Indians of North America -- New Mexico Search this
Type:
Archival materials
Postcards
Photomechanical prints
Place:
New Mexico
Ranchos de Taos (N.M.)
Scope and Contents:
Postcard booklet of sites in New Mexico, plus front and back cover illustrations. Most views are mountain scenes and buildings. The cover illustration (shown here) depicts the Old Mission Church in Ranchos de Taos, New Mexico with women, children and men in Southwestern Indian style dress. Subjects include Raton Pass, Taos Indian Pueblo, Hermit's Peak (Las Vegas, N.M.), Starvation Peak on the Santa Fe Trail, Old San Miguel Mission (Santa Fe), "oldest house in America, Santa Fe," sunset on the Rio Grande, Albuquerque, and Palace of the Governors, Santa Fe. The cover and back illustrations (the latter shows Navajo Indian women weaving) are reproductions of paintings, while the postcards appear to be reproductions of hand-painted photographs.
Local Numbers:
BL318 (Image No., cover illustration, not in Archives Center file)
General:
Series 1, Box 10, U.S.A.--New Mexico--General Mountain Views.
Collection Restrictions:
The collection is open for research use.
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.
Young-Hunter's autobiography REVIEWING THE YEARS, (1963); 1 clipping, exhibition announcements and catalogs; photocopies of illustrations by Mary Y. and Young-Hunter from THE CLYDE, London, 1907; and a copy of ARTISTS OF THE ROCKIES AND THE GOLDEN WEST, Summer 1984.
Biographical / Historical:
Painter, portrait painter; Taos, New Mexico. Born in Glasgow, Scotland. Studied at the Royal Academy with Alma-Tadema and Sargent. Came to the U.S. in 1913.
Provenance:
Lent for microfilming by Woodrow Wilson Fine Arts, Inc., 1984, as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
This collection contains photographs that were commissioned by Fred Harvey Co. and shot by Carl Moon circa 1907-1914. The photographs depict American Indian communities in the southwest including A:shiwi (Zuni), Acoma Pueblo, Diné (Navajo), Hopi, Laguna Pueblo, and Taos Pueblo among many others.
Scope and Contents:
This collection contains 203 glass transparencies, 2 nitrate negatives, and 1 autochrome (plus 228 copy negatives and copy transparencies) that were commissioned by Fred Harvey Co. and shot by Carl moon circa 1905-1914. The photographs depict the southwest American Indian communities of A:shiwi (Zuni), Acoma Pueblo, Dine (Navajo), Havasupai (Coconino), Hopi Pueblo, Isleta Pueblo, K'apovi (Santa Clara Pueblo), Kewa (Santo Domingo Pueblo), Laguna Pueblo, Nambe Pueblo, Ohkay Owingeh (San Juan Pueblo), San Felipe Pueblo, San Ildefonso Pueblo, Taos Pueblo, Tesuque Pueblo, and White Mountain Apache. Some images were also shot in Grand Canyon National Park in Arizona. The photographs are a mix of portraits, posed action shots, and architecture shots. Some of the photographs appear to have been staged by the photographer. There are a few photographs in this collection that may have been shot by Moon prior to his employment with the Fred Harvey Company.
The copy negatives and transparencies were created by the Museum of the American Indian (NMAI's predecessor museum). There are sometimes multiple copy negatives and copy transparencies per glass plate transparency.
Arrangement:
The collection is arranged into 17 series by culture group or location. Series 1: A:shiwi (Zuni), Series 2: Acoma Pueblo, Series 3: Diné (Navajo), Series 4: Havasupai (Coconino), Series 5: Hopi, Series 6: Isleta Pueblo, Series 7: K'apovi (Santa Clara Pueblo), Series 8: Kewa (Santa Domingo Pueblo), Series 9: Laguna Pueblo, Series 10: Nambe Pueblo, Series 11: Ohkay Owingeh (San Juan Pueblo), Series 12: San Felipe Pueblo, Series 13: San Ildefonso Pueblo, Series 14: Taos Pueblo, Series 15: Tesuque Pueblo, Series 16: White Mountain Apache, Series 17: Grand Canyon National Park, Arizona
The collection is physically arranged first by collection type (transparencies and negatives) and then in photo numeric order.
