doll by Juanita Growing Thunder Fogarty, Assiniboine (Stoney)/Sioux, b. 1969; dress painted by Darryl Growing Thunder, Assiniboine (Stoney)/Sioux, b. 1967 Search this
Seller:
Juanita Growing Thunder Fogarty, Assiniboine (Stoney)/Sioux, b. 1969 Search this
Darryl Growing Thunder, Assiniboine (Stoney)/Sioux, b. 1967 Search this
Seller agent:
Joyce Growing Thunder Fogarty, Assiniboine (Stoney)/Sioux, b. 1950 Search this
Reverend James Owen Dorsey (1848-1895) was a missionary and Bureau of American Ethnology ethnologist who conducted extensive research on Siouan tribes and languages.The papers of James Owen Dorsey comprise mostly ethnographic and linguistic materials on various tribes of the Siouan language family as well as tribes from Siletz Reservation in Oregon. These materials include texts and letters with interlineal translations; grammar notes; dictionaries; drawings; and his manuscripts. In addition, the collection contains Dorsey's correspondence, newspaper clippings, his obituaries, and reprints.
Scope and Contents:
This collection contains James O. Dorsey's research and writings as a BAE ethnologist, as well as his earlier work as a missionary among the Ponca. The vast majority of the collection pertains to his research on Siouan-Catawban languages, including the Dakota and Dhegiha languages, Chiwere, Winnebago, Mandan, Hidatsa, Tutelo, Biloxi, and Catawba. His research on Athapascan, Kusan, Takilman, and Yakonan languages from his field work at Siletz Reservation are also present, as well as some notes on the Caddoan languages. Dorsey's research files include linguistic and ethnological field notes, reading notes, stories and myths, vocabularies, drawings, and unpublished and published manuscripts. The collection also contains Omaha, Ponca, Quapaw, and Biloxi dictionaries that he compiled and materials relating to his work editing Steven Riggs' Dakota-English Dictionary. Additional noteworthy materials in the collection are Teton texts and drawings from George Bushotter and drawings by Stephen Stubbs (Kansa), Pahaule-gagli (Kansa), and George Miller (Omaha). The collection also contains Dorsey's correspondence, newspaper clippings, obituaries, and his collection of reprints.
Arrangement:
The collection is organized into 6 series: 1) Siouan; 2) Siletz Reservation; 3) Caddoan; 4) General Correspondence; 5) Personal Papers; 6) Miscellaneous & Reprints.
Biographical Note:
Reverend James Owen Dorsey (1848-1895) was a missionary and Bureau of American Ethnology ethnologist who conducted extensive research on Siouan tribes and languages.
Dorsey was born on October 31, 1848 in Baltimore, Maryland. He exhibited a talent for languages at an early age. At age 6 he learned the Hebrew alphabet and was able to read the language at age 10. In 1867 Dorsey attended the Theological Seminary of Virginia and was ordained a deacon of the Protestant Episcopal Church in 1871. In May of that year, Dorsey traveled to the Dakota Territory to serve as a missionary among the Ponca. Plagued by ill health, Dorsey was forced to end his missionary work in August 1873. By that time, however, he had learned the Ponca language well enough to converse with members of the tribe without an interpreter.
Dorsey returned to Maryland and engaged in parish work while continuing his studies of Siouan languages. His linguistic talents and knowledge of these languages attracted the attention of Major John Wesley Powell. Powell arranged for Dorsey to work among the Omaha in Nebraska from 1878 to 1880 to collect linguistic and ethnological notes. When the Bureau of American Ethnology (BAE) was established in 1879, Powell recruited Dorsey to join the staff.
