The Thomas Henry Tibbles papers include documents that span Tibbles career as a journalist and lecturer on Indian rights from the 1870s until his death in 1928. Of particular note are the documents related to his work on the Standing Bear vs. George Crook Habeas Corpus trial. This includes articles, essays and talks written by Tibbles as well as copies of a lecture given by Susette LaFlesche Tibbles. Notable correspondents include; Robert Clarkson, Joseph Cook, General George Crook, Robert N. Price and William Jennings Bryan. Examples of materials related to the Ponca land case and Standing Bear trial include reports from the Ponca Relief commitee, a petition from the Ponca people, minutes from the Council Concerning Ponca Land Right and additional documents and writings sent out by Tibbles to gain support from both the church and politicians. Also included in these papers are several drafts of Buckskin and Blanket Days, Tibbles' autobiography that was written in 1905 and published in 1957. There is a significant amount of correspondence between Chester Barris, grandson to Tibbles, and publishing houses between 1939 and 1956 in the search for a willing publisher. There is also correspondence between Barris and his aunt Theadora "Dora" Cogswell who worked on editing the manuscript. Cogswell conducted a large amount of research on the historicity of the events described by Tibbles and her notes are included in the collection. The photographs in this collection include portraits of the Tibbles/LaFlesche family as well as portraits of freinds and aquaintances. These include photographs of Edward Everett Hale, General George Crook, Governor Benjamin Butluer, Wendall Phillips, Thomas Watson, William Jennings Bryan and Harriet Beecher Stowe.
Arrangement:
This collection is arranged into three series. Series 1: Subject Files and Series 2: Buckskin and Blanket Days are both arranged alphabetically. Series 3: Photographs is subdivided into three subseries; Subseries 3A: T.H. Tibbles Portaits, arranged chronologically, Subseries 3B: Family and Friends and Subseries 3C: Presentation Portraits to Bright Eyes, both arranged alphabetically.
Biographical / Historical:
Thomas Henry Tibbles was born May 22, 1840, near Athens, Ohio to parents William and Martha (nee Cooley) Tibbles. In 1856, at the age of 16, Tibbles fought with anti-slavery Free-Staters in the Bleeding Kansas conflicts under James Henry Lane. Lane's troops disbanded the same year and Tibbles went on to study at Mt. Union College in Alliance, Ohio from 1858-1861. During the Civil War Tibbles served as a scout and newspaper correspondent in Missouri and Kansas and continued newspaper work until 1871 when he became a circuit preacher. Between 1874 and 1879, Tibbles worked on the staffs of various newspapers in Omaha, Nebraska eventually reaching the post of assistant editor of the Omaha Daily Herald. It was during his time at the Herald that Tibbles was instrumental in bringing the case of Standing Bear and the Ponca Indian people before the United States District Court at Fort Omaha. Standing Bear, along with thirty other Poncas, had returned to their home in Nebraska after being forcibly removed to Indian Territory 1878. They were being detained at the Omaha Reservation on an order from the Secretary of the Interior and Tibbles began to circulate the story of the plight of the Ponca to major newspapers gathering the support of the public. Eventually Tibbles had attorneys John L. Webster and A.J. Poppleton help Standing Bear petition the court with a writ of habeas corpus. On April 30, 1879 Judge Elmer Dundy declared that an Indian is a person within the law and that the Ponca were being held illegally, setting Standing Bear and the Ponca free. Following the trial, Tibbles continued to report on violations against Native American rights. Tibbles was a witness to the aftermath of the massacre of Native Americans at Wounded Knee in 1891, and reported this tragedy to the world. From 1893-1895, he worked as a newspaper correspondent in Washington D.C. On returning to Nebraska, Tibbles became editor-in-chief of The Independent, a weekly Populist Party newspaper. He was the Populist Party nominee for Vice President of the United States in 1904. Though unsuccessful in this campaign Tibbles continued to write on Populist issues as well as editing The Investigator from 1905-1910 and returning to the Omaha World Herald from 1910 to his retirement.
