Eastern Band of Cherokee Indians of North Carolina
Date:
1932-1958
Summary:
These are the papers of Washington, D.C. attorney James E. Curry, whose legal career included work both as a government attorney and in his own private practice. The bulk of the papers reflect his private practice in the area of Indian affairs.
Scope and Contents:
The material in the collection includes documents relating to many aspects of Curry's career but most of it relates to his work with Indian tribes and the National Congress of American Indians. For the most, the collection is made up of such materials as letters exchanged with government officials, Indians, and other attorneys; copies of legal documents; published government documents; notes; and clippings and other printed materials. Of particular significance is a subject file relating to Indian affairs. It includes material concerning affairs of Alaskan natives and the Aleut (Akutan, Pribilof Islands), Apache (including Fort Sill, Jicarilla, Mescalero, San Carlos White Mountain), Arapaho (Southern), Assiniboine (Fort Belknap, Fort Peck), Bannock (including Fort Hall), Blackfeet, Caddo, Catawba, Cherokee (Eastern), Cheyenne (Northern, Southern), Chickahominy, Chickasaw, Chippewa (including Lac Courte Oreilles), Choctaw, Cochiti, Cocopa, Coeur d'Alene, Colville, Comanche, Creek, Croatan, Crow, Dakota (Big Foot, Cheyenne River, Crow Creek, Devil's Lake, Flandreau, Fort Totten, Lower Brule, Mdewakanton, Oglala, Rosebud, Santee, Sisseton-Wahpeton, Standing Rock, Yankton), Delaware, Eskimo (including Gambell, Kiana), Flathead, Fox, Haida (including Kasaan), Havasupai, Hopi, Iroquois (Caughnawaga, Seneca, St. Regis), Isleta, Jemez, Kalilspel, Kansa (Kaw), Kickapoo, Kiowa, Klamath, Kutenai, Laguna, Lummi, Maricopa (Gila River, Salt River), Menominee, Missouria, Mohave (Fort Mohave), Mohave Apache (Fort McDowell), Muckleshoot, Navaho, Nez Perce, Niska, Nooksak, Omaha, Osage, Oto, Papago, Paiute (Fallon, Fort McDermitt), Moapa, Pyramid Lake, Shivwits, Walker River, Yerington), Pima (Gila River, Salt River), Potowatomi, Quinaielt, San Felipe, San Ildefonso, San Juan, Santa Ana, Santa Clara, Sandia, Sauk, Seminole (Florida, Oklahoma), Seneca, Seri, Shawnee (Eastern), Shoshoni (including Fort Hall), Sia, Spokan, Stockbridge, Taos (Pyote clan), Tesuque, Three Affiliated Tribes (Mandan, Arikara, and Hidatsa), Tillamook, Tlingit (including Angoon, Craig, Juneau, Kake, Ketchikan, Klawak, Klukwan, Taku, Wrangell), Tsimshian (Metlakatla), Umatilla, Ute (including Uintah-Ouray), Walapai, Washo, Wesort, Winnebago, Wyandot, Yakima, Yaqui, Yavapai, Yuma, and Zuni. There are also materials relating to Curry's work with the Bureau of Indian Affairs and National Congress of American Indians, and material that reflects his interest in conditions and events in given locations (often filed by state) and in organizations with interest in Indians. The material relating to Curry's work in Puerto Rico has been deposited in the Archivo General de Puerto Rico, Instituto de Cultura Puertorriquena, in San Juan.
Arrangement note:
The James E. Curry Papershave been arranged into 6 series: (1) Daily Chronological Files, 1941-1955; (2) Subject Files Regarding Indian Affairs, bulk 1935-1955; (3) Miscellaneous Files Regarding Indian Affairs, bulk 1947-1953; (4) Non-Indian Affairs, n.d.; (5) Puerto Rico Work, 1941-1947; (6) Miscellany, undated.
Biographical/Historical note:
James E. Curry was trained in law in Chicago and practiced in that city from 1930 until 1936, serving part of that time as secretary of the local branch of the American Civil Liberties Union. From 1936 to 1938, he was an attorney with the United States Department of the Interior Bureau of Indian Affairs, being largely involved with matters of credit affecting Indians. From 1938 to 1942, he continued service with the Interior Department but worked in several capacities involving the Puerto Rico Reconstruction Administration, the department's Consumers' Counsel Division, and the Puerto Rico Water Resources Authority.