As an ethnologist for the BAE, Dorsey continued his research on Siouan tribes. His studies focused on languages but also included Siouan personal names, folklore, social organization, religion, beliefs, and customs. He conducted fieldwork among the Tutelo at Six Nations on Grand River in Upper Canada (1882); the Kansa, Osage, and Quapaw in Indian Territory (1883-1884); the Biloxi at Lecompte, Rapides Parish, Louisiana (1892); and again with the Quapaw at the Quapaw Mission (1894). He also worked with Native Americans that visited DC, including George Bushotter (Teton), Philip Longtail (Winnebago), Samuel Fremont (Omaha), and Little Standing Buffalo (Ponca). He also spent time at Siletz Reservation in 1884 to collect linguistic notes on the Athapascan, Kusan, Takilman, and Yakonan stocks.
In addition to his research, Dorsey helped found the American Folklore Society and served as the first vice-president of the association. He also served as vice-president of Section H of the American Association for the Advancement of Science.
At the age of 47, Dorsey died of typhoid fever on February 4, 1895.
Sources Consulted
1st-16th Annual Reports of the Bureau of American Ethnology. 1881-1897.
Hewitt, J.N.B. 1895. "James Owen Dorsey" American Anthropologist A8, 180-183.
McGee, W.J. 1895. "In Memoriam." Journal of American Folklore 8(28): 79-80.
1848 -- Born on October 31 in Baltimore, Maryland.
1871 -- Ordained a deacon of the Protestant Episcopal Church.
1871-1873 -- Served as a missionary among the Ponca in Dakota Territory.
1878-1880 -- Conducted fieldwork among the Omaha in Nebraska.
1879 -- Joined the staff of the Bureau of American Ethnology.
1882 -- Conducted fieldwork among the Tutelo at Six Nations on Grand River in Upper Canada.
1883-1884 -- Conducted fieldwork among the Kansa, Osage, and Quapaw in Indian Territory.
1887 -- Worked with George Bushotter to record information regarding the language and culture of the Dakota.
1884 -- Conducted fieldwork at Siletz Reservation.
1892 -- Conducted fieldwork among the Biloxi at Lecompte, Rapides Parish, Louisiana.
1894 -- Conducted fieldwork among the Quapaw at the Quapaw Mission in Indian Territory.
1895 -- Died of typhoid fever on February 4th at the age of 47.
Restrictions:
The James O. Dorsey Papers are open for research. Access to the James O. Dorsey Papers requires an appointment
Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation Search this
Manuscript 4800 James O. Dorsey papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Creation of this finding aid was funded through support from the Arcadia Fund.
Digitization and preparation of additional materials for online access has been funded also by the National Science Foundation under BCS Grant No. 1561167 and the Recovering Voices initiative at the Smithsonian's National Museum of Natural History.
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.
Indians of North America -- Southern states Search this
Citation:
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
The Florence Pulford collection includes both audio recordings and photographs that were made during the twenty years Pulford worked among Native American quilt makers in the 1970's and 1980's from Montana and the Dakotas. Quilt makers featured in this collection include; Ella First Kill Brown, Frances Weasel Woman Fox, Artie Crazy Bull, Almira Buffalo Bone Jackson and Regina Brave Bull.
Scope and Contents:
The Florence Pulford collection includes both audio recordings and photographs that were made during the twenty years Pulford worked among Native American quilt makers from Montana and the Dakotas. The bulk of the audio recordings, comprising of 65 audiocassettes, are interviews Pulford conducted with Native quilt makers on the Fort Peck and Fort Belknap reservations. Many of the interviews are with quiltmaker Almira Buffalo Bone Jackson and artisan Juanita Tucker. Topics range from the craft of quilt making to life and politics on the reservation. The photographs, which include negatives, slides and prints, contain images of quilts and quilt makers from the Fort Belknap, Fort Berthold, Fort Peck, Rocky Boys and Standing Rock reservations. Quilt makers include; Ella First Kill Brown, Frances Weasel Woman Fox, Artie Crazy Bull, Almira Buffalo Bone Jackson and Regina Brave Bull. Although the majority of the photographs depict quilts or quilt making, there are images of various landscapes and events Pulford visited as well as photographs of Pulford herself.
