Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Stereographs
Photographs
Date:
late 19th century-early 20th century
Scope and Contents note:
Stereographs documenting Native North Americans, including studio portraits, camps and dwellings, graves, infants in cradleboards, and pottery. Specific images portray Sitting Bull's camp at Fort Randall, Curly at the Custer monument, and a Southern Plains delegation at the White House Conservatory. Tribes represented include Winnebago, Tuscarora, Tesuque, Seneca, San Juan, Pecos, Ojibwa, Oglala, Ute, Kaibab, Sisseton, Arikara, Mandan, Hopi, Shoshoni, Isleta, and Laguna, as well as Native peoples of Alaska and Labrador.
The photographs were published by a variety of firms including E. & H. T. Anthony & Company, George Barker, H. H. Bennett, Bennett & Brown, W. Henry Brown, Caswell & Davy, Childs Art Gallery, B. B. Brubaker, Continent Stereo Company, W. R. Cross, H. A. Doerr, J. Gurney & Son, Haynes, H. T. Hiester, John K. Hillers, William H. Jackson, J. F. Jarvis, Keystone View Company, B. L. Singley, S. J. Morrow, H. T. Payne, H. N. Robinson, C. R. Savage, John P. Soule, Underwood & Underwood, Whitney's Gallery, Whitney & Zimmerman, and Ben Wittick.
Local Call Number(s):
NAA Photo Lot 140
Location of Other Archival Materials:
Additional photographs by these photographers can be found in the National Anthropological Archives in additional collections of stereographs relating to Native Americans (MS 4551 and Photo Lot 90-1)
Photo lot 140, Bureau of American Ethnology collection of stereographs relating to Native Americans, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Great Plains Search this
Type:
Collection descriptions
Archival materials
Pamphlets
Stereographs
Color postcards
Color prints
Copy negatives
Copy prints
Prints
Place:
Tesuque Pueblo (N.M.)
Date:
circa 1880-1950
Scope and Contents note:
Ed Brady's collection of photographs and postcards of Native American camps, people, crafts, schools, and dances, as well as agency personnel at various reservations. A majority of the original prints are photographs by Lee Moorhouse, including images of American Indian dwellings, camps, Kate Drexel School, children in cradleboards, and formal and informal portraits. Additionally, there are photographs made by E. Potts at Tesuque Pueblo on November 12, 1924 during the feast day; images are mostly of Tewa people dancing the Buffalo-Deer Dance.
The collection also includes a stereograph depicting Taos people in front of Taos Pueblo, as well as photographic postcards of Omaha men in Walthill, Nebraska, American Indians at a camp in Idaho, Indians at a camp near International Falls, Minnesota, a Navajo camp in Arizona, an elevated view of a camp with numerous tipis, possibly for a rodeo, two Alaskan Eskimo girls, and a reenactment of the Battle of Little Bighorn aftermath. There is also a pamphlet entitled "Old Travois Trails," from 1941, which was possibly originally collected by Dr. W. A. Russell, a doctor for the Fort Peck Agency.
Local Call Number(s):
NAA Photo Lot 90-8, NAA Photo Lot 81-39, NAA Photo Lot 89-28
Location of Other Archival Materials:
Photo Lot 81-39 has been relocated and merged with Photo Lot 90-8. These photographs were also collected by Ed Brady and form part of this collection.
Brady also donated Indian police badges to the Department of Anthropology in accessions 343151 and 378681.
Additional photographs by Moorhouse can be found in the National Anthropological Archives in Photo Lot 78 and the BAE historical negatives.
The University of Oregon Special Collections holds a large collection of Lee Moorhouse photographs, 1888-1925 (PH036).
Additional photographs published by the Keystone View Company can be found in the National Anthropological Archives in MS 4551, Photo Lot 140 and Photo Lot 90-1.
The University of Washington holds Ed Brady photographs of the Mount St. Helens Eruption (PH Coll 889).
This collection consists of 145 postcards and 11 photographs depicting Indigenous peoples of the Americas, with dates ranging 1890 – 1930s. The bulk of the collection consists of postcards of Native communities throughout the United States, and includes portrait images, dwellings, basket-making, weaving, and crafts.
Scope and Contents:
The Dale Jenkins postcard and photograph collection consists of 145 postcards and 11 photographs with dates ranging 1890 – 1930s. The images depict Indigenous peoples of the Americas, and spans a large geographical breadth extending from the Arctic in the north to Chile and Peru in South America. The bulk of the collection consists of postcards of Native communities throughout the United States, with a significant number of images depicting various Pueblo and Southwest cultural groups; many of these latter postcards were produced by the Fred Harvey Company. A number of the postcards and photographs include portrait images, dwellings, basket-making, weaving, and crafts. Also of particular note are 13 scenes of daily life at a number of different Indian Boarding Schools at the turn of the twentieth century. Finally, in addition to the postcard images are 11 photographs consisting of cabinet cards and other photographic prints.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged into 11 series, organized thematically (Indian Boarding Schools) and then regionally by location or culture group. Series 1: Indian Boarding Schools, Series 2: Arctic/Subarctic, Series 3: Northwest Coast,
Series 4: California, Series 5: Great Basin/Plateau, Series 6: Southwest, Series 7: Plains, Series 8: Northeast/Great Lakes, Series 9: Southeast, Series 10: Mexico/Central America, Series 11: South America
Biographical / Historical:
Dale Jenkins is a retired Financial Planner living in California, having previously worked in the Aerospace industry. He has collected late-nineteenth- and early-twentieth-century American photographs and postcards for over 30 years. In addition to archival collections donated to the Smithsonian Institution's National Museum of the American Indian, Jenkins has also donated postcard and photograph collections to the California Museum of Photography, the California Historical Society, and the Museum of the City of New York.