In 1945, Curry returned to Washington and set up private practice, also maintaining for a time an office in Puerto Rico. In Washington, he became the attorney for the National Congress of American Indians and from that time until the 1950s his practice increasingly involved representation of American Indian tribes, mostly in claims against the federal government. In this work, for a time, he was involved in business relations with a New York Law firm that included Henry Cohen, Felix Cohen, and Jonathan Bingham.
He also often worked closely with lawyers who lived near the tribes he represented, William L. Paul, Jr., of Alaska, for example. This aspect of his practice--representing Indian tribes--was largely broken up during the early 1950s when the Commissioner of Indian Affairs began to use his powers to disapprove contracts between Curry and the tribes. In 1952 and 1953, his official relationship with the National Congress of American Indians was also ended. After this, while Curry continued until his death to act as a consultant in Indian claims with which he had earlier been involved, his career and life developed in a different direction.
Related Materials:
Additional material relating to James E. Curry can be found in the records of the National Congress of American Indians, also located at the National Museum of the American Indian Archive Center.
Provenance:
The Curry papers were originally donated to the National Anthropological Archives by James E. Curry's daughter Mrs. Aileen Curry-Cloonan in December 1973. In 2007 The Curry papers were transferred from the National Anthropological Archives to the National Museum of the American Indian Archive Center along with several other records concerning American Indian law and political rights.
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.
Genre/Form:
Notes
Letters
Clippings
Legal documents
Citation:
Identification of specific item; Date (if known); James E. Curry papers, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Davis visited the Diegueno and Luiseno in southern California; the Pi-pi (Pais), Kil-e-wah (Cahuilla), and Waicuri of Lower California, Mexico; the Yuma, Cocopah, Pima, Papago, Maricopa, Mojave, Hualapai (Walapai), Yaqui, and White Mountain Apache in Arizona; the Cora, Huichol, Opata, Mayo, and Yaqui of Mexico; the Seri of Tiburon Island; the Chemehuevi of Nevada and California; the Modoc and Klamath Lake Indians in Oregon; and the Paiute in Nevada. His collection contains photographs of Apache, Cahuilla, Chemehuevi, Cochimi, Cochiti Pueblo, Cocopa, Cora, Guaicuruj, Huichol, Kawia, Kiliwa, Kumeyaay (Diegueno), Luiseno, Maricopa, Mayo, Mission, Mohave, Opata, Paipai, Papago (Tohono O'odham), Pima (Akimel O'odham), San Carlos Pueblo, San Manuel, Seri, Ute, Walapai (Hualapai), Yaqui, and Yuma.
Arrangement note:
Collection arranged by item number.
Biographical/Historical note:
Artist, photographer, and artefact collector, Edward Harvey Davis was born on June 18, 1862 in New York. He traveled to California in 1884 for health reasons (Bright's disease i.e. actue of chronic nephritis (a kidney disorder)), arriving in 1885, and settled on 320 acres in an area called Mesa Grande, east of San Diego. Later that year he returned to New York to marry, bringing his new bride, Anna May Wells back to California with him. They would eventually have four children. Shortly after settling in California, Davis became interested in the the Kumeyaay (Northern Diguenos), the Mesa Grande Indians indigenous to that area, and spent the remainder of his life collecting artifacts, studying and photographing them. He collected so many items that his ranch house ran out of room for them, necessitating the building of another structure (adobe) to house them. As a result of this interest and care of the Mesa Grande Indians in San Diego County, in 1907, Davis was named a ceremonial chief by the Indians themselves. Originally trained as an artist, Davis first worked as a drafter and architect. Upon his arrival in San Diego in 1885, he fortuitously invested in and profited from the booming real estate industry of the time. Davis became known to George Gustav Heye when Heye initially purchased a collection of Indian artifacts from him for the Museum of the American Indian, Heye Foundation in 1915. With the money from the sale of his collection, Davis was able to open a resort lodge called the Powam that same year. His real estate investments and his lodge enabled Davis to finance his fieldwork, most of which he did on his own. In 1916 however, Davis also became an official field collector for the Museum of the American Indian in New York. Sporadically, from 1917 to 1930, Heye contracted Davis to conduct field trips to California, Arizona, New Mexico, Nevada, Mexico, and Tiburon Island, visiting over two dozen different Indian peoples in the course of his travels. Wherever he went, Davis continued to photograph the Native peoples, but did not consider these photographs to be part of his contract with Heye. Heye later purchased the bulk of Davis's photograph collection. Davis also had sketched objects and landscapes during his travels as a method of preserving what he saw. Davis died in San Bernardino on February 22, 1951. In addition to his photographs, Davis authored several scholarly articles.
