Photograph depicting luncheon group including Nez Perce delegates and A. R. Serven and his associates, made by Elwood A. Baker on March 5, 1930. There is also a studio photograph of Oscar Boy, a Piegan man, and Carter in March 1934.
Local Call Number(s):
NAA Photo Lot 89-50
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Citation:
Photo Lot 89-50, Photographs of Piegan man and Nez Perce delegates with members of Serven and Potter law firm, National Anthropological Archives, Smithsonian Institution
The bulk of the collection consists of portraits of identified Native Americans and some government officials and interpreters. It includes cabinet cards, other mounted prints, newspaper articles, illustrations, and a photographic postcard. Depicted individuals include American Horse, Oglala; Black Hawk, Sauk; Bob Tail, Cheyenne; Crowfoot, Hunkpapa; Gaul, Hunkpapa; Geronimo, Chiricahua; John Grass, Teton; Chief Joseph, Nez Perce; Little Wound, Oglala; Medicine Bull, Hunkpapa; Osceola, Seminole; Ouray, Ute; Litte Raven, Arapaho; Plenty Coups, Crow; Pocahontas, Powhatan; Rain in the Face, Hunkpapa; Red Cloud, Oglala; Red Iron, Dakota; Short Man, Piegan; Sitting Bull, Hunkpapa; Standing On Prairie, Siouan; Thayendanegea (Joseph Brant), Mohawk; Two Guns White Calf, Piegan; Two Moon, Cheyenne; and Washakie, Shoshoni.
Local Call Number(s):
NAA Photo Lot 87-2P
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo lot 87-2P, United States National Museum Department of Anthropology photograph collection relating to Native Americans, National Anthropological Archives, Smithsonian Institution
Photographs of various subjects, including portraits of Native Americans made from negatives by the Bureau of American Ethnology and United States National Museum. Depicted individuals include Lamar Richards (also known as Ostin, Tonkawa) and Grant Richards (also known as Sentele, Tonkawa); Turning Hawk, Crow Dog, Spot Tail, Red Leaf, and White Thunder. There are also images of Shuswap people dressing hides; Smohalla and Sokulk followers at Priests Rapids, Washington; and Native Americans around a campfire at Fort Marion, Florida.
Additionally, there are photographs of St. Columba's Church, White Earth Reservation, Minnesota; Otoe Industrial School; a chapel at the Cheyenne Mowerʹs place, with Mower's son; a sketch of Fort Cummings, New Mexico; buildings and a mound at Charleston, West Virginia; the Tabernacle at Salt Lake City; an American Indian camp with hides drying; Native Americans dragging brush in preparation of a medicine lodge; and a wood engraving of a Dakota Ghost Dance, taken from Frank Leslie's Illustrated Newspaper.
Photographers include William Dinwiddie; De Lancey W. Gill; Sumner W. Matteson; Thomas William Smillie; Cross, of Hot Springs, South Dakota; and C. C. McBride.
Local Call Number(s):
NAA Photo Lot 66F
Location of Other Archival Materials:
Additional photographs by Dinwiddie can be found in the National Anthropological Archives in Photo Lot 14, Photo Lot 60, Photo Lot 78, Photo Lot 89, Photo Lot 141A, Photo Lot 144, Photo Lot 80-18, the BAE historical negatives, and the Herbert William Krieger Papers.
Additional Gill photographs held in National Anthropological Archives Photo Lot 14, Photo Lot 33, Photo Lot 65, Photo Lot 70, Photo Lot 85, Photo Lot 79-4, Photo Lot 87-2P, and Photo Lot 90-1.
The National Museum of the American Indian Archives holds the Sumner W. Matteson collection of photographs, negatives and lantern slides.
Additional Smillie photographs held in the National Anthropological Archives in Photo Lot 60, Photo Lot 79, and the BAE historical negatives. The Archives Center, National Museum of American History also holds the Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives.