Biographical / Historical:
Born in 1878 in Wilmington, Ohio, Carl E. Moon (originally spelled Karl) took up photography after serving with the Ohio National Guard. He moved to Albuquerque, N.M. in 1903 and opened a photograph studio where he began photographing American Indians in the U.S. southwest region. After publishing and exhibiting many of his photographs nationally, he was commissioned by the Fred Harvey Company in 1907 to take photographs of American Indian communities in the southwest. The Fred Harvey Company was founded by Frederick Henry Harvey and consisted of a chain of successful gift shops, restaurants, and hotels know as Harvey Houses. Moon photographed individuals in his El Tovar Studio in the Grand Canyon, Ariz. and also traveled to communities in the region including A:shiwi (Zuni), Diné (Navajo), Hopi, and Laguna Pueblo, among many others. The Fred Harvey Company used these photographs in their postcards, brochures, and publications for the tourist industry. The Fred Harvey Company also partnered with the Sante Fe Railroad to help generate tourism to the southwest region and Moon became the official photographer for the railroad. Moon also took up drawing and painting and studied with American painter Thomas Moran. Moon stayed with the Fred Harvey Company until 1914.
After Moon left the Fred Harvey Company, he opened a studio in Pasadena, California and continued his career as a photographer and painter. During this period, Moon painted and donated 26 works depicting Southwest American Indians to the Smithsonian Institution (now in the Smithsonian American Art Museum's collection). He also sold 24 oil paintings and 293 photographic prints to Henry E. Huntington that are now part of the Huntington Library in San Marino California. With his wife Grace Purdie Moon, he also produced and illustrated children's books of collected Native American stories and legends. Moon died in San Francisco, Calif. in 1948.
Related Materials:
The Huntington Library in San Marino California holds a large collection of Carl Moon works, including oil paintings and photographic prints. The University of Arizona Libraries, Special Collections also holds photographs shot by Carl Moon and the Smithsonian American Art Museum holds 26 Carl Moon paintings.
Separated Materials:
Two nitrate negatives are stored at an offsite storage facility.
Provenance:
Donated to the Museum of the American Indian by the Fred Harvey Company in 1963.
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.
Indians of North America -- New Mexico Search this
Citation:
Identification of specific item; Date (if known); Fred Harvey Company collection of Carl Moon Southwest photographs, Box and Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Holograph about the poverty, and hardship Gaspard experienced as a consequence of working for the Federal Art Project in New York City during the 1930's and 40's. Accompanied by a typescript of the text.
Biographical / Historical:
Seriographer, painter, designer, craftsmen, illustrator, and writer; New York, N.Y. and Taos, New Mexico. Born 1909. Married to painter Leon Gaspard until his death in 1964. Also known as Dora Deborah Kaminsky Gaspard.
Provenance:
Probably donated by Gaspard possibly at the time she donated the papers of her late husband, Leon Gaspard.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Designers -- New York (State) -- New York Search this
Illustrators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Serigraphers -- New York (State) -- New York Search this
Topic:
Women artists -- New York (State) -- New York Search this
3.5 Linear feet ((partially microfilmed on 4 reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1902-1972
Scope and Contents:
Correspondence, diaries, writings, business records, art works, printed material, and photographs.
REELS 2839-2841: Biographical materials; correspondence from her husband, Howard N. Cook; correspondence with Amalia Schulthess, Harry Leith-Ross, Harry Pitts, Dorothy E. Brett and others; personal writings; travel diaries from North Carolina and Alabama; 3 calendars, 1942, 1943, 1957; sales account of prints, 1928-1957; sketches and sketchbooks; prints; greeting cards by Latham, Cook and Vaneil Foster; 4 oil paintings by Harry Leith-Ross; exhibition catalogs and announcements; clippings; and photographs of Latham including one by Mildred Tolbert, ca. 1960 (a copyprint microfilmed on reel 1817, fr. 726-727) and her work; and a tribute to illustrator Helen Sewell.