Provenance:
Purchased;, Edward H. Davis;, 1917 and 1948.
Restrictions:
Access restricted. Researchers should contact the staff of the NMAI Archives for an appointment to access the collection.
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
Indians of North America -- Great Basin Search this
Type:
Collection descriptions
Archival materials
Albums
Photographs
Date:
circa 1877
Scope and Contents note:
Albums probably assembled by William Henry Jackson, mostly containing portraits of Native American delegates in Washington, D.C. and photographs made on US Geological Surveys (including the Hayden and Powell surveys). Photographs from the field include John K. Hillers' photographs of the Southwest, photographs of Fort Laramie (possibly by Alexander Gardner), Orloff R. Westmann's photographs of Taos Pueblo, and Jackson's photographs of Crow, Shoshoni, Pawnee, and Nez Perce Tribes and related sites. Most of the photographs were made circa 1860s-1870s.
The albums were probably by Jackson while working under Ferdinand V. Hayden for the United States Geological Survey of the Territories. The reason for their creation is uncertain, though it may have been a project set up by Hayden or a continuation of William Henry Blackmore's tradition of publishing albums. Some of the albums include captions pasted from Jackson's Descriptive Catalogue of Photographs of North American Indians (1877) while others have handwritten captions.
Biographical/Historical note:
William Henry Jackson (1843-1942) was an American painter, photographer and explorer. Born in New York, he sold drawings and retouched photographs from an early age. After serving in the Civil War, he opened a photography studio in Omaha, Nebraska, with his brother Edward. As photographer for the US Geological and Geographical Surveys (1870-1878), he documented the American west and published the first photographs of Yellowstone. When the surveys lost funding in 1879, Jackson opened a studio in Denver, Colorado, and also worked for various railroad companies. Many of Jackson's photographs were displayed at the World's Columbian Exhibition in Chicago (1893), for which he was the official photographer.
Local Call Number(s):
NAA Photo Lot 4420
Location of Other Archival Materials:
Original negatives for many of the photographs in this collection can be found in the National Anthropological Archives in the BAE historical negatives.
The National Museum of the American Indian Archives holds William Henry Jackson photographs and negatives.
Additional Jackson photographs held in National Anthropological Archives Photo Lot 4605, MS 4801, Photo Lot 14, Photo Lot 24, Photo Lot 29, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo lot 143, Photo Lot 87-2P, Photo Lot 87-20, and Photo Lot 90-1.
Correspondence from Jackson held in the National Anthropological Archives in MS 4517, MS 4881, MS 4821, and collections of personal papers.
Photo Lot 4420, William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians, National Anthropological Archives, Smithsonian Institution
The collection consists of photographs relating to Native Americans, which were submitted to the copyright office of the Library of Congress in and around the early 20th century. Many of the photographs are studio portraits as well as photographs made as part of expeditions and railroad surveys. It includes images of people, dwellings and other structures, agriculture, arts and crafts, burials, ceremonies and dances, games, food preparation, transportation, and scenic views. Some of the photographs were posed to illustrate literary works, including Henry Wadsworth Longfellow's Hiawatha, while others depict paintings or other artwork.
Collection is organized alphabetically by copyright claimant.
Biographical/Historical note:
The collection was formed from submissions made to the Library of Congress as part of the copyright registration process. In 1949, arrangements were made to allow the Bureau of American Ethnology to copy the collection and some negatives were made at that time, largely from the Heyn and Matzen photographs. The project was soon abandoned, however, as too large an undertaking for the facilities of the BAE. In 1957-1958, arrangements were begun by William C. Sturtevant of the BAE to transfer a set of the photographs from the Library of Congress to the BAE.
Local Call Number(s):
NAA Photo Lot 59
Provenance:
In 1965, the Bureau merged with the Smithsonian's Department of Anthropology to form the Smithsonian Office of Anthropology, and in 1968 the Office of Anthropology Archives transformed into the National Anthropological Archives.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo Lot 59, Library of Congress Copyright Office photograph collection of Native Americans, National Anthropological Archives, Smithsonian Institution
Photographs mostly commissioned and collected by personnel in the Bureau of American Ethnology. Most of the photographs are studio portraits of Native Americans made by the Bureau of American Ethnology and Smithsonian Institution, possibly for physical anthropologist Ales Hrdlicka. There are also photographs made by Truman Michelson among the Catawba tribe, copies of illustrations and drawings, and various images of archeological sites and artifacts.