Arrangement:
This collection has been arranged into two series, Series 1:Audiocassettes, 1978-1985, and Series 2:Photographs, 1968-1989. Series 2 is then divided into six subseries; Subseries 2a: Fort Belknap Reservation, Subseries 2b: Fort Berthold Reservation, Subseries 2c: Fort Peck Reservation, Subseries 2d: Rocky Boys Reservation, Subseries 2e: Standing Rock (Fort Yates) Reservation, Subseries 2f: Unidentified and Other.
Biographical / Historical:
Florence Pulford, nee Atwood, was born in Idaho in 1923. Pulford eventually settled in California with her husband and daughters and frequented Bar 717, a camp and working ranch, located in the Trinity Mountains of Northern California. It was while working as the director of the arts and crafts program at the Bar 717 camp when she first became acquainted with Frank Ereaux (Gros Ventre) and his family in 1968. Ereaux who had been working with horses on the ranch, invited Pulford to visit his family on the Fort Belknap reservation in Montana. During this visit Pulford received a quilt as a gift which launched a life-long interest in the quilts of the Plains tribes. Pulford began buying fabric and materials in California to send back to Native artisans in Fort Belknap, Fort Peck and other Montana reservations. Eventually Pulford built relationships with quilters that spanned into North and South Dakota reservations including Fort Berthold and Standing Rock (Fort Yates). In addition to purchasing quilts, Pulford would often snap pictures and record audio interviews about life on the reservation. Pulford would also sell quilts, using the proceeds to buy more fabrics and sending the remaining profits to the quilters. Pulford became very friendly with several quilters but developed a particularly close relationship with Almira Buffalo Bone Jackson, a member of the Red Bottom band of the Fort Peck Assiniboine, and prolific quilter. Almira and Florence kept up a strong correspondence up until Florence's death in 1989 and the age of 65.
In addition to visiting and working with Native quilters, Pulford gave lectures and put together exhibitions on Native American quilt work in Montana and the Dakotas at major museums and universities. Pulford's book, Morning Star Quilts, was published in 1989 by Leone Publishing with assistance from Diana Leone. The book illustrates the work of individual quilt makers as well as highlights the cultural and ceremonial significance of quilts among the Plains peoples. Following Pulford's death, daughters Ann Wilson and Sarah Zweng offered their mothers quilt collection, as well as supporting photographs and audio recordings, to the National Museum of the American Indian. The collection was acquired by NMAI in 2007.
Separated Materials:
Florence Pulford's quilt collection is now a part of NMAI's Modern and Contemporary Arts collection with catalog numbers 26/6034-26/6391. For access and information about these quilts please contact NMAICollections@si.edu.
Provenance:
This collection was donated by Ann Pulford Wilson and Sarah Pulford Zweng, daughters to Florence Pulford, in 2007.
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).
Due to their fragile nature, the audio cassettes in this collection are closed to researchers until they have been digitized.
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 Archive Center. Please submit a written request to nmaiarchives@si.edu.
Indians of North America -- North Dakota -- Social life and customs. Search this
Genre/Form:
Photographs
Slides
Audiocassettes
Negatives
Citation:
Identification of specific item; Date (if known); Florence Pulford collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
The collection comprises Edward S. Curtis original and copy negatives, prints, and photogravures relating to the Harriman Alaska Expedition and Curtis's 20 volume publication, the North American Indian (NAI), as well as ephemera and one gold-tone of Fort Lapawi.
Scope and Contents:
The Christopher Cardozo collection of Edward S. Curtis papers and photographs primarily relate to Curtis's opus, the North American Indian, and also the 1899 Harriman Alaska Expedition. Papers in the collection include promotional ephemera for the NAI as well as articles by Curtis and others. Photographic material includes original and copy negatives, prints, two Harriman Alaska Expedition souvenir albums, and one gold-tone of Fort Lapawi.