REEL 3244: 11 portraits of Latham by Cook, including drawings in charcoal, ink, and pencil, and wood engravings and aquatints; and 3 self-portraits of Cook and 2 self-portraits of Latham.
UNMICROFILMED: Letters from Harriet Latham Robinson, Latham's niece, regarding family affairs, 1964-1968.
Biographical / Historical:
Painter, illustrator, writer, etcher; Taos, N.M. b. 1896 in Walpole, Mass.; d. 1989, Sante Fe, N.M. Studied at the Pratt Institute, Art Students League and with Andrew Dasburg. Well known for her work as a children's book illustrator. Married to painter Howard Cook.
Related Materials:
Barbara Latham papers relating to her work as a children's book illustrator Located at; Kerlan Collection at the University of Minnesota, Minneapolis.
Provenance:
Donated 1972-1973 by Latham.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Correspondence with Harriet Latham Robinson: ACCESS RESTRICTED: Written permission required.
An interview of Dora Kaminsky Gaspard conducted by Sylvia Loomis on 1965 Apr. 22 for the Archives of American Art.
Biographical / Historical:
Dora Kaminsky (1909-1977) was a printmaker, painter, and illustrator from Taos, N.M. Kaminsky also used the name Dora Deborah Kaminsky Gaspard.
General:
An interview of Jozef Bakos conducted by S. Loomis is also on this tape.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.
Scope and Content Note:
The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.
Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials.
Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert.
Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record.
Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest.
Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches.
Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others.
Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions.
Arrangement:
The collection is arranged into 7 series:
Series 1: Biographical Materials, 1873-1971 (Boxes 1, OV1; 17 folders)
Series 2: Correspondence, 1891-1970 (Box 1; 0.5 linear feet)
Series 3: Personal Business Records, 1918-1950s (Box 1; 4 folders)
Series 4: Writings, 1880s-1959 (Box 1-2; 0.5 linear feet)
Series 5: Artwork, 1888-1925 (Box 2; 0.25 linear feet)
Series 6: Printed Materials, 1891-1964 (Box 2, OV1; 0.5 linear feet)
Series 7: Photographs, 1880s-1955 (Box 2, OV1; 0.25 linear feet)
Biographical Note:
Ernest Blumenschein was born on May 26th, 1874 in Pittsburgh, Pennsylvania. He moved to Dayton, Ohio at the age of four, the same year his mother died. His father was a professional musician and composer, who chiefly made his living as a conductor of large choruses. During high school he contributed illustrations to "Tomfoolery," a handwritten and hand drawn weekly humor magazine. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League.
In 1892, Ernest Blumenschein first traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's.
Blumenschein first visited Taos in the fall of 1898 while traveling en route to Mexico on a sketching trip with Phillips. A wheel on the wagon carrying their belongings broke and they took it to the nearest blacksmith in the area, which was in Taos. Upon arriving at Taos, Blumenschein was struck by the "the superb beauty and serenity" of the landscape and was "stirred deeply." The town made a strong impact on both Blumenschein and Phillips, but while Phillips decided to stay, Blumenschein returned to New York for a short while and continued working as an illustrator. The following year Blumenschein decided to concentrate on painting, and re-enrolled at the Académie Julian while supporting himself with his commercial work. In 1903, he met Mary Greene, an American painter living in Paris and they married in 1905, and began sharing a Paris studio. Their daughter and only child, Helen, was born in November of 1909.
While Ernest Blumenschein continued to study in Paris, he also kept working as an illustrator, supporting himself easily. His illustration work was much in demand by American magazines and book publishers. Blumenschein was commissioned to illustrate Jack London's first book, Love of Life, in 1904. He also worked with other famous writers such as Stephen Crane, Willa Cather, and Joseph Conrad.