Local Call Number(s):
NAA Photo Lot 87-2M, USNM ACC 42191
Location of Other Archival Materials:
Original negatives for many photographs in this collection held in the National Anthropological Archives in the BAE historical negatives.
Additional Michelson photographs held in National Anthropological Archives Photo Lot 13, Photo Lot 24, MS 2139, and MS 4365-c.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 14, Photo Lot 24, Photo Lot 28, Photo Lot 40, Photo Lot 143, Photo Lot 83-18, Photo Lot 87-2N, Photo Lot 90-1, Photo Lot 92-46, and the BAE historical negatives.
Additional Jackson photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo Lot 143, Photo Lot R82-10, Photo Lot 87-2P, Photo Lot 90-1, Photo Lot 92-3, the records of the Department of Anthropology, and the BAE historical negatives.
Additional Smillie photographs held in the National Museum of American History Archives Center in the Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives and in Smithsonian Institution Archives SIA Acc. 05-123.
Additional Gardner photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 80-18, Photo Lot 87-2P, Photo Lot 90-1, and the BAE historical negatives.
Associated busts and molds held in the Department of Anthropology collections in accession 42191.
Photo lot 87-2M, Bureau of American Ethnology photograph collection relating to Native Americans, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Mounted prints
Photographs
Place:
Chelly, Canyon de (Ariz.)
Date:
1870s-1880s
bulk 1879-1879
Scope and Contents note:
The collection primarily consists of photographs made by John K. Hillers for the Bureau of American Ethnology documenting pueblos, cliff and rock dwellings, and people in Arizona and New Mexico. The photographs depict Navajo, Zuni, Taos, Oraibi, Walpi, Tesuque, Sichomovi, Cochiti, Mishongnavi, and Shipaulovi Pueblos. There are also pictures of mounds, possibly in West Virginia, and a Hobart Nichols drawing of the interior of a Pueblo dwelling. The bulk of the photographs are on BAE mounts, of which some are stamped "Compliments of J. W. Powell". Several of the images were made during the United States Geological Survey in 1885.
Biographical/Historical note:
John K. Hillers (1843-1925) immigrated to the United States from Germany in 1852. He spent almost twenty years photographing Native Americans, largely for the Bureau of American Ethnology and the United States Geological Survey. He began work on the Survey as a boatman on John Wesley Powell's second expedition down the Colorado River in 1871. He soon became the assistant, and then main photographer (1872) for the expedition. From 1879 to 1900, Hillers served as the first staff photographer of the Bureau of Ethnology, and in 1881 he took pictures for the United States Geological Survey.
Local Call Number(s):
NAA Photo Lot 143
Location of Other Archival Materials:
Additional Hillers photographs in the National Anthropological Archives can be found in Photo Lot 14, Photo Lot 24, Photo Lot 28, Photo Lot 40, Photo Lot 83-18, Photo Lot 87-2N, Photo Lot 90-1, Photo Lot 92-46, and the BAE historical negatives.
The National Anthropological Archives also holds Hillers's diary from 1871-1872 and 1874, 1875 (MS 4410).
This collection contains photographs documenting American Indian communities and landscape scenes in the Southwest photographed by Timothy O'Sullivan and William Bell for U.S. geographical surveys circa 1971-1974.
This collection contains 54 photographs (plus 7 copy negatives) that were shot by photographer Timothy O'Sullivan 1871, 1873, and 1874 and William Bell in 1872 for the U.S. Geographical Surveys West of the 100th Meridian, under Lieutenant George M. Wheeler, War Department, Corps of Engineers, U.S.A. The survey was commonly referred to as the "Wheeler Surveys."
The photographs depict American Indian Pueblos in the Southwest including Apache; A:shiwi (Zuni); Diné (Navajo); Hopi; Jicarilla Apache; Laguna Pueblo; Mohave; San Felipe Pueblo; Taos Pueblo; and Ute, among other communities. In addition, the collection contains landscape and scenic shot in the same region.
The bulk of the photos in this collection are one half of a stereoscope photograph that was never pasted onto a stereoscope card. The copy negatives in this collection were created by the Museum of the American Indian in the late 1960s.
Arrangement:
This collection is arranged by year and subject matter.