Arrangement:
The collection is arranged in two series: 1. Papers; and 2. Photographs and photogravures.
Biographical / Historical:
Edward Sherriff Curtis (1868-1952) was an American photographer famous for his photographs of the indigenous peoples of North America. His work was highly influential in shaping a sympathetic yet romantic view of cultures that he and many others believed to be "vanishing." Over the course of 30 years, Curtis visited more than 80 Native American communities and published his photographs and ethnographies in the twenty-volume North American Indian (NAI) (1907-1930).
Curtis was born in Whitewater, Wisconsin, to Ellen and Johnson Curtis in 1868. In about 1874, his family moved to a farm in Cordova, Minnesota. At a young age, Curtis built a camera, and it is possible that he may have worked in a Minneapolis photography studio for a time. In 1887, Curtis and his father moved West and settled on a plot near what is now Port Orchard, Washington, with the rest of the family joining them the following year. When Johnson Curtis died within a month of the family's arrival, 20-year-old Curtis became the head of the family.
In 1891, Curtis moved to Seattle and bought into a photo studio with Rasmus Rothi. Less than a year later, he and Thomas Guptill formed "Curtis and Guptill, Photographers and Photoengravers." The endeavor became a premier portrait studio for Seattle society and found success in photoengraving for many local publications. In 1892, Curtis married Clara Phillips (1874-1932) and in 1893 their son Harold was born (1893-1988), followed by Elizabeth (Beth) (1896-1973), Florence (1899-1987) and Katherine (Billy) (1909-?). Around 1895, Curtis made his first photographs of local Native people, including the daughter of Duwamish chief Seattle: Kickisomlo or "Princess Angeline." Curtis submitted a series of his Native American photographs to the National Photographic Convention, and received an award in the category of "genre studies" for Homeward (later published in volume 9 of the NAI). In 1896, the entire Curtis family moved to Seattle, which included Curtis's mother, his siblings Eva and Asahel, Clara's sisters Susie and Nellie Phillips, and their cousin William Phillips. Most of the household worked in Curtis's studio along with other employees. Curtis became sole proprietor of the studio in 1897, which remained a popular portrait studio but also sold his scenic landscapes and views of the Seattle Area. Curtis also sent his brother Asahel to Alaska and the Yukon to photograph the Klondike Gold Rush, and sold those views as well. Asahel went on to become a well-known photographer in his own right, primarily working in the American Northwest.
Curtis was an avid outdoorsman and joined the Mazamas Club after his first of many climbs of Mount Rainier. On a climb in 1898, Curtis evidently met a group of scientists, including C. Hart Merriam, George Bird Grinnell, and Gifford Pinchot, who had lost their way on the mountain, and led them to safety. This encounter led to an invitation from Merriam for Curtis to accompany a group of over 30 well-known scientists, naturalists, and artists as the official photographer on a maritime expedition to the Alaskan coast. Funded by railroad magnate Edward Harriman, the Harriman Alaska Expedition left Seattle in May of 1899, and returned at the end of July. Curtis made around 5000 photographs during the trip, including photographs of the indigenous peoples they met as well as views of mountains, glaciers, and other natural features. Many of the photographs appeared in the expedition's 14 published volumes of their findings.
In 1900, Curtis accompanied Grinnell to Montana for a Blackfoot Sundance. Here, Curtis made numerous photographs and became interested in the idea of a larger project to document the Native peoples of North America. Almost immediately upon returning from the Sundance, Curtis set off for the Southwest to photograph Puebloan communities. By 1904, Curtis had already held at least one exhibit of his "Indian pictures" and his project 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 NAI) had taken shape and already received some press coverage. With his fieldwork now increasing his absences from home, Curtis hired Adolph Muhr, former assistant to Omaha photographer Frank Rinehart, to help manage the Seattle studio.