Upon returning to New York after the birth of their daughter, Ernest and Mary taught at the Pratt Institute. Ernest spent every summer in Taos. In 1919, the family moved permanently to Taos, with Helen returning to New York for school. It was during this time that Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony. For four decades, Blumenschein created paintings of the landscape, local inhabitants, the Taos Pueblo culture, and city skylines. He won numerous awards for his work and exhibited widely. His work was responsible for changing perceptions about the native culture and peoples of the area - the Navajo and Pueblo Indians. Blumenschein also indulged his love of the outdoors and sports. He avidly camped, played tennis, and was part of the Taos amateur baseball team. His artistic output in the 1950s was hampered by his declining health, and the death of Mary in 1958. Blumenschein died in June of 1960, and his ashes are repositioned at the Taos Pueblo Reservation.
Related Material:
Found in the Archives of American Art is a small collection of "Ernest Blumenschein letters and transcripts", available on microfilm reel 3281, and consisting of eleven letters between Blumenschein and Thomas Gilcrease, a letter between Helen Blumenschein and Gilcrease, and the transcript of a 1958 radio interview with Blumenschein.
Additionally, the Fray Angélico Chávez History Library in Santa Fe, New Mexico holds papers related to Ernest Blumenschein, Mary Greene Blumenschein, and Helen Greene Blumenschein.
Provenance:
The collection was donated to the Archives of American Art by Helen Greene Blumenschein, Ernest Blumenschein's daughter, in 1971.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Biographical information, printed material, photographs, notes and writings, interviews, correspondence, sketches, financial material, and gallery files.
REELS 3285A-3288: Biographical material, including resumes, biographical essays, questionaires, and printed material on Egri's career; correspondence with art clubs, companies, and art dealers; photographs of Egri and his family and friends; a transcribed interview with Egri; notebooks, class and lecture notes, and writings on art with illustrations; commission files containing correspondence, contracts, photographs, drawings, and printed material; gallery files containing correspondence, financial and printed material; and subject files including correspondence, annotated sketches, notes, receipts, award ribbons, exhibition catalogs and announcements, and clippings.
REELS 3292-3294: Correspondence with Peter Hurd, Francis V. O'Connor, Emil Bisttram and others relating to business matters; photographs of Egri's work; texts for catalogs, lecture notes, and essays about art and art history, some with illustrations; project files including correspondence, photographs, drawings and plans, notes, measurements, and printed material; files on Artists Equity Association and the Taos Design Group including by-laws, minutes, and newsletters; and clippings, exhibition catalogs and announcements.
Biographical / Historical:
Sculptor, painter and art instructor; Taos, New Mexico. Born in New York City. Moved to Taos in 1950. As a sculptor he works chiefly with welded medals, synthetics, wood and stone. He paints in oil. Taught painting and sculpture at the Kansas City Art Institute, University of Wyoming, University of Illinois and Northern Iowa University.
Provenance:
Lent for microfilming by Ted Egri, 1984, as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
A biography of Dunton written by his son, Ivan; a copy of a letter from Dunton describing his painting, "Mountain Pool," 1926; biographical sketches of Dunton's models; typescripts of studies by Dunton; printed stories and magazine covers illustrated by Dunton from COLLIER'S, McCLURE'S, HARPER'S WEEKLY, and other magazines, 1906-1926; a scrapbook of illustrations and articles by Dunton, 1896-1904; exhibition catalogues; clippings and articles on Dunton; photographs of Dunton, his family, and his birthplace; and album of photographs, 1914-1916, of Dunton, his children, Oscar E. Berninghaus, Ernest Leonard Blumenshein, Eange Irving Couse, Joseph Henry Sharp, and others, and New Mexico scenery; and two photograph albums of paintings by Dunton.
Biographical / Historical:
Painter (Taos, N.M.)