Biographical / Historical:
The geographical surveys west of the 100th meridian were operated under the United States Army Corps of Engineers and supervised by First Lieutenant (later Captain) George Montague Wheeler from 1869 through 1879. They were intended to document the geography in order to make accurate maps, record locations of American Indian tribes in the region, select possible sites for military installations and rail or common roads, and note resources in the area. In total, the surveys analyzed the region now covered by Texas, New Mexico, Arizona, California, Nevada, Utah, Colorado, Wyoming, Idaho, and Oregon, and the expeditions produced 164 maps, 41 publications, and a series of stereoviews. Timothy H. O'Sullivan began photographing geographical surveys in 1867-1869 when he was the official photographer for Clarence King's United States Geological Exploration of the 40th Parallel. He served as the official photographer for the Wheeler surveys in 1871, 1873, and 1874, with William Bell taking over in 1872. O'Sullivan later became the United States Geological Survey's first photographer in Washington, D.C.
[History note from the National Anthropological Archives collection record NAA.PhotoLot.167 with edits made by NMAI]
Provenance:
It is unclear when most of these photographs were obtained by the Museum of the American Indian, Heye Foundation.
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); Collection of Timothy H. O'Sullivan photographs, image #, NMAI.AC.229, National Museum of the American Indian Archives Center, Smithsonian Institution.
The Anne Forbes collection includes documents and photographs pertaining to her research on Indian arts in the Southwest, United States conducted during 1948-1948 and revisited in 1958. The work culminated in the dissemination of a survey titled "Survey of American Indian Arts and Crafts, Southwest and Northern Plains." Forbes focused mostly on Pueblo paintings having developed personal relationships with several Pueblo painters including Joe Herrera (Cochiti Pueblo), Velino Herrera (Zia Pueblo) and Jose Rey Toledo (Jemez Pueblo).
Scope and Contents:
The bulk of the Anne Forbes collection consists of documentation concerning her survey on American Indian arts and crafts in the Southwest and Northern Plains conducted in 1948-1949 and then revisited in 1958. This includes biographical notes on individual Native artists from New Mexico, Arizona, Montana, Colorado, South Dakota and California as well as notes on museum collections and art dealers whose collections and purchases included Indian art from the Southwest. Forbes also visited Pueblo schools during the 1948-1948 trip in order to examine the status of arts education and collected drawings from students as well as took careful notes on each school. Also included in the Forbes papers are the draft and final reports of Forbes' survey as well as responses to the report from prominent institutions and individuals in the Indian art world such as friend and artist Joe H. Herrera. Supporting materials to Forbes' research includes a collection of Smoke Signals newsletters from 1951 to 1965, which was published by the Indian Arts and Crafts Board, brochures and pamphlets from the Bureau of Indian Affairs concerning education and the arts, and exhibition documents and catalogs from museums featuring Native artists' works from the Southwest and Northern Plains.
The photo albums titled "Indian Paintings, Pottery, Pictographs, Prehistoric Murals, Dances, Artists" and "Pueblo Indian Paintings" hold photographs collected and taken by Forbes during her research. The bulk of the photographs are of works of art and are arranged by culture group and artist. There are also a small amount of photographs of the artists themselves and their families.
Arrangement:
The Anne Forbes collection is arranged into two series. Series 1: Indian Arts Research and Supporting Documentation is arranged alphabetically by folder. Series 2: Photo Albums contains two photo albums that have been left in their original orders.
Biographical Note:
Miss Anne Forbes originated from Cambridge Massachusetts. After majoring in art from Bennington College in Vermont, Forbes pursued a Master's degree in social anthropology from Harvard University's Radcliffe College. Taking an interest in Southwest Indian Art, Forbes applied for a fellowship through the Indian Arts Fund for the summer of 1948 to study painting and other techniques used in Pueblo art. Although the fellowship lasted only a summer, Forbes spent the following year visiting various pueblos meeting native artists and purchasing original art works from them. It was at this time that Forbes befriended artists Joe Herrera (Cochiti Pueblo), Velino Herrera (Zia Pueblo) and Jose Rey Toledo (Jemez Pueblo). Forbes also spent time visiting Pueblo schools examining the state of arts education for native children as well as acquiring paintings and drawings made by the Pueblo schoolchildren. In 1958, Forbes sent out a first draft of her "Survey of American Indian Arts and Crafts, Southwest and Northern Plains" which was the culmination of her research on the state of native art at the time with a particular focus on Pueblo artists. Following the release of her report, Forbes did not continue professionally in the world of art instead moving into human relations. Forbes held onto the bulk of her art collection, exhibiting pieces here and there, until donating a large portion of the collection to the National Museum of the American Indian in 2003. A longtime member of the Self-Realization Fellowship, Forbes also donated some of her pieces to that organization.