Tibbles had two children with his first wife, Amelia Owen whom he married in 1861. Eda, born in 1868 in Kansas City, married Herbert Bates in 1894 and May, born in 1870 in Danville Iowa, married Allen Barris in 1891. Amelia died of peritonitis in 1879. On June 29, 1882, Tibbles married Susette "Bright Eyes" LaFlesche (Omaha), daughter of Joseph "Iron Eye" LaFlesche. Susette LaFlesche worked closely alongside Tibbles during the Standing Bear's trial in her role as chief interpreter. Together, LaFlesche, Tibbles and Standing Bear carried out a successful lecture tour in England and Scotland in 1886-1887 speaking on issues of Indian rights. LaFlesche became well known as an eloquent writer and orator. Following her death in 1903 she was eulagized in the US Senate and was later inducted into the Nebraska Hall of Fame. Tibbles remarried for a final time in 1907 to Ida Belle Riddle. She remained by Tibbles side until his own death in 1928.
During his career, Tibbles wrote three books which included Ponca Chiefs (1880), which was written under the pen name "Zylyff", Hidden Power (1881) and The American Peasant (1892). Tibbles had also composed his memoirs titled Buckskin and Blanket Days which were eventually published in 1957 through the efforts of his grandson Chester Barris.
Related Materials note:
The dress of Susette "Bright Eyes" LaFlesche, wife to Tibbles, was also donated by Vivien Barris in 1984 and is a part of NMAI's Ethnology object collection. It has catalog number 25/2192.
Separated Materials:
The photographs have been moved to cool storage.
Provenance:
Thomas Henry Tibbles papers were originally donated to the Museum of the American Indian, Heye Foundation in 1960 by Vivien Barris, wife of Tibbles's grandson Chester Barris.
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 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.
Topic:
Habeas corpus -- United States -- Cases Search this
Ponca Indians -- Legal status, laws, etc. Search this
Identification of specific item; Date (if known); Thomas Henry Tibbles papers, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
The Berryman family papers measure 11.4 linear feet and date from 1829 to 1984, with the bulk of the material dating from 1882 to 1961. The collection presents a good overview of the careers of Washington Star cartoonist Clifford Berryman, his daughter, Star art critic, Florence, and to a lesser extent, son Jim Berryman.
Scope and Content Note:
The Berryman family papers measure 11.4 linear feet and date from 1829 to 1984, with the bulk of the material dating from 1882 to 1961. The collection presents a good overview of the careers of Washington Star cartoonist Clifford Berryman, his daughter, Star art critic, Florence, and his son, Jim Berryman, though the latter's career is not as well represented. The papers also contain material relating to Kate Berryman, including a scrapbook and diaries.
The collection contains biographical material, correspondence, business records, notes and writings, scrapbooks, printed material, photographs, and artwork by Clifford and Jim Berryman and others.
Arrangement:
The collection is arranged into three series according to individual family members; each series is arranged into subseries and material within each subseries is arranged chronologically.
Series 1: Clifford and Kate Berryman papers, 1829-1963, undated (boxes 1-7, 11-12, OVs 14-15, 7.9 linear ft.)
Series 2: Florence Berryman Papers, 1902-1984, undated (boxes 8-10, 13, 2.3 linear ft.)
Series 3: Jim Berryman Papers, 1919-1964, undated (boxes 10, 13, 1.1 linear ft.)
Biographical Note:
The patriarch of the Berryman family, Clifford Kennedy Berryman, was born in Versailles, Kentucky, in 1869. His first job was in the U.S. Patent Office in Washington, D.C. He became a cartoonist for the Washington Post in 1891. From 1907, until his death in 1949, Clifford Berryman was political cartoonist for the Washington Star, earning a reputation as the "Dean of American Cartoonist," and winning a Pulitzer Prize in 1944. His cartoon of Theodore Roosevelt, "Drawing the Line in Mississippi," 1902, began the American Teddy Bear craze, and created Berryman's cartoon trademark. He was also the first cartoonist to become president of the Gridiron Club. His wife, Kate, was an avid member of the Daughters of the American Revolution.
Their daughter, Florence Berryman, 1900-1992, abandoned her study of music because of a loss of hearing and turned her attention to art. In the 1920s, she became a free-lance local art critic, writing articles for newspapers. She later assisted Leila Mechlin, as an art critic for the Washington Star. In 1946, Florence Berryman succeeded Mechlin and worked for the Star until her retirement in 1961. She also served as editor for the American Federation of Arts until 1944.