Photograph albums prepared by the Bureau of American Ethnology or the photographic lab, possibly for reference purposes by staff. The use of such albums has been mentioned by BAE photographer De Lancey W. Gill. The albums contain photographs made from the Bureau of American Ethnology's collection of negatives, documenting Apache, Arapaho, Assiniboin, Blackfoot, Cheyenne, Cocopa, Dakota, Flathead, Fox, Iowa, Kalispel, Kiowa Apache, Nez Perce, Omaha, Osage, Ponca, Santa Clara, Sauk, Shoshoni, Spokane Tonkawa, Wichita, and Winnebago people. The bulk of the photographs are studio portraits, made at the Trans-Mississippi Exposition in Omaha in 1898 or during delegation visits to Washington, DC. There are also other photographs made during Victor Mindeleffʹs work in Chaco Canyon, and on W J McGeeʹs expedition to Sonora, Mexico, in 1900.
Photographers include Charles Milton Bell, William Dinwiddie, Alexander Gardner, De Lancey W. Gill, John K. Hillers, William Henry Jackson, Frank Albert Rinehart, Wells Moses Sawyer, Antonio Zeno Shindler, Victor or Cosmos Mindeleff, Julian Vannerson with Samuel A. Cohner. Included are negative numbers formerly used by BAE, but the National Anthropological Archives also annotated them with current negative numbers.
Arrangement note:
Titles of the albums are (1) Omaha and Winnebago; (2) miscellaneous; (3) Sauk and Fox; (4) miscellaneous; (5) Arapaho and Cheyenne; (6) Chiricahua, San Carlos, and Apache; (7) Sauk and Fox; (8) Osage, Shoshoni and Nez Perce, Siouan, Oto; (9) Santa Clara and Flathead; (10) Ponca; (11) Sauk and (12) Wichita and Kiowa Apache; (13) Cocopa; and (14) Assiniboin and Blackfoot
Biographical/Historical note:
The Bureau of American Ethnology was founded in 1879 in part as a result of the federal geological surveys and under the administration of the Smithsonian Institution. Under the directorship of John Wesley Powell (1879-1902), the BAE supported field research by its staff and collaborators, initiated several anthropological publications, and supported the growth of the anthropological discipline, particularly as it related to Native Americans. In addition to its research and publications program, it developed a manuscript repository, library, and an illustrations section that included (in addition to the preparation of artwork for publications) photography and a photographic collection. The BAE commissioned studio portraits of visiting Indian delegates and hired De Lancey Gill served as the its official photographer and illustrator from the 1890s to 1930.
Local Call Number(s):
NAA Photo Lot 60
Location of Other Archival Materials:
The National Anthropological Archives also holds the Bureau of American Ethnology records and the BAE historical negatives, as well as Dinwiddie photographs of the W. J. McGee expeditions are held in (Photo Lot 89 and Photo Lot 144), Charles Milton Bell photographs (Photo Lot 80), and additional photographs by most photographers represented in this collection (Photo Lot 59 and Photo Lot 90-1)
See others in:
Bureau of American Ethnology photograph albums of Native Americans, 1858-1905
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo lot 60, Bureau of American Ethnology photograph albums of American Indians, National Anthropological Archives, Smithsonian Institution
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.
Biographical/Historical note:
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
Provenance:
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.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo Lot 59, Library of Congress Copyright Office photograph collection of Native Americans, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Great Basin Search this
Type:
Collection descriptions
Archival materials
Albums
Photographs
Date:
circa 1877
Scope and Contents note:
Albums probably assembled by William Henry Jackson, mostly containing portraits of Native American delegates in Washington, D.C. and photographs made on US Geological Surveys (including the Hayden and Powell surveys). Photographs from the field include John K. Hillers' photographs of the Southwest, photographs of Fort Laramie (possibly by Alexander Gardner), Orloff R. Westmann's photographs of Taos Pueblo, and Jackson's photographs of Crow, Shoshoni, Pawnee, and Nez Perce Tribes and related sites. Most of the photographs were made circa 1860s-1870s.
The albums were probably by Jackson while working under Ferdinand V. Hayden for the United States Geological Survey of the Territories. The reason for their creation is uncertain, though it may have been a project set up by Hayden or a continuation of William Henry Blackmore's tradition of publishing albums. Some of the albums include captions pasted from Jackson's Descriptive Catalogue of Photographs of North American Indians (1877) while others have handwritten captions.