Separated Materials:
This collection was part of a donation made by Anne Forbes that included 143 paintings and other works of art on paper that are now a part of the NMAI Modern and Contemporary Arts Collection with object numbers 26/3091 to 26/3227 and 26/3854, 26/3855. Artists include Harrison Begay, Theodore Edaaki, Luis Gonzales (Wo Peen), Joe Herrera, Velino Herrera, James Humetewa, Michael Kabotie, Richard Martinez, Theodore Suina, Beatien Yazz and others. For more information on these paintings please contact NMAI Collections at NMAICollections@si.edu.
Provenance:
This collection was donated by Anne Forbes in November of 2003.
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 -- Education -- Southwest, New Search this
Identification of specific item; Date (if known); Anne Forbes Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Photographs made by H. S. Poley in the American Southwest. There are depictions of archeological sites in New Mexico, Utah, and Colorado, as well as images of Tewa people at San Juan Pueblo and Cochiti people at Cochiti. Descriptions of the photographs are also available with the collection.
Biographical/Historical note:
Horace Swartley Poley was a professional photographer based in Colorado Springs, Colorado.
Local Call Number(s):
NAA Photo Lot 87-2J, NAA Photo Lot 87-2I
Location of Other Archival Materials:
Photo Lot 87-2I has been relocated and merged with Photo Lot 87-2J. These photographs were incorrectly identified as having been made by H. L. Standley. These photographs were made by H. S. Poley and form part of this collection.
Additional Poley photographs held in National Anthropological Archives MS 4251, MS 4570, and Photo Lot 24.
Correspondence from Poley held in the National Anthropological Archives in the Bureau of American Ethnology records.
Contained in:
Smithsonian Institution Bureau of American Ethnology photograph collections, undated
This collection contains 10 gelatin silver prints depicting A:shiwi (Zuni), Cochiti Pueblo , Diné (Navajo), and Hopi Pueblo artists that were photographed from 1992 to 1994 by Susan Makov and Patrick Eddington for the publication, The Trading Post Guidebook: Where to Find the Trading Posts, Galleries, Auctions, Artists, and Museums of the Four Corners Region.
Scope and Contents:
This collection contains 10 gelatin silver prints depicting American Indian artists in the U.S. Southwest circa 1992-1994. The photographs were shot by Susan Makov and Patrick Eddington for the publication The Trading Post Guidebook: Where to Find the Trading Posts, Galleries, Auctions, Artists, and Museums of the Four Corners Region written by Makov and Eddington and published in 1995.
The photographs depict portraits of artists Janice Day (Hopi Pueblo); Edna Leki [A:shiwi (Zuni)]; Seferina Ortiz (Cochiti Pueblo); Ida Sahmie [Diné (Navajo)]; Hannah Smith [Diné (Navajo)]; Lowell Talashoma (Hopi Pueblo); Nancy Thomas [Diné (Navajo)]; Andrew Tsihnahjinnie [Diné (Navajo)]; and Brenda Spencer [Diné (Navajo)].
Arrangement:
Arranged by catalog number in oversize boxes.
Biographical / Historical:
Susan Makov (BFA, Syracuse University, MFA, SUNY at Buffalo) is Professor of Art at Weber State University, where she teaches printmaking and studio art.
Patrick Eddington was born in Pennsylvania and received his Bachelors of Fine Arts and Masters of Education at the University of Utah. He was an artist, teacher, and an art collector. He died in March 2016.
Provenance:
Gift of Susan Makov and Patrick Eddington, 1997.
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:
Photographs
Citation:
Identification of specific item; Date (if known); Susan Makov and Patrick Eddington photographs of Southwest artists, image #, NMAI.AC.335; National Museum of the American Indian Archives Center, Smithsonian Institution.
The Phyllis Hersh collection consists of papers and photographs associated with a book project on contemporary Hopi, Navajo, Santo Domingo, and Zuni jewelry and jewelers. The collection measures 1.3 linear ft. of mansucript materials, 521 photographic prints, and 85 photographic negatives, and dates from 1974 to 2008, with the bulk of the material dating from 1975 to 1980. The papers primarily document Hersh's work on "The Indian Jewelers' Art," an unfinished book on contemporary Native American jewelry.
