The collection consists of thirteen (13) drawings made by students at the Pine Ridge Agency Day School around 1904. All but four of the drawings are accompanied by short handwritten essays regarding the scene, most signed by the artist. The drawings were probably produced as class exercises in composition and penmanship. Included are pictures of children's homes, farm animals, the Red Cloud Indian School, and a buffalo hunt.
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 As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today.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 National Anthropological Archives, but is available in its original form to facilitate research.
Local Numbers:
NAA MS 99-44
Publication Note:
Two drawings published in:
Maurer Evan M., Louise Lincoln and Minneapolis Institute of Arts. Visions of the People: A Pictorial History of Plains Indian Life. Minneapolis Institute of Arts; Distributed by the University of Washington Press 1992.
3 Film reels (70 minutes, color silent; 2440 feet, 16mm)
Type:
Collection descriptions
Archival materials
Film reels
Silent films
Place:
Southeast Asia
Vietnam
Date:
1988
Scope and Contents:
Full film record shot by a Vietamese film crew for a documentary production about the culture of the Montagnard-Dega people of the central highlands in South Vietnam including the Bahnar, Jarai, Ede, Rhade, Lak, and Koho ethnic groups. Documentation in Gai-lai-Kontum Province includes celebrations and dances of the Bahnar and Jarai peoples including a reenactment of the Jarai king of fire celebration in Cheo Reo; landscapes around Pleiku including Bien Ho and Cu H'Drung; and traditional village life, boar hunting, weaving, and funeral houses in the Bahnar villages of Lang Co and Cho Gang. Documentation in Dac Lac Province includes an ede celebration in the village of Cu Pong (Buon Ho district, Ban-Me-Thuot area) featuring gong players and working elephants (used by members of the Dega Highlands Liberation Front for transport of supplies) and their mahouts in the village of Ban Don near the Cambodian border. Documention in Lam Dong Province includes a buffalo sacrifice in Lac Duong by a group of Lak and Koho villagers, a rice wine celebration, and scenery around Dalat including Da-Tan-la and Prenn waterfalls.
Legacy Keywords: Language and culture ; Dance ; Instruments musical instruments ; Rites and ceremonies ; Funeral rites and ceremonies ; Celebrations ; Domestic and family life ; Weaving g ; Hunting ; Animal sacrifice as part of ritual ; Elephants domestication ; Landscapes
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.
Biographical / Historical:
Luong Duc was director of Hanoi Documentary Film Studio Enterprises.
Local Number:
HSFA 1988.15.1
Provenance:
Received from Kay Reibold in 1988.
Restrictions:
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.
Rights:
Contact the repository for terms of use.
Genre/Form:
silent films
Citation:
Montagnard-Dega Ethnic Minority People of the Highlands of South Vietnam film, Human Studies Film Archives, Smithsonian Institution
Letters dated between 1917 and 1919, mostly discussing the offer of Chinese art objects by the Shanghai based dealer Seaouke Yue (You Xiaoxi)
游篠溪
Freer collection numbers: F1904.61
Letters between Charles Lang Freer and Seaouke Yue (You Xiaoxi)
Arrangement:
Organized chronologically under correspondent.
Biographical / Historical:
Charels Lang Freer first met Yue in 1917. Yue had travelled to New York with items from the collection of Pang Yuanji, an important Shanghai collector who met Freer in 1911. Over the next two years, Freer purchased a number of important works of Chinese painting, jades, pottery and bronzes from Yue.
Local Numbers:
FSA A.01 02.1Yue
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The collection consists of a small notebook of ruled paper containing twenty-one drawings by Tichkematse, one (1) cyanotype photograph, and one (1) note. The notebook has been disbound and the covers retained. The drawings document an 1887 hunting excursion taken by Colonel Bliss of Fort Supply (in Indian Territory) and Major John Dunlop, a visitor to the fort from Washington D.C. Included in the collection are a cyanotype picture featuring Colonel Bliss, end papers, and covers of the book as well as a typescript note pasted to the inside cover describing the drawings. Many drawings are inscribed with names identifying the figures, most of whom are Cheyenne men who were enlisted as Army scouts.
