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.
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
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.
Donated or transferred by John Witthoft from the Pennsylvania Historical and Museum Commission, April 14, 1961.
Engraving by De Bry, presumably after a drawing by John White, 1585 in North Carolina. Negative copy probably from Heriot, 1893 edition.
The original White drawing from which this was taken does not appear to be in the British Museum collection; at least it is not in the Praetorius copies of the British Museum collection owned by the Natural Museum. And note the following statement in Virginia History Magazine, Volume 35, 1927, "John White, English Artist," by D.I. Bushnell: "Twenty-three of the White drawings were reproduced by De Bry...Eighteen of the original drawings included in the above list [of those engraved by De Bry] are now in the British Museum..."
This would mean that there are a few (5) original drawings by White of which we do not know the whereabouts and for which we have only the De Bry engraving. These apparently included the drawings covered by our negatives BAE 2860 LL, BAE 867 (use of earthen pot in boiling), SI 44479 C ("The Manner of Making their boats.") and SI 44479 B (The marckes of sundrye of the chief mene of Virginia.") See complete list of negatives of John White drawings and engravings based on them in Bureau of American Ethnology Archives office file.
Engraving by Theodore De Bry, after a watercolor made by John White, ca. 1585, on the coast of present North Carolina (at that time called "Virginia"). Engraving copied from the 1893 edition of Heriot Narrative of the First English Plantation of Virginia, London. White's original watercolor is not known to be in existence.
Date not recorded; ca. 1865. Photographer: Upton, Minneapolis and St Anthony. See note re Upton with Number 45479-B. Style of mount used by Upton, ca. 1865. -- Information from G. H. Smith.
View may have been made near Fort Snelling (Minneapolis) during winter of 1862-63, when the Santee Dakota were concentrated in a stockade, prior to removal to Dakota Ty., following the Sioux Outbreak. (Cf. Folwell, History of Minnesota, 1924, volume 2, page 252, 2 Upton views.) -- Information from G. H. Smith.
OPPS NEG.45480 D
Only known photo of a pregnant Indian.
On back of photo: "Winona," [name given to first-born daughter].
The photograph was taken by Wilbur A. Riegert at Green Grass, South Dakota, on Cheyenne River Reservation. Mrs. Bad Warrior was the keeper of the sacred Buffalo Calf Pipe Bundle, the only tribal bundle of the Lakotas. In order to end the long drought that afflicted the plains, she sat all day in the hot sun, holding a pipe on her lap, praying for rain. Mrs. Bad Warrior died October 25, 1936. [Source: Raymond J. DeMallie, Jr., 20 June 2007]
Biographical / Historical:
Date: August 1936.
Written on back of print: "Property of Wilbur A. Riegert, Wounded Knee, S. Dakota. "[Martha Bad Warrior] Died October 25 - 1936. Given to Lucy Looking Horse on 10-29-64 by W. A. Riegert, Everett C. Jordan, Mrs A. M. Clark." [Lucy Looking Horse, daughter of Martha Bad Warrior, died in April, 1966. At the giveaway after her death, this picture was given to Mrs Belva Jack.]
She has long dark hair, and is fully dressed. Her ears are not mutilated except for piercing for small silver earring. Inscribed by St Memin "Femme Indienne des Iowas des Missouri." (Lower left hand corner - indistinct).
OPPS NEG.3924 B
Identified as Yellow Corn, wife of Mandan Chief Sheheke, by Ellen G. Miles in Saint-Memin and the Neoclassical Profile Portrait in America (1994). Although she is identified as an Indian girl of the Iowas of the Missouri in the inscription, the watercolor referenced below was inscribed "Mandan Queen."
There is also a watercolor of this subject, by St Memin, once owned by Luke Vincent Lockwood. The portrait is the same. See New York Historical Society Quarterly Bulletin, April 1928 - Figure 11, and "The St Memin Indian Portraits," by Luke Vincent Lockwood, Member American Antiquarian Society. (Figure 10). The watercolor is now at the Thomas Gilcrease Institute of American History and Art.
Black and white copy negative
Credit to be given to the New York Historical Society if published. See correspondence Smithsonian Institution Files, 6/4/24.