Collection scope and contents:
The Phyllis Hersh collection consists of papers and photographs associated with a book project on contemporary Hopi, Navajo, Santo Domingo, and Zuni jewelry and jewelers. The papers measure 1.3 linear ft. and date from 1974 to 2008, with the bulk of the material dating from 1975 to 1980. The papers primarily document Hersh's work on "The Indian Jewelers' Art," an unfinished book on contemporary Native American jewelry. Her project was primarily supported by a Ford Foundation grant, and so the papers include correspondence with the Foundation, the requisite budget notes and receipts, project descriptions, and outlines. In addition, the collection includes documentation related to the royalty and copyright dispute between Hersh and her project photographer, Nancy Tomassen-Lensen.
The color and black-and-white photographs and corresponding negatives—approximately 600 total photographic objects—in the Hersh collection are also related to "The Indian Jewelers' Art." They date from 1975 to 1980. The photographic materials represent the work of:
Hopi jewelers Victor Coochwytewa, Bernard Dawahoya, Michael Hoyungawa, Charles Loloma, Lewis Lomay, Preston Monongye, Phil Navasya, Aldie Qumyintewa, Griselda Saufkie, Phillip Sekaquaptewa, and Michael Sockyma.
Navajo jewelers Fred Begay, Kenneth Begay, Kee Benally, Carson Blackgoat, Harrison Blackgoat, Irene Blackgoat, Sadie Calvine, Mark Chee, Jesse Claw, Fannie Coan, Julia Coan, David Donald, Sarah DuBoise, Billie John Hoskie, Esther Coan Hoskie, Tom Hoskie, Della James, Francis James, Wallace James, Wilfred Jones, Chester Khan, Iven Kee, Mary Marie Yazzie Lincoln, Johnny Pablo, Ambrose Roanhorse, Willie Shaw, Fred Thompson, Katherine Wilson, Cindy Yazzie, and Lee Yazzie.
Santo Domingo jewelers Edward Aguilar, Ernestine Aguilar, Mary Aguilar, Priscilla Aguilar, Tony Aguilar, Vidal Aragon, Joe Ray Calabaza, Raymond Calabaza, Elizabeth Chavez, Maria F. Garcia, Charles Lovato, Clara Lovato, Harold Lovato, Sedalio Lovato, Angie Reano Owens, Johnny Rosetta, Marlene Rosetta, and Joe V. Tortalita.
Zuni jewelers Edward Beyuka, Rignie Boone, George Haloo CheeChee, Dennis Edaakie, Anita Hattie, Buddy Hattie, Horace Ilue, Morris Laahti, Sadie Laahti, Etta Lynee Laote, Lygatie Laote, Matthew Latteyge, Edith Tsabetsaye Lonjose, Orlinda Natewa, Rosemary Panteah, Isabel Paquin, Sherman Paquin, Bowman Pewa, Andrew Emerson Quam, Bonnie Quam, Joyce Romancito, Ann Sheyka, Porfillio Sheyka, and David Tsikewa.
Cochiti jeweler Fidel Chavez.
Arrangement:
The Hersh collection is arranged in two series. The manuscripts are arranged alphabetically and the photographs are arranged alphabetically by culture group and jeweler name.
Historical note:
With support from the Ford Foundation, Exxon, and Levi Strauss Company, in 1975 Phyllis Hersh undertook to identify and interview contemporary Hopi, Navajo, Santo Domingo, and Zuni jewelers. Her intention was to produce a book that was less focused on the history of native jewelry production and instead emphasized and explained the styles, approaches, and techniques of practicing jewelers. From the start, Hersh considered photography essential to the realization of her objectives for the book. In June 1975, Hersh hired photographer Nancy Lensen-Tomasson; between 1975 and 1980 the two made a number of trips around Arizona and New Mexico to photograph jewelry and jewelers on location. Hersh hoped that her book would both expand the market for authentic, high-quality Native American crafts and "educate and motivate" a younger generation of native jewelers. "The Indian Jewelers' Art," Hersh's working title for the book, was never published, although a related article authored by Hersh and accompanied by Lensen-Tomasson's photographs appeared in ExxonUSA (1st quarter 1977).
Provenance:
This collection was donated in several accessions beginning in 2007 by Phyllis Hersh. Following her death the remainder of the collection was donated by her son Daniel Hersh 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:
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.
Identification of specific item; Date (if known); Phyllis Hersh collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
64 aerial photographs of Rio Grande Pueblos made circa 1967 from 60,000 feet by a U2 aircraft.
Scope and Contents:
Aerial photographs of Rio Grande Pueblos made circa 1967 from 60,000 feet by a U2 aircraft, commissioned by Ezra Zubrow. Pueblos photographed include Acoma, Cochiti, Ildefonso, Isleta, Jemez, Laguna, Nambe, Picuris, Pojoaque, Sandia, San Felipe, San Juan, Santa Ana, Santa Clara, Taos, Tesuque, Zia, and Zuni.