Clifford and Kate Berryman's son, James Thomas Berryman, 1902-1976, attended George Washington University and the Corcoran School of Art. He worked as a reporter for the New Mexico State Tribune, until his return, in 1923, to Washington, D.C. because of his mother's illness. He worked at the Washington Star, as an editorial artist and illustrator, until 1933, when he became a sports cartoonist. When his father suffered a storke in 1935, Jim intermittently drew political cartoons for the STAR. Jim Berryman also won a Pulitzer Prize for his political cartoons.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel D111) including a scrapbook of memorabilia, 1905-1945, collected by Kate Berryman regarding her husband. The scrap book includes letters from Bernard Baruch, William Jennings Bryan, Harry Flood Byrd, Jay Darling, John Nance Garner, Herbert Hoover, Henry Cabot Lodge, Harry Truman, and Woodrow Wilson; clippings; cartoons; printed material; and photographs of Clifford, family members, William Jennings Bryan, John Nance Garner, Brenda Putnam, and William Howard Taft. Though some items in the scrapbook were subsequently donated, lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Portions of the Berryman family papers were donated in 1965 by Florence Berryman, and in 1992 by her estate. The latter donation included portions of a scrapbook of memorabilia which had previously been lent for filming (reel D111) by Florence Berryman in 1962. The whearabouts of the other items in the scrapbook which were donated is unknown.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Berryman family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The papers of portrait painter Carl Bohnen date from 1888-1977, and measure 3.7 linear feet. Found within the papers are biographical materials; correspondence among family, clients, and colleagues; scattered business records; a sketchbook and loose sketches; miscellaneous notes and writings; three scrapbooks of clippings and additional printed materials. Photographs are of Bohnen, family members, colleagues, views of Paris in the late 1920s, Native American models, portrait clients, and artwork.
Scope and Content Note:
The papers of portrait painter Carl Bohnen date from 1888-1977, and measure 3.7 linear feet. Found within the papers are biographical materials; correspondence among family, clients, and colleagues; scattered business records; a sketchbook and loose sketches; miscellaneous notes and writings; three scrapbooks of clippings and additional printed materials. Photographs are of Bohnen, family members, colleagues, views of Paris in the late 1920s, Native American models, portrait clients, and artwork.
Biographical material includes miscellaneous Bohnen family histories and chronologies of Bohnen's career, Bohnen's marriage certificate, school transcripts, and copies of his burial certificate.
Family correspondence consists of letters exchanged between Bohnen, his wife, siblings, and children. General correspondence is with colleagues including Carl Von Marr, and portrait clients including Constance Collier, John Erskine, Edna Ferber, and Frank B. Kellogg. The letters are often emotional and illustrate occasionally volatile relationships between Bohnen, his clients, and his children. Also included are condolence letters received by the family following Bohnen's death.
Business records include a contract for financial backing of artistic activities, insurance records, miscellaneous receipts, and a file concerning the elderly Bohnen's injuries on an American Airlines flight bringing him from California to live with his son in Chicago.
Artwork found within the papers consists of a sketchbook, miscellaneous sketches, hand-lettered signs for Bohnen's portrait business, etchings by Bohnen and others, a bronze plaque displaying a self-portrait of Bohnen, and etching plates. Scattered notes and writings include typescripts of speeches, plays, and poems.
Three scrapbooks of clippings and additional printed material consisting of loose clippings, exhibition announcements and catalogs, and reproductions of artwork offer a good overview of Bohnen's career.
Photographs are primarily of Bohnen's artwork and protrait clients. Two photograph albums contain scattered photographs of Bohnen, family members, colleagues, and artwork. Other photographs are of Bohnen at his easel, family members, colleagues including sculptor Paul Dubois working in his studio, artist Grace Neal, and views of Paris. There are also photographs of Native American models in ceremonial headdresses. Photographs of clients include Sarah Bernhardt, William Jennings Bryan, Enrico Caruso, Fritz Feld, Mary Garden, and Helen Hayes, among others.
Arrangement:
The collection is arranged as 8 series. Each series is arranged chronologically, with the exception of Series 8: Photographs. Glass plate negatives are housed separately and closed to researchers.