Provenance:
This collection was donated by Dale Jenkins in 2013 and 2014.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 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 Archives Center's Digital Image request website.
Indians of Central America -- Guatemala Search this
Citation:
Identification of specific item; Date (if known); Dale Jenkins postcard and photograph collection, NMAI.AC.069, Box and Folder Number; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series contains 14 postcards and 1 photographic print. The images include depictions of Alaska Natives from various communities, including Cape York, Nome, Port Clarence, and Teller. Individuals specifically identified are Happy Jack [Inupiaq (Alaskan Inupiat Eskimo)], Menadelook, and Wegaruk. In addition to portraits, there are also scenes of Native merchants, dwellings, and basket weaving. A number of the postcards were originally produced for the Alaska-Yukon-Pacific Exposition, or 1909 world's fair, which took place in Seattle, Washington.
Collection Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection 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 Archives Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); Dale Jenkins postcard and photograph collection, NMAI.AC.069, Box and Folder Number; National Museum of the American Indian Archives Center, Smithsonian Institution.
Collection consists of lantern slides and stereographs produced by several companies: Keystone View Company, Better America Lecture Service, Incorporated, American Press Association, J. Stanley-Brown, William H. Rau, and J. F. Maertz Department Store. The lantern slides were primarily intended to be used for educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text and in some instances by small cards--one card for each slide--and in other instances directly on the back of a stereoview. The majority of images were taken from 1900 to 1930.
Scope and Contents:
The collection consists of lantern slides and stereographs primarily designed for use in audio-visual educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text. In some instances on small cards--one card for each slide-- and in other instances printed directly on the back of a stereoview. A few of the lantern slides, particularly the ones of the J. F. Maertz Department Store of Milwaukee, Wisconsin, are advertisements for consumer products. The majority were taken from 1890 through 1930. While the collection as a whole is in good general condition, some lantern slides, stereographs, and text cards are missing, and some of the lantern slides are cracked.
The collection will appeal to researchers examining the course of nineteenth-century social history broadly, especially how lantern slides were marketed to educators to teach geography, social studies, science, history and reading. The lantern slides as artifacts will be of interest to those who study material culture.
Series 1, Keystone View Company Lantern Slides and Stereographs, undated, is divided into seven subseries: Subseries 1, #1-#600, undated; Subseries 2, H-1 to H-300; Subseries 3, Biblical, undated; Subseries 4, Santa Barbara, California, undated; Subseries 5, Roads, undated; and Subseries 6, Miscellaneous, undated.
The series depicts scenes from around the United States and the rest of the world. Each image is intended to be characteristic of its location and in most cases is accompanied by a text card that describes the scene and gives the geographic coordinates (latitude and longitude) of the location. Many of the glass lantern slides have corresponding stereoviews and in these instances two box numbers are given.
Subseries 1, #1-#600, undated, is arranged in order by the numbers on the image. Views #1-261 are arranged in a rough geographic order beginning in Maine and proceeding down the Atlantic Coast, through the former Confederate states, into the Midwest and Plains states, the mountain West states and the West coast, and ending in the territories of Alaska and Hawaii and the Panama Canal. Views #262-346 begin in eastern Canada, proceed across Canada and move through Mexico and Central America into the Caribbean, thence the length of South America and the Antarctic. Views #347-554 begin in the British Isles and move through Northern and Southern Europe and into Central Europe and then Russia, the Middle East, South Asia, and the Far East. Views #556-592 begin in North Africa and cover the length of the continent and a few areas in the Pacific. The series concludes with views of several planets, President McKinley reviewing Civil War heroes (1899), and the work of a Mexican artist (1900).
Subseries 2, H-1 to H-300, undated, is arranged in order by the numbers on the image. H-1 to H-258 depict scenes and sites of American history beginning with several images of indigenous peoples and proceeding, roughly chronologically, through major events and locations to about 1925. Images H-259 to H-300 document a range of localities and activities across the country in the mid-1920s, including major buildings in Washington, D.C., industrial activities, and modern agricultural practices.
Subseries 3, Biblical, undated, shows religious art works and rural scenes.
Subseries 4, Santa Barbara, California, undated, contains two images. One is pastoral with a Franscican friar, the other a fountain.
Subseries 5, Roads, undated, includes three images of roads, one with a person on horseback, the other two depicting wagons.
Subseries 6, Miscellaneous, undated, contains lithoprint stereographs, each with a short description, depicting scenes such as landmarks in the United States; news events in the late nineteenth and early twentieth centuries; warfare; domestic scenes and scenes of foreign countries.
This series consists of lantern slides produced by Newell Dwight Hillis' Better America Lecture Service Incorporated. Newell Dwight Hillis (1858-1929), was a noted clergyman, lecturer and author. The Better American Lecture Service sought to make better Americans and to inspire greater loyalty to American institutions. Better America Lecture Service rented the lecture manuscript and slides to churches, societies, schools, and patriotic organizations. Slides were sent in a tin box and contained suggestions for publicity arrangements. (Nevada Educational Bulletin, December 1920).
Hillis published more than twenty volumes including collections of his sermons, inspirational works, and a novel. In addition, many of Hillis addresses were published and distributed as pamphlets. The slides were intended to be used for lectures on subjects such as socialism and equality. The slides generally consist of text, drawings, images of persons, paintings, and landscapes. A few slides in each set are missing, and there is no text accompanying any of the slides. The series is arranged into twelve subseries alphabetically by topic.