Provenance:
The lendor, Ivan H. Dunton, is William Herbert Dunton's son. He plans to give the original material to the Santa Fe Historical Library, Santa Fe, N.M.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Biographical records; correspondence, including some illustrated letters, with friends, family members, art galleries, and others; photographs of the Benrimos and their friends, and of Tom's work; an illustrated travel diary by Dorothy in Italy; writings, a book CAMPOSANTOS, A PHOTOGRAPHIC ESSAY by Dorothy, and lecture notes; handwritten notebooks of Thomas's; address books and appointment books; drawings, including Dorothy's jewelry designs; Thomas's sketchbook; business and financial records; scrapbooks; and printed matter.
Biographical / Historical:
Painters; Taos, N.M.; Dorothy S. Benrimo, b. 1903; d. 1977; painter.
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1984 by Earl Stroh, a friend of Tom Benrimo.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
This collection includes glass plate negatives, copy negatives and photographic prints taken and collected by Joseph Imhof, a lithographer and painter known for documenting Pueblo culture in New Mexico. These include images shot by Imhof in Acoma, Isleta, Santa Clara (K'apovi) and Taos Pueblos; glass plate negatives (copies) of Frank Rinehart portraits; original glass plate negatives made by Orlando Scott Goff among the Apsáalooke (Crow/Absaroke) in Montana circa 1894; photographic prints of Imhof artworks; and photographs of Joseph and Sarah Imhof and their home in Taos, New Mexico.
Scope and Contents:
Series 1: Glass plate negatives contains 89 glass plate negatives donated by Joseph Imhof to the Museum of the American Indian, Heye Foundation in 1930. This includes—copies of Frank Rinehart portraits; Joseph Imhof photographs made in Acoma Pueblo and Isleta Pueblo in 1912; Orlando Scott Goff Apsáalooke (Crow/Absaroke) photographs from Montana; and Kwakwaka'wakw (Kwakiutl) photographs from Vancouver Island, British Columbia (photographer unknown). The majority of the Rinehart glass plate negatives include two portraits side by side on one 8x10 plate, though copy negatives were made of the individual portraits. The copy negatives were created by the Museum of the American Indian, Heye Foundation (NMAI's predecessor museum) during a photo conservation project in the 1960s.
Series 2: Photographic Prints includes 89 cataloged and 38 uncatalogued photographic prints from 1900-1964. This includes Joseph Imhof photographs made in K'apovi (Santa Clara) Pueblo; images of Imhof's drawings, sketches and paintings; photographs in Taos of the Imhof home and studio; and portraits of Sarah and Joseph Imhof.
The negatives have catalog numbers N19283-N19371. The prints have catalog numbers P19480-P19484, P19532-P19591.
Arrangement:
Arranged in two series by photographic type. Series 1: Glass plate Negatives, circa 1894, 1898, 1912, undated and Series 2: Photographic Prints, 1900-1964. Within the series they are arranged by catalog number with the uncatalogued prints at the end of Series 2.
Biographical / Historical:
Joseph Adam Imhof was born in Brooklyn, New York in 1871. After teaching himself lithography, Imhof was hired by Currier and Ives and eventually earned enough money from this job to buy a bookstore. In 1891 he eventually quit his job and sold the bookstore to pursue a formal art education in Europe which led to four years in Paris, Brussels, Antwerp and Munich where he apprenticed with several artists.
During this time, Imhof met Buffalo Bill Cody and was invited to join him in Antwerp to sketch and paint members of his "Wild West Show". Returning to New York, Imhof rented a studio and began to study the Iroquois Indians in New York and Canada. He spent the next ten years painting and improving his lithography, photography and color printing innovations - which financed his early painting career. He also freelanced for Allen and Ginter, painting his Indian Head Series for insertion on cards in boxes of cigarettes.
In 1897 Joseph married Sarah "Sallie" Ann Elizabeth Russell. In 1905 they visited the Southwest for the first time to record the ceremonies of the Pueblo Indians. Joseph built a studio in Albuquerque in 1906, and the Imhofs spent the next few years traveling around the region, though they eventually returned to New York. In 1929, Joseph and Sarah moved to New Mexico permanently and built their new home and studio in Taos Pueblo. There, he would have Native Puebloan models to live in his home for a time before he painted them. He also collected many artifacts and had the first lithography press in Taos. His series of paintings called Kivas and Corn, which he gifted to the University of New Mexico, was his last and most famous work. The Koshare Indian Museum also houses one of the largest collections of his paintings. Joseph Imhof died in 1955 leaving the remainder of his collection in the care of his wife and daughter.
