Outtakes shot of tribes of the western, southwestern, and northern United States. Footage includes Klamath, Karuk, Yurok, Hupa, Navajo, Zuni, Hopi, Chippewa, Apache, and Cheyenne, and Sioux and is believed to have been shot in conjunction with the edited film INTERTRIBAL INDIAN LIFE AND CULTURE. Shots of ethnographic interest include Hupa foodways, arrowmaking, and basketry; fishing with dip nets along the Klamath River; Klamath or Hupa ceremonial dances including the bear, deer, and otter dances; Karuk and Yurok ceremonial dances including the jump, hoop, and brush dances; Apache devil dancers and Pueblo Eagle dance at Window Rock; sun dance lodge and ceremony (probably Cheyenne); Chippewa ceremony of the Grand Medicine Society, Red Lake Reservation near Cass Lake and Black Duck, Minnesota; marathon race and wrestling matches at Klamath Reservation; and pow-wow footage of Plains Indians (unidentified).
Collection also includes associated texts and black-and-white photographs and negatives shot by Grover Sanderson aka Eagle Wing, ca. 1930s. Often prints are duplicates of negatives but some negatives and prints are unique, with no copies.
Legacy Keywords: Food preparation cooking acorn mush weewish Hupa ; Food gathering acorns Hupa ; Cradleboard Hupa Northern California ; Dancing ceremonial Deer Dance deer effigies otter pelts Hupa Northern California ; Headdress ceremonial dancing flicker feather Hupa Northern California ; Curing ceremony Chippewa Minnesota ; Adornment necklaces shell Hupa Klamath Northern California ; Mortuary practices burial huts Northern California ; Arrows hafting of Hupa Northern California ; Basketry manufacture of use of Hupa Northern California ; Fishing dip nets Hupa Klamath Northern California ; Gambling Hupa gambling game Northern California ; Cemeteries burials above ground Northern California ; Effigies deer effigy Hupa ceremonial dance Northern California ; Sports wrestling running Indian Days Hupa ; Scouts boy scouts and Indians ; Dancing Devil Dancers Apache Window Rock ; Ceremony Sun Dance raising centerpole Northern Plains ; Ceremony Grand Medicine Society Chippewa Red Lake Reservation ; Language and culture
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or Anthropology Archives, but is available in its original form to facilitate research.
Received from Jack Richard Sanderson, Sr. in 1984 and an unknown donor in 2008.
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Grover Sanderson collection, Human Studies Film Archives, Smithsonian Institution
Cataloging supported by Smithsonian Institution Women's Committee.
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.
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.
The collection consists largely of images of Fox Indians of Tama, Iowa, including portraits of families, delegates, and dancers, as well as images of food preparation and a wigwam. It also includes images of a Taos woman baking and portraits of Crow, Dakota, Navajo, and Winnebago people, including Chief Spotted Tail, Chief Crazy Horse, artist Max Big Man, and Chief White Cloud.
The collection is open for research.
Access to the collection requires an appointment.
Photo lot 88-24, Postcard collection to Fox and other Native American tribes, National Anthropological Archives, Smithsonian Institution
The collection consists of negatives and photographs made by Halseth from 1920 to 1925 in Arizona and New Mexico.
Scope and Contents:
The collection consists of negatives and photographs made by Halseth from 1920 to 1925 in Arizona and New Mexico. The materials are primarily informal, outdoor group and individual portraits of Akimel O'odham (Pima), Diné (Navajo), Yoeme (Yaqui) [Pascua Yaqui], Piipaash (Maricopa), K'apovi (Santa Clara Pueblo), Zia Pueblo, San Ildefonso Pueblo, Jemez Pueblo, Cochiti Pueblo, Kewa (Santo Domingo Pueblo), and Tesuque Pueblo men, women, and children. In addition among the Akimel O'odham photographs are depictions of dwellings, potters, ladle makers, baskets, the construction of an oven, food preparation, dwellings, and mattress factory wokers; among the K'apovi ceremonials and village views; among the Zia pottery and portraits of and paintings by Velino Shije Herrera; among the Jemez ceremonials and village views; among Kewa ovens; and among San Ildefonso village views and paintings by Awa Tsireh. The collection also includes photogrpahs depicting the pictographs at Puye.
Negatives Arranged by negative number (N32893-N33051)
Prints Arranged by print number (P19345-P19346, P19630-P19631)
Born in 1893 in Moss, Norway, Halseth was an anthropologist, museum director, educator, author, art critic, and lecturer. As a young man he studied electrical engineering and anthropology in Germany and served both Norway and the United States during World War I. While in San Diego for military training, he met archaeologist Edgar L. Hewett and after the war accepted a position with Hewett as the curator of art at the San Diego Museum. In 1923, he moved to Santa Fe, where he was on both the staff of the School of American Research and the Museum of New Mexico. After four years, Halseth was appointed director of the newly established Arizona Museum in Phoenix and in 1929 initiated the excavation of the Pueblo Grande Indian ruins and founded the Pueblo Grande Museum. Halseth was also Phoenix's head archaeologist and superintendent of the city's Division of Archaeology. Active in his field, Halseth was a fellow of the American Anthropological Association, a member of the Society of American Archaeology, and the author of numerous publications on Arizona archaeology and indigenous arts and crafts. He retired in 1960.
Historically, the Museum of the American Indian, Heye Foundation managed all photographic materials separately. This collection description represents current management practices of organizing and contextualizing related archival materials.
Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
Restricted: Cultural Sensitivity
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to email@example.com. 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.
Indians of North America -- Arizona -- Photographs Search this
Indians of North America -- New Mexico -- Photographs Search this
Odd Halseth collection of negatives and photographs, 1920-1925, National Museum of the American Indian Archives, Smithsonian Institution
Field notes, in typescript, largely concern hunting and agriculture but also concern to a greater and lesser extent subjects shown in cross references. The subjects are distributed throughout the manuscript. Informants were Hastin Taa (Thick Man), Asta Tohitlini Alsai Yaja (Little Woman), Chis Chilley, Chick Sandoval, Ace Moon, Atitsai Bige (Interpreter's Son), Hastin Altsi (The Little Man), Tsi Igai (White Hair), Nakai Dine (Navajo Jim), Neska Bige (The Late Fat One's Son), Beli Alpai (Roan Horse), Atszdi Yaze Bige (The Late Little Smith's Son), Hacke Haiitsis (Pulled Out of the Warrior), Mary McKinley, Dene Izkin (One That Killed a Man), and "Curley of Chin Lee."
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.
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
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.
The collection is open for research.
Access to the collection requires an appointment.
Photo Lot 59, Library of Congress Copyright Office photograph collection of Native Americans, National Anthropological Archives, Smithsonian Institution