Series 3, American Press Association lantern slides, undated, is divided into ten subseries: Subseries 1, General Images, undated; Subseries 2, Coffins and soliders, undated; Subseries 3, Mexican War, undated; Subseries 4, Niagara Falls Conference, undated; Subseries 5, Pancho Villa and Major Gonzales, undated; Subseries 6, Parade, undated; Subseries 7, Refugees, undated; Subseries 8, Warships, undated; Subseries 9, West Virginia Mine Explosion, undated; and Subseries 10, Women March for Votes (Suffrage), undated.
The series consists of lantern slides from the American Press Association depicting news events from early twentieth century history (e.g., Mexican War; Ludlow Colorado strike; suffragettes; Gettysburg veterans; various ship disasters). Each slide has a caption with a brief description of the scene. Many slides are cracked; one is completely broken and is in a folded paper. There are also approximately fifty slides with scenes of events associated with the Mexican-American War, most with short captions identifying the scenes. Many of these slides are cracked.
Series 4, J. F. Maertz Department Stores advertisement lantern slides, early 1920s, is divided into thirteen subseries: Subseries 1, Bathrooms, undated; Subseries 2, Children's shoes and clothing, undated; Subseries 3, Dress goods, undated; Subseries 4, Dress patterns, undated; Subseries 5, Hosiery, undated; Subseries 6, House furnishings, undated; Subseries 7, House wares, undated; Subseries 8, Ladies' Home Journal, undated; Subseries 9, Shoes, undated; Subseries 10, Store advertising, undated; Subseries 11, Underwear, undated; Subseries 12, Women's clothing, undated; and Subseries 13, Miscellaneous, undated.
The series consists of lantern slides showing advertisements used in J.F. Maertz Department Store catalogs for consumer goods. Slides are categorized by type of goods, including children's shoes and clothes, bathroom needs, dress patterns, men's wear, shoes, house furnishings, house wares, Ladies' Home Journal, and underwear.
Series 5, J. Stanley-Brown and E. H. Harriman lantern slides, undated, is divided into nineteen subseries: Subseries 1, Alaska-California scenes, undated; Subseries 2, Animal life, undated; Subseries 3, Artifacts, undated; Subseries 4, California/Franciscan life, undated; Subseries 5, California Indians, undated; Subseries 6, California mission exteriors, undated; Subseries 7, California mission interiors, undated; Subseries 8, Eskimos,undated; Subseries 9, Franciscans, undated; Subseries 10, Indians, undated; Subseries 11, Landscapes, undated; Subseries 12, Maps, undated; Subseries 13, Mission interiors, undated; Subseries 14, Seascapes, undated; Subseries 15, General images (#1-7;10), undated; Subseries 16, General images (#11-14; 16-17; 19-20), undated; Subseries 17, General images (#21-30), undated; Subseries 18, General images (#31-33; 36-40), undated; and Subseries 19, General images (#42; 45-50), undated.
The series contains lantern slides, each labeled with the names of distributors, "J. Stanley-Brown, 1318 Massachusetts Avenue, Washington, D.C. and E.H. Harriman, 1 East, 55th Street, New York." The slides, some with captions, depict maps; landscapes; seascapes; Eskimos; animal life; Franciscan dwellings; Indians of California; California missions and Franciscan life. There are slides depicting various scenes of California missions and scenes of indigenous Alaskans. Some slides are cracked.
The series consists of lantern slides and stereoviews from distributors that include the American Series; Griffith and Griffith; Pesko Binocular Company; William H. Rau Publisher; and the Universal Photo Art Company.
The stereographs related to domestic and military issues and geography are dated circa 1905, and copyrighted by H. C. White, and distrbuted by World Series.
The stereo views produced by William H. Rau, a publisher in Philadelphia, Pennsylvania, show parades and other ceremonies at Grand Army of the Republic (GAR) encampments and Elks conventions held in Philadelphia. The Grand Army of the Republic (GAR) was a fraternal organization composed of veterans of the Union Army who served in the American Civil War.
Arrangement:
The collection is divided into six series.
Series 1: Keystone View Company Lantern Slides and Stereographs, undated
Subseries 1, #1-#600, undated
Subseries 2, H-1 to H-300, undated
Subseries 3, Biblical, undated
Subseries 4, Santa Barbara, California, undated
Subseries 5, Roads, undated
Subseries 6, Miscellaneous, undated
Series 2: Hillis Better America Lecture Service Lantern Slides, undated
Series 3: American Press Association Lantern Slides, undated
Subseries 1, General Images, undated
Subseries 2, Coffins and Soliders, undated
Subseries 3, Mexican War, undated
Subseries 4, Niagara Falls Conference, undated
Subseries 5, Pancho Villa and Major Gonzales, undated
Subseries 6, Parade, undated
Subseries 7, Refugees, undated
Subseries 8, Warships, undated
Subseries 9, West Virginia Mine Explosion, undated
Subseries 10, Women March for Votes (Suffrage), undated
Series 4: J. F. Maertz Department Store Advertisement Lantern Slides, early 1920s
Subseries 1, Bathrooms, undated
Subseries 2, Children's shoes and clothing, undated
Subseries 3, Dress goods, undated
Subseries 4, Dress patterns, undated
Subseries 5, Hosiery, undated
Subseries 6, House furnishings, undated
Subseries 7, House wares, undated
Subseries 8, Ladies' Home Journal, undated
Subseries 9, Shoes, undated
Subseries 10, Store advertising, undated
Subseries 11, Underwear, undated
Subseries 12, Women's clothing, undated
Subseries 13, Miscellaneous, undated
Series 5, J. Stanley-Brown and E.H. Harriman lantern slides, undated
Subseries 1, Alaska-California scenes, undated
Subseries 2, Animal life, undated
Subseries 3, Artifacts, undated
Subseries 4, California/Franciscan life, undated
Subseries 5, California Indians, undated
Subseries 6, California mission exteriors, undated
Subseries 7, California mission interiors, undated
Subseries 8, Eskimos, undated
Subseries 9, Franciscans, undated
Subseries 10, Indians, undated
Subseries 11, Landscapes, undated
Subseries 12, Maps, undated
Subseries 13, Mission interiors, undated