In 1904, Curtis was a winner in the Ladies Home Journal "Prettiest Children In America" portrait contest. His photograph of Marie Fischer was selected as one of 112 that would be published and Fischer was one of 12 children selected from the photographs who would have their portrait painted by Walter Russell. Russell and Curtis made an acquaintance while Russell was in Seattle to paint Fischer's portrait, and not long afterwards, Russell contacted Curtis to make photographic studies of Theodore Roosevelt's children for portraits he would paint. Curtis subsequently photographed the entire Roosevelt family, and developed a social connection with the President. Several important outcomes came of this new friendship, including Roosevelt eventually writing the foreword to the NAI, as well as making introductions to influential people.
Key among these introductions was one to wealthy financier John Pierpont Morgan, in 1906. After a brief meeting with Curtis during which he viewed several of Curtis's photographs of Native Americans, Morgan agreed to finance the fieldwork for the NAI project for five years, at $15,000.00 per year. It was up to Curtis to cover publishing and promotion costs, with the publication being sold as a subscription. In return, Morgan would receive 25 sets of the 20-volume publication. The ambitious publication plan outlined 20 volumes of ethnological text, each to be illustrated with 75 photogravure prints made from acid-etched copper plates. Each volume would be accompanied by a companion portfolio of 35 large photogravures. With high-quality papers and fine binding, a set would cost $3000.00. 500 sets were planned. Under Morgan, the North American Indian, Inc. formed as body to administer the monies. Also around this time, Frederick Webb Hodge, Director of the Smithsonian Institution's Bureau of American Ethnology, agreed to edit the publications.
Curtis then began more systematic fieldwork, accompanied by a team of research assistants and Native interpreters. In 1906, Curtis hired William E. Myers, a former journalist, as a field assistant and stenographer. Over the years, Myers became the lead researcher on the project, making enormous contributions in collecting data and possibly doing the bulk of the writing for the first 18 volumes. Upon meeting a new community, Curtis and his team would work on gathering data dealing with all aspects of the community's life, including language, social and political organization, religion, food ways, measures and values, and many other topics. (See box 2 folder 1 in this collection for Curtis's list of topics.) Curtis and his assistants, especially Myers, brought books and papers to the field relating to the tribes they were currently concerned with, and often wrote from the field to anthropologists at the Bureau of American Ethnology and other institutions for information or publications. In addition to fieldnotes and photographs, the team also employed sound recording equipment, making thousands of recordings on wax cylinders. Curtis also often brought a motion picture camera, although few of his films have survived.
The first volume of the NAI was published towards the end of 1907. Already, Curtis was encountering difficulty in finding subscribers to the publication despite great praise in the press and among those who could afford the volumes. Curtis spent progressively more of his time outside the field season promoting the project through lectures and in 1911, presenting his "Picture Musicale"—a lecture illustrated with lantern slides and accompanied by an original musical score—in major cities. After the initial five funded years, only eight of the twenty volumes had been completed. However, Morgan agreed to continue support for the fieldwork and publication continued.
Starting in 1910, Curtis and his team worked among the Kwakwaka'wakw First Nation on Vancouver Island, and in 1913 began to develop a documentary film project featuring the community in Alert Bay. In 1914, Curtis produced the feature-length film, In the Land of the Headhunters. The film showcased an all-indigenous cast and included an original musical score. Screened in New York and Seattle, it received high praise. However after this initial success, it did not receive the attention Curtis had hoped for, and resulted in financial loss.
Meanwhile, Curtis's prolonged absences from home had taken a toll on his marriage and in 1919 Clara and Edward divorced. The Seattle studio was awarded to Clara, and Curtis moved to Los Angeles, opening a photography studio with his daughter Beth and her husband Manford "Mag" Magnuson. Daughters Florence and Katherine came to Los Angeles sometime later. Curtis continued with fieldwork and promotion of the project, and in 1922 volume 12 of the NAI was published. Also in 1922, Curtis was accompanied during the field season in California by his daughter Florence Curtis Graybill, the first time a family member had gone to the field with him since the Curtis children were very small.