Biographical/Historical note:
William Henry Jackson (1843-1942) was an American painter, photographer and explorer. Born in New York, he sold drawings and retouched photographs from an early age. After serving in the Civil War, he opened a photography studio in Omaha, Nebraska, with his brother Edward. As photographer for the US Geological and Geographical Surveys (1870-1878), he documented the American west and published the first photographs of Yellowstone. When the surveys lost funding in 1879, Jackson opened a studio in Denver, Colorado, and also worked for various railroad companies. Many of Jackson's photographs were displayed at the World's Columbian Exhibition in Chicago (1893), for which he was the official photographer.
Local Call Number(s):
NAA Photo Lot 4420
Location of Other Archival Materials:
Original negatives for many of the photographs in this collection can be found in the National Anthropological Archives in the BAE historical negatives.
The National Museum of the American Indian Archives holds William Henry Jackson photographs and negatives.
Additional Jackson photographs held in National Anthropological Archives Photo Lot 4605, MS 4801, Photo Lot 14, Photo Lot 24, Photo Lot 29, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo lot 143, Photo Lot 87-2P, Photo Lot 87-20, and Photo Lot 90-1.
Correspondence from Jackson held in the National Anthropological Archives in MS 4517, MS 4881, MS 4821, and collections of personal papers.
Photo Lot 4420, William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians, National Anthropological Archives, Smithsonian Institution
Photographs made and collected by Arthur Earl Patton documenting life on and near the Flathead Indian Reservation. They include images of Salish people, cowboys, storefronts and buildings, carriages and wagons, automobiles, railroads, a river boat, and scenic views. Locations include Ravalli, Polson, and St. Ignatius in Montana, as well as Mandan, North Dakota. The collection includes some postcards by Thiri's Aerial View Service (T.A.V.S.), L. G. Bigelow, C.C. Slack & Co., and Charles E. Morris Co.
Biographical/Historical note:
Arthur Earl Patton lived on the southern edge of the Flathead Indian Reservation near Arlee, Montana. He moved there about 1911 and stayed five years, obtaining 160 acres of land in accordance with the Homestead Act of 1862.
Local Call Number(s):
NAA Photo Lot 91-25, USNM ACC 387053
Location of Other Archival Materials:
Flathead artifacts, including a buckskin shirt, buckskin gauntlets, a beaded leather belt, and a buckskin money belt, which were donated with the album can be found in the Department of Anthropology collections in accession 387053.
Additional Charles E. Morris photographs held in National Anthropological Archives Photo Lot 25 and Photo Lot 59.
An additional Thiri's Aerial view Service photograph held in the National Anthropological Archives in the BAE historical negatives.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Citation:
Photo Lot 91-25, Arthur Earl Patton photograph album relating to the Flathead Indian Reservation and surrounding areas, National Anthropological Archives, Smithsonian Institution
Microfilm of the Benjamin Stone collection of photographs relating to Britain and Europe, North America, South America, Africa, India, and Australasia. Prints made from the microfilm are mostly of portraits of American Indians and some field images relating to delegations, expeditions, dwellings, and the 1862 Sioux uprising in Minnesota. They include depictions of Arikara, Ojibwa, Miniconjou, Dakota, Pawnee, Winnebago, Iroquois, Ute, Blackfoot, Cree, Crow, Salish, and Kootenai Indians. There are also images of buildings, boats, railroads, and scenic views from around America, as well as the Smithsonian Castle in 1871 and Chicago after the Great Fire. Photographers represented include B. H. Gurnsey, Joel Emmons Whitney, and Adrian J. Ebell.
Biographical/Historical note:
Sir John Benjamin Stone (1838-1914) was born in Birmingham, England, to a glass-making family, a profession he briefly joined before starting a career in politics. He was elected representative of the Duddlestone Ward on the Birmingham Town Coucil in 1869, later becoming Mayor Cutton (1886-1891) and Member of Parliament for East Birmingham (1895-1910). Inspired by a love of antiquities, Stone began to collect and then make photographs during his international travels to East Asia, the West Indies, Africa, and North and South America. As the first president of the Birmingham Photographic Society, he encouraged the development of the Warwickshire Photographic Survey. Additionally, he helped found the National Photographic Record Association, and served as President of the organization. During his time in Parliament, Stone made a photographic survey of the Palace of Westminster and was official photographer for the Coronation of King Geroge V in 1910. His photographs were published in the two-volume Sir Benjamin Stone's Pictures (1905).