Biographical Note:
Tichkematse, also known as Squint Eyes, (1857-1932) was among the men held prisoner at Fort Marion in Saint Augustine, Florida, from 1875-1878. While imprisoned, he learned to speak English and to read and write. Upon release he attended school at the Hampton Institute in Virginia for about a year before coming to the Smithsonian. There he was trained in the preparation of bird and mammal specimens for study and display. During his time at the Smithsonian, he also produced drawings illustrating his old life on the Plains, full of buffalo hunts and battles as well as everyday camp life. In 1880 he returned to the Cheyenne and Arapaho Reservation in what is now Oklahoma, but he continued his affiliation with the Smithsonian. He was active in collecting bird and mammal specimens as well as craft items acquired from Cheyenne friends and relatives, which he shipped to the museum.
Major John Dunlop was a supply sergeant in San Antonio before the Civil War. He then went to Mexico, and later to Washington. While in Washington he met Col. Bliss and the maintained a friendship over time, resulting in his visiting Bliss in Indian Territory and participating in the hunt depicted.
Historical Note:
Fort Supply, established in 1868, was initially designated as a supply camp where U.S. Cavalry troops could restock and refresh themselves. It was from this post that Custer and the Seventh Cavalry marched to the Battle of Washita. Over the next twenty-five years, soldiers from Fort Supply performed duties that included peace-keeping and monitoring of the Cheyenne and Arapaho reservation and the Cherokee Outlet as well as monitoring the Land Run of 1893. From 1869 to early 1870, the post served as the temporary location for the Cheyenne and Arapaho Indian Agency.
Local Numbers:
NAA MS 7500
Related Materials:
The National Anthropological Archives holds a photographic copy of the complete book of drawings in PhotoLot R79-24.
The National Anthropological Archives holds additional drawings by Tichkematse in MS 39-d-2 Drawings by Tichkematse and others and Tichkematse and Etahdleuh drawings (MS 290844).
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Works of art
Ledger drawings
Photographs
Citation:
MS 7500 Tichkematse book of drawings, National Anthropological Archives, Smithsonian Institution
The collection consists of a book of fourteen (14) drawings on eight (8) leaves of unruled paper in a commercial drawing book. The book was rebound by the Bureau of American Ethnology and the original covers are no longer visible. The drawings depict hunting, travelling, and camp scenes. The inside front cover is inscribed "Drawn by Buffalo Meat." The inside back cover is inscribed "Soaring Eegle [sic]." Buffalo Meat and Soaring Eagle were among the Cheyenne men imprisoned at Fort Marion. Although both men were artists, the drawings in this book are Kiowa, not Cheyenne.
Although the drawings were originally cataloged as Cheyenne by Buffalo Meat, neither Candace Greene nor Karen Daniels Petersen agree with this attribution. They note that the drawings can be identified as Kiowa based on elements of clothing, as well as shield and tipi designs. Furthermore, Greene compared the drawings with other works by Buffalo Meat and determined that they do not correspond with the artist's style. Both Greene and Petersen note that the drawings are the work of at least two artists. The inside of the front cover is inscribed, "Drawn by Buffalo Meat, Cheyenne." Petersen notes that the handwriting matches an inscription written inside the cover of MS 39-b, a drawing book that is known to have been collected at Fort Marion by George Fox, who inscribed the cover and captioned the drawings. (Candace Greene and Mike Jordan compared the inscriptions in MS 4656 and MS 39-b and agree that the handwriting is the same.) George Fox worked as an interpreter at Fort Marion until March 26, 1877. Consequently, the book dates between May 21, 1875, the date the prisoners arrived at Fort Marion, and March 26, 1877, the date George Fox departed.
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 National Anthropological Archives, but is available in its original form to facilitate research.
Historical Note:
Fort Marion, also known as Castillo de San Marco, is a stone fortress in St. Augustine, Florida. Between 1875 and 1878, seventy-two prisoners from the southern plains were incarcerated in the fort. Captain Richard Pratt supervised the prisoners during their incarceration at Fort Marion. The prisoners consisted of 27 Kiowas, 33 Cheyennes, 9 Comanches, 2 Arapahos, and a single Caddo. With the exception of one Cheyenne woman, all the prisoners were men. They had been accused of participating in the recent Red River War, earlier hostilities, or both. With the exception of the wife and daughter of one of the Comanche men, the prisoners families were not allowed to accompany them to Fort Marion.
Local Numbers:
NAA MS 4656
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Works of art
Ledger drawings
Citation:
MS 4656 Book of anonymous Kiowa drawings, National Anthropological Archives, Smithsonian Institution
Drawing depicts a man who has roped a buffalo bull. Two men, one armed with a bow and the other with a knife, attack the buffalo. The men are accompanied by two dogs, one of which bites the buffalo.