Arrangement:
The photographs are arranged alphabetically by Pueblo.
Historical Note:
Ezra Zubrow provides the following background:
"Here is a quick version of the story of the photographs. . . I was a graduate student at the University of Arizona and during the summer of 1967 or 1968. I was working at the Southwestern Archaeological Expedition run by Paul S. Martin of the Field Museum of Chicago at the Hay Hollow Valley. I was a field foreman.
One day a group of B52's came over the nearby mesas very very low. This was the time of Vietnam. The sound was deafening and it seemed as if the earth shook and that they were only a few hundred feet above us. I remember looking up and I would swear that the bomb doors were open and that I saw a light inside. It was clear that they were doing some kind of low level practice and I thought it was a practice bombing run. When my ears stopped ringing, I thought to myself those planes must have cameras to record the dropping of the bombs and if they happen to come by again maybe I could ask them to take pictures of our excavations. So I wrote a letter to the "commanding general of the air force". I did not have a name or an address so I just sent it to the Commanding General US Air Force, Pentagon, Washington DC. I explained how useful photographs from the air were for doing archaeology in my letter and drove some 20 miles to Showlow Arizona to send the letter. When I did not hear anything I promptly forgot about it realizing that it was a "silly thing to have done." Two and half months went by and just before I left Vernon I received a package from the US Air Force from a colonel who was with a "reconnaissance" wing. In it was a letter saying that my letter had been received at the pentagon and had wended its way through various offices with a request that if it was possible to help us please do and here were a set of pictures of your excavations and the nearby area. To say the least I was thunderstruck. I had no idea how they had done the photographs but there were a set of 9x18 negatives and prints.
When I returned to Tucson for the fall semester a few days later, I started to look at the photographs. I realized that I wanted to say thank you and sent a letter saying thank you to the air force. It then occurred to me that it would be a nice thing to do to call and say thank you in person. I called the Pentagon and after several calls they provided me a number to call. It had the same area code as Tucson and I realized that the colonel was probably stationed at Davis Monthan Air Force Base. So I called the base and asked if I could make an appointment to meet him and personally say thank you. I got an appointment the following week and went out to the base. At the guard house I told them I had an appointment with the colonel and they told me to wait at the gate house which I did. After about 15 minutes a soldier came out with a car and asked me to leave my car at the gatehouse and he would drive me into the base. The car actually had blacked out side and rear windows.
We went into a low lying building and there were several people there including Colonel Y and a Lieutenant X. I told them how appreciative I was and that all the other archaeologists at the Southwestern Archaeological Expedition appreciated their help as well.
I had no idea with whom I was dealing. They showed me around various rooms and laboratories for photography and finally came to a room with a large chalkboard in it. On the chalkboard was a listing of missions, plane numbers, and pilots. There were a range of missions scheduled for several weeks and when I realized that several of them were over Vietnam, Cambodia, China, and Russia I stopped in my tracks. I looked at my hosts and said what kind of planes were they flying. I still thought it was something like a B52. They said it was the U2. I was speechless and as I later learned my mouth dropped so wide that all the men in the room started laughing. They said that if I wanted to watch one land it was going to land in a few minutes and as I was leaving I could watch. Of course I wanted to.
So as I left, I said thank you again and the Colonel and the Lieutenant said if they could help more, they would be willing to do so.
It turned out that Lieutenant X and I were about the same age and that we each had just been married a short time. We both were in a "foreign town," Tucson. So the two couples began t to meet for dinner and joined some other young couples who were in Tucson for the first time. The following semester, I had the idea of photographing the Pueblos. I asked Lieutenant X and Colonel Y if it might be possible and they said yes. I went back to the base and we sat with maps and plotted out the exact flight plan.
And that's more or less how it happened. The Colonel, the Lieutenant, and I continued to be friends for many years."[1]
[1] Email from Ezra Zubrow to archivist Gina Rappaport, April 22, 2010.
Biographical Note:
Ezra Zubrow is an anthropologist who has served on the faculty of the University at Buffalo since 1977. His broad interests include archaeological and anthropological theory and method, social policy of heritage and disability, Nordic archaeology, and ecology.
Provenance:
The collection was donated by Ezra Zubrow in 2010.
![view Cochiti Pueblo - Eagle Dancers [Live at the 2000 Folklife Festival] digital asset number 1](https://i.ytimg.com/vi/ZErxZT9B5iE/default.jpg)