Subseries 14, Seascapes, undated
Subseries 15, General images (#1-7;10), undated
Subseries 16, General images (#11-14; 16-17; 19-20), undated
Subseries 17, General images (#21-30), undated
Subseries 18, General images (#31-33; 36-40), undated
Subseries 19, General images (#42; 45-50), undated
Series 6: Miscellaneous Stereographs, 1887-1907
Subseries 1, American Series, 1887
Subseries 2, C.H. Graves Publisher, 1907
Subseries 3, Griffith and Griffith, 1894
Subseries 4, Pesko Binocular Company, 1907
Subseries 5, William H. Rau Publisher, undated
Subseries 6, Domestic scenes, undated
Subseries 7, Military, undated
Subseries 8, Places-Asia, undated
Subseries 9, Places-Cuba, undated
Subseries 10, Places-Egypt, undated
Subseries 11, Places-France, undated
Subseries 12, Places-Germany, undated
Subseries 13, Places-Italy, undated
Subseries 14, Places-Monte Carlo, undated
Subseries 6.15, Palestine, undated
Subseries 6.16, Places-United States, undated
Subseries 6.17: Miscellaneous, undated
Series 7: Miscellaneous Lantern Slides, undated
Historical:
Lantern slides are hand-drawn, painted, or photographic images on glass, intended for viewing by projection; often made in sets. Photographic lantern slides were introduced in the United States by 1850 and popular through World War I; commonly 3.25 x 4 in. (9 x 10 cm.) with a black paper mask, a cover glass, and taped edges. Thesaurus of Graphic Materials
Stereographs consist of two nearly identical photographs or photomechanical prints, paired to produce the illusion of a single three-dimensional image, usually when viewed through a stereoscope. Typically, the images are on card mounts, but they take the form of daguerreotypes, glass negatives, or other processes. Stereographs were first made in the 1850s and are still made today. They were most popular between 1870 and 1920.
In 1851 stereo daguerreotypes were exhibited for the first time to the general public at the London International Exhibition (Crystal Palace). Shortly thereafter, American photographers began making stereographs. One of the first American photographic firms to produce stereographs was the team of William and Frederick Langenheim. The Library owns a set of their early stereoviews of American cities on the East Coast.
By 1860 both amateur photographers and publishing firms were making stereographs. The major stereo publishers sold their views by mail order, door-to-door salesmen, and in stores. Stereographs were sold individually and in boxed sets.
Stereographs are usually mounted. They were typically published with caption information printed under the image or on the back of the mount. The mount also provided information about the publisher, photographer, and sometimes the series or a list of views available from the photographer or publisher.
Stereographs were collected by many middle-class families in the late 19th century. People acquired stereographs of tourist sites they had visited, as well as exotic locales that they would only experience through the wonder of the stereoscope. Viewing stereographs was a common activity, much like watching television or going to the movies today. Stereoviews were also used as an education tool in classrooms.
(Library of Congress, Prints and Photographs Online Catalog, Stereograph Format)
The Division of Cultural History at the National Museum of American History assembled a collection of miscellaneous lantern slides and stereographs beginning in 1943. Other collection contents were acquired over many years in unrecorded transactions.
Several distributors and publishers of stereographic images are represented in the collection. One of the most prominent was the Keystone View Company of Meadville, Pennsylvania. Founded by Benneville Lloyd Singley (d.1938), a former Underwood & Underwood salesman, Keystone became a major distributor of stereographic images. From 1892 through 1963 it produced and distributed both educational and comic/sentimental stereoviews and stereoscopes used to see the images in 3-D. By 1905 it was the world's largest stereographic company. In 1963 Department A (stereoviews sold to individual families) and the education departments were closed, but Keystone continued to manufacture eye-training stereographic products as a subsidiary of Mast Development Company. In 1972 Mast closed the Meadville manufacturing site.
All of Keystone's manufacturing was done in Meadville, but branch offices were in New York, St. Louis, San Francisco, Portland, Oregon, Chicago, Toronto, Canada and London, England. Salesmen and photographers were scattered around the world, and the company offered 20,000 different views.
Selling stereoviews and lantern slides to schools was a field pioneered by Underwood & Underwood, and for several years Underwood & Underwood and Keystone were competitors for the growing educational market. According to the 1953 Keystone Sales Manual the more aggressive sales methods and the more progressive editorial policies of the Keystone View Company soon made it the acknowledged leader in the industry, and Underwood & Underwood decided to give up the contest.
Between 1915 and 1921 Keystone View Company purchased the negatives of nearly all of its competitors. They also continued to have staff photographers travel the world, so that by 1935 Keystone had approximately two million stereoscopic negatives.
Keystone View Company produced stereographic sets up through the mid-twentieth century, and had a stereoscopic photographer on staff until at least 1955.
References
Thesaurus of Graphic Materials, (2007), http://www.loc.gov/rr/print/tgm1/ (accessed February 10, 2011).
Library of Congress, Prints and Photographs Online Catalog, Stereograph Format, http://www.loc.gov/pictures/collection/stereo/background.html (accessed February 14, 2011).
Related Materials:
Materials in the Archives Center, National Museum of American History
University of California, Riverside/California Museum of Photography
George Eastman House
Temple University
Brooklyn Historical Society
Provenance:
Donated to the Department of Anthropology, United States National Museum by Mrs. Joseph Stanley-Brown, through Mrs. Herbert Feis, in 1943.