Local Call Number(s):
NAA Photo Lot R4859
Reproduction Note:
Prints made by the Smithsonian Institution, 1969.
Location of Other Archival Materials:
Some photographs have been separated into Photo Lot 24. These photographs are represented by item-level descriptions linked to this record.
Contained in:
Numbered manuscripts 1850s-1980s (some earlier)
See others in:
Copies of photographs in the Benjamin Stone collection, circa 1862-1907 (bulk circa 1862-1871)
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Copy prints of photographs in the Birmingham Public Library in Birmngham, England. Reference copies can be made for Smithsonian Institution staff only. Permission to publish and other prints can be obtained from the Birmingham Public Library.
Indians of North America -- Great Basin Search this
Type:
Collection descriptions
Archival materials
Negatives
Copy prints
Place:
Yosemite National Park (Calif.)
Washington (D.C.)
Florida
Yellowstone National Park
Colorado
Date:
mid-19th - early 20th century
Scope and Contents note:
Copies of photogaphs selected from the George Eastman House collection by Bureau of American Ethnology archivist Margaret Blaker in 1962. Many of the photographs are individual or group portraits of American Indians and some highlight pottery, baskets, and cradleboards. There are also images of American Indian dwellings, including tipis and hogans; pueblos; dances; and an encampment during the Modoc War and Plains Indian prisoners at Fort Marion, Florida (1870s).
Expedition photos in the collection were made on T. O. Selfridgeʹs Darien Expedition (1870-1871), the Wheeler surveys (1871-1874), and the Hayden Geological Survey (1871). The collection also includes portraits of Frederick Douglass, Sitting Bull, and John A. Logan; and images from Buffalo Bill's Wild West Show; Company F of New York's 140th Volunteer Infantry; and the Smithsonian in Washington, DC.
Local Call Number(s):
NAA Photo Lot R79
Reproduction Note:
Copy negatives made by George Eastman House, 1962.
Copy prints made by the Smithsonian, 1962-1963.
Location of Other Archival Materials:
The National Anthropological Archives holds vintage prints for many of the photographs copied in this collection, including in Photo lot 4501, Photo Lot 4605, and Photo Lot 90-1.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
The images were acquired for reference purposes and cannot be reproduced. Copies may be obtained from George Eastman House, International Museum of Photography and Film.
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).
50 Stereographs (circa 50 printed stereographs, halftone and color halftone)
1,000 Stereographs (circa, albumen and silver gelatin (some tinted))
239 Prints (circa 239 mounted and unmounted prints, albumen (including cartes de visite, imperial cards, cabinet cards, and one tinted print) and silver gelatin (some modern copies))
96 Prints (Album :, silver gelatin)
21 Postcards (silver gelatin, collotype, color halftone, and halftone)
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.
Biographical/Historical note:
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.
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Unbound album pages (labeled A through Q) with photographs documenting the people and culture of the Pocatello-Fort Hall area, including Native Americanss (particularly Shoshone-Bannock tribes), agency employees, and missionaries. Included are images of encampments, Sun Dance ceremonies, the Fort Hall Agency, Indian schools and churches, the Run for Fort Hall Lands on June 17, 1902, the War Bonnett Roundup at Idaho Falls, Shoshone Falls and other natural features and landscapes, a large number of street and aerial views of Pocatello, A. L. Cook's drug store in Pocatello, and members of the Cook family. In addition, there are photographs of Nez Perce, Hopi, San Juan, and Navaho Indians, and one image of the Lapps Indians at Port Townsend, Washington. A large number of the photographs were made by Benedicte Wrensted.
The albums were compiled by Robert Leonard, Eugene O. Leonard's son, who also made copy prints of many of the photographs and negatives. They include flyers, newspapers, envelopes, and other scraps collected by Leonard.
Biographical/Historical note:
Eugene O. Leonard (1884-1964) moved to Pocatello, Idaho, in 1893 to live with his aunt, the widow of A. L. Cook and owner of the Cook building and drugstore. Leonard attended Weiser College and Academy (now College of Idaho), Whitman College, and Northwestern University. He acquired degrees in phamacy and pharmaceutical chemistry from Northwestern University, and a degree in assaying studies from the Chicago College of Chemistry. After graduation from the College in 1908, Leonard returned to Pocatello to manage the Cook Drug Store until 1918. He worked as Pocatello City Chemist and set up the College of Pharmacy at Idaho State College, where he also taught and served as dean (1918-1954). In the 1930s, Leonard obtained a MS and PhD from Utah State University. Possibly encouraged by his collector aunt, Leonard established a collection of Native material culture objects and documentations, including artifacts and these photograhs, based on his interest in the Shoshoni and Bannock tribes at nearby Fort Hall.
