsonian Institution, National Anthropological Archives holds Edward Curtis prints submitted for copyright (Photo Lot 59) as well as many of his original negatives, photographs, and papers.
Steve Kern donated photogravure plates to the Center for Creative Photography and the Seattle Art Museum at the same time that he donated this set to MAI.
Provenance:
This collection was donated by Steven and Arlene Kern to the Museum of the American Indian, Heye Foundation, in 1984.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Topic:
Indians of North America -- Pictorial works Search this
Genre/Form:
Photogravures
Photographs
Citation:
Identification of specific item; Date (if known); Edward S. Curtis photogravure plates and proofs for The North American Indian, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Sponsor:
This collection was processed with funding from the Smithsonian Women's Committee.
Herman J. Viola photograph collection relating to Star Hawk Pow Wow, American Indian Cultural Resources Training Program, and acquisition trips for NAA
American Indian Cultural Resources Training Program Search this
Smithsonian Institution, Department of Anthropology, National Anthropological Archives, Native American Cultural Resources Training Program Search this
Photographs made by Herman J. Viola, depicting the 1973 Institute of American Indian Art meeting, Wolf Robe Hunt and his Acoma pottery, the transfer of Blue Eagle collection from Mae Abbott home to National Anthropological archives, and the 1974 Star Hawk Pow Wow in Watonga, Oklahoma. Additionally, there are photographs of NAA staff and the 1974 Acee Blue Eagle reception at NAA, possibly made by Viola. The collection also contains some photographs of Wounded Knee taken by Rev. Salvatore Genete, and copies of official portraits of Governor Aquillar of San Ildefonso Pueblo made by Harry B. Neufeld. There are also National Archives photographs of Chinese Boxer Rebellion prints, and Young watercolors and Alden sketches of American landscapes.
Much of the collection consists of portraits of participants in the NAA's American Indian Cultural Resources Training Program made by Smithsonian photographers, including Victor Krantz. These individuals include: Harry Walters, Navajo; Anna Walters, Otoe-Pawnee; George Sutton, Southern Arapaho; Sarah Yazzie, Navajo; Rubie Sootkis, Norther Cheyenne; David Fanman, Cheyenne; Augustine Smith, Navajo; Lorraine Bigman, Navajo; Jim Jefferson, Southern Ute; Rose Marie Pierite Gallardo, Tunica-Biloxi; George Horse Capture, Gros Ventre; Violet Zospah, White Mountain Apache; Gloria Anderson, Mille Lacs; Wenonah Silva, Wampanoag; Claire Lamont, Oglala; George Wasson, Coos-Coquille; Virginia Martin, Yakama; Gary Roybal, San Ildefonso; Richard Ground, Sihasapa; Almeda Baker, Hidatsa; June Finley, Hidatsa; Lida Young Wolf, Hidatsa; Christine Webster, Menominee; Rose Marie Roybal, Puyallup; Vivienne Jake, Kaibab-Paiute; Kim Yerton, Hupa; Dean Jacobs, Ojibwa; Lois Nowlin, Shawnee; Bonita McCloud, Nisqually; Gloria Maude Blackbird Cheswalla, Osage; Emily Peake, Ojibwa; Gordon McLester, Oneida; Mary Seth, Nez Perce; Bill Tohee, Oto-Missouria; Frank LaPena, Wintu; Juanita McQuistion, Wyandot; Carson Waterman, Seneca; Elton Stumbling Bear, Kiowa Apache; Patrick Chief Stick, Chippewa-Cree; Lynne Walks-on-Top, Spokane; Ethelyn Garfield, Paiute; Nora Dauenhauer, Tlingit; Caroline B. Jones, Tulalip; Grace F. Thorpe, Sauk and Fox; Dixie Lee Davis, Yavapai; Lynn D. Pauahty, Kiowa; David Lee Harding, Ojibwa; Robert V. Bojorcas, Klamath; Patty Leah Harjo, Seneca-Cayuga; Steven DeCoteau, Clallam; Robert Van Gunten, Ojibwa; Danny K. Marshall, Steilacoom; Meredith P. Flinn, Makah; Rhonda Hulsey, Chickasaw; Betty J. Brown, Choctaw; Vernon Calavaza, Zuni; Jack Bowen Jr., Upper Skagit; and Harry William Jr., Pima.
Biographical/Historical note:
Herman Joseph Viola is a historian of Native Americans who was director of the National Anthropological Archives from 1972-1989 and founding editor of Prologue: The Journal of the National Archives. In 1973, he launched the American Indian Cultural Resources Training Program, designed to encourage Native Americans to become professional archivists, librarians, curators, and historians through research and internships at the NAA.
Local Call Number(s):
NAA Photo Lot 74-17
Location of Other Archival Materials:
The National Anthropological Archives holds Viola's papers from 1980-1981.
Records relating to the American Indian Cultural Resources Training Program can be found in the National Anthropological Archives in the Records of the National Anthropological Archives.
Photo lot 74-17, Herman J. Viola photograph collection relate to Star Hawk Pow Wow, American Indian Cultural Resources Training Program, and acquisition trips for NAA, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Great Plains Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
undated
Local Numbers:
NAA INV.02822700
Local Note:
Black and white photoprint
Place:
Montana -- Fort Belknap Reservation
Collection Restrictions:
Original nitrate negatives are in cold storage and require advanced notice for viewing. Modern copy prints and copy negatives for nearly all images are available.