The Division of Cultural History (now Division of Cultural and Community Life) at the National Museum of American History assembled a collection of miscellaneous lantern slides and stereographs beginning in 1943. Other collection contents were acquired over many years in unrecorded transactions. An unknown portion of the collection transferred to the Archives Center, date unknown.
Restrictions:
Collection open for research on site by appointment. Unprotected lantern slides and stereographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.
Photographs made as part of Joseph C. Farber's project to document modern NAtive American everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage is broad and varies from tribe to tribe. Included are portraits, as well as totem poles, carving, weaving, pottery, painitng, landscapes, boats and canoes, ceremonial regalia, camps, classes and vocational training, homes and traditional dwellings, construction projects, rodeos and powwows, dances, industries (including lumber), herding and ranching, agriculture, stores and storefronts, cliff dwellings, parades, crab cleaning, fishing, games, health care, legal processes, music, office work, sewing, vending, and a funeral. There are also photographs of R. C. Gorman (and a letter from Gorman to Farber) and Fritz Shoulder (some in color).
Farber's travels included Alaska (Point Barrow, Dead Horse, Glacier Bay, Haines, Hoona, Hydaberg, Ketchikan, Mount McKinley, Prudhoe Bay, Saxman, and Sitka); Alberta (Blackfeet Reservation); Arizona (Canyon de Chelly, Cocopa Reservation, Flagstaff, Kayenta, Monument Valley, Pima Reservation, Quechan Reservation, Mojave Reservation, and Yuma); California (Alcatraz, Oakland, and San Francisco); Florida (Big Cypress Reservation; Miccosukee Reservation); Minnesota (Minneapolis and Nett Lake); Montana (Northern Cheyenne Reservation); New Mexico (Acoma, Gallup, Navajo Forest, Picuris, Puye, San Ildefonso, Santa Clara, Santa Fe, Taos, San Ildefonso, Santa Clara, and Tesuque); New York (New York City and Onandaga Reservation); North Carolina (Cherokee Reservation); Oklahoma (Anadarko, Apache, Lawton, Stilwell, and Tahlequah); South Dakota (Rosebud and Wounded Knee); and Washington (Lummi Reservation, Nisqually River, Puyallup River, and Quinalt Reservation).
Biographical/Historical note:
Joseph C. Farber (1903-1994) was a successful New York businessman and professional photographer. He studied with Edward Steichen at the New York Camera Club in the 1920s. The prints in this collection resulted from a five-year project that involved travelling to Native communities throughout the United States to document modern Native American life. The project resulted in a book, Native Americans: 500 Years After (1975), as well as exhibits, including one in the National Museum of Natural History in 1976-1977.
Local Call Number(s):
NAA Photo Lot 78-1, NAA ACC 95-3
Location of Other Archival Materials:
Farber's photographs, previously located in Photo Lot 95-3 have been relocated and merged with Photo Lot 78-1. These photographs were also made by Joseph C. Farber and form part of this collection.
The National Museum of American History Archives Center holds the Joseph Farber Papers and Photographs, circa 1962-1990.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Photographs published in Farber's books still under copyright. Reproduction permission from artist's estate.
This published account follows the manuscript in the main, with minor editorial changes, especially in the paragraphing and in arrangement of the sections. However, there are some paragraphs and several entire sections in the manuscript which do not appear in the published account. Manuscript page number 160-163. "Boats." Includes drawing of oomiak, kayak, and birchbark canoe, page 161. 163-165. "Houses." Includes drawing of ground plan and cross-section, page 164. 165-167. "Clothing." 167. "Tanning Skins." 167-168. "Thread, Rope, etc." 168-169. Line drawing and description of Malemute sledge. 175-179. "The Second Expedition. ...lists of the provisions, small stores and clothing, outfit, and trade articles of the expedition." 180-199. "Aurora." Observations, August 25, 1885-May 31, 1886. 200-207. "Explorer, Engines and Boiler; Particulars and Dimensions." 208-209. "First Expedition. Stores taken in stem cutter Helena on her survey trip." 210-216; Measurements of Uneluk, Putnam River Malemute, male, aged 32; [217-219] Apaucuk, No-to-ark River, Malemute, male, aged ca. 42; Tatantuk, Norton Sound Malemute, age unknown. [220-238] "Meteorological Observations," including original data sheets.
Manuscript page Number 8. Paragraph concerning native village, N.W. side of Nunivak Island. 10. Paragraph concerning native village, S.W. side of Sledge Island. 60. "Ground plan of hut showing interior." Ink diagram of hut described in published text, page 40. 82. "Section of hut showing interior." Diagram of hut described in published text, page 46. 121-22. "The Chipp or Ik-pik-puk River." 122-122 1/2. "The Colville or Kinyanook River." 127. "Puberty" and "Birth." (Published version lists "Parturation" in contents, but does not treat it in text.) 129. Native population figures. 134-35. Last paragraph of "Doctors" section, describing cure for petty illnesses, using shaman's belt and a stick. (Last 3 paragraphs in published version under "Doctors," pages 90-91, are not in Manuscript.) 139. Diagram of deer drive. 152-157. Legends." (Published version lists in Contents, "Native Legends as Chap. XIII, but this chapter is not in text. Chap. XIV of the Contents, "All Aboard for Home," is not in the published text, nor is it in the Manuscript.) 157-60. "Trade." Gives "articles most in demand," and "price list obtained from the traders" with value of trade goods in terms of number of skins.
Local Numbers:
NAA MS 2925
Local Note:
See Lt. George M. Stoney, Naval Explorations in Alaska; An Account of Two Naval Expeditions to Northern Alaska, with Official Maps of the Country Explored, U.S. Naval Institute, Annapolis, Maryland, 1900, 105 pages, 3 maps, 7 plates. line drawings.