Local Call Number(s):
NAA Photo Lot 92-3
Location of Other Archival Materials:
The Idaho Museum of Natural History at Idaho State University holds artifacts collected by Eugene O. Leonard.
The Bannock County Historical Museum in Pocatello holds the Leonard Family Papers, 1893-1917.
Restrictions:
Original nitrate negatives are in cold storage and require advanced notice for viewing. Many have associated prints.
Photo Lot 92-3, Eugene O. Leonard photograph collection relating to Pocatello and Fort Hall, Idaho, National Anthropological Archives, Smithsonian Institution
Photographs documenting Native American Public Programs events, including images of Native American artists and examples of their work during demonstrations and lectures at the National Museum of Natural History. Photographs were mostly made by Smithsonian photographers, including Carl C. Hansen, Richard Strauss, Chip Clark, Laurie Minor-Penland, Eric Long, Alan Hart, Rick Vargas, Dane Penland, and Christina Taccone. Included are a large number of photographs of Don Tenoso (Hunkpapa), an artist-in-residence at the National Museum of Natural History, and performances by James Luna (Luiseno/Digueno), Guillermo Gomez-Pena (Chicano), and Coco Fusco. Crafts and arts depicted include beadwork, basket weaving, dollmaking, peyote fanmaking, weaving, hand games, quilting, clothing making, leatherwork, woodcarving, saddlemaking, sculpture, painting, story-telling, and performance art. There are also images of Dolores Lewis Garcia and Emma Lewis Garcia (daughters of Acoma potter Lucy M. Lewis) and their pottery, Joallyn Archambault with artists, and the 1990 American Indian Theater Company reception.
Other depicted artists include Maynard White Owl Lavadour (Cayuse/Nez Perce), Evangeline Talshaftewa (Hopi), Lisa Fritzler (Crow), Marian Hanssen, Vanessa Morgan (Kiowa/Pima), Marty Good Bear (Mandan/Hidatsa), Katie Henio and Sarah Adeky (Navajo), Geneva Lofton and Lee Dixon (Luiseno), Chris Devers (Luiseno), Mary Good Bear (Mandan), Robert and Alice Little Man (Kiowa), Lisa Watt (Seneca), Jay McGirt (Creek), Bill Crouse (Seneca), Kevin Johnny-John (Onondaga), Rose Anderson (Pomo), Francys Sherman and Margaret Hill (Mono), Thelene Albert and Annie Bourke (White Mountain Apache), Bob Tenequer (Laguna), Jimmy Abeyeta (Navajo), Lou Ann Reed (Acoma), Melissa Peterson (Makah), Jennifer and Kallie Keams Musial (Navajo), Joyce Growing Thunder-Fogarty and Juanita Fogarty (Assiniboine/Sioux), David Neel (Kwakiutal), Mervin Ringlero (Pima), Jhon Goes-In-Center (Oglala), D. Montour (Delaware/Mohawk), Rikki Francisco (Pima), Annie Antone (Papago), Angie Reano-Owen (Santo Domingo Pueblo), Carol Vigil (Jemez), Gregg Baurland (Miniconjou), Greg Colfax (Makah), Lydia Whirlwind-Soldier (Sicangu Dakota), Martin Red Bear (Oglala), Michael Rogers (Paiute), Alta Rogers (Yurok/Paiute), Dorothy Stanley (Miwok), Lisa Little Chief (Dakota), Tom Haukaas (Sicangu Dakota), Nora Navanjo-Morsie (Santa Clara Tewa), Seneca Women's Singing Society, Molly Blankenship and Martha Ross (Eastern Cherokee), Julia Parker (Miwok/Pomo), Candy and Claudia Cellicion (Zuni), Sally and Lorraine Black (Navajo), Carmen Quinto-Plunkett (Tlingit), Ina McNeil (Hunkpapa), and Ellen and Faye Quandelancy (Zuni), and Rikki Francisco (Pima).