Bibliography: The Illustrated Encyclopedia of Artists of the American West, by Peggy and Harold Samuels; Joseph Imhof: Artist of the Pueblos, by Nancy Hopkins Reily and Lucille Enix, Koshare Indian Museum.
Related Materials:
A large collection of Joseph Imhof artwork and photographs can be found at the Maxwell Museum of Anthropology at the University of New Mexico.
The NMAI has a collection of Joseph Imhof artwork and lithographs donated by his wife Sarah in the 1960s.
For a bibliography on Joseph Imhof written by his wife, Sarah Imhof, see Box 255, Folder 7 in the Museum of the American Indian, Heye Foundation records (NMAI.AC.001).
Separated Materials:
The uncataloged photographic prints in Series 2 were originally housed with documents in Box 255, Folder 7 in the Museum of the American Indian, Heye Foundation records (NMAI.AC.001). They have been moved to be with the rest of the Joseph Imhof photographic collection.
Provenance:
The glass plate negatives were a Gift of Joseph Imhof in 1930. It is still unclear how/when the photographic prints were acquired by the museum, but they were likely donated by Sarah Imhof along with a collection of Imhof artwork in the 1960s.
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.
Identification of specific item; Date (if known); Joseph A. Imhof photograph collection, image #, NMAI.AC.142; National Museum of the American Indian Archives Center, Smithsonian Institution.
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations.
Scope and Contents:
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations. The album includes photographs (mostly albumen with three tintypes), newsclippings, wood engravings, and lithographs, some of which are reproductions of Taylor's own illustrations and paintings. Photographs depict American Indians, US Army soldiers and scouts, historical sites, forts, and scenery. Some were made on expeditions, including the Hayden and Powell surveys, and created from published stereographs. Many of Taylor's illustrations are signed, and some are inscribed with dates and "N. Y." The scrapbook also includes clippings from newspapers and other written sources relating to illustrations and photographs in the album.
Biographical Note:
James E. Taylor (1839-1901) was an artist-correspondent for Leslie's Illustrated Weekly Newspaper from 1863-1883. Born in Cincinatti, Ohio, he graduated from Notre Dame University by the age of sixteen. Taylor enlisted in the 10th New York Infantry in 1861 and the next year was hired by Leslie's Illustrated newspaper as a "Special Artist" and war correspondent. In 1864 he covered the Shenandoah Valley campaign, and was later one of the illustrator-correspondents at the 1867 treaty negotiations at Medicine Lodge, Kansas. He soon earned the moniker "Indian Artist" because of his vast number of drawings of American Indians. In 1883 Taylor retired from Leslie's to work as a freelance illustrator. Colonel Richard Irving Dodge used Taylor's drawings to illustrate his memoir, "Our Wild Indians: Thirty-three Years' Personal Experience among the Red Men of the Great West" (1882).
Local Call Number(s):
NAA Photo Lot 4605
Related Materials:
The National Anthropolgical Archives holds additional photographs by photographers represented in this collection (including original negatives for some of these prints), particularly in Photo Lot 24, Photo Lot 37, Photo Lot 60, Photo Lot 87.
Additional photographs by Whitney, Gardner, and Barry held in National Anthropological Archives Photo Lot 80-18.
Julian Vannerson and James E. McClees photographs held in National Anthropological Archives Photo Lot 4286.
Pywell photographs held in National Anthropological Archives Photo Lot 4498.
O'Sullivan photographs held in National Anthropological Archives Photo lot 4501.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 83-18 and Photo Lot 87-2N.
Provenance:
Donated or transferred by John Witthoft from the Pennsylvania Historical and Museum Commission, April 14, 1961.