The Farber collection documents images of celebrated American buildings by photographer Joseph C. Farber.
Scope and Contents note:
The Farber collection is filled with well-crafted and often very beautiful images of celebrated American buildings. Many of the images, which for the most part take the form of 11" x 14" black-and-white photoprints, explore the European Renaissance origins of American architecture. The collection is also very rich in color transparencies. Nearly all the images are directly related to published projects, specifically photo-essays in the shape of articles , many of which appeared in the magazine Antiques or newspapers. Farber probably would have wished for all of his photographs to have been published. Many were shown in exhibitions, as evidenced by the large proportion of the photoprints that are mounted and also the existence of correspondence files relating to such matters. There are also files related to the processes of conceiving, executing, and publishing his photographic work.
The images for the books are nearly all black-and-white, whereas magazine work, especially the commissions from Antiques, generated the most transparencies. In addition to the images in print and transparency form, and the associated proof sheets and negatives, there is also a great quantity of slides related to travel in the collection, which predate Farber's second career as a professional photographer. A tiny sampling of earlier photographs, mostly with artistic or family-and-personal themes, is also included.
Black-and-white negatives, black-and-white prints, and color transparencies, mostly created for specific book projects, articles in Antiques magazine, etc. Generally, color was used for magazine articles, while black-and-white images were intended for books. Collection also includes photographs of personal or family significance, and some early artistic efforts. Non-pictorial portion consists primarily of material related to Farber's publications: correspondence, galley proofs, reviews, etc.
Photographs include projects related to Thomas Jefferson (e.g., Monticello), classical architecture, Essex, Connecticut, etc. Buildings photographed include Raleigh's Tavern, Williamsburg, Va.; Independence Hall, Philadelphia; Maison Carree, Nimes, France; St. Paul's Chapel, Boston, Mass.; White House, Washington; New York City landmarks; sites in Springfield and New Salem, Ill., associated with Abraham Lincoln; historic buildings in Boston and Cambridge,Mass.; Hannibal, Mo.; Deerfield, Mass.; New England churches and meetinghouses; and buildings and objects from ancient Greece, which were published with excerpts from Herodotus' History of the Pelopponesian Wars (Farber called this group of images "Herodotus"); and Italian villas designed by Andrea Palladio, such as the Villa Rotunda. Some pictures relating to themes of democracy were inspired by the U.S. Bicentennial celebration.
Arrangement:
Divided into five series.
Series 1: Photographs
Series 2: Photonegatives and Contact Sheets
Series 3: Textual Materials
Series 4: Color Slides and Transparencies
Series 5: Books
Biographical/Historical note:
Born in Cleveland, Ohio in 1902, Joseph C. Farber he attended the New York Military Academy, and later Columbia College, where his formal studies included chemistry and art composition. While these were excellent preparation for subsequent employment in the family business, Friedman Blau Farber, Manufacturers of Knitted Outerwear, at Columbia he discovered the true love of his life, the art and craft of photography. He became involved in the New York Camera Club. For the rest of his life he would consider himself a protégé of the Club's resident guru, famed photographer Edward Steichen. Farber's work was first shown in the Fifth Annual Exhibition of Work by Cleveland Artists and Craftsmen at the Cleveland Museum of Art in late spring 1923, and he taught photography to summer campers. Later, throughout 39 years of employment in the garment business, he continued to enjoy and practice photography, especially in making portraits of good friends. He married Caroline Feiss, also a Cleveland native and a promising watercolor artist. In 1939 the Farber's moved to New York.
According to his daughter, Dr. Joan Farber, her father purchased a large format Linhof field camera during a 1958 visit with his son Thomas in Germany. The Linhof camera front can be shifted to provide corrections for architectural photography which are not possible with smaller cameras. After Joan headed to college the Farbers had time for increased travel. They were accompanied by their daughter on a trip to Greece in summer 1960 which included photographs of herself, an attractive, sophisticated college coed, stylishly dressed and coifed for the occasion, posed on the steps of the Parthenon. A trip to Spain the following year resulted in many dozens of 35mm color images, part of a large group of travel slides.
This was also the period in Farber's life that a whirlwind round-the-world trip was undertaken, with visits to Thailand, Japan, Hong Kong, Hawaii, and California. By the end of the next year, the Farbers were renting as a vacation home a converted button factory in Essex, Connecticut, a former shipbuilding town on the Connecticut River, as a vacation home. Within months Farber had retired from his design and executive responsibilities at the Campus Sweater and Sportswear Company in Manhattan to live for a year in Essex. There were also trips more abroad, particularly to Greece and Egypt, while the Farbers continued to maintain an apartment in New York. Climbing a mountain in Greece in summer 1967, Farber suffered a heart attack, from which he fully recovered.
In 1969 his new career was launched by the publication of Portrait of Essex by Barre Publishers. Local historian Marie Moore supplied the text to accompany Farber's evocative photographs of the ships, shops, shores, streets, and historic structures of this seafaring town. His brother-in-law Carl Feiss, F.A.I.A., furnished the Introduction.