Biographical/Historical note:
Native American Public Programs was founded in 1989 as a part of the Department of Education in the National Museum of Natural History. Under the directorship of Aleta Ringlero, its main activity was the arranging of demonstrations by Native American artists and craftsmen in the exhibition areas of the museum.
Local Call Number(s):
NAA Photo Lot 91-26
Location of Other Archival Materials:
Audio of James Luna's lecture for the Native American Public Programs office held in National Anthropological Archives in MS 7514.
Dolls made by Don Tenoso for the Native American Public Programs office held in Department of Anthropology collections in accession 390905.
Additional photographs of Tenoso held in the Smithsonian Institution Archives in SIA2009-2222 and 90-13726.
Photo Lot 91-26, Native American Public Programs photograph collection relating to Native American artists and art, National Anthropological Archives, Smithsonian Institution
Photographs mostly commissioned and collected by personnel in the Bureau of American Ethnology. Most of the photographs are studio portraits of Native Americans made by the Bureau of American Ethnology and Smithsonian Institution, possibly for physical anthropologist Ales Hrdlicka. There are also photographs made by Truman Michelson among the Catawba tribe, copies of illustrations and drawings, and various images of archeological sites and artifacts.
Local Call Number(s):
NAA Photo Lot 87-2M, USNM ACC 42191
Location of Other Archival Materials:
Original negatives for many photographs in this collection held in the National Anthropological Archives in the BAE historical negatives.
Additional Michelson photographs held in National Anthropological Archives Photo Lot 13, Photo Lot 24, MS 2139, and MS 4365-c.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 14, Photo Lot 24, Photo Lot 28, Photo Lot 40, Photo Lot 143, Photo Lot 83-18, Photo Lot 87-2N, Photo Lot 90-1, Photo Lot 92-46, and the BAE historical negatives.
Additional Jackson photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo Lot 143, Photo Lot R82-10, Photo Lot 87-2P, Photo Lot 90-1, Photo Lot 92-3, the records of the Department of Anthropology, and the BAE historical negatives.
Additional Smillie photographs held in the National Museum of American History Archives Center in the Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives and in Smithsonian Institution Archives SIA Acc. 05-123.
Additional Gardner photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 80-18, Photo Lot 87-2P, Photo Lot 90-1, and the BAE historical negatives.
Associated busts and molds held in the Department of Anthropology collections in accession 42191.
Photo lot 87-2M, Bureau of American Ethnology photograph collection relating to Native Americans, National Anthropological Archives, Smithsonian Institution
Mostly portraits of Albert Attocknie (Lone Tipi) and William H. Egberts made by De Lancey Gill and collected by Alice Cunningham Fletcher. The collection also includes a photograph depicting Smithsonian employee Paul C. Natta measuring Native Americans, a portrait of Charlie Saplish (Doctor or Chief Whirlwind), and another photograph of French Marshal Ferdinand Foch with Plenty Coups in 1921.
Local Call Number(s):
NAA Photo Lot 81-7
Location of Other Archival Materials:
Additional photographs collected by the Division of Physical Anthropology can be found in the National Anthropological Archives in the Division of Physical Anthropology Photograph Collection 1850s-1960s (Photo Lot 8).
Additional photographs of Attocknie and Egberts made by Gill, including original negatives, can be found in the National Anthropological Archives in Photo Lot 24 and the BAE historical negatives.
Additional photographs of Charlie Saplish can be found in the National Anthropological Archives in Photo Lot 24.
Additional photographs of Plenty Coups can be found in the National Anthropological Archives in MS 4423, Photo Lot 78-41, Photo Lot 86-46, Photo Lot 87-2, Photo Lot 90-1, and Photo Lot 89-8.