Series 1: Biographical Material, 1898-1952 (Box 1; 2 folders)
Series 2: Correspondence, 1892-1977 (Box 1; 0.5 linear feet)
Series 3: Business Records, 1914-1952 (Box 1; 10 folders)
Series 4: Artwork, 1900-1935 (Box 1; 8 folders)
Series 5: Notes and Writings, 1917-1974 (Box 1; 8 folders)
Series 6: Scrapbooks, 1904-1962 (Boxes 1-2, OV 5; 15 folders)
Series 7: Printed Material, 1907-1977 (Boxes 2, 4; 19 folders)
Series 8: Photographs, 1888-1951 (Boxes 2-4, 6; 1.5 linear feet)
Biographical Note:
Charles "Carl" Bohnen was born in October 1872 (according to the U.S. Census) in Erie, Pennsylvania, to Nicholas and Marie Jochin Bohnen, who had emigrated from Germany. The family moved to Meyer's Grove, Minnesota in the following year.
Carl Bohnen graduated from St. John's University at Collegeville, Minnesota in 1892, earning a diploma in "Bookkeeping and Penmanship." Soon afterwards, he met Jake Hohman who employed him in a business involving drawing portraits from photographs. In 1896, Bohnen established a studio in St. Paul, Minnesota, where he continued creating portraits from photographs. During this time, he met Charlotte Johnson, whom he married in 1898.
Bohnen moved his studio in 1902 and began painting portraits from life. Paul Manship's family were neighbors of the Bohnens at Bald Eagle Lake near St. Paul, Minnesota. Bohnen studied at the Minnesota School of Fine Arts in exchange for cleaning up the classrooms. He later made space available to Manship in his studio.
In 1904, Bohnen completed studies at the St. Paul Art Institute. He also did commercial work, including doing portraits of sports figures for the St. Paul Pioneer Press and Dispatch. Through his newspaper connections, he did portraits of many other celebrities, later selling reproductions of these artworks. Eventually, he was hired as a portrait painter by a variety of prominent sitters, including R. A. Jackson, a railroad executive in St. Paul. An exhibition of Bohnen's portraits organized by Jackson resulted in additional commissions.
Through R. A. Jackson, several lumber millionaires helped finance a European trip for the Bohnen family in 1914. Bohnen studied at the Koenigliche Kunst Academie in Munich under Carl Von Marr and Angelo Jank, and established a studio in that city. Travel constraints resulting from the onset of World War I caused the family to remain in Munich for three years. During this time, Bohnen was a member of the American Artist Club that included E. Martin Hennings, Louis Grell, and Emil Frei.
Bohnen and his family returned to St. Paul, Minnesota in May 1918, where he established a studio. He moved to Chicago in the following year, opening a studio in the Fine Arts building where he remained until the 1930s. Bohnen created thousands of portraits primarily of notable people including Edward the Prince of Wales, Ethel Barrymore, Enrico Caruso, Helen Hayes, Charles Lindbergh, Douglas MacArthur, John McCormack, Cardinal Mundelein, and Lawrence Tibbett.
In 1928, Bohnen established a studio in Paris and worked there sporadically through 1933. In 1933, he returned to St. Paul, Minnesota, setting up his studio in the Ryan Hotel. In 1944, he retired to live in Los Angeles, California, with his son, actor Roman Bohnen. After his son's sudden death in 1949, Bohnen lived with his other son, Arthur, in Chicago.
Carl Bohnen died on December 31, 1951 in Willmette, Illinois.
Provenance:
The Carl Bohnen papers were donated in 1978 by the artist's daughter-in-law, Dorothy Clark Bohnen, and his granddaughter, Blythe Bohnen.
Restrictions:
The collection is open for research. Use requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Carl Bohnen papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Currently stored in box 3.1.34 [45], moved from [127].
Collection Restrictions:
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Currently stored in box 3.1.61 [125]. Associated number, 4578.
Collection Restrictions:
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
William Jenn]ings Bryan and his wife at their home, Lincoln, Nebraska. Copyright 1900 by Underwood & Underwood. [On negative.] [Active no. 24350 : stereo photonegative,]
Currently stored in box 3.1.61 [125]. Associated number, 4579.
Collection Restrictions:
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The Hon. William Jennings Bryan and Wife [sic?] at their home, Lincoln, Nebraska. Copyright 1900 by Underwood & Underwood. (on negative) [Active no. 24352 : stereo photonegative,]
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Currently stored in box 3.1.61 [125], moved from [115]. Associated number, 4577.
Collection Restrictions:
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
NOTE! IMAGE REVERSE COPIED ON VIDEODISC! Same as RSN 23308; similar to RSN 14575 and 14576
Currently stored in box 3.2.30 [205].
Company acc. no. 94438.
Collection Restrictions:
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