Curtis continued to push the project and publications along, yet never without financial struggle and he picked up work in Hollywood as both a still and motion picture photographer. John Pierpont Morgan, Jr., continued to provide funding for the fieldwork in memory of his father, but with the various financial upsets of the 1910s and 1920s, Curtis had a difficult time getting subscribers on board. In 1926, Myers, feeling the strain, regretfully resigned after the completion of volume 18. Anthropologist Frank Speck recommended Stewart Eastwood, a recent graduate from the University of Pennsylvania, to replace Myers as ethnologist for the final two volumes.
In 1927, Curtis and his team, along with his daughter Beth Curtis Magnuson, headed north from Seattle to Alaska and Canada on a final field season. Harsh weather and a hip injury made the trip difficult for Curtis, but he was very satisfied with the season's work. The party returned to Seattle, and upon arrival Curtis was arrested for unpaid alimony. He returned exhausted to Los Angeles, and in 1930 the final two volumes of NAI were published without fanfare. Curtis spent the next two years recovering from physical and mental exhaustion. Beth and Mag continued to run the Curtis studio in LA, but for the most part, Curtis had set down his camera for good. With the NAI behind him and his health recovered, Curtis pursued various interests and employment, eventually, settling down on a farm outside Los Angeles. he later moved in with Beth and Mag. Curtis died at home in 1952.
Sources Cited Davis, Barbara. Edward S. Curtis: the life and times of a shadowcatcher. San Francisco: Chronicle Books, 1984. Gidley, Mick. The North American Indian, Incorporated. New York: Cambridge University Press, 1998.
Christopher Cardozo (1948-2021) was a major collector and dealer in Edward S. Curtis photography.
Related Materials:
The National Anthropological Archives holds additional Curtis papers and photographs in the Edward S. Curtis papers and photographs, "MS 2000-18, the Edward Curtis investigation of the battle of Little Bighorn"
The Archives of Traditional Music at Indiana University holds Curtis's wax cylinder audio recordings from 1907-1913.
The Braun Research Library at the Autry Museum of the American West holds the Frederick Webb Hodge papers (1888-1931), which contain substantial correspondence from Curtis. The Braun also holds a small amount of Curtis papers and photographs, including some of Curtis's cyanotypes.
The Getty Research Institute holds the Edward S. Curtis papers (1900-1978), which include the original manuscript scores for the Curtis Picture Musicale and film In the Land of the Headhunters.
The Palace of the Governors at the New Mexico History Museum holds original Curtis negatives pertaining to the southwest.
The Pierpont Morgan Library holds the Edward S. Curtis papers (1906-1947), which contain the records of the North American Indian, Inc., as well as Curtis's correspondence to librarian, and later library director, Belle Da Costa Greene. The library also holds a large collection of Curtis's lantern slides, used in his Picture Musicale.
The Seattle Public Library holds correspondence of Curtis to Librarian Harriet Leitch (1948-1951), pertaining to his career.
The Seaver Center for Western History Research at the Los Angeles County Museum of Natural History holds collection GC 1143, which contains Curtis's field notes as well as manuscript drafts for the North American Indian.
The Smithsonian's National Museum of the American Indian holds NMAI.AC.080, the Edward S. Curtis photogravure plates and proofs, as well as NMAI.AC.053, the Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs.
The University of Washington Libraries Special Collections holds the Edward S. Curtis papers (1893-1983). Additionally, the Burke Museum holds papers and photographs of Edmund Schwinke, which relate to Curtis's work with the Kwakwaka'wakw community.
Provenance:
The collection was donated to the National Anthropological Archives by Julie Cardozo in 2022.
Restrictions:
Viewing of the photographic negatives requires advance notice and the permission of the Photo Archivist.