Photo Lot 81-7, Division of Physical Anthropology photographs of Albert Attocknie and other Native Americans, National Anthropological Archives, Smithsonian Institution
Portraits of Native Americans made by Charles Milton Bell in his Washington, DC studio. Depicted individuals include Red Cloud, Oglala; Spotted Tail, Brule; Quanah Parker, Comanche; Nawat, Arapaho; Scabby Bull, Arapaho; Wolf Robe, Cheyenne; D. W. Bushyhead, Cherokee; John Jumper, Seminole; Plenty Coups, Crow; Rushing Bear, Arikara; Gall, Hunkpapa; John Grass, Sihasapa; Lean Wolf, Hidatsa; Chief Joseph, Nez Perce; and Lone Wolf, Kiowa; as well as people associated with Pawnee Bill's Wild West Show. The collection also includes copies of some images by other photographers, including G. G. Rockwood and F. T. Cummins.
Biographical/Historical note:
Charles Milton Bell (circa 1849-1893) was the youngest member of a family of photographers that operated a studio in Washington, DC, from around 1860-1874. Bell established his own studio on Pennsylvania Avenue in 1873 and it rapidly became one of the leading photography studios in the city. Bell developed the patronage of Ferdinand Vandeveer Hayden, who sent Native American visitors to the studio to have their portraits made. Bell also made photographs of Native Americans for the Department of the Interior and the Bureau of American Ethnology.
Local Call Number(s):
NAA Photo Lot 80, NAA MS 4661
Location of Other Archival Materials:
Copy prints previously filed in MS 4661 have been relocated and merged with Photo Lot 80. These are also copy prints of Bell negatives that were acquired from Boyce and form part of this collection.
Additional C. M. Bell photographs held in National Anthropological Archives Photo Lot 4420, Photo Lot 24, Photo Lot 60, Photo Lot 81-44, Photo lot 87-2P, and Photo Lot 90-1.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo Lot 80, Charles Milton Bell photographs of Native Americans, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Watercolor
Prints
Graphite drawings
Photographs
Watercolors
Drawings
Date:
undated
Scope and Contents note:
Mostly images of artifacts, architecture, peoples, and some maps published in various Bureau of American Ethnology publications, particularly the Annual Reports. Most of the line drawings were made by Henry Hobart Nichols, while most of the graphite drawings were possibly created by Edward Schumacher.
Local Call Number(s):
NAA Photo Lot 78-51
Location of Other Archival Materials:
Additional illustrations for various BAE publications can be found in the National Anthropological Archives in Photo Lot 133 and in the records of the BAE.
Information on these illustrations and publications can be found in the National Anthropological Archives in the records of the BAE.
Photographs depicting Mary Peters (Interior Salish) weaving a tapestry with a two-bar loom and Mrs. William Kelley (Coast Salish) spinning yarn with a spinning wheel. Photographs made in Sardis, Chilliwack, British Columbia.
Biographical/Historical note:
Oliver N. Wells (1907-1970) was owner of Edenbank Farm in Chilliwack, British Columbia, as well as an amateur historian and ethnologist. He assisted the effort to reestablish traditional Salish weaving techniques and wrote "The Return of the Salish Loom," an article published in the "Beaver" Hudson Bay Magazine in spring 1966.
Local Call Number(s):
NAA Photo Lot 81C
Location of Other Archival Materials:
Photographs of Coast Salish arts, collected by Oliver Wells, held in National Anthropological Archives in MS 4764.
Copy negatives made from negatives depicting Native Americans, dwellings, and ceremonies. There are images of Hopi people at Walpi and Oraibi pueblos and other Puebloan people, as well as portraits of Apache, Osage, Navajo, Blackfoot, Brule, Nez Perce, Rogue River, Taos, Pawnee, Oto, Caddo, Arapaho, and Delaware people and the Ute Chief Ouray. Some of the images are from the series "Dangers of the Indian Country--Frontier Exposures." Represented photographers include George Wharton James, F. H. Maude, and others.
Local Call Number(s):
NAA Photo Lot 73-26G
Location of Other Archival Materials:
Additional George Wharton James photographs can be found in National Anthropological Archives MS 4577, Photo Lot 59, Photo Lot 89-8, and Photo Lot R92-15.
Additional F. H. Maude photographs can be found in National Anthropological Archives MS 4978, Photo Lot 59, Photo Lot 89-8, Photo Lot 90-1, and Photo Lot 24.
The National Anthropological Archives also holds the Ales Hrdlicka papers and other collections relating to his work (Numbered Manuscript collections and Photo Lots).
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo lot 73-26G, Copies of photographs of Native Americans, National Anthropological Archives, Smithsonian Institution