In 1971, Farber and Wendell Garrett published his first Jefferson book, The Worlds of Thomas Jefferson followed by their second, Thomas Jefferson Redivivus Garrett, who edited the Adams Papers wrote the text, with the help of excerpts from the writings of Jefferson himself. The following summer one of Farber's Monticello views was featured on the cover of Antiques. In 1973 Farber was credited with three covers and a frontispiece for the magazine, as well as three photographic essays. The subjects ranged from Sculpture at the Boston Atheneum to The Villas of Andrea Palladio to The Architecture of Lavius Fillmore Garrett introduced Farber to Lincoln scholar Harold Holzer who hired Farber as photographer to help illustrate his Prints of Abraham Lincoln, which appeared in the annual presidents' birthday number of Antiques the next year, February 1974. Some Contemporary Paintings of Abraham Lincoln appeared twelve months later. Three more Lincoln-themed articles appeared in February issues of Antiques in 1978, 1979, and 1980: Sculptures of Abraham Lincoln From Life, George Washington and Abraham Lincoln, and Here Lincoln Lived: New Salem and Springfield, Illinois.
Two more books of Farber's photographs were published in 1975. Democracy's First Struggle was an account of the Peloponnesian Wars in the words of Herodotus, as edited from the Aubrey de Selincourt with translation by Farber. The photographic images dated back to the family trips to Greece in the early 1960s. Native Americans: 500 Years After was published by Thomas J. Crowell in 1975 with text by Michael Dorris. Following Native Americans came a series of exhibitions of photographs from the book including shows at the National Museum of Natural History (Smithsonian Institution), Dartmouth College, and the Cleveland Museum of Natural History .
Also in the mid -1970s a cover story in Antiques entitled "The Architectural Heritage of New York City" led to an exhibition at the Abigail Adams Smith House. In the late '70s two more exhibitions were staged, featuring scenes of local color at the dedication of the East Haddam (Connecticut) Historical Society in the summer of 1979 and showing buildings by Palladio at the Cooper-Hewitt Museum (New York City.)
In 1980 Farber's interior view of a basilica, Palladio's Redentore church in Venice, was featured on the cover of Antiques. The photographs became the subject of a book, Palladio's Architecture and Its Influence authored by architectural historian, Henry Hope Reed.
Harold Holzer organized many joint photographic trips revolving around Holzer's career in the public relations department of Channel 13, New York's public television station. Each summer for four years in succession they set off to diverse spots to make publicity shoots for upcoming special programming. First was Missouri to photograph Mark Twain sites for a dramatization of "Life Along the Mississippi". The next summer they headed to the Berkshires to document The Mount, the home of Edith Wharton in Lenox, Massachusetts, around whose life and work a mini-series in three parts was planned. The summer trip of 1982 was a return visit to Massachusetts to photograph The Street, Deerfield's historic thoroughfare, combined with a side trip across the border to the Robert Todd Lincoln home, Hildene, in Manchester, Vermont.
In 1982 Farber was commissioned by Architectural Digest magazine to photograph the Mark Twain residence in Hartford. Farber and Holzer succeeded in the early to mid-1980s in getting Farber's out-takes from their Channel 13 trips published together with his carefully worded scripts in such periodicals as American History Illustrated and in Antiques & The Arts Weekly. Many of Farber's pictures were printed in articles in Antique Trader, to which Holzer was a regular contributor. In 1983, when Farber turned 80, his color images of the interior spaces of the Metropolitan Club of New York were published in a book by the same name, written by Paul Porzelt. In his travels in the last decade of his life he was often accompanied by family friend Ethel Phillips, including a tour of Great Britain in the summer of 1987. With Mrs. Phillips he at one time had contemplated publishing a book on the historic mansions of the Hudson River. Two other unrealized projects, upon his death in 1994 at the age of 91, were books on the classical architecture of New York City and on the history and daily lives of Hispanic Americans in the United States.
Biographical Time Line:
Biographical Time Line for Joseph C. Farber
Biographical Time Line
1903 -- Born Cleveland, Ohio
1910s -- At New York Military Academy
1920s -- At Columbia College, studying chemistry, art composition; studies photography with Edward Steichen in Camera Club; teaches photography as camp counselor
1923 -- Participates in Fifth Annual Exhibition of Work by Cleveland Artists and Craftsmen at Cleveland Museum of Art (May 1-June 3)
1926 -- Takes job as "salesman and experimental worker" at Friedman Blau Farber, Mfg. Knitted Outerwear," Cleveland; Marriage to Caroline Feiss, Cleveland native and watercolor artist
1933 -- Son Thomas Feiss born at Cleveland
1936 -- Daughter Joan born
1930s -- Family moves to New York
1958 -- Visit to son in Germany; purchase of Linhof camera; daughter off to college
1960 -- Trip to Greece, daughter along
1961 -- To Spain
1963 -- Death of son in mountaineering accident; to Thailand, Japan, Hong Kong, Hawaii, California
1964 -- Rents former button factory in Essex, Connecticut as vacation home
1965 -- Retirement from Campus Sweater & Sportswear Company; Living in Essex
1966 -- To Greece
1967 -- To Egypt and Greece; heart attack ; Essex (summer?)
1969 -- Portrait of Essex published, text by Marie Moore; into by Carl Feiss, AIA (Barre)
1970 -- Trip to Bermuda
1971 -- Thomas Jefferson Redivus published, text by Wendell Garrett, Editor of The Magazine Antiques (Barre); Farber introduced to "Jefferson circle"; Vacations in Essex and Florida
1972 -- Monticello images published in Antiques
1973 -- Photographs of sculpture at the Boston Atheneum, the Maison Carree at Nimes (France): the villas of Andrea Palladio in Vicenza and environs (Italy) and the architecture of Lavius Fillmore (Connecticut and Vermont) published in Antiques
1974 -- Images of Abraham Lincoln prints published in Antiques: accompanying article is by Lincoln scholar Harold Holzer; beginning of ten-year collaboration
1975 -- Photographs of Lincoln portraits in Antiques, Holzer text Democracy's First Struggle published, based on Herodotus' Histories of Greece (Crown); Native Americans: 500 Years Afterpublished (Thomas Crowell)
1976 -- Exhibitions of photographs of Native Americans at National Museum of Natural History, Dartmouth College, and Cleveland Museum of Natural History; Images of historic New York City buildings in Antiques, text by Elizabeth Donaghty Garrett; Exhibition of photographs of New York City landmarks at Abigail Adams House, New York City.