Local Numbers:
NAA MS 4656 010
NAA INV 08680300
Collection Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
MS 4656 Book of anonymous Kiowa drawings, National Anthropological Archives, Smithsonian Institution
Collection of the Smithsonian National Museum of African American History and Culture; Gift of Dr. and Mrs. T.B. Boyd, III and R.H. Boyd Publishing Corporation
Indians of North America -- Great Basin Search this
Indians of North America -- Great Plains Search this
Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Negatives
Photographs
Drawings
Date:
1969
Scope and Contents:
Titles include: 1.Tall Bull, Cheyenne, escaping from the Utes. 2.Common occurrence in Running Buffalo. 3.Tall Bull, a Cheyenne Brave, Killing Two Pawnees. 4.Crow and Cheyenne Warriors. 5.Kill Bear. 6.Tall Bull, Cheyenne, Killing a Navaho. 7.Cheyenne Brave Killing a Crow. 8.Fight between Soldiers and Cheyennes. 9.Cheyenne Killing a Pawnee. 10.Cheyenne Killing a Ute. 11.Cheyenne Killing two Kiowa women. 12.Kiowa Brave. 13.Making Medicine. 14.Dance of the Cheyenne Soldiers. 15.Untitled (dance with chiefs and musicians). 16.Sioux Indian hunting deer. 17.Sioux Woman and Cheyenne man. 18.Cheyenne to the Rescue. 19.Cheyenne Chiefs Reviewing their young men. 20.Sho-sho-nees in pursuit of Cheyennes. 21.Grand War Dance in Costume of the Cheyennes.
Local Numbers:
NAA MS 4959
Local Note:
photographs
Restrictions:
Restricted
Rights:
Negatives made 11/26/1969. For reference purposes only. Requests for prints should be directed to the Fort Leavenworth Museum.
Photographs of sketches and paintings made by Paul Kane in 1845-1856, including portraits and scenes of camps, dances, and a buffalo hunt, relating to the Ojibwa, Ottawa, Menominee, Potawatomi, Eastern Sioux, Cree, Assiniboine, Chinook, Cowlitz, Clallam, Cowichan and Babine. The sketchbook, of which the microfilm may be incomplete, includes many of the same subjects as the paintings, as well as artifacts, scenic views and scenes from Kane's studies in Europe. The collection also includes a photostat of the catalog published in Kane's "Wanderings of an Artist..." and a typed list of the captions for the sketches.
Biographical/Historical note:
Paul Kane (1810-1871) was born in Ireland and emigrated to Toronto (then called York) when he was nine. He worked as a decorative furniture painter before turning to portrait painting and studying art at centers throughout Europe. Inspired by George Catlin's paintings documenting the Plains Indians, Kane set out on an expedition from Fort William (Thunder Bay) to Fort Vancouver to document the peoples of the Northwest. From 1845-1848, Kane traveled amongst tribes of the Great Plains, Pacific Northwest, and elsewhere, sketching and describing his experiences in a journal. When Kane returned to Toronto, he published "Wanderings of an artist among the Indians of North America" (1859) and made over 100 paintings based on his journal sketches, commissioned by George William Allen. The entire Allen collection was later purchased by Sir Edmund Osler and donated to the Royal Ontario Museum in Toronto.
Local Call Number(s):
NAA Photo Lot 4428, NAA Photo Lot 4427
Reproduction Note:
Copy prints and microfilm made by the Royal Ontario Museum of Archaeology.
Location of Other Archival Materials:
Photographs previously filed in Photo Lot 4427, have been relocated and merged with Photo Lot 4428. These are photographs of paintings by Kane in the Royal Ontario Museum and were donated with the photographs of sketches already filed in this collection.
Additional photographs of paintings by Kane held in National Anthropological Archives MS 4642 and the BAE historical negatives.
Contained in:
Numbered manuscripts 1850s-1980s (some earlier)
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Restrictions: Publication rights granted to Bureau of American Ethnology or Smithsonian Institution staff members for use of small selections of the material; collection not to be published in its entirety. Royal Ontario Museum wishes to be informed when and where illustrations are used. Persons outside the Smithsonian Institution must obtain publication permission as well as photographic prints from the Royal Ontario Museum; the Smithsonian may not make copy negatives for the general distribution of prints.