1978 -- Photographs of Lincoln sculptures, with Holzer, in Antiques
1979 -- Images of Lincoln and George Washington, sculpture of John Rogers, and sculpture of U.S. Capitol published in Antiques, with Holzer; Exhibition of photographs at East Haddam Historical Society; Exhibition of Palladio photographs at Cooper Hewitt Museum, New York City.
1980 -- Palladio's Architecture and Its Influence published, with Henry Hope Reed (Dover) ; Venice image (church interior) published on Antiques cover; Death of wife; "Caroline Fund" established at Cooper Union; Teaches photography in local high school; To Missouri with Holzer to photograph Mark Twain sites for Channel 13
1981 -- Images of Lincoln sites published in black and white in Antiques with Holzer (should have been in color); Summer trip to Berkshires with Holzer to photograph Edith Wharton home
1982 -- Commissioned to photograph Mark Twain house in Hartford for Architectural Digest; Images of The Mount, Edith Wharton's home in Lenox, Mass., published in American History Illustrated with Holzer; Summer trip to Massachusetts and Vermont with Holzer to photograph "The Street," Deerfield (Channel 13) and Hildene, Robert Todd Lincoln home in Manchester
1983 -- Images of Mark Twain sites in Hannibal, Missouri published in American History Illustrated with Holzer; Summer trip to Harpers Ferry, West Virginia with Holzer (Channel 13); Harper's Ferry images published in Antique Trader with Holzer Deerfield, Massachusetts images published in Antiques & The Arts Weekly with Holzer; The Metropolitan Club of New York published, with Paul Porzelt (Rizzoli)
1984 -- Images of Hildene published in Antique Traderwith Holzer
1985 -- Images of Rebecca Nurse Homestead, Old Salem, Massachusetts published in Antique Traderwith Holzer
1987 -- Tour of Great Britain with Ethel Phillips (summer?)
1994 -- Died, New York City, New York
Related Archival Materials:
Other Materials at the Smithsonian Institution
National Anthropological Archives, National Museum of Natural History, Smithsonian Institution
Joseph C. Farber photographs of American Indian life, circa 1970-1975
Photographs made as part of Joseph C. Farber's project to document modern American Indian everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage is broad and varies from tribe to tribe. Included are portraits, as well as totem poles, carving, weaving, pottery, painitng, landscapes, boats and canoes, ceremonial regalia, camps, classes and vocational training, homes and traditional dwellings, construction projects, rodeos and powwows, dances, industries (including lumber), herding and ranching, agriculture, stores and storefronts, cliff dwellings, parades, crab cleaning, fishing, games, health care, legal processes, music, office work, sewing, vending, and a funeral. There are also photographs of R. C. Gorman (and a letter from Gorman to Farber) and Fritz Shoulder (some in color).
Provenance:
Collection donated by Dr. Joan Farber, 1994.
Restrictions:
Collection is open for research.
Rights:
Photographs published in Joseph C. Farber's books are still under copyright. Reproduction permission from the Joseph C. Farber's estate is required. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topics: Air shows. George "Buck" Weaver's Aviation Activities. Progress of Waco Aircraft Company (advertisements). Letters. Travels. Personalities (including Katherine Stinson).
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Photographs documenting pottery and pottery designs from historic Pueblo groups and archeological sites, including pottery by Hopi potter Nampeyo and an image of Maria Martinez of San Ildefonso and examples of her pottery. There are also some photographs that depict a pueblo, Southwest landscapes, cliff dwellings, rock art, craftspeople, and dwellings, mostly relating to Southwest peoples, Peruvians, and Australian aborigines. The collection includes images of artifacts in the collections of the Chicago Natural History Museum, Field Museum, British Museum, University of Illinois, Santa Fe Laboratory of Anthropology, and Paul Pearson collection. Notes and notices relating to publication are also available with the collection.
Biographical/Historical note:
Whitney Halstead (1926-1979) was an art historian and artist. He acquired his BFA and MFA from the School of the Art Institute of Chicago, where he became Chairman of the Division of Fine Arts in 1967. He also worked as an assistant in the Field Museum's anthropology department and wrote art history publications.
Local Call Number(s):
NAA Photo Lot 89-43
Location of Other Archival Materials:
The Archives of American Art holds Whitney Halstead's papers.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Copy prints of photographs or photographs of objects held by Chicago Natural History Museum, Field Museum of Natural History, British Museum, University of Illinois, and Santa Fe Laboratory of Anthropology cannot be copied. Copies or permission must be obtained from these repositories.
Honigmann papers - "Patterns of Eskimo Deviance," "Eskimo Under Tutelage," "Eskimo Learned to Run Affairs", "Transforming Areas of Actions," "Leadership Among Town Dwelling Established"
Some materials concerning the operations of the University of North Carolina Department of Anthropology are restricted.
Collection Rights:
Honigmann used pseudonyms when referring to his informants in publications. Irma Honigmann has requested that researchers refrain from publishing their names.
Collection Citation:
John Joseph Honigmann Papers, National Anthropological Archives, Smithsonian Institution
Collection is open for research but is stored off-site and special arrangements must be made to work with it. 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. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. 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. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Museum of the American Indian, Heye Foundation Search this
Collection Director:
Heye, George G. (George Gustav), 1874-1957 Search this
Container:
Box 404, Folder 5
Type:
Archival materials
Date:
1931 - 1934
Collection 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